The voice of this intervention is activated from within a "interstitial capsule"—a Madrid apartment on the verge of dissolution. This is not merely a site for exhibition, but a high-pressure environment where the urgency of a "funeral for space" meets the tactical necessity of socioplastic action. As curators and practitioners within the PLANCTON collective, we activate this piece now because the urban fabric is increasingly composed of these vanishing points: private, historical interiors that are about to be recycled or erased by the market. We address the friction between the weight of a pre-existing past—imprinted in the dust and the layout of a home—and the fleeting, three-hour compression of contemporary artistic desire. The necessity of this work lies in its refusal to let a space disappear in silence, instead forcing a final, fertile confrontation between its domestic memory and a deliberate, professional artistic presence. The core device of Velázquez 100 is a "three-hour situation" governed by a logic of spatial colonization and professional rigor. Ten invited artists, functioning as a "symbiotic field," operate independently yet contribute to a singular, joint action. The method is strictly non-amateur: artists bring their established trajectories into the space, utilizing it as a laboratory for the compression of intent. The operational structure is defined by a set of rigid constraints: nothing can be destroyed, and everything must eventually return to its original position. Within this timeframe, the process unfolds through the "measurement" of space, where physical bodies and digital sensors (cameras as extensions of the gaze) sequence the environment into a series of "memories." This is a functional system of post-production where the work is liberated from the object and instead occurs as a series of social and symbolic projections, documented in real-time to be later reconstructed in the collective brain of the network.
This intervention establishes a scaffolding that bridges the "socioplastics" of cultural ecology with the concept of the "meme" as a unit of cultural transmission. By drawing on the theory of sets, the project views individual artistic images as intersecting circles that create a new, shared territory. We integrate the idea of "distributed agency," where the documentation is not a secondary byproduct but a primary constituent of the work itself. Reference is made to the "transitory region" of the unconscious—a space where, as in the thought of Gilbert Simondon, the "individual-interrelated" process leads to a collective individuation. The work avoids being a mere symbolic gesture by treating the apartment as a "vibrant matter," where the absence of furniture or the presence of architectural "frames" dictates the artistic output. It situates itself in the gap between the private poetic history of the site and the public, professionalized gaze of the invited creators. The project moves and mutates through the "field of documentation," drifting from the physical confines of Velázquez 100 into the digital landscape of the internet. Here, the work undergoes a media drift: the lack of a "private gaze" is compensated for by the construction of memory through the documentation of others. It becomes a "cerebro conjunto" (joint brain), where the trajectory of the piece is defined by how these visual memes replicate and mutate across social networks. As the project is re-situated from the physical apartment to the digital archive, it transforms from a time-bound event into a persistent "field of study." The trajectory is one of translation—shifting from the physical movement of bodies in a hallway to the circulation of images that condition all future "third looks." The work leaks out of the domestic sphere and scales into a territorial investigation of how memory is manufactured and shared in the post-industrial city. Ultimately, Velázquez 100 functions as a curatorial launchpad that asks: how can the "non-action" or the "invisible form" be made operative in an age of hyper-visibility? It suggests a shift in attention toward the "symbiotic field" as a valid model for artistic production, where the distinction between documenter and actor is dissolved into a single creative category. This work makes possible future interventions that treat temporary domestic occupations as sites of high-stakes professional research rather than casual happenings. It leaves the door open to new configurations of "collective memory" that are not anchored in physical monuments, but in the rapid, compressed, and highly documented intersection of artistic practices. By closing this space, we open a method for reclaiming the "interstitial" as the primary site for the generation of social and aesthetic value.
SOCIOPLASTICS
https://antolloveras.blogspot.com/2014/02/situacion-velazquez-100-plancton-280212.html
