LAPIEZA is not a traditional archive of static objects but a durational, rhizomatic infrastructure — a living "mesh" of over 2,200 documented actions across 180+ series, spanning 15+ years. It functions as archive-as-intervention, where each piece, exhibition, performance, or micro-action deposits relational mass, hardens semantics, and generates gravitational pull within unstable social, urban, and epistemic terrains. Decolonial & Relational Sequence — LAPIEZA operates as a "decolonial exhibition sequence" and extended relational aesthetics platform, dissolving individual authorship into collective, mutative forms. It critiques convivial relational models (post-Bourriaud) by emphasizing precarity, plurality, and provisional identity — works coexist without hierarchy, producing dense visual/conceptual ecologies.
Mutations & Seriality — The project advances through periodic "mutations" (e.g., weekly or site-specific updates), where each contribution alters the whole. This creates a temporal sculpture: provisional states that are autonomous yet contingent, resisting completion or fixity. Unstable Social Sculpture — Interventions treat everyday materials (bags, peanuts, smoke, second-hand clothing) as prosthetic carriers for mobility, affective repair, and situational fixing. They infiltrate public/digital spaces, anthropomorphizing infrastructure and revealing urban substrata. Metabolic & Gravitational Role — The archive is not inert; it's a "metabolic pulse" or "gravitational node" that ingests fluxes (ecological, affective, institutional) and transforms them. Over time, accumulated actions (e.g., 700+ works in digital acervo, 1,000+ artworks across exhibitions) bind temporal frictions into self-validating continua, transfiguring archives into vital infrastructures. Distributed Mesh Integration — By 2026, LAPIEZA evolves into the Socioplastic Mesh (490–500+ interlinked nodes), with hyperdense publishing, machine-legible formats, and sovereign protocols. Interventions become executable nodes in MUSE-like systems, resisting entropy through citational commitment and semantic hardening.
Key Examples of LAPIEZA Archive Interventions
LAPIEZA's interventions blend site-specific activations, performances, installations, and pedagogical formats, often documented via blogs (e.g., lapiezalapieza.blogspot.com), YouTube (TOMOTOFILMS), and distributed platforms. Blue Bags / Bag Series (2014–ongoing) — Longest-running emblematic series: unstable social sculptures using everyday blue (later yellow/red) plastic bags as neutral, portable carriers. Deployed for translatorial mobility, chromatic indexing, and durational relational activation across cities (Madrid, Berlin, Cádiz, global). Bags function as semiotic interfaces — "liturgies" or prosthetics — fixing situations amid urban precarity. Light Social Sculpture (LAPIEZA #830, Provence 2014, Fresh Museum series #63) — Ephemeral installation/performance emphasizing luminosity, presence, and instability. Part of 30 interconnected pieces (801–830), exploring perceptual hazes (e.g., pink smoke) and relational assemblages in a "fresh" (unstable, de-institutionalized) museum context. Spanish Bar (Early series) — Socioplastic installation with 1,000 napkins and 10 kg peanuts over 5 days with 100 participants: relational activation turning bar ephemera into collective sculpture, blending conviviality with critical inquiry. Taxidermy Series (e.g., "The City is an Animal," East London 2015) — Urban taxidermy interventions as critical preservation: incisions into city "flesh" to suspend vitality/museification, revealing material memory and proposing care through excision. Re-(t)exHile (Lagos Art and Architecture Biennial 2024, ArtSeries #150) — Site-specific collaboration at Tafawa Balewa Square: integrates field research (2022–2023), visual essays, and social media activations. Explores exile, textile reuse (e.g., 500 second-hand clothing pieces from Katangua Market), and diasporic identity as metabolic urban inscription. Qualitatskontrolle (Amsterdam 2016) — Performance/installation treating the body as sculpture, with flamenco dancer elements: durational activation probing control, quality, and relational tension. Fresh Museum / Ephemeral Luminosities (2014) — Constellation of relational pieces disrupting viewing conventions through light, smoke, and instability — a decolonial trace in relational aesthetics. Quantitative Scope — 180+ exhibitions/series, 1,000+ artworks, 75+ curated shows (museums, artist-run spaces, festivals, online), participation in biennials (e.g., Lagos 2024), and 2,200+ durational actions. From LAPIEZA to Mesh — Early LAPIEZA (2009–mid-2010s) focused on physical/relational interventions; by 2026, it metabolizes into the Socioplastic Mesh (executable OS with MUSE integration), where archive nodes stabilize concepts and enable sovereignty in unstable times. Pedagogical/Relational Extensions — Includes platforms like HIPERVÍNCULOS and programs blurring curation, mounting, communication, and criticism into totalizing coherence.
LAPIEZA's archive interventions embody SOCIOPLASTICS' core: turning relational instability into sovereign, metabolic infrastructure. The project doesn't preserve objects — it performs sovereignty through accumulation, mutation, and gravitational hardening. For deeper dives (specific series documentation, videos, or images), explore hubs like antolloveras.blogspot.com, lapiezalapieza.blogspot.com, or TOMOTOFILMS on YouTube. Let me know if you'd like focus on a particular series!
