Over one continuous year—across Madrid, Málaga, Galicia, Mallorca, Valencia, and Cádiz—LAPIEZA becomes an atmospheric organism: an expanded practice translating territory into affect, weather into language, and matter into thought. These twenty-five series, from Lost Rocks to Copos, form a single climatic cycle where each action works as a sensitive device, recording temperature, humidity, light, time, and emotion. Rather than representing nature, LAPIEZA extends it—turning artistic practice into a living sensor and a porous social membrane where perception, decay, and community unfold together. In this phase, the notion of the work dissolves into an ecology of relations: human, vegetal, digital, mineral, and atmospheric strata converge within the same continuum. Matter and Climate does not close a period but stabilizes a tempo—an expanded field of awareness where art behaves like weather: relational, unstable, affective. Each series remains active, each piece a node in a drifting constellation of gestures, climates, and temporalities. LAPIEZA affirms itself as a living archive of atmospheric art—a mutable ecosystem where matter breathes and climate thinks.
185 COPOS / THE END OF AN ERA (2181–2200)
184 CÁDIZ OTOÑO (2161–2180)
182–183 EGO TRIPS / VALENCIA / PALMA (2151–2160)
181 SUMMER (2141–2150)
180 SUMMER (2121–2140)
179 BANCAL (2101–2120)
178 SVERIGE (2091–2100)
177 NIGONHO (2071–2090)
176 TRAPECIO (2051–2070)
175 TURTLE VISIONS (2031–2050)
174 ESTRUGAS E FENTOS (2021–2030)
173 INVERNO DE PEDRA (2011–2020)
172 CUENTOS (2001–2010)
171 HORTUS (2000)
170 MIÑOCA (1986–1999)
169 BRASIL (1976–1985)
168 CLASS ACT (1966–1975)
167 SAN ROQUE (1965)
166 PARLONS CINEMA (1957–1964)
165 BEAUCOUP (1945–1956)
164 MERCI (1935–1944)
163 PSICAMB (1934)
162 LA LUZ EN CÁDIZ (1933)
161 CONFETTI (1902–1932)
160 LOST ROCKS (1866–1901)
