Emerging from the Sierra Norte of Madrid in 2012, this intervention activates a critical inquiry into the shifting nature of shared domesticity and its entanglement with planetary scales. Speaking from the perspective of socioplastics, I position Cosmotidiano not as a static exhibition, but as a "mutable collective habitat"—a temporary occupation that addresses the friction between institutional space and the raw vitality of collaborative practice. Why this project now? Because in an era of increasing social isolation, the necessity of reclaiming the "everyday" through ritual and material gesture is more urgent than ever. This work, developed at the Centro Comarcal de Humanidades, functions as a system of spatial reconfiguration where the intimate and the infrastructural fold into one another, challenging the modes of attention dictated by traditional art consumption and replacing them with a relational friction that is both lived and performed. The core device of Cosmotidiano is a multi-layered process of "unstable installation" involving a sequence of participatory actions and symbolic displacements. The operational logic centers on the use of ordinary, high-sensorial materials: bales of hay (The Age of Straw), plastic mesh, citrus peels, and networked video clips (COPOS). These materials are not treated as static objects but as "behaving" entities. For instance, the straw bales serve as modular units for a "horizontal tectonics" of desire, while the mandarin nets brought by Paula Lloveras introduce the taste and scent of a living system. This sequencing—a mixture of Eduardo Cajal’s sculptural objects, Tomoto’s hyper-plastic video-drifts, and Regina Fiz’s performance—transforms the gallery into a functional laboratory. The method is one of "soft construction," where the body of the visitor becomes an implicated agent within a living, breathing metabolic system.
The conceptual scaffolding of the project integrates the domestic with the planetary, a light framework that situates the work between the "micro-utopias" of Nicolas Bourriaud and the "vibrant matter" of Jane Bennett. By treating the installation as a "processual heterotopia," it echoes Foucault’s notion of spaces that function outside the normative city, yet remain deeply connected to it. The project establishes a dialogue between the ethnographic document—as seen in Tomoto’s COPOS filmed in Marseille and Nice—and the immediate, tactile reality of the Sierra Norte. This frame expands the work’s relevance to broader ecological questions: how do we build without weight? How does the "distributed agency" of ten different artists, from Hectruso’s "trench" to Maria Enríquez’s mandarin actions, coalesce into a single, unstable organism that resists the subject-object dichotomy?
https://www.youtube.com/watch?v=SaZOwA_1enc
CLIP
The trajectory of Cosmotidiano is defined by a significant media drift, mutating from a localized action in La Cabrera into a "metamovie" that exists across digital networks. The project moves across timescales—from the physical summer contained in the straw to the digital loops of YouTube. It drifts from the territorial specificity of the Madrid mountains into the Mediterranean urbanism of Marseille, as the "clips" of the experience are re-situated into new formats. The work mutates: what was an inaugural action becomes a permanent digital archive, a nomadic system of "positional essays" that can be re-activated in any context where collective life needs to be decoded. The trajectory is one of constant transformation, where the physical installation is merely one state of a broader, ongoing socioplastic investigation into how we inhabit the world. Rather than a conclusion, Cosmotidiano offers an operative opening into the future of collaborative habitats. What shifts in relation are made possible when the "everyday" is treated as a sculptural medium? This project suggests a method of "gentle architecture" that prioritizes the sensory, the fleeting, and the collective over the monumental. It leaves the door open to new configurations of "living-in-transit," where the body serves as a machine for inhaling content and exhaling new social spaces. As a curatorial launchpad, it asks: how can we repurpose the fragments of our daily lives—the fruit, the straw, the video clip—to build infrastructures of joy? This work is an invitation to continue the "unstable" task of self-construction in an increasingly precarious world.
LAPIEZA ART SERIES #49*2012
SOCIOPLASTICS
BY ANTO LLOVERAS
https://antolloveras.blogspot.com
