The enumerated sequence from EXIT (2009) to COPOS / The End of an Era (2025) reveals LAPIEZA not as a loose succession of exhibitions but as a rigorously unfolding serial epistemology in which each numbered series constitutes a discrete yet interdependent unit within a larger research architecture. What appears, at first glance, to be a chronological index of titles, dates, and node ranges is more accurately understood as the operational grammar of Socioplastics, where artistic production is inseparable from classification, accumulation, and relational mapping. The progression from early compact cycles such as BAZAR, MOSCA, and SOCIOPLASTICS to expansive later constellations such as ARTNATIONS, FLOCK, CONFETTI, BANCAL, and COPOS demonstrates an intensification in both scale and conceptual density: nodes multiply, temporal intervals thicken, and the exhibition format evolves into a system of field protocols capable of holding places, affects, collaborations, and discursive residues within the same infrastructure. Particularly significant is the recurrent attachment of numerical ranges to each series, since these convert the archive into a measurable and citable terrain, allowing titles to function simultaneously as poetic condensations and empirical coordinates. In this light, LAPIEZA’s chronology is not ancillary documentation but the very substance of the work: a cartography of continuity in which naming, counting, and sequencing become curatorial acts. The archive thus emerges as a sovereign machine of memory and projection, making visible how a long-duration practice transforms dispersed artistic episodes into a coherent transdisciplinary field.
Lloveras, A. (2009–2026) LAPIEZA archive and series records. Available at: https://antolloveras.blogspot.com/ and https://lapiezalapieza.blogspot.com/
