The Second Series of the "Bazar" project represents a critical juncture in the evolution of socioplastic theory, transitioning from preliminary experimentation toward a solidified ontological framework. This stage of the work functions as an archaeological apparatus, where the rehabilitation of "hierros viejos" and obsolete magnetic media is no longer merely an act of recycling but a formal interrogation of the semiotic afterlife of residue. By engaging with the "fauces del tiempo" (the jaws of time), the collective—spearheaded by Eslomo, Paula Lloveras, and Giuseppe Zamora—redefines the discarded object as a site of historical density. This "forensic" aesthetic challenges the neoliberal drive toward planned obsolescence, positioning "significant junk" as a primary witness to urban entropy. The 2009 "Serie Abierta" acts as the structural foundation for this inquiry, where the performative drifts of Tomoto’s "Hiperplástica" transform the urban sprawl into a laboratory for hyper-plasticity. Through the lens of "densamientos," the vacuum left by industrial consumption is replenished with semantic surplus, asserting that the materiality of the city is a perpetually mutating field of relational semiosis rather than a static collection of derelict forms.
In this consolidated phase, the "Bazar" series engages in a sophisticated deconstruction of the dichotomy between the sacred and the profane, notably through the "500 cajitas de cartón sobre altar pop." This intervention utilizes socioplastic action to bridge the gap between mass-produced cardboard and the high-art sanctity of the pop altar, suggesting that the spiritual resides in the ritualized repetition of the mundane. The collaboration between Manuel Monteserín and María Mallo in "Combinada" further exemplifies this synthesis, merging the structural precision of illustration with the visceral, entropic qualities of the "mancha de color." This dialogue is mirrored in the "Post Pink Foot" action, where the work adopts a nomadic posture within the institutional landscape. The inclusion of Marisa Caminos’s "pajaritas" introduces a counter-narrative of fragility, creating a spectrum of materiality that spans from the delicate ink-on-paper to the rusted iron of "Bandada." Such diversity does not dilute the series but reinforces it as a "structural dispersal," where each disparate element—whether metallic or paper-based—serves as a node within a larger, interconnected network of socioplastic inquiry.
The theoretical infrastructure of the project is codified through the "Topolexica" indexing protocol, which elevates the archival impulse to a central artistic gesture. The "Art Series 02" listing functions as a taxonomic map, documenting the transition from individual expression to a broader "networked nationhood" or "Artnations." This shift is exemplified by Tomoto’s "Copos," an installation of twelve parallel monitors that decentralizes the gaze, mimicking the fragmented information flow of the contemporary urban experience. Here, the "Bazar" functions as a semiotic exchange where traditional market value is superseded by indexical and relational value. The "Second Mutation" within this bazaar represents a radical re-coding of 21st-century detritus, ensuring that the act of naming remains a primary socioplastic act. This systemic approach to the "afterlife of the object" allows the collective to map interoceanic relationalities, positioning the artist as a mediator between the digital archive and the physical residue. By doing so, the project moves beyond mere curation, establishing an infrastructure that sustains the critical weight of the discarded long after its original utility has vanished.
Conclusively, the trajectory from the 2009 foundations to the 2026 reflections confirms that the "Lapieza" philosophy operates as a persistent engagement with the "ontology of residue." The movement of artifacts into the private collections of Maite Pérez Gil and Teresa Gil, alongside the spiritual inquiries of Luis García Gil’s "Patmos," illustrates the capacity of socioplastic action to permeate diverse social strata. These works do not exist in isolation; they are vital markers of a specific historical attempt to find a "Topolexica" for contemporary chaos. The "Floppy City" and the "Memorias Metálicas" are not merely relics of 2009 but active components of a living archive that critiques the traditional canon. By synthesizing digital networks with physical "junk," the series proposes a model of cultural ecology where the "socioplastic" becomes an indispensable tool for navigating the afterlife of the industrial age. The finality of the 2009 exit is thus revealed to be a point of expansion, leading to a sophisticated, transdisciplinary discourse that continues to redefine the boundaries of form, memory, and social materiality within the global artistic landscape.
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Lloveras, A. (2026). The Ontology of Residue: Semiotic Networks and the Afterlife of the Object. Available at:
https://antolloveras.blogspot.com/2026/01/the-ontology-of-residue-semiotic.html
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