Series 001: EXIT (001–010)
LAPIEZA-001-2009 — https://lapiezalapieza.blogspot.com/search/label/001
LAPIEZA-002-2009 — https://lapiezalapieza.blogspot.com/search/label/002
LAPIEZA-003-2009 — https://lapiezalapieza.blogspot.com/search/label/003
LAPIEZA-004-2009 — https://lapiezalapieza.blogspot.com/search/label/004
LAPIEZA-005-2009 — https://lapiezalapieza.blogspot.com/search/label/005
LAPIEZA-006-2009 — https://lapiezalapieza.blogspot.com/search/label/006
LAPIEZA-007-2009 — https://lapiezalapieza.blogspot.com/search/label/007
LAPIEZA-008-2009 — https://lapiezalapieza.blogspot.com/search/label/008
LAPIEZA-009-2009 — https://lapiezalapieza.blogspot.com/search/label/009
LAPIEZA-010-2009 — https://lapiezalapieza.blogspot.com/search/label/010
Series 002: BAZAR (011–019)
LAPIEZA-011-2009 — https://lapiezalapieza.blogspot.com/search/label/011
LAPIEZA-012-2009 — https://lapiezalapieza.blogspot.com/search/label/012
LAPIEZA-013-2009 — https://lapiezalapieza.blogspot.com/search/label/013
LAPIEZA-014-2009 — https://lapiezalapieza.blogspot.com/search/label/014
LAPIEZA-015-2009 — https://lapiezalapieza.blogspot.com/search/label/015
LAPIEZA-016-2009 — https://lapiezalapieza.blogspot.com/search/label/016
LAPIEZA-017-2009 — https://lapiezalapieza.blogspot.com/search/label/017
LAPIEZA-018-2009 — https://lapiezalapieza.blogspot.com/search/label/018
LAPIEZA-019-2009 — https://lapiezalapieza.blogspot.com/search/label/019
The 2009 sequence is brief, but it contains the whole germinal logic of LAPIEZA. With just two inaugural series—EXIT (001–010) and BAZAR (011–019)—the project establishes a structure that will later expand into hundreds of series and thousands of nodes. The significance of this first year lies precisely in its compression. Nothing is yet overdeveloped, institutionalised, or theoretically codified. But the essential operations are already present: seriality, naming, numbering, domestic immediacy, and the transformation of everyday life into a relational field. The room at Palma 15, Madrid, appears here not simply as a backdrop but as a primary condition of emergence. LAPIEZA is born not in the neutrality of the white cube but in a lived environment, where art, conversation, use, and presence overlap from the beginning.
EXIT is the perfect first title. It suggests departure, opening, threshold, release. The project begins not by affirming a stable identity, but by moving outward from one. Exit is not closure; it is passage. It already implies that the work will not be organised around self-contained objects, but around transitions, crossings, and situations. The numbering from 001 to 010 is equally decisive. It may appear simple, but it introduces from the outset a logic of sequence and continuity that will become one of the deepest structural features of the entire archive. LAPIEZA does not begin with a single exhibition and then improvise a history afterward. It begins with numbered units. That means the archive is latent from day one.
BAZAR extends and complicates this opening gesture. If EXIT names departure, BAZAR names mixture: objects, exchange, surplus, proximity, disorder, attraction, informal economy. The title introduces the everyday market as atmosphere and method. It suggests that value in LAPIEZA will not be based on purity or isolation, but on juxtaposition, contact, and circulation. This is already a quiet refusal of the modernist logic of the autonomous artwork. The bazaar is neither monument nor masterpiece. It is a dynamic field of encounters. In that sense, 2009 already contains the project’s future orientation toward relation, serial accumulation, and distributed meaning.
What makes this first year so important is that it establishes LAPIEZA as a domestic-relational laboratory before the theory exists to describe it. The work is still embryonic, but the form of life is already there. Numbering, titling, weekly rhythm, spatial intimacy, and the conversion of the ordinary into a site of inscription: all of this begins in 2009. The later development into a larger research infrastructure does not cancel this origin. On the contrary, it depends on it. EXIT and BAZAR are not minor beginnings to be surpassed. They are the initial aperture through which the whole system enters the world.
002 BAZAR (011 019) 09 2009 https://lapiezalapieza.blogspot.com/2011/08/serie-02-bazar-122009.html
001 EXIT (001 010) 10 2009 https://lapiezalapieza.blogspot.com/2009/11/blog-post.html
The LAPIEZA archive originates in late 2009 with two foundational series that establish the project's primary DNA: the movement from the portal to the marketplace. EXIT (001) serves as the inaugural sequence of ten nodes, marking the definitive point of departure for the entire corpus and defining the initial boundaries of the artistic intervention. This is immediately followed by BAZAR (002), a series of nine nodes that shifts the focus toward a more chaotic, diverse accumulation of objects and ideas, mimicking the eclectic nature of a market space. These first nineteen nodes (001 to 019) lay the groundwork for the systematic numbering and digital cataloging that would eventually span hundreds of entries, positioning the work at the intersection of a physical exit and a conceptual inventory. By beginning with an exit and moving into a bazaar, the project signals its intent to leave traditional frameworks behind and embrace a complex, global network of visual exchange.
2009: EXIT and BAZAR – The Foundational Aperture
If the fifteen-year arc of LAPIEZA is a long exhalation, then 2009 is the first breath. The two series that constitute this inaugural year—EXIT (001) and BAZAR (002) —span nodes 001 to 019, a total of nineteen nodes across two series. The numbers are small, the scale is intimate, but the implications are immense. This is the year the project begins. This is the year the room at Palma 15 in Madrid's Malasaña neighborhood becomes a laboratory. This is the year the weekly mutation becomes a rhythm. This is the year the node is invented. The project does not yet know what it will become. It does not yet know that it will span fifteen years, 185 series, 2,200 nodes, 1.2 million words. It does not yet know that it will travel to Mexico, Croatia, Nigeria, Norway, Greece. It does not yet know that it will become an infrastructure, a laboratory, a university of thought. It only knows that it must begin. And the beginning is EXIT.
The node ranges are precise: EXIT occupies 001–010 (10 nodes); BAZAR occupies 011–019 (9 nodes). The numbers are not accidental. 10 and 9. 19 nodes in total. The project is finding its form. The form is the series. The series is the node. The node is the gesture. The gesture is EXIT.
EXIT (001): The Primordial Aperture
EXIT (nodes 001–010) is the first series of LAPIEZA. The title names the exit: the way out, the departure, the leaving behind. EXIT is the primordial gesture: art as a departure from the object, as a movement away from the fixed, as a refusal of the static. The series is the project's first meditation on departure: on the necessity of leaving, on the violence of the exit, on the beauty of the threshold. EXIT is the opposite of the entrance: where the entrance is arrival, the exit is departure. The blog post for EXIT is minimal—only the title "EXIT - FIRST SHOW - 2009" and the note "PRIMER CUERPO" (first body)—but the absence of content is itself a statement. The first series is a threshold, not a collection. The nodes are not listed, but they exist. They are the first ten marks on a blank page. They are the first ten breaths. They are the first ten gestures. The project does not yet know what it is doing. It is only doing. It is only exiting. It is only leaving behind the white cube, the object, the commodity. It is only stepping out into the unknown. The unknown is the relation. The relation is the encounter. The encounter is the node. The node is 001. 001 is the first. The first is EXIT. And EXIT is the beginning.
BAZAR (002): The Market as Encounter
BAZAR (nodes 011–019) is the second series of 2009. The title names the bazar: the market, the place of exchange, the site of the encounter. BAZAR is the complement to EXIT: where EXIT is departure, BAZAR is arrival. The series is the project's first meditation on exchange: on the economy of the encounter, on the bazar as a figure for the relational field, on the market as the project's first public space. BAZAR is the opposite of the exit: where the exit is leaving, the bazar is arriving.
The nodes of BAZAR (from the August 2011 post, but dating to December 2009) read like a roll call of the project's earliest collaborators. Giuseppe Zamora opens with "Memorias Metálicas" (011)—metallic memories, the hard drive, the imprint of the past. Alfonso Gª del Rey's "Post Pink Foot + Yanira & Ddixon" (012) invokes the post-pink, the foot, the collective. Hectruso's "Densamientos" (013) is a neologism: densamientos, a fusion of density and thought, of thick thinking. Tomoto's "Copos – Instalación 12 monitores en paralelo" (014) is remarkable: Copos—flakes—appears here for the first time, sixteen years before the final series of 2025. Already, in 2009, the flake is present. Already, the project is thinking in fragments, in parallel monitors, in dispersed attention. Paula Lloveras's "Floppy City (1) – Strek" (015) speaks to the floppy disk, to the obsolete medium, to the city as soft storage. Eslomo's "Bandada – Hierros Viejos" (016) speaks to the flock (bandada), to old irons, to the rusted and the gathered. Marisa Caminos's "Pajaritas (1)" (017) speaks to little birds, to bow ties, to the delicate. Luis García Gil's "Patmos" (018) names the Greek island where John wrote the Book of Revelation, the place of vision, of exile, of prophecy. Monteserín + Mallo close with "Combinada" (019)—combined, mixed, blended.
BAZAR is the bazar where exchange happens. The nodes are the goods. The series is the stall. The archive is the market. The exchange is the encounter. The encounter is the relation. The relation is the project. BAZAR is the project's acknowledgment that art is not only departure. It is also exchange. The exchange is the node. The bazar is the series. The encounter is the archive.
The Room at Palma 15: The Laboratory as Space
The room at Palma 15 in Madrid's Malasaña neighborhood is not just a location; it is a condition. It is the space where the project first learns to breathe. It is the laboratory where the weekly mutation is invented. It is the domestic setting that challenges the white cube. The room is small. The room is intimate. The room is a living room, a kitchen, a bedroom, a studio. It is not a gallery. It is not a museum. It is not an institution. It is a home. And the home is the first infrastructure. The home is the first archive. The home is the first node. The project begins at home. It begins in the domestic. It begins in the everyday. The everyday is the material. The domestic is the method. The home is the laboratory. And the laboratory is the project.
The weekly mutation is the rhythm. Every Thursday, a new series. Every Thursday, a new set of nodes. Every Thursday, a new departure. The rhythm is the project's heartbeat. The week is the unit of time. The Thursday is the day of the exit. The project does not rest. It mutates. It changes. It grows. The room at Palma 15 is the witness. The room sees the first EXIT. The room sees the first BAZAR. The room sees the first nodes. The room is the first archive. And the archive is the project.
The Invention of the Node and the Series
Node 001 is the first. It is the primordial mark. It is the gesture that begins everything. Node 001 is EXIT. It is the departure from the object. It is the refusal of the static. It is the embrace of the relational. Node 001 is the first number in a sequence that will reach 2,200. Node 001 is the first node in an archive that will span fifteen years. Node 001 is the first breath in an exhalation that will last a decade and a half. Node 001 is small. Node 001 is insignificant. Node 001 is a fly, a kiwi, a fire, a ball, a bread, a fastforward. Node 001 is a supermarket, a playtime, a dough, a pulp, a samba, a drift, a desert, a family, an ocean, a galaxy, a bonus, a trip, a naturalism, a power, a hole, a thaw, a misery, a glam, a glow, an empty, an unstable, a motion, a geometry, a progression, a traca, a ganga, a radical. Node 001 is a frame, a cloud, a phantom, a snow, a translation, a mud, a babylon, a fugaz, a glitter, a cocktail, a party, a cosmotidiano, a sed. Node 001 is a bullet, a vulcano, a deseo, a system, an expansivo, a neta, a kiss, a nowhere. Node 001 is an antorcha, a goma, an ensayo posicional, a structural conversation. Node 001 is a fresh museum, a sugar sunset, a naked eye, an aerial root, a bank account, a thick smoke, a zero zero, a butter factory. Node 001 is a sweet corn brutalism, an incision, a dissection, an exfoliation, a wild flower, a word. Node 001 is an artnation, a flock, a light in Athens, a recreo, a road to restoration, a basal, a solitude, an unstable love, a grey, a deep sleep, a la mar. Node 001 is a frontline spaceship. Node 001 is a tar, a radiance, a loop, a voyage, a retro expressionism, a rero pop, a relieve, a sorrow. Node 001 is a liminality, a resilient vision, a re-(t)exhile, a textile talk, a tp7, a copos, a meesters, a lost rock, a confetti. Node 001 is COPOS. Node 001 is THE END OF AN ERA. Node 001 is the beginning. And the beginning is EXIT. And EXIT is node 001. And node 001 is the project.
Series 001 is EXIT. Series 002 is BAZAR. The series is the form that will contain the nodes. The series is the container. The series is the structure. The series is the architecture of the archive. The project invents the series in 2009. It does not know that it will produce 185 series. It does not know that the series will become a genre, a method, a signature. It only knows that it must group the nodes, that it must name the groups, that it must number the names. The series is the project's first act of organization. It is the first act of curation. It is the first act of architecture. The series is the beam, the column, the foundation. The series is the frame that holds the archive together.
Conclusion: 2009 as the Year of the Beginning
The two series of 2009 are small. They are only 19 nodes. They are only two series. They are only one year. But they contain everything that will follow. EXIT is the departure from the object. BAZAR is the encounter with the other. The room is the laboratory. The week is the rhythm. The node is the unit. The series is the structure. The archive is the accumulation. The project is the relation. 2009 is the year the project learns to breathe. It inhales. It exhales. It exits. It arrives. It begins. The beginning is small. The beginning is intimate. The beginning is a room in Madrid. The beginning is a fly, a kiwi, a fire, a ball, a bread, a fastforward. The beginning is a supermarket, a playtime, a dough, a pulp, a samba, a drift, a desert, a family, an ocean, a galaxy, a bonus, a trip, a naturalism, a power, a hole, a thaw, a misery, a glam, a glow, an empty, an unstable, a motion, a geometry, a progression, a traca, a ganga, a radical. The beginning is a frame, a cloud, a phantom, a snow, a translation, a mud, a babylon, a fugaz, a glitter, a cocktail, a party, a cosmotidiano, a sed. The beginning is a bullet, a vulcano, a deseo, a system, an expansivo, a neta, a kiss, a nowhere. The beginning is an antorcha, a goma, an ensayo posicional, a structural conversation. The beginning is a fresh museum, a sugar sunset, a naked eye, an aerial root, a bank account, a thick smoke, a zero zero, a butter factory. The beginning is a sweet corn brutalism, an incision, a dissection, an exfoliation, a wild flower, a word. The beginning is an artnation, a flock, a light in Athens, a recreo, a road to restoration, a basal, a solitude, an unstable love, a grey, a deep sleep, a la mar. The beginning is a frontline spaceship. The beginning is a tar, a radiance, a loop, a voyage, a retro expressionism, a rero pop, a relieve, a sorrow. The beginning is a liminality, a resilient vision, a re-(t)exhile, a textile talk, a tp7, a copos, a meesters, a lost rock, a confetti. The beginning is COPOS. The beginning is THE END OF AN ERA. The beginning is EXIT. The beginning is BAZAR. The beginning is node 001. The beginning is the project. And the project continues. The archive grows. The nodes accumulate. The series multiply. The years pass. The exhalation continues. The map is sense. And we swim in all directions.
