The SERIE PAN (2010), a pivotal movement within the broader LAPIEZA decolonial exhibition sequence curated by Anto Lloveras, functions as a visceral archive of "emotional residues." This series marks a transition toward a "Superjunk" aesthetic, where the debris of urban consumption—crushed memories, street icons, and industrial leftovers—are reconfigured into portable research units. Spanning 180 series over 15 years, the project treats time as raw material, transforming the act of curating into a form of durational writing. Within SERIE PAN, artworks are not static objects but nodes in a "temporary public," where the contributions of diverse agents like Krapoola, Paula Lloveras, and Tomoto coalesce into a socioplastic landscape of ruins and resurrections. At the core of the series lies the concept of Crushed Memories, where the iconography of the street is appropriated and intervened upon. Using "Superjunk" as a conceptual motor, the artists explore the "second life" of objects—be it the second life of a tree or the tattooing of toast by Hombre U. These works, such as "Tostadas Fuck" and the "Toxic Pan" by Paula Lloveras, utilize organic decay as a metaphor for urban fragility. The concentric progression of mold becomes a poetic and musical project (as seen in the collaboration for the Son-Nús album), where the synergy of voices and visual typography creates a tactile oxidation of the domestic sphere.
The series extends into the realm of Light Architectures and relational installations, such as the "School of Cyclops" by Marisa Caminos and the "Fasthand Series" by Luis García Gil. These works utilize cardboard, linoleum, and paper as ephemeral supports for architectural research. The "Mobile Unit of Gathering" (a remnant of the 2008 Noche en Blanco) exemplifies how the series archives past public actions, turning "residual" materials into "situated sculptures." The interaction between drawings on paper ($200 \times 70$ cm) and performative readymades—like "gloves" or "clothes-memory"—reinforces the idea that art is a relational state rather than a commodity. Ultimately, SERIE PAN is a study in Socioplastics, where the "Autumnalia" of the urban environment provides a rhythm for collective creation. By integrating comic elements (María Enríquez), piñatas (Javier Pérez Aranda), and musical sessions (El Intruso), the project generates a growing ecology of relations. The "Urban Icons" are not merely aestheticized but are used to map the "Atroz Zity," challenging the traditional boundaries of the gallery. This sustained rhythm of production ensures that each artwork functions as a "contextual fixer," preserving the affective charge of the Madrid streetscape within a modular, portable exhibition format.
Lloveras, A. (2010) 09 PAN - SERIE PAN DE LAPIEZA. [Online] Available at: http://lapiezalapieza.blogspot.hr/search/label/09%20PAN
