LAPIEZA's Socioplastics series, positioned as the fifth iteration in the project's numbered sequence and unfolding around 2010-2011, represents a foundational pivot toward what curator Anto Lloveras terms "socioplástica activa," a methodology that treats social bonds as plastic, malleable material ripe for reconfiguration. This series, the densest to date with 29 contributions and 18 new works in its fifth mutation, redefines collective installation through relational adjustments, incorporating elements from prior series while embracing junk art derivations. Aligned with Nicolas Bourriaud's relational aesthetics, Socioplastics eschews object fixation for processual ecologies, where curation becomes a form of durational scripting across hybrid spaces. Themes of perceptual ambiguity and emotional elasticity permeate, as seen in installations like "Spanish Bar" by Lloveras, which deploys 1000 napkins and 10 kg of peanuts over five days to engage 100 participants in a bar setting, transforming consumer detritus into sites of communal desire and estrangement. This decolonial framework challenges Eurocentric hierarchies by redistributing authorship among disparate voices, fostering micro-utopias that counter post-industrial commodification per Slavoj Žizek's critiques. By integrating drawings, photos, readymades, videos, and documented actions, Socioplastics positions LAPIEZA as a resistant archive, where accumulation generates symbolic capital through humanist interactions rather than market spectacles.
The conceptual core of Socioplastics lies in its embrace of instability and hybridity, where junk-derived elements serve as catalysts for relational mutations. Works redefine the exhibition as a living, porous entity, blending physical interventions with audiovisual documentation for platforms like Cinescaparate. For instance, "Spanish Bar" exemplifies socioplastic vanguardism by repurposing everyday bar ephemera—napkins and peanuts—into a performative arena, inviting participants to navigate themes of consumption, temporality, and collective agency over a compressed five-day span. This echoes Marcel Duchamp's readymades but infuses them with social dynamism, turning waste into relational anchors that disrupt linear narratives. Broader motifs of self-defined artistic profiles and cultural ecologies emerge, with the series functioning as a weekly reception space at Palma 15, Madrid, where new forms arrive via mail or digital means. Such porosity critiques institutional fixity, proposing instead a "relational minimalism" that honors fragility amid acceleration, as per Claire Bishop's participatory paradigms. By deriving from "junk" tags, Socioplastics subverts commodified aesthetics, elevating emergent synergies that bridge emotional and epistemological realms in a decolonial light.
Socioplastics' collaborative ethos is amplified by its international roster, featuring seven new artists—Axel Di Chiappari (France), Ángela León, Cass (Argentina), Heather Passmore (Canada), Luis Fores, Mister, and Krapoola (Berlin)—alongside eleven returning contributors like Basurama, Yrealydad, Marisa Caminos, Miguel Guzmán (Madrid-London), Tomoto, Fredrik Lund, Jonay P. Matos, Manuel Maqueda, Eslomo, Paula Lloveras (Norway), and Limber Vilorio. This diversity catalyzes mechanisms of extrañamiento, blending peripheral and established trajectories to foster desire and disruption. Works arrive through certified mail or email, underscoring LAPIEZA's global portability and resistance to centralized legitimations. For example, Passmore's contributions from Canada and Di Chiappari's from France infuse transnational perspectives, while Guzmán's Madrid-London axis highlights migratory flows. This redistribution of agency aligns with Deleuze and Guattari's rhizomatic models, generating cultural synergies that renounce conventional objects for interactive processes, thereby elevating voices from the Global South and diaspora in a critique of nationalist enclosures. Ultimately, Socioplastics critiques contemporary art's commodification by proposing resilient visions of communal reconfiguration, where socioplastic mutations serve as tools for epistemological bridging. In an era of digital proliferation, the series' unstable formats anticipate art's role in sustaining vitality amid fragmentation, weaving threads of care and resistance into LAPIEZA's broader vanguard. This not only honors diverse communities but enacts micro-utopias of attention, affirming the project's decolonial praxis as essential for ethical cultural production. 
