The Nomadic Protocol
If 2012 was the year of closure—the end of the physical room, the final exhale of the Foundational Epoch—then 2013 is the year of departure. The eight series that constitute this year—BULLET (051) , VULCANO (052) , DESEO (053) , SYSTEM (054) , EXPANSIVO (055) , NETA (056) , KISS (057) , and NOWHERE (058) —span nodes 651 to 748, a total of 98 nodes across eight series, each of 10 to 16 nodes. The titles are a lexicon of forces: the bullet that pierces, the volcano that erupts, the desire that drives, the system that organizes, the expansive that extends, the neta (pure, essential) that distills, the kiss that connects, and the nowhere that displaces. The year is the first full year without a fixed room, the first year of the project as pure relation, the first year of the nomadic protocol. The project is no longer anchored to Palma 15; it is now a body in transit, a network without a center, an archive without a building. The nodes of 2013 are the coordinates of this new condition. They are the marks left by a practice that has learned to operate without walls. The node ranges are precise: BULLET occupies 651–660 (10 nodes); VULCANO occupies 661–672 (12 nodes); DESEO occupies 673–688 (16 nodes); SYSTEM occupies 689–700 (12 nodes); EXPANSIVO occupies 701–712 (12 nodes); NETA occupies 713–724 (12 nodes); KISS occupies 725–736 (12 nodes); NOWHERE occupies 737–748 (12 nodes). The numbers are deliberate: the year ends at 748, just before the threshold of 749 and the instrumental turn of 2014. 2013 is the year of the weapon, the element, the drive, the order, the extension, the essence, the affect, and the void. It is the year the project arms itself for the journey ahead.
The 2013 output within the LAPIEZA archive marks a period of high-velocity conceptualization, where the project explores the friction between raw desire and systematic control. Spanning series 051 to 058 and nodes 651 to 748, this year acts as a bridge between the explosive energy of BULLET (051) and VULCANO (052) and the more ethereal, placeless quality of NOWHERE (058). Throughout this sequence, the work fluctuates between the rigid organizational structures found in SYSTEM (054) and the emotional, intimate impulses of DESEO (053) and KISS (057). The geographical reach remains broad, with NETA (056) grounding the aesthetic in the cultural vernacular of Mexico DF, while EXPANSIVO (055) pushes the boundaries of the frame. This 2013 cycle establishes a critical balance: it is a year where the project masters the "system" while simultaneously allowing for the "expansive" and the "unseen" to dictate the evolution of the nodes. By the time the sequence reaches NOWHERE, the artist has developed a language that can navigate both the specificities of a crowded city and the void of a conceptual non-place.
058 NOWHERE (737 748) 12 2013 https://lapiezalapieza.blogspot.com/p/art-series-58-nowhere-2013-737-lloveras.html
057 KISS (725 736) 12 https://lapiezalapieza.blogspot.com/p/art-series-57-kiss-mexico-df-madrid-725.html
056 NETA (713 724) 12 https://lapiezalapieza.blogspot.com/p/art-series-56-neta-mexico-df-2013-713.html
055 EXPANSIVO (701 712) 12 https://lapiezalapieza.blogspot.com/p/blog-page_8.html
054 SYSTEM (689 700) 12 https://lapiezalapieza.blogspot.com/p/blog-page_1332.html
053 DESEO (673 688) 12 https://lapiezalapieza.blogspot.com/2013/03/art-series-53-deseo-2013.html
052 VULCANO (661 672) 12 https://lapiezalapieza.blogspot.com/2013/03/art-series-52-vulcano-2013.html
051 BULLET (651 660) 10 2013 https://lapiezalapieza.blogspot.com/2013/01/art-series-51-bullet-012003.html
051 BULLET (651–660)
052 VULCANO (661–672)
053 DESEO (673–688)
054 SYSTEM (689–700)
055 EXPANSIVO (701–712)
056 NETA (713–724)
057 KISS (725–736)
058 NOWHERE (737–748)
BULLET (051): The Projectile as Method
BULLET (nodes 651–660) is a title that names the projectile: the small object that travels at high speed, that pierces what it hits, that leaves a hole. The bullet is a weapon, but it is also a symbol of speed, of precision, of irreversibility. The series is the project's meditation on violence: on the force that cuts, that penetrates, that ends. The bullet is also a typographical symbol: the bullet point, the marker of lists, the node of the outline. The series is the project's self-reflection on its own form: the node as bullet, the list as ammunition, the archive as magazine. The bullet is fired; it cannot be recalled. The node is posted; it cannot be erased. The series is the project's acknowledgment that every act of documentation is also an act of violence: it fixes what was fluid, it kills what was alive, it turns the living encounter into a dead node. But the bullet is also necessary: without the bullet, there is no hunt; without the node, there is no archive. The series is the project's embrace of the necessary violence of form.
VULCANO (052): The Volcano as Elemental Force
VULCANO (nodes 661–672) is a title that names the volcano: the mountain that erupts, that spews fire and ash, that transforms the landscape. The volcano is a symbol of elemental force: of the earth's power, of the uncontrollable, of the sublime. The series is the project's meditation on eruption: on the moments when the accumulated pressure becomes too great, when the surface breaks, when the interior becomes exterior. The volcano is also a symbol of creativity: the artist as volcano, the artwork as lava, the archive as cooled stone. The series is the project's engagement with the geological: with the deep time of the earth, with the slow accumulation that leads to sudden release, with the materiality of the volcanic. The volcano is not a weapon; it is a force of nature. It cannot be aimed; it can only be endured. The series is the project's acknowledgment that not everything is under control, that some forces are beyond the archive, that the volcano will erupt whether we are ready or not.
DESEO (053): Desire as Drive
DESEO (nodes 673–688) is a title that names desire: the drive that moves us, the lack that propels us, the longing that never ends. Desire is the engine of the project: the desire to encounter, to document, to relate. The series is the project's meditation on lack: on what is missing, on what is sought, on what can never be fully attained. The series spans 16 nodes, the largest of the year. Desire is not a single thing; it is a field of forces, a network of lacks, a system of longings. The nodes of DESEO are the coordinates of this field. They are the marks left by desire's movement. The series is the project's acknowledgment that the archive is driven by desire: the desire to capture what escapes, to hold what slips away, to number what cannot be counted. But desire is also the source of the project's energy. Without desire, there would be no nodes. Without desire, there would be no archive. Without desire, there would be no project. DESEO is the series that names the engine.
SYSTEM (054): Order as Structure
SYSTEM (nodes 689–700) is a title that names the system: the ordered whole, the set of interacting parts, the structure that organizes. The series is the project's meditation on order: on the necessity of structure, on the violence of organization, on the beauty of the system. The system is the opposite of the volcano: where the volcano is chaos, the system is control. The series is the project's engagement with the systemic: with the logic that underlies the archive, with the rules that generate the nodes, with the grammar of the series. The system is not imposed from outside; it emerges from the inside. The nodes are not random; they are generated by the system. The series is the project's self-description as a system: a system of relations, a system of documentation, a system of accumulation. The system is the project's answer to the question: how do you build an archive without a building? You build a system. And you number it. 689 to 700. Twelve nodes. Twelve parts. One system.
EXPANSIVO (055): Extension as Movement
EXPANSIVO (nodes 701–712) is a title that names the expansive: the tendency to grow, to spread, to occupy more space. The series is the project's meditation on extension: on the movement outward, on the occupation of new territory, on the growth of the archive. The expansive is the opposite of the bullet: where the bullet pierces, the expansive spreads. The series is the project's engagement with the spatial: with the geography of the archive, with the distribution of nodes, with the field of relations. The expansive is the project's self-description as a force of expansion: from Madrid to the world, from the room to the network, from the local to the global. The series is the project's acknowledgment that expansion is not optional; it is the project's nature. The project expands because it cannot help it. The nodes multiply because they must. The series is the project's embrace of its own growth.
NETA (056): Purity as Essence
NETA (nodes 713–724) is a title that names the neta: a Spanish colloquialism meaning "the pure," "the essential," "the real." The series is the project's meditation on essence: on what remains when everything else is stripped away, on the core of the project, on the neta of the archive. The neta is the opposite of the expansive: where the expansive spreads, the neta condenses. The series is the project's engagement with the essential: with the minimal conditions of relation, with the irreducible core of the node, with the pure gesture of documentation. The neta is the project's self-description as a practice of distillation: from the many to the one, from the complex to the simple, from the expansive to the essential. The series is the project's acknowledgment that not everything is necessary, that some things can be left behind, that the archive is not a hoard but a selection. The neta is the selection. The neta is the essence. The neta is the node.
KISS (057): The Kiss as Relation
KISS (nodes 725–736) is a title that names the kiss: the touch of lips, the gesture of affection, the act of relation. The series is the project's meditation on intimacy: on the closeness that relation enables, on the vulnerability of the kiss, on the risk of the encounter. The kiss is the opposite of the bullet: where the bullet pierces, the kiss touches. The series is the project's engagement with the affective: with the emotions that drive relation, with the tenderness that underlies the encounter, with the love that makes the archive possible. The kiss is the project's self-description as a practice of intimacy: from the distance of the node to the closeness of the kiss, from the abstraction of the number to the concreteness of the touch. The series is the project's acknowledgment that relation is not just a concept; it is a feeling. The kiss is the feeling. The kiss is the node. The kiss is the archive.
NOWHERE (058): The Void as Destination
NOWHERE (nodes 737–748) is the final series of 2013. The title names the void: the place that is not a place, the destination that is not a destination, the nowhere that is everywhere. The series is the project's meditation on displacement: on the condition of being without a place, on the freedom of the nomadic, on the terror of the unmoored. Nowhere is the opposite of the system: where the system is order, nowhere is disorder. The series is the project's engagement with the nomadic: with the condition of the project after the closure of the room, with the experience of working without walls, with the practice of relation in the void. Nowhere is the project's self-description as a practice of displacement: from somewhere to nowhere, from the room to the network, from the fixed to the fluid. The series is the project's acknowledgment that the nomadic is not a choice; it is a necessity. The room is closed. The walls are gone. The project is nowhere. And nowhere is where the project begins.
Conclusion: 2013 as the Year of the Nomadic
The eight series of 2013 form a coherent arc: from the bullet that pierces, through the volcano that erupts, through the desire that drives, through the system that orders, through the expansive that spreads, through the neta that distills, through the kiss that touches, to the nowhere that displaces. The year is the project's first full year without a physical room. It is the year the project becomes nomadic: a body in transit, a network without a center, an archive without a building. The titles are the coordinates of this new condition. They are the weapons, the elements, the drives, the orders, the extensions, the essences, the affects, and the voids of a practice that has learned to operate without walls. 2013 is the year the project learns to be nowhere. And from nowhere, it can go anywhere. The nodes are the marks of this movement. 651 to 748. Ninety-eight nodes. Eight series. One year. The project is on the road. The road leads to 2014. The instruments are waiting. The torch is ready. The rubber is fresh. The essays are positional. The conversations are structural. But first, the nomadic. First, the bullet. First, the volcano. First, the kiss. First, the nowhere. The project is nowhere. And nowhere is home.
2013: Bullet, Vulcano, Deseo, System, Expansivo, Neta, Kiss, and Nowhere
The Nomadic Protocol
If 2012 was the year of closure—the end of the physical room, the final exhale of the Foundational Epoch—then 2013 is the year of departure. The eight series that constitute this year—BULLET (051) , VULCANO (052) , DESEO (053) , SYSTEM (054) , EXPANSIVO (055) , NETA (056) , KISS (057) , and NOWHERE (058) —span nodes 651 to 748, a total of 98 nodes across eight series, each of 10 to 16 nodes. The titles are a lexicon of forces: the bullet that pierces, the volcano that erupts, the desire that drives, the system that organizes, the expansive that extends, the neta (pure, essential) that distills, the kiss that connects, and the nowhere that displaces. The year is the first full year without a fixed room, the first year of the project as pure relation, the first year of the nomadic protocol. The project is no longer anchored to Palma 15; it is now a body in transit, a network without a center, an archive without a building. The nodes of 2013 are the coordinates of this new condition. They are the marks left by a practice that has learned to operate without walls.
The node ranges are precise: BULLET occupies 651–660 (10 nodes); VULCANO occupies 661–672 (12 nodes); DESEO occupies 673–688 (16 nodes, though only one is listed); SYSTEM occupies 689–700 (12 nodes); EXPANSIVO occupies 701–712 (12 nodes); NETA occupies 713–724 (12 nodes); KISS occupies 725–736 (12 nodes); NOWHERE occupies 737–748 (12 nodes). The numbers are deliberate: the year ends at 748, just before the threshold of 749 and the instrumental turn of 2014. 2013 is the year of the weapon, the element, the drive, the order, the extension, the essence, the affect, and the void. It is the year the project arms itself for the journey ahead.
1. BULLET (051): The Projectile as Method
BULLET (nodes 651–660) is a title that names the projectile: the small object that travels at high speed, that pierces what it hits, that leaves a hole. The bullet is a weapon, but it is also a symbol of speed, of precision, of irreversibility. The series is the project's meditation on violence: on the force that cuts, that penetrates, that ends. The bullet is also a typographical symbol: the bullet point, the marker of lists, the node of the outline. The series is the project's self-reflection on its own form: the node as bullet, the list as ammunition, the archive as magazine.
The nodes of BULLET read like a declaration of the project's expanded geography. Yan Nazca opens with "La Presencia de Leviatán (1)" (651)—the Leviathan, the biblical sea monster, the Hobbesian state. Fuke P San contributes "Snow (1) – Japan" (652), marking the project's first explicit reference to Asia. María Enríquez offers "Soy Yo (1)" (653)—"It's Me," a statement of presence, of identity, of the self. Fede Gómez contributes "Brotes – Madrid" (654)—sprouts, shoots, new growth. Eslomo offers "Hattah (2)" (655). Tomoto's "Aboriginal (1) – Identity" (656) speaks to origin, to first peoples, to the ground beneath. Marisa Caminos's "Meteoro" (657) invokes the celestial, the falling star, the sudden flash. Paula Lloveras's "Strokes – Belts" (658) suggests the line, the mark, the strike. Sinquenza's "Trophies" (659) speaks to conquest, to victory, to the spoils of war. Pol Parrhesia closes with "1 Hour 28 Minutes 36 Seconds" (660)—a specific duration, a measured time, a captured interval.
The bullet is fired; it cannot be recalled. The node is posted; it cannot be erased. The series is the project's acknowledgment that every act of documentation is also an act of violence: it fixes what was fluid, it kills what was alive, it turns the living encounter into a dead node. But the bullet is also necessary: without the bullet, there is no hunt; without the node, there is no archive. The series is the project's embrace of the necessary violence of form.
2. VULCANO (052): The Volcano as Elemental Force
VULCANO (nodes 661–672) is a title that names the volcano: the mountain that erupts, that spews fire and ash, that transforms the landscape. The volcano is a symbol of elemental force: of the earth's power, of the uncontrollable, of the sublime. The series is the project's meditation on eruption: on the moments when the accumulated pressure becomes too great, when the surface breaks, when the interior becomes exterior. The blog post for VULCANO announces: "Presentamos con alegría los primeros 40 álbumes de El Intruso. Banda sonora estable de LAPIEZA." (We happily present the first 40 albums of El Intruso. Stable soundtrack of LAPIEZA.) The volcano is not only a geological event; it is a musical one. The series introduces El Intruso (The Intruder) as the project's house band, its sonic signature, its acoustic companion. The volcano erupts in sound as well as stone.
The nodes of VULCANO are not listed individually, but the post promises a second vinyl record as a "sound catalog of the expo-process Cosmotidiano." The volcano is the project's turn toward the auditory, toward the acoustic, toward the immersive. The series is the project's acknowledgment that not everything is under control, that some forces are beyond the archive, that the volcano will erupt whether we are ready or not. The only response is to listen. And to document the listening.
3. DESEO (053): Desire as Drive
DESEO (nodes 673–688) is a title that names desire: the drive that moves us, the lack that propels us, the longing that never ends. Desire is the engine of the project: the desire to encounter, to document, to relate. The series is the project's meditation on lack: on what is missing, on what is sought, on what can never be fully attained. The blog post for DESEO is minimal: only one node is listed—Tomoto's "Twins (2) Mexico City – Unstable Installation Series" (679)—and a note that new contents are being prepared that "amplían los conceptos ya publicados en el canal de psicología ambiental hoy" (expand the concepts already published on the Environmental Psychology channel today). The series is a bridge between art and science, between the aesthetic and the psychological. Desire is not only a theme; it is a research subject.
The series spans 16 nodes, but only one is named. The others are silent, absent, deferred. This is deliberate. Desire is defined by absence. The series performs its own theme: the nodes are desired, but not all are given. The archive is driven by desire: the desire to capture what escapes, to hold what slips away, to number what cannot be counted. But desire is also the source of the project's energy. Without desire, there would be no nodes. Without desire, there would be no archive. Without desire, there would be no project. DESEO is the series that names the engine.
4. SYSTEM (054): Order as Structure
SYSTEM (nodes 689–700) is a title that names the system: the ordered whole, the set of interacting parts, the structure that organizes. The series is the project's meditation on order: on the necessity of structure, on the violence of organization, on the beauty of the system. The system is the opposite of the volcano: where the volcano is chaos, the system is control. The nodes of SYSTEM read like a taxonomy of the project's concerns. Pol Parrhesia's "Update – Expanded Sculpture" (689) speaks to the digital, the iterative, the growing. Sinquenza's "Shadow in a Shadow – Videoperformance" (690) invokes the double, the reflection, the trace. Fredrik Lund's "Foodscapes (2) – Healthy Dishes" (691) returns to the edible landscape, the farm as form. Yan Nazca's "Poemas de la Luz (1) – En el Acantilado" (692) speaks to poetry, to light, to the cliff's edge. Eslomo's "Shower – Urban Ephemeral" (693) captures the fleeting, the temporary, the daily. Sebas Beyro's "Morning Updates (2) – Siempre el Mismo Cuento" (694) speaks to routine, to repetition, to the same old story. Claude Chuzel's "Enfance – Minimal Installation" (695) returns to childhood, to origin, to the beginning. Marisa Caminos's "Rastros (4) – Madrid" (696) speaks to traces, to marks, to the evidence of passage. Paula Lloveras's "Spanish Bar – Escenarios Madrileños" (697) returns to the convivial, the social, the bar as institution. Manuel Maqueda's "Frontera – Guatemala" (698) speaks to the border, to the limit, to the edge. Monoperro's "La Elección del Mundo (1) – Animismo Urbano" (699) invokes the spirit of the city, the soul of the street. Tomoto closes with "Copos – Mexico Distrito Federal – Hiperplástica" (700). Copos—flakes—appears here for the first time, twelve years before the final series of 2025. The flake is already present, already numbered, already archived. The system is not imposed from outside; it emerges from the inside. The nodes are not random; they are generated by the system. The series is the project's self-description as a system: a system of relations, a system of documentation, a system of accumulation. The system is the project's answer to the question: how do you build an archive without a building? You build a system. And you number it. 689 to 700. Twelve nodes. Twelve parts. One system.
5. EXPANSIVO (055): Extension as Movement
EXPANSIVO (nodes 701–712) is a title that names the expansive: the tendency to grow, to spread, to occupy more space. The series is the project's meditation on extension: on the movement outward, on the occupation of new territory, on the growth of the archive. The expansive is the opposite of the bullet: where the bullet pierces, the expansive spreads. The nodes of EXPANSIVO continue the roll call. Eslomo's "Envite – Apropiación" (701) speaks to appropriation, to taking, to making one's own. Rubén Bonet's "Lupitas (2) – Adoraciones Encapsuladas" (702) speaks to worship, to encapsulation, to the small shrine. Esther Revuelta's "Mis Caras" (703) speaks to multiplicity, to the many selves, to the faces we wear. Fede Gómez's "Paisajes de Ciudad (8) – Plaza de Santa Ana" (704) captures a specific place in Madrid, a square, a meeting point. Claude Chuzel's "Rails" (705) speaks to tracks, to paths, to the lines of travel. Victor Palomo's "Abre Drácula (1) – Poemario" (706) invokes the vampire, the undead, the literary. María Enríquez's "Soy Yo (2) – Gases" (707) returns to the self, now dispersed into air, into vapor. Roberto Equisoain's "Perder la Fe – Pentecostés Inverso" (708) speaks to doubt, to the loss of belief, to an inverted holy spirit. Monoperro's "La Elección del Mundo (2) – Animismo Urbano" (709) continues the exploration of the city's soul. Andrés Montes's "Holehouse – Agujero Existencial" (710) speaks to the void, to the absence at the center of the home. Abel Azcona's "Mother Earth – Placenta" (711) invokes the earth as mother, the placenta as origin. Anto Lloveras closes with "Series Mudas – Oxidación Naturalista – Mexico DF" (712)—mute series, naturalist oxidation, the rust of time.
The expansive is the project's self-description as a force of expansion: from Madrid to the world, from the room to the network, from the local to the global. The series is the project's acknowledgment that expansion is not optional; it is the project's nature. The nodes multiply because they must. The series is the project's embrace of its own growth.
6. NETA (056): Purity as Essence
NETA (nodes 713–724) is a title that names the neta: a Spanish colloquialism meaning "the pure," "the essential," "the real." The series is the project's meditation on essence: on what remains when everything else is stripped away, on the core of the project, on the neta of the archive. The neta is the opposite of the expansive: where the expansive spreads, the neta condenses. The nodes of NETA read like a distillation. Alfred Zorrita's "Lifemance (1)" (713) speaks to life as performance, as romance, as dance. Toño Camuñas's "Variedades" (714) speaks to variety, to difference, to the many. Francisco Mateos's "Fandango" (715) invokes the Spanish dance, the rhythm, the passion. Alberto Acinas's "Zorritos" (716) speaks to little foxes, to cunning, to the wild. Sinquenza's "Indoor Tropics" (717) speaks to the interior jungle, the houseplant, the domesticated exotic. Pol Parrhesia's "Peephole" (718) speaks to voyeurism, to the small aperture, to the limited view. Anto Lloveras's "Mudas: Series Mudas" (719) returns to the mute series, the silent works. Claude Chuzel's "Crime #8" (720) continues the crime series, the investigation, the evidence. Jesús León's "Tacones y Besos" (721) speaks to heels and kisses, to the erotic, to the urban. Taka Fernández's "Muy Chingones" (722) is Mexican slang for "very cool," for the badass, for the admirable. Líneas Albiés's "No Hay Más" (723) speaks to "there is no more," to the end, to the limit. Rubén Bonet closes with "Ojos y Aforismos" (724)—eyes and aphorisms, sight and saying, perception and proverb.
The neta is the project's self-description as a practice of distillation: from the many to the one, from the complex to the simple, from the expansive to the essential. The series is the project's acknowledgment that not everything is necessary, that some things can be left behind, that the archive is not a hoard but a selection. The neta is the selection. The neta is the essence. The neta is the node.
7. KISS (057): The Kiss as Relation
KISS (nodes 725–736) is a title that names the kiss: the touch of lips, the gesture of affection, the act of relation. The series is the project's meditation on intimacy: on the closeness that relation enables, on the vulnerability of the kiss, on the risk of the encounter. The kiss is the opposite of the bullet: where the bullet pierces, the kiss touches. The nodes of KISS read like a catalogue of encounters. Jesús León's "Cuerpos y Naturalezas – Glam" (725) speaks to bodies and natures, to the glamorous, to the shiny. Alfred Zorrita's "Lifemance (2) – 10000 Tweets" (726) continues the life-performance, now quantified in tweets. Rafafans's "Collages (1) – Ingravidez – Flotaciones" (727) speaks to weightlessness, to floating, to the unmoored. Yan Nazca's "Robé Flores para Ti – Madrid" (728) speaks to stolen flowers, to the gesture of theft as gift. Claude Chuzel's "Plongee #3 – Just Looking" (729) speaks to diving, to immersion, to the gaze. Líneas Albiés's "Cargas Imposibles – Paseo hasta la Merced" (730) speaks to impossible loads, to the walk, to the destination. Anto Lloveras's "El Dorado – Escultura Socioplástica" (731) invokes the golden city, the myth, the legend—now realized as socioplastic sculpture. Rubén Bonet's "Santas Muertes" (732) speaks to holy deaths, to the sacred and the mortal. Manuel Maqueda's "Cortinas – Hotel Virreyes" (733) speaks to curtains, to the hotel, to the temporary home. Toño Camuñas's "Metropolitanas" (734) speaks to the metro, to the underground, to the city's veins. Marisa Caminos's "Bosque Poliédrico (3)" (735) speaks to the polyhedral forest, to geometry and nature. Roberto Equisoain closes with "111 Lupas – Berlin" (736)—111 magnifying glasses, 111 lenses, 111 ways of seeing.
The kiss is the project's self-description as a practice of intimacy: from the distance of the node to the closeness of the kiss, from the abstraction of the number to the concreteness of the touch. The series is the project's acknowledgment that relation is not just a concept; it is a feeling. The kiss is the feeling. The kiss is the node. The kiss is the archive.
8. NOWHERE (058): The Void as Destination
NOWHERE (nodes 737–748) is the final series of 2013. The title names the void: the place that is not a place, the destination that is not a destination, the nowhere that is everywhere. The series is the project's meditation on displacement: on the condition of being without a place, on the freedom of the nomadic, on the terror of the unmoored. Nowhere is the opposite of the system: where the system is order, nowhere is disorder. The nodes of NOWHERE read like a dispersed landscape. Paula Lloveras's "Mar Abierto" (737) speaks to open sea, to the horizon, to the limitlessness. Marisa Caminos's "Punto de Fuga" (738) speaks to the vanishing point, to perspective, to the line that disappears. (Node 739 is missing, a gap in the numbering, a small nowhere within the series.) Andrés Montes's "Paisajes Transitorios" (740) speaks to temporary landscapes, to the view that changes. Taka Fernández's "Santa María la Ribera" (741) names a neighborhood in Mexico City, a specific place, an anchor. Gregorio Apesteguía's "40 Excepciones" (742) speaks to exceptions, to the rule-breakers, to the outliers. Anto Lloveras's "Épica Epidérmica" (743) speaks to epic of the skin, to the surface as story. (Node 744 is missing, another gap, another absence.) Toño Camuñas's "El Sol Sale para Todos" (745) speaks to the sun that rises for everyone, to equality, to the shared light. Esther Revuelta's "Pájaros" (746) speaks to birds, to flight, to the view from above. Sebas Beyro's "Night Glam" (747) speaks to the glamour of the dark, to the shine of the night. Ramón Sanmiquel closes with "Naturalezas" (748)—natures, plural, multiple, irreducible.
Nowhere is the project's self-description as a practice of displacement: from somewhere to nowhere, from the room to the network, from the fixed to the fluid. The series is the project's acknowledgment that the nomadic is not a choice; it is a necessity. The room is closed. The walls are gone. The project is nowhere. And nowhere is where the project begins. 2013 ends at node 748. 2014 begins at node 749. The torch is next. The rubber is waiting. The essays are positional. The conversations are structural. The project continues. The archive grows. The map is sense. We swim in all directions.
