The Socioplastics System articulated through Anto Lloveras’s interlinked channels constitutes a rare instance of contemporary practice in which art ceases to be a bounded discipline and becomes instead an epistemic infrastructure. What is staged here is not a portfolio of projects but a distributed organism whose organs—archive, theory, pedagogy, urbanism, botany, alter-identity and canon—co-evolve within a single relational ecology. The central hub frames a fifteen-year durational arc that moves from the room-laboratory in Madrid’s Malasaña to nomadic devices and ruralist archipelagos, mapping a trajectory from urban precarity to post-human attentiveness. Socioplastics emerges not as a metaphor but as an operational substrate: a mesh protocol that reprograms authorship, temporality and territorial ethics. In this sense, the system radicalises Bourriaud’s relational aesthetics by replacing intersubjective encounter with infrastructural entanglement, and extends Beuys’s social sculpture into a distributed pedagogy of care. The archive is not a ledger of past works but a breathing interface that metabolises contingency into symbolic form. Each node performs a distinct epistemic function while refusing autonomy: meaning is produced only in the interval between channels. This structural interdependence renders the system legible as a form of post-objectual knowledge production, where art becomes an operating system for ethical and aesthetic reconfiguration rather than a vehicle for representation.
