Tuesday, April 21, 2026

LAPIEZA (2010) Mosca to Fastforward — The Invention of a Method

The eight series of 2010 form a lexicon of the project's emerging concerns. From the fly to the fastforward, from the insignificant to the accelerated, the project names its world. The naming is not neutral; it is an act of creation. To name something is to bring it into being. The project names the fly, and the fly becomes a node. The project names the kiwi, and the kiwi becomes a series. The project names socioplastics, and the method becomes an archive. The project names the sales, and the economy becomes a node. The project names the fire, and the transformation becomes a series. The project names the ball, and the play becomes an archive. The project names the bread, and the daily becomes a node. The project names the fastforward, and the acceleration becomes a series. The project has named its world. The world is now in the archive. The archive is the project. And the project is the world. 2010 ends at node 185. 2011 begins at node 186. The supermarket is next. The playtime is coming. The dough is waiting. The pulp is ready. The samba is dancing. The drift is wandering. The desert is empty. The family is gathering. The ocean is deep. The galaxy is infinite. The bonus is extra. The trip is journeying. The naturalism is representing. The power is forcing. The hole is gaping. The thaw is melting. The misery is suffering. The glam is glittering. The glow is shining. The empty is waiting. The unstable is wobbling. The motion is moving. The geometry is forming. The progression is sequencing. The traca is exploding. The ganga is bargaining. The radical is rooting. The project continues. The archive grows. The world is named. The naming is the project. And the project is the name.

Series 003: MOSCA (020–031)

Series 004: KIWI (032–045)

Series 005: SOCIOPLASTICS (046–063)

Series 006: SALES (064–089)

Series 007: FIRE (090–111)

Series 008: BALL (112–133)

Series 009: PAN (134–159)

Series 010: FASTFORWARD (160–185)

The 2010 sequence is where LAPIEZA stops being merely inaugural and becomes operative. After the foundational gesture of 2009, the project enters a year of acceleration structured through eight consecutive series: MOSCA (020–031), KIWI (032–045), SOCIOPLASTICS (046–063), SALES (064–089), FIRE (090–111), BALL (112–133), PAN (134–159), and FASTFORWARD (160–185). What matters here is not only the growth in node count, though that is already substantial, but the consolidation of a weekly serial logic that begins to transform repetition into method. The room at Palma 15 remains the physical support, yet the archive now starts to move with greater speed, greater confidence, and greater lexical precision. 2010 is the year in which LAPIEZA learns how to sustain continuity.

The sequence itself is telling. MOSCA introduces a small, insistent, irritating vitality: the fly as minor disturbance, mobility, persistence. KIWI shifts toward colour, fruit, texture, and strangeness. Then comes SOCIOPLASTICS, the decisive naming event of the year. At this stage it is not yet a hardened theoretical system, but it already appears as the intuition that relation, social encounter, and plastic form can be thought together. The following titles widen the field quickly: SALES brings in economy and exchange; FIRE intensifies heat, risk, and transformation; BALL introduces play, movement, and collective choreography; PAN returns to food, daily materiality, and the common; FASTFORWARD closes the year with a title that perfectly captures the project’s new temporal condition. The archive is no longer simply accumulating. It is advancing.

What 2010 establishes, above all, is a serial metabolism. The project begins to understand that the artwork does not have to be a singular object or resolved installation. It can be a node in a chain, a weekly unit within a larger current. This is also the year in which vocabulary starts to matter structurally. The titles are short, memorable, almost elemental. They do not explain; they activate. Each one opens a zone of association without closing it. That quality becomes central to LAPIEZA’s later development: the title as conceptual trigger, the series as temporary atmosphere, the node as minimal unit of continuity.

So 2010 should be understood as the year in which rhythm becomes method and naming becomes structure. The project is still early, still materially modest, still embedded in domestic immediacy. But by node 185, something decisive has happened: LAPIEZA has acquired momentum, and that momentum is no longer accidental. It is organised, sequential, and already approaching a system.

*****

If 2009 was the year of the aperture—the primordial gesture of EXIT, the opening of the room, the first numbering of nodes—then 2010 is the year of acceleration. The eight series that constitute this year—MOSCA (003) , KIWI (004) , SOCIOPLASTICS (005) , SALES (006) , FIRE (007) , BALL (008) , PAN (009) , and FASTFORWARD (010) —span nodes 020 to 185, a total of 166 nodes across eight series, each of 12 to 26 nodes. The titles are a lexicon of the project's emerging concerns: the fly that buzzes, the kiwi that is both fruit and bird, the socioplastics that names the method, the sales that evacuate, the fire that burns, the ball that bounces, the bread that sustains, and the fastforward that accelerates. The year is the project's first full year of operation. The room at Palma 15 is now a well-oiled machine. The weekly mutation is now a rhythm. The node is now a habit. And the project is now a name.

The node ranges are precise: MOSCA occupies 020–031 (12 nodes); KIWI occupies 032–045 (14 nodes); SOCIOPLASTICS occupies 046–063 (18 nodes); SALES occupies 064–089 (26 nodes); FIRE occupies 090–111 (22 nodes); BALL occupies 112–133 (22 nodes); PAN occupies 134–159 (26 nodes); FASTFORWARD occupies 160–185 (26 nodes). The numbers are a drumbeat: 12, 14, 18, 26, 22, 22, 26, 26. The project is finding its pace. The pace is the week. The week is the series. The series is the node. The node is the world.

MOSCA (003): The Fly as Irritant

MOSCA (nodes 020–031) is the first series of 2010. The title names the fly: the insect that buzzes, that lands on food, that is the emblem of the irritating and the insignificant. The series is the project's meditation on the minor: on the small creature that is everywhere, on the fly as a figure for the attention that the project pays to the overlooked. Mosca is the opposite of the monumental: where the monumental is large, the fly is small. The series is the project's engagement with the zoological: with the animal that is despised, with the insect that is ignored, with the fly as the project's first non-human collaborator. Mosca is the project's self-description as a practice of paying attention to the insignificant. The nodes are the flies. The series is the buzz. The archive is the swarm. Mosca is the project's acknowledgment that the small is worthy of art. The fly is a node. The buzz is a series. The swarm is an archive. And the archive is open.

KIWI (004): The Kiwi as Stranger

KIWI (nodes 032–045) is a title that names the kiwi: the fruit from New Zealand, the flightless bird, the emblem of the strange and the foreign. The series is the project's meditation on the exotic: on the thing that comes from far away, on the kiwi as a figure for the project's own relation to the unfamiliar. Kiwi is the opposite of the local: where the local is familiar, the kiwi is strange. The series is the project's engagement with the geographical: with the fruit that travels, with the bird that cannot fly, with the kiwi as the project's first imported object. Kiwi is the project's self-description as a practice of welcoming the stranger. The nodes are the kiwis. The series is the journey. The archive is the foreign. Kiwi is the project's acknowledgment that the strange is worthy of art. The kiwi is a node. The journey is a series. The foreign is an archive. And the archive is open.

SOCIOPLASTICS (005): The Method as Name

SOCIOPLASTICS (nodes 046–063) is the most important series of 2010, and one of the most important in the entire LAPIEZA corpus. The title names the method: socioplastics, the practice of shaping the social, the art of relation. The series is the project's first explicit articulation of its own methodology. It is the moment when the project names itself. Socioplastics is the opposite of the individual: where the individual is alone, socioplastics is together. The series is the project's engagement with the social: with the encounter as material, with the relation as form, with socioplastics as the project's ground. Socioplastics is the project's self-description as a practice of shaping the social. The nodes are the encounters. The series is the relation. The archive is the social. Socioplastics is the project's acknowledgment that art is not only objects. It is also relations. The relation is the node. The social is the series. The encounter is the archive. And the archive is open.

SALES (006): The Sale as Evacuation

SALES (nodes 064–089) is a title that names the sales: the selling off, the evacuation of goods, the transformation of things into money. The series is the project's meditation on the economic: on the sale as a figure for the commodification of everything, on the sales as the project's encounter with the market. Sales is the opposite of the gift: where the gift is free, the sale is paid. The series is the project's engagement with the commercial: with the price of art, with the value of the node, with the sales as the project's first economic reflection. Sales is the project's self-description as a practice of selling. The nodes are the goods. The series is the price. The archive is the sale. Sales is the project's acknowledgment that art is not outside the market. The market is the node. The price is the series. The sale is the archive. And the archive is open.

FIRE (007): The Fire as Transformation

FIRE (nodes 090–111) is a title that names the fire: the element that burns, that transforms, that destroys and creates. The series is the project's meditation on the elemental: on fire as a figure for the energy of the project, on the fire that is both dangerous and necessary. Fire is the opposite of the water: where water is cool, fire is hot. The series is the project's engagement with the alchemical: with the transformation that fire enables, with the burning as the project's first encounter with destruction. Fire is the project's self-description as a practice of burning. The nodes are the flames. The series is the heat. The archive is the fire. Fire is the project's acknowledgment that art is not only preservation. It is also destruction. The destruction is the node. The burning is the series. The fire is the archive. And the archive is open.

BALL (008): The Ball as Play

BALL (nodes 112–133) is a title that names the ball: the sphere that bounces, the object of play, the emblem of the ludic. The series is the project's meditation on the playful: on the ball as a figure for the joy of the project, on the play that is the opposite of work. Ball is the opposite of the serious: where the serious is heavy, the ball is light. The series is the project's engagement with the sportive: with the game that is played, with the ball as the project's first encounter with pleasure. Ball is the project's self-description as a practice of playing. The nodes are the bounces. The series is the game. The archive is the ball. Ball is the project's acknowledgment that art is not only serious. It is also playful. The play is the node. The game is the series. The ball is the archive. And the archive is open.

PAN (009): The Bread as Sustenance

PAN (nodes 134–159) is a title that names the pan: the bread, the staff of life, the emblem of the daily and the necessary. The series is the project's meditation on the sustaining: on the bread as a figure for what keeps the project alive, on the daily bread that is the condition of possibility. Pan is the opposite of the feast: where the feast is exceptional, the bread is ordinary. The series is the project's engagement with the culinary: with the food that is eaten, with the bread as the project's first encounter with the everyday. Pan is the project's self-description as a practice of baking. The nodes are the loaves. The series is the oven. The archive is the bread. Pan is the project's acknowledgment that art is not only extraordinary. It is also ordinary. The ordinary is the node. The daily is the series. The bread is the archive. And the archive is open.

FASTFORWARD (010): The Acceleration as Method

FASTFORWARD (nodes 160–185) is the final series of 2010. The title names the fastforward: the button that speeds up, the acceleration that compresses time, the emblem of the project's own rhythm. The series is the project's meditation on the temporal: on the fastforward as a figure for the project's weekly mutation, on the acceleration that is the condition of the archive. Fastforward is the opposite of the rewind: where the rewind goes back, the fastforward goes forward. The series is the project's engagement with the cinematic: with the button on the remote, with the fastforward as the project's first encounter with speed. Fastforward is the project's self-description as a practice of accelerating. The nodes are the frames. The series is the button. The archive is the fastforward. Fastforward is the project's acknowledgment that art is not only slow. It is also fast. The speed is the node. The acceleration is the series. The fastforward is the archive. And the archive is open.