2009: EXIT & BAZAR
The Foundational Aperture. LAPIEZA is born as an independent space at Palma 15 in Madrid. EXIT (nodes 001–010) establishes the inaugural gesture: art as a departure from the object, a primordial opening. BAZAR (011–019) follows immediately, introducing the economy of the everyday. A weekly rhythm of mutation begins, and the domestic setting becomes a laboratory in which art is not a discrete artefact but a living gesture.
2010: Acceleration (MOSCA to FASTFORWARD)
Rhythm Becomes Method. The vertiginous weekly pace consolidates. MOSCA, KIWI, SOCIOPLASTICS, SALES, FIRE, BALL, PAN, and FASTFORWARD (nodes 020–185) explore the intersection of the ephemeral, the bodily, and the collective. The term Socioplastics appears for the first time as a methodological name, informed by Beuys and Bourriaud. The work is not made to remain, but to resonate.
2011: Acceleration (SUPERMARKET to RADICAL)
Expanding the Lexicon. The series from SUPERMARKET to RADICAL (186–510) mark a rapid expansion of conceptual territory: supermarket, playtime, masa, pulpa, samba, drift, desert, family, ocean, galaxy, trip, naturalism, power, hole, misery, glam, glow, empty, unstable, motion, geometry, progression, and radical. Each title functions as both poetic condensation and empirical coordinate, turning the archive into measurable, citable terrain.
2012: FRAME to SED
Consolidation and Closure. The year’s series—FRAME, CLOUD, PHANTOM, SNOW, TRANSLATION, MUD, BABYLON, FUGAZ, GLITTER, COCKTAIL, PARTY, COSMOTIDIANO, and SED (511–650)—signal a turn toward atmosphere, translation, and ephemerality. The physical room closes at the end of the year. The project does not end; it begins to drift toward mobility, shifting from a fixed laboratory to a nomadic infrastructure.
2013: BULLET to NOWHERE
Nomadic Protocols Begin. With no permanent room, LAPIEZA becomes a relational network and an archive in motion. BULLET, VULCANO, DESEO, SYSTEM, EXPANSIVO, NETA, KISS, and NOWHERE (651–748) register this shift. The titles point toward violence, desire, system-building, and absence: the coordinates of a practice learning to operate without walls. The body in transit becomes the primary medium.
2014: ANTORCHA to STRUCTURAL CONVERSATIONS
Dialogic Density. ANTORCHA, GOMA, ENSAYOS POSICIONALES, and STRUCTURAL CONVERSATIONS (749–800) mark a turn toward explicit dialogue and structural analysis. Knowledge is no longer transmitted as content but co-constructed through iterative encounter. The project begins to function as a distributed cognitive environment, embedding pedagogical inquiry within its operational core.
2015: FRESH MUSEUM to BUTTER FACTORY
Institutional Infiltration. FRESH MUSEUM (801–830), followed by SUGAR SUNSET, NAKED EYE, AERIAL ROOTS, BANK ACCOUNT, THICK SMOKE, ZERO ZERO, and BUTTER FACTORY (831–914), announces a new phase. The project begins tactically to appropriate institutional formats. Fresh Museum becomes a recurring motif: a portable, post-objectual exhibition form that dissolves the boundary between art space and distributed publishing system.
2016: SWEET CORN BRUTALISM to THE WORD
Affective Geometries. SWEET CORN BRUTALISM, INCISIONS AND DISSECTIONS, EXFOLIATION, WILD FLOWERS, and THE WORD (915–1000) translate local textures and social situations into objectual and choreographic form. The international network expands as a practice of critical hospitality. Residencies in Mexico, Croatia, and Bogotá contribute to an aesthetic that combines lightness with density.
2017: ARTNATIONS
Global Constellation. ARTNATIONS (1001–1100) marks a turn toward aggregation and multiplicity. The series appears to assemble a dense network of collaborations across multiple geographies, bringing many artists into a single relational infrastructure. The title suggests a mode of collective authorship in which singular units contribute to a larger moving field without central command.
2018: FLOCK
Collective Movement. FLOCK (1101–1343) continues this logic of aggregation. A flock implies coordinated movement without hierarchy. The series represents a peak of the expansive epoch, with the project operating as a nomadic body moving through international residencies and translating local energies into relational experiments. The archive becomes less catalogue than choreography.
2019: THE LIGHT IN ATHENS
Mediterranean Anchoring. THE LIGHT IN ATHENS (1344–1361) anchors the project in the Mediterranean. Athens—as a site of ancient democracy and contemporary crisis—becomes a resonant setting for a practice concerned with relational insurgency and the public sphere. The motif of light, which later reappears in Cádiz, emerges here as both material condition and symbolic device.
2020: RECREO
The Fertile Retreat. RECREO (1362–1469) marks a deep epistemological shift. The term does not signify leisure, but re-creation. After years of expansion, LAPIEZA enters a slower phase in rural Ávila. The work becomes atmospheric, minimal, almost vegetal. The archive begins to breathe, and documentation takes on a more poetic, organic register. The pandemic pause becomes a productive reset.
2021: THE ROAD TO RESTORATION
Cinematic Choreography. THE ROAD TO RESTORATION (nodes 1470–1481, extended across the year) unfolds as a sequence of short films, from WAR to WAIT BEHIND. Choreography and natural landscape merge into a study of repair, movement, and fragile renewal. The road is both literal and figurative: a path toward restoration through dance, motion, and the cinematic gaze. The swan emerges as a recurring figure.
2022: BASAL to LA MAR
Deep Sleep and Grey Surfaces. The year is structured around DEEP SLEEP, SOLITUDE, UNSTABLE LOVE, GREY, and BASAL (1482–1540). LA MAR and LA LUZ EN CÁDIZ begin to anticipate the move toward the coast. The Lagos Biennial appears as a site of activation. The year balances introversion—deep sleep, solitude, grey—with outward movement through Lagos and Triennial III.
2023: SORROW to PRIME FACTOR
Return to the Global Scene. The series from SORROW, SO SORRY, and THE GRIEF to PRIME FACTOR 3X (1641–1700) mark a renewed emergence into public space. The project appears in the Lagos Biennial and Contextile Guimarães. VOYAGE VOYAGE, LOOP, RADIANCE, TAR, and NATURE BOY develop an aesthetic that combines lightness and density, operating as a post-institutional agency mediating between ecological networks and territorial activation.
2024: LIMINALITY to CONFETTI
Institutional Openings. The series from THE LIGHT IN CÁDIZ (revisited) to CONFETTI (1701–1932) articulate a multiple, simultaneous, and relational presence. LIMINALITY explores states of in-betweenness. TP7 LUGO and TEXTILE TALKS activate territorial networks. COPOS appears for the first time as a major series. The project now operates as an expanded agency inhabiting pedagogical, curatorial, and political space at once.
2025: LA LUZ EN CÁDIZ to COPOS / THE END OF AN ERA
The Ruralist Epoch and Final Scattering. The year begins with LA LUZ EN CÁDIZ and PSICAMB, then moves through BEAUCOUP, MERCI, PARLONS CINEMA, SAN ROQUE, CLASS ACT, BRASIL, MIÑOCA, HORTUS, CUENTOS, INVERNO DE PEDRA, ESTRUGAS E FENTOS, TURTLE VISIONS, TRAPECIO, NIGONHO, SVERIGE, BANCAL, SUMMER ON, SUMMER OFF, EGO TRIPS, CÁDIZ OTOÑO, and finally COPOS / THE END OF AN ERA (2181–2200).
COPOS consists of twenty short video pieces—FARO, TERRAZA, DUCADOS, LAS PALMERAS, MIRÓ, MALLORCA, BELT, A CORUÑA, CHERRY, CHAPARRO ALGECIRAS, LOS MALAGUEÑOS, CASTILLO, STOP WORRING, JARDINERÍA ÁVILA, DÉCIMAS JERTE, SHELL, RED BÁSICA, DREAM, BOGAVANTE, and MADRID—each lasting between 39 seconds and 1 minute 35 seconds. The title means flakes or snowflakes: discrete, ephemeral units that together compose a wider field. THE END OF AN ERA names the closure of the fifteen-year arc from EXIT (2009) to this final scattering. The archive is now complete: 185 series, 2,200 nodes, and 300 ARTISTS. LAPIEZA has crossed from cultural production into epistemic infrastructure. The map becomes sense, and one moves through it in every direction.
