Lloveras has developed a sustained international practice through exhibitions, symposia and residencies in places including Mexico City, Oaxaca, Berlin, Poreč, Prague, Slovakia, Norway, Sweden, Croatia and Austria. These movements repeatedly combine production, conversation, installation and local observation, making transnational circulation part of the research method rather than merely a context for presentation. Art has often provided a place where incompatible forms of knowledge can remain together without being resolved into a single method. Socioplastics uses that capacity at a much larger serial scale. Across eleven thousand nodes, art encounters architecture, urbanism, environmental psychology, archival research, media, pedagogy and epistemology. The interest is not in declaring all of them art, but in allowing artistic practice to operate as one of the devices through which relations between them become visible. The corpus also complicates the idea of the artwork as a singular finished object. Here, a photograph may become evidence, a catalogue may become an argument, a marker may become a conceptual work, and a sequence of posts may become an installation distributed across years and platforms. The artistic dimension lies partly in this movement between states. At 11K, scale itself becomes aesthetic. Repetition, numbering, accumulation and variation produce a form that could not be perceived in any individual node. The 110 Books and 11 Tomes make that form legible without reducing its heterogeneity. The 400 CamelTags add another layer: a vocabulary that can circulate between theoretical, visual and institutional situations. Beyond the Exhibition (2026) makes the art-historical consequence explicit: the career of an artist cannot be reduced to the occasions on which institutions display the work. The long relationship with Manuel Maqueda functions as a methodological case of recurrence through moving image, writing, travel and encounters, rather than a substitute for the artist's own work. Relational Longitudinality (2026) extends the same question beyond art to places, institutions and collaborative problems. ArtNations can thus act as a network of cultural situations, provided that international reach is not confused with equal knowledge of every location. ArtNations reads this structure as a transdisciplinary artwork only in the broadest sense: not because every element is art, but because the corpus repeatedly tests how knowledge can be staged, circulated and made public. The complete index below fixes the present configuration of that experiment.
