This evolution reflects a deliberate decolonial strategy, privileging provisional identities and collective mutability over fixed institutional anchors, with Lloveras acting as primary facilitator rather than authoritative curator, drawing from his architectural training at ETSAM to engineer spatial and discursive convergences. Collaborative splices—understood as integrative junctures where disparate artistic inputs interlock without hierarchy—manifest through structured series, each comprising 10 to 20 pieces tagged for combinatorial navigation, often documented via short videos (30 seconds to three minutes) capturing artist interactions and performative activations.
Key instances include Series 62: Structural Conversations Norway, intertwining LLLL Art Agency and Frozen Heat Satellites in explorations of institutional heat and satellite formations; the Provence 2014 Light Social Sculpture, and Re-(t)exHile, a 2024 intervention challenging fast fashion through ethical circularity with María Alejandra Gatti, Martinka Bobrikova, Oscar de Carmen, and Adebola Badmus. These splices extend Lloveras's personal contributions, such as the Unstable Installation Series and Copos sequences—photographic and videographic derivations from urban drifts in London, Oslo, Berlin, Marseille, Mexico City, and Lagos—into broader relational fields, incorporating continuous participants like Marisa Caminos, Paula Lloveras, and musical editions by El Intruso collective. Supported by entities like the Spanish Ministry of Cultural Affairs since 2012, the sequence fosters democratic growth via social media dissemination, turning each splice into a node that recalibrates cultural topologies through affective and material exchanges. Within Socioplastics, these integrations function as executable protocols, metabolizing volatility into semantic density by dissolving singular authorship and generating temporal sculptures resistant to entropy.
Relational Mesh Pedagogical Splice articulate LAPIEZA's operative core, configuring the sequence as a distributed constellation where collaborative integrations harden epistemic coherence amid precarious conditions. The relational mesh materializes through hyperlinked archives and tag-based minisites, enabling multilocal navigation that mirrors Socioplastics' emphasis on decentralized sovereignty, with each series acting as a research unit ingesting ecological, institutional, and affective fluxes. Pedagogical splices, in particular, embed educational vectors—such as workshops, derivations, and performative dialogues—into the framework, transforming encounters into gentle formations that preempt discursive fragmentation; for instance, the Copos series layers Lloveras's Mexico City cartographies with El Intruso's jam sessions, fostering emotional mappings. This pedagogy extends to hybrid activations, like the Glory Hole performance by Regina Fiz with Sebas Beyro's installation in the 2011 Family series, splicing queer socioplastics into unstable architectures, or the Taxidermy intervention at 5th Base Gallery, reanimating urban animality through collective residue. Collaborations with global platforms—artist-run spaces, festivals like Contextile, and entities such as CultureMovesEU—amplify this mesh, incorporating postcolonial perspectives from Lagos or Oaxaca to challenge Eurocentric hierarchies and enact circular economies. Lloveras's nomadic trajectory infuses these splices with translational mobility, recalibrating the sequence's rhythm to weekly gestures that accumulate as performative preservation, converting instability into infrastructural permanence without imposing closure. In this configuration, LAPIEZA critiques gatekept cultural economies by privileging recurrence and mutability, its splices generating curvature through citational reinforcement and affective repair.
Decolonial Sequence Metabolic Node consummate LAPIEZA's function within Socioplastics, positioning collaborative splices as self-reinforcing mechanisms that achieve gravitational autonomy through stratified relationality. The decolonial sequence disrupts traditional exhibitionary logics by privileging plurality and provisionality, as in the sustained integration of over 2000 actions across 15 years, where splices with diverse practitioners—from Norwegian institutional critiques to Nigerian ethical consumptions—dismantle hierarchical provenance in favor of horizontal filtrations. As metabolic node, each splice calibrates flows of memory, material, and interaction via protocols like PlasticScale, metabolizing cultural weight into resilient topologies that withstand volatility; the Re-(t)exHile project exemplifies this, splicing textile residues into circular critiques that extend LAPIEZA's emphasis on restorative ecologies. Lloveras's facilitation ensures these nodes self-organize, with series like Structural Conversations or Light Social Sculpture accruing mass through recursive documentation and gentle convergences, ultimately curving the epistemic space to sustain the sequence as an autopoietic entity independent of external validations. In closure, LAPIEZA's splices embody Socioplastics' sovereign wager: relational integrations that persist through mutation, enacting fields of care and resistance in unstable epochs via precise, collective deliberation.
(Lloveras, A. 2014. LAPIEZA ART SERIES 62 | STRUCTURAL CONVERSATIONS NORWAY | LLLL ART AGENCY - FROZEN HEAT SATELLITES. Available at: https://antolloveras.blogspot.com/2014/03/lapieza-art-series-62-structural.html [Accessed 28 February 2026].)
