LAPIEZA's Fresh Museum series, catalogued as Art Series #63 in August 2014, embodies a pivotal articulation of relational aesthetics within Anto Lloveras's decolonial curatorial framework, transforming ephemeral social encounters into a constellation of 30 interconnected pieces numbered LAPIEZA 801 to 830. Drawing from Nicolas Bourriaud's emphasis on art as intersubjective exchange, the series reframes everyday contexts—spanning Madrid, Marseille, Berlin, Mexico City, Lima, and beyond—as porous sites for socioplastic experimentation, where social relations become malleable material. Overarching themes of luminosity, presence, and instability permeate the works, with titles like "Light Social Sculpture" (830, Anto Lloveras) and "Pink Smoke" evoking perceptual hazes that disrupt conventional viewing. This durational approach positions curation as temporal writing, accumulating relational ecologies that challenge institutional hierarchies and commodified production. By integrating diverse geographies and artist trajectories, Fresh Museum enacts a decolonial redistribution of authorship, aligning with Slavoj Žizek's critiques of abstract capital while fostering humanist bonds amid post-industrial fragmentation. The series' hybrid format—blending physical interventions with digital archives—invites temporary publics to co-author unstable narratives, underscoring art's role in ethical reconfiguration.
The series' relational dynamics manifest vividly in its thematic clusters, where socioplastic interventions interrogate power, identity, and materiality through minimalist gestures. Pieces like "Cartografías del Poder" (815, Limber Vilorio, Dominican Republic) and "Héroes" (812, Yaky Bonacic-Doric) map transitional regions of authority and heroism, employing cartographic and performative elements to deconstruct colonial legacies. Similarly, "Masks" (827, Rafafans, Lima) and "Crime #11" (809, Claude Chuzel) explore concealment and transgression, using masks and enigmatic scenarios to evoke estrangement and desire. Environmental and corporeal motifs recur in "Stones" (811, Danino Bozic) and "Alma" (818, Pol Parrhesia, Madrid), where stones and blind urban walks activate sensory micro-ecologies, resonating with Claire Bishop's participatory critiques by prioritizing kinship over spectacle. Culinary and architectural traces in "Foodscapes" (807, Fredrik Lund) and "Aljibe de Paja" (825, Hectruso y Asociados) further socioplastics by treating food and structures as relational anchors, blending nourishment with contingency. This assemblage resists linear progression, instead fostering rhizomatic connections per Deleuze and Guattari, where disparate origins—emerging and established artists—catalyze cultural synergies across borders.
Visually and conceptually, Fresh Museum's 30 pieces coalesce into a critique of perceptual and social instability, with recurring motifs of light, shadow, and dynamism underscoring the project's decolonial ethos. "Breve Historia Sobre el Vecindario" (828, Jonay Pmatos) and "Encapsulados" (802, Javier Pérez Aranda, Madrid) encapsulate neighborhood narratives and enclosed forms, inviting interpretations of community amid enclosure. International inflections in "Ándele Pinches Borregos" (805, Taka Fernández, Mexico City) and "Bom Día" (803, Regina Fiz, Marseille) infuse linguistic and cultural hybridity, countering Eurocentric norms through playful subversion. The series' minimalist relationalism peaks in "Objetos Dinámicos" (819, LLLL) and "Columnas Platónicas" (804, Marisa Caminos, Madrid), where dynamic objects and platonic columns test emotional elasticity, transforming static ideals into interactive fields. By honoring peripheral voices—from Slovakia's Stano Cerny in "Strawberry People" (822) to Berlin's Krapoola in "Banned" (817)—Fresh Museum generates extrañamiento, elevating symbolic capitals over mercantile ones in a global discourse of resilience.
Ultimately, Fresh Museum critiques contemporary precarity by proposing art as a narrative device for communal survival, where ephemerality fosters epistemological bridges between the local and transnational. In an era of digital saturation, the series' unstable formats anticipate resilient visions, weaving threads of sorrow, radiance, and care into a socioplastic vanguard. This not only resists nationalist closures but enacts micro-utopias of attention, affirming LAPIEZA's role in sustaining cultural vitality amid dispersion.
https://freshmuseum.blogspot.com
LIGHT SOCIAL SCULPTURE ANTO LLOVERAS - LAPIEZA 830 MASKS RAFAFANS - LIMA - LAPIEZA 827 33 LLAVES INGLESAS ROBERTO EQUISOAIN - BERLIN - LAPIEZA 824 MIRADAS ESTHER REVUELTA - LAPIEZA 821 ALMA POL PARRHESIA - 15 MIN BLIND IN THE HEART OF THE CITY - MADRID | LAPIEZA 818 CARTOGRAFÍAS DEL PODER LIMBER VILORIO - REPÚBLICA DOMINICANA - LAPIEZA 815 HÉROES YAKY BONACIC-DORIC - LAPIEZA 812 CRIME #11 CLAUDE CHUZEL - LAPIEZA 809 AMAPOLA FRANCOISE ROHMER - LAPIEZA 806 BOM DÍA REGINA FIZ - MARSELLA - LAPIEZA 803 | TETRARCH SINQUENZA - LAPIEZA 829 REGINA PROFILÁCTICA IBÁN GONZÁLEZ - LAPIEZA 826 IDÉES NOIRES AXEL DI CHIAPPARI - LAPIEZA 823 REGIONES TRANSITORIAS (2) ANDRÉS MONTES MADRID - LAPIEZA 820 BANNED KRAPOOLA - BERLIN - LAPIEZA 817 ROSSMANN BAGS PAUL DOEMAN - BERLIN - LAPIEZA 814 STONES DANINO BOZIC - LAPIEZA 811 PELO DE POL MARÍA ENRÍQUEZ - LAPIEZA 808 ÁNDELE PINCHES BORREGOS TAKA FERNÁNDEZ - MEXICO CITY - LAPIEZA 805 ENCAPSULADOS JAVIER PÉREZ ARANDA - MADRID - LAPIEZA 802 | BREVE HISTORIA SOBRE EL VECINDARIO JONAY PMATOS - LAPIEZA 828 ALJIBE DE PAJA - HECTÓMETRO DE AGUA HECTRUSO Y ASOCIADOS - LAPIEZA 825 STRAWBERRY PEOPLE STANO CERNY - SLOVAKIA - LAPIEZA 822 OBJETOS DINÁMICOS LLLL - UNSTABLE SERIES - LAPIEZA 819 SITUACIÓN VELÁZQUEZ 100 PLANCTON - MADRID - LAPIEZA 816 SABLE MANUEL MAQUEDA - CÁDIZ - LAPIEZA 813 TODO ES BOTANA TOÑO CAMUÑAS - MEXICO DF - LAPIEZA 810 FOODSCAPES FREDRIK LUND - LAPIEZA 807 COLUMNAS PLATÓNICAS MARISA CAMINOS - MADRID - LAPIEZA 804 I TOLD THE RABBIT PAULAS LLOVERAS - LAPIEZA 801 |
