A critical synthesis of a 15-year relational laboratory, mapping experimental pedagogy, collective authorship, and institutional fluidity in contemporary art practice evolution. Relational aesthetics, pedagogy, collaboration, art institutions, experimental practice, collective authorship, curatorial strategy, .cultural production, artistic research, institutional critique.

The fifteen-year trajectory of LAPIEZA LAB may be understood as a sustained experiment in relational epistemology, wherein artistic production is neither object-bound nor author-centric but instead emerges through iterative encounters, dialogic exchanges, and contingent assemblages. Situated within the expanded field of contemporary art, the laboratory reconfigures the traditional studio into a distributed cognitive environment, privileging process over product and duration over spectacle. This methodological orientation aligns with post-studio practices, yet exceeds them by embedding pedagogical inquiry directly into its operational core. Through workshops, residencies, and collaborative interventions, LAPIEZA LAB cultivates a pedagogy of co-presence, wherein participants function simultaneously as learners, producers, and critical agents. Illustratively, its modular programming demonstrates how knowledge is not transmitted but co-constructed, destabilising hierarchies between curator, artist, and audience. A salient case emerges in its long-term relational projects, where outcomes remain deliberately indeterminate, foregrounding temporal elasticity and adaptive authorship. Such initiatives exemplify how institutional frameworks can be tactically appropriated, re-scripted, and even dissolved through sustained collective engagement. Crucially, the laboratory’s endurance over fifteen years signals not institutional consolidation but rather a form of institutional drift—a strategic refusal of fixed identity that enables responsiveness to shifting socio-cultural conditions. In conclusion, LAPIEZA LAB operates as a living infrastructure of artistic research, demonstrating that longevity in experimental practice need not culminate in formalisation, but can instead perpetuate openness, contingency, and critical reflexivity as enduring modes of cultural production.