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Sebastián Llovera

@llovera.studio

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Coyote Time @counterpublic
Premio Mendoza #17 @sala_mendoza

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Mi obra Protocolos de Emergencia se presenta a partir de hoy en el Premio Eugenio Mendoza #17 en @sala_mendoza . Luego de muchas horas de investigación, prototipos y ensayos, esta pieza forma parte de 23 máscaras impresas en 3D con arcilla y resina que exploran la historia de las tecnologías y los sistemas de conocimiento dominantes, y lo que pasa cuando una forma no se deja ordenar por ellos. Gracias a todos los que hicieron este proyecto posible. A Mónica Espinel @monicaespinel, por haberme seleccionado y por las largas conversas y el acompañamiento. A @eva.mab, por toda su ayuda durante la ideación y la fabricación de estas piezas. A @eazao3d, por su apoyo con el equipo para fabricarlas. A Jill y @emilystpeters, por ayudarme con el horneado.

My work Protocolos de Emergencia is on view starting today in the #17 Eugenio Mendoza Prize at @sala_mendoza. After many hours of research, prototypes, and tests, this piece is one of 23 masks 3D printed in clay and resin. They look into the history of technologies and of the dominant systems of knowledge, and into what happens when a form will not be ordered by them. Thanks to everyone who made this project possible. To Mónica Espinel @monicaespinel, for selecting me and for the long conversations and the guidance. To @eva.mab, for all the help thinking through and making these pieces. To @eazao3d, for the support with the equipment to make them. To Jill and @emilystpeters, for helping me fire the pieces. by @llovera.studio

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3 days ago

Tengo el honor de ser uno de los artistas seleccionados para Counterpublic 2026: Coyote Time, la tercera edición de una de las trienales de arte público más grandes de Estados Unidos, con sede en St. Louis. Coyote Time es curada por Jordan Carter, Raphael Fonseca, Stefanie Hessler, Nora N. Khan y Wanda Nanibush.

Mi proyecto, curado por Nora N. Khan, explora el conocimiento lateral: lo presente, lo marginal y lo ausente en los sistemas de saber.
Septiembre 12 – Diciembre 12 2026. Link en bio para el anuncio completo.

I’m honored to be one of the artists selected for Counterpublic 2026: Coyote Time, the third edition of one of the largest public art triennials in the United States, based in St. Louis. Coyote Time is curated by Jordan Carter, Raphael Fonseca, Stefanie Hessler, Nora N. Khan, and Wanda Nanibush.

My project, curated by Nora N. Khan, explores lateral knowledge: what is present, what is marginal, and what is missing within systems of knowing.
September 12 – December 12, 2026
Link in bio for full announcement.
#CoyoteTime #Counterpublic #counterpublic2026
@counterpublic @prometheanwatch by @llovera.studio

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6 months ago

Hay una hora tan oscura antes del amanecer I y II (There is such a dark hour before sunrise)
Impresión cerámica en 3D, cerámica epóxica, aluminio recubierto de cobre , pintura, lazos.
2025 by @llovera.studio

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a year ago

My home country Venezuela was just hit by two devastating earthquakes. The destruction in Caracas and La Guaira is catastrophic, and it hits incredibly close to home. I’m raising direct funds to help. 100% of donations go straight to a trusted personal network of friends and volunteers on the ground to buy and distribute clean water, medicine, and food. I will be uploading photos and updates on GoFundMe. Even $5 goes a long way right now. Link in bio to donate or share. Thank you.
Link in bio. by @llovera.studio

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3 months ago

Notas sobre formas no identificadas (Notes on unidentified forms)
X ray light table, ceramic and resin 3D printed objects by @llovera.studio

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a year ago

Altered States of a forgotten but present age.

SCOBY (symbiotic culture of yeast and bacteria) over vintage wooden center table
Dimensions: 40”x30”x30”. 2022 by @llovera.studio

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2 years ago

Hasta el tuétano (Up to the marrow)
Cyanotype on paper of map of Venezuela made in 1748 by Jean-Baptiste Bourguignon d’Anville and agricultural colonial instruments made of bones and iron.
8.5x11 in. by @llovera.studio

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2 years ago

Santos nuevos 02
ML generated image , 3D modeled and 3D printed on clear resin.
7 x 6 x 4.5 in. by @llovera.studio

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2 years ago

Santos nuevos 01
ML generated image , 3D modeled and 3D printed on clear resin.
5.5 x 3 x 6.25 in. by @llovera.studio

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2 years ago

Cyanotype on paper 8.5x11 in. by @llovera.studio

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2 years ago

Cuando hay santos nuevos los viejos no hacen milagros.
STATION 3.1: THE PHYSICAL A clay 3d printer is placed in vintage wooden furniture, given the novelty of the technology used in combination with an object from a past period of time there is sentiment of rarity that makes harder to the viewer to identify itself within an specific time period, such condition repeats in several of the other pieces as well.

The printer is activated during specific times of the installation, so viewers can have the opportunity to watch the printer creating these mycelium-ai hybrids. This introduces a time element into the reading of the work where questions of whether the pieces are new or old as well as about the nature of their materiality, as clay 3d printers are objects still too novel for people to easily recognize them. The presence of the clay 3d printer challenges viewers to question the reality of the rest of the elements presented in the space as there are similar pieces located within other stations. by @llovera.studio

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3 years ago

Cuando hay santos nuevos los viejos no hacen milagros.
STATION 4.2: SPECULATING THE PARTICULAR
In a similar attempt, I used the satellite imagery data from illegal mining activities in Venezuela to propose a dialogue that could be real and speculative at the same time. By placing nutrients (oatmeal) in a petri dish over areas that correspond to the affected zones visible in the images.I placed an initial culture of slime mold so it could grow and use these nutrients to make different connections visible to the eye.
Both actions present a data visualization that doesn’t lead to any functional knowledge, but it proposes at least two main different speculative readings of a particular situation: the first one would be to think about the slime mold / AI as a sort of regenerative agent that by feeding from the contaminants generated by such activities ends un covering and recovering the soil in order to allow new biological life to occur. The second one would be to use the slime mold / AI growth as a tool for visualization of the consequences of illegal mining activities in the future, where the contamination extends all over the territory. This multidirectional reading of the slime mold’s growth and decay refers to the incapacity to attain empirical knowledge about these two complex systems and their metaphorical interactions; this is not an attempt to make a statement but to raise questions and concerns regarding the intricacy of the matter with the use of an organism fitted with an intelligence different from human and a technology created by humans but whose properties and potentialities are yet to be discovered. by @llovera.studio

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3 years ago