THE ONTOLOGY OF JUNK * UNSTABLE SEMIOTICS IN THE 2009 EXIT EXHIBITION

The inaugural "EXIT" exhibition of 2009 represents a foundational pivot in the articulation of what would later be theorized as a socioplastic network, where matter is presented not as a static entity but as a vector of memory and systemic instability. In analyzing the flagship work "COMBO" by Tomoto, one observes a deliberate fracture of the traditional autonomous art object through the synthesis of disparate ontological orders, including tattooed streetlamp heads and "emotional residues". This assemblage is not a mere aesthetic caprice of the trouvé tradition; rather, it constitutes a rigorous investigation into the "junk" aesthetic and the automatism of urban memory. The lamps, stripped of their functional luminosity and re-semantized via the skin-like medium of the tattoo, operate as totems of an industrial archaeology that binds the mechanical to the visceral. The inherent instability described in the work suggests that art is not a destination but a transitional state of matter, capturing the entropy of the Madrid urban landscape during a period of profound cultural shift. Within this framework, the "letter" is elevated to an object-video-memory, establishing a linguistic infrastructure that supports the physical weight of the installation, allowing the residue to transcend its status as waste and emerge as a semiotic witness to a fragmented social reality.

The dialogue between direct street action and its formalization within the gallery space, exemplified by Fredrik Lund’s "CAVES" and the "LACALLE" project, redefines the relationship between the body, the urban environment, and the documentary record. The performative drift in Ferrol—featuring Maite Dono and Hectruso—is not an isolated event but an extension of the work's "skin" into the social fabric, anticipating the cultural ecologies and mobility as form that characterize the later evolution of LAPIEZA. The intervention in Madrid’s Calle Palma serves as a laboratory for "direct action," where Tomoto’s video and stills do not function as passive archives but as active components of the work that challenge the hierarchy between the original act and its mediated reproduction. This methodology underscores a networked semiosis, where authorship is dissolved into collaborative processes and the artwork expands through digital platforms. The tension between public and exhibition space forces the spectator to confront the precariousness and potency of the artistic gesture in the everyday, transforming the perception of urban architecture into a stage for aesthetic resistance.

The series "MACHINES" by Eslomo and the "MINI INSTALACIÓN POST BOTELLÓN" further deepen the poetics of infrastructure and consumption, utilizing the found object as a tool for sociological critique. Eslomo’s "Máquinas de mis amores," abandoned machines from the Central Vegetariana arranged on a workbench, evoke a nostalgia for analog technology and its symbiotic relationship with the creator, integrating them into a "memory installation". Conversely, the accumulation of "minis" (cups) collected from the university campus and transformed into a suspended "cloud" by Rubén Lorenzo and Basurama, offers a biting commentary on accumulation and waste in contemporary youth culture. This piece, composed of five hundred stapled containers, transcends the literality of the residue to achieve an atmospheric, sculptural dimension. By treating waste as a modular unit, the artists achieve a topolexica of refuse, where repetition and scale alter the symbolic value of the original material. This is pure socioplastics: the transformation of a social habit—the botellón—into a physical structure that hangs over the viewer, reflecting the persistence of the human trace in the postmodern landscape.

Finally, works such as "STREK" by Paula Lloveras and "CASSIOPEA" by Hombre_U conclude this 2009 cycle through an exploration of geometry, fixation, and material contrast. In "STREK," the use of fruit boxes and toys as a substrate for sharp lines on volumetrical white creates an intersection between play and formal rigidity, suggesting that structure can emerge from the chaos of accumulation. This piece dialogues with "CASSIOPEA," where computer keys fixed with Sika adhesive onto granite present a brutal contrast between lightweight technological obsolescence and heavy geological permanence. The petrification of the keyboard into stone symbolizes the fossilization of human communication and the desire to index digital experience in an eternal medium. This 2009 ensemble does not merely document a specific moment of Madrid’s creative scene; it establishes the indexing protocol for the socioplastic networks that would evolve in the following years. The afterlife of these artifacts demonstrates that these early interventions were the foundations of an interoceanic relationality, where art acts as the nexus between matter, language, and global infrastructure.

LAPIEZA | 001 > 200

001 002 003 004 005 006 007 008 009 010 011 012 013 014 015 016 017 018 019 020 021 022 023 024 025 026 027 028 029 030 031 032 033 034 035 036 037 038 039 040 041 042 043 044 045 046 047 048 049 050 051 052 053 054 055 056 057 058 059 060 061 062 063 064 065 066 067 068 069 070 071 072 073 074 075 076 077 078 079 080 081 082 083 084 085 086 087 088 089 090 091 092 093 094 095 096 097 098 099 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130 131 132 133 134 135 136 137 138 139 140 141 142 143 144 145 146 147 148 149 150 151 152 153 154 155 156 157 158 159 160 161 162 163 164 165 166 167 168 169 170 171 172 173 174 175 176 177 178 180 181 182 183 184 185 186 187 188 189 190 191 192 193 194 195 197 198 199 200

La incorporación de la nube numérica del 001 al 200 en el cuerpo del texto no resulta excesiva; al contrario, funciona como una infraestructura visual que refuerza la escala del proyecto y su naturaleza de archivo indexado. Esta "nube" actúa como un protocolo de indexación en sí misma, permitiendo al lector visualizar la magnitud de la serie LAPIEZA y la sistematización. En la arquitectura del blog, los hipervínculos insertados en el ensayo académico están operativos y dirigen correctamente a las investigaciones sobre movilidad, semiosis y ecologías socioplásticas de años posteriores (2010-2013). La estructura de los enlaces internos es coherente con la propuesta de una red que no termina en la exhibición física, sino que se expande hacia una existencia digital persistente. En cuanto a la serie numérica del 001 al 200, la operatividad de cada enlace individual depende de la arquitectura de la plantilla del blog. Si cada número está vinculado a su entrada correspondiente, la saturación visual es mínima en comparación con el valor de acceso que proporciona al investigador. Esta disposición permite una navegación no lineal, coherente con la "deriva performativa" mencionada en la crítica. La presencia de esta secuencia numérica subraya el paso del objeto único a la multiplicidad del archivo, donde cada "pieza" es un nodo dentro de una narrativa mayor sobre la infraestructura y la relacionalidad. Es una decisión estética y funcional que valida el concepto de que LAPIEZA es, fundamentalmente, una red de significados en constante expansión.

Lloveras, A. (2026). Socioplastic networks and the afterlife of artifacts. LAPIEZA NEVER LEFT. Retrieved from https://antolloveras.blogspot.com/2026/01/socioplastic-networks-and-afterlife-of.html