In the traditional art market, advertising and social media presence are regarded as secondary—auxiliary tools designed to draw the public toward a static object. However, LAPIEZA subverts this hierarchy by integrating the "communicative action" directly into the artistic process. Within this vanguard model, the advertising strategy is elevated to the status of a socio-plastic tool. By utilizing platforms such as YouTube, Facebook, and Twitter not merely as repositories but as active sites of cultural fixation, the project transforms the "ad" into a vehicle for high culture. This strategy acknowledges that in the 21st century, the consumption of culture is inseparable from the digital network, and therefore, the artist must master the "sign" within the algorithm to establish new meanings. The innovation lies in the grouping of programming, mounting, communication, and criticism into a singular, unified project. When LAPIEZA deploys a "meta-documentary" or a tagged image, it is not simply promoting an event; it is executing a relational sequence. The use of tags and metadata acts as a new form of "order and combination," allowing the work to bypass the physical constraints of the gallery and exist as a decentralized, digital acervo. This approach treats the internet as a democratic space where the "ad" serves as a bridge, bringing complex, multidisciplinary art—often unprecedented or created specifically for the series—into the public’s everyday feed. Furthermore, the audiovisual language employed—a hybrid of the academic abstract, the documentary, and the music video—reinterprets the commercial "spot" for intellectual purposes. These two-minute pieces are designed to capture the interaction between the artist and their work, turning the act of documentation into a performative gesture. By adopting the distribution methods of mass media, LAPIEZA ensures that the socio-plastic mutation remains active and open to the collective. In this sense, the communicative act is the final layer of the "hybridization of forms," proving that the vanguard must now be as proficient in digital transmission as it is in physical composition.
