From Ignition to Analytic Dialogue. The 2014 sequence marks a decisive turn in LAPIEZA. ANTORCHA introduces a logic of activation: fire, signal, transmission, and the will to set a process in motion. GOMA shifts that energy into a more elastic register, suggesting pressure, deformation, rebound, and adaptability. With ENSAYOS POSICIONALES, the project becomes more explicit: these are no longer only situations or gestures, but positional tests—small essays in placement, stance, and relational orientation. The year culminates in STRUCTURAL CONVERSATIONS (785–800), a title of major importance, because it makes dialogue itself into a formal device. Conversation is no longer incidental to the work; it becomes part of its architecture. Taken together, the four series show LAPIEZA moving from ignition and material tension toward analytic exchange and distributed thought. By node 800, the archive has already begun to function not simply as a record of exhibitions, but as a cognitive structure built through sequence, position, and conversation.
062 STRUCTURAL CONVERSATIONS (785 800) 16 2014 https://lapiezalapieza.blogspot.com/p/frozen-heat-art-satellites-norway.html
061 ENSAYOS POSICIONALES (773 784) 12 https://lapiezalapieza.blogspot.com/p/art-series-61-ensayos-posicionales-02.html
060 GOMA (761 772) 12 2014 https://lapiezalapieza.blogspot.com/p/60-goma.html
059 ANTORCHA (749 760) 12 2014 https://lapiezalapieza.blogspot.com/p/blog-page.html
059 ANTORCHA (749–760)
060 GOMA (761–772)
061 ENSAYOS POSICIONALES (773–784)
062 STRUCTURAL CONVERSATIONS (785–800)
The Consolidation of Dialogue
If 2013 was the year of the nomadic protocol—the first full year without a physical room, the testing of a practice without walls—then 2014 is the year of the instrument. The four series that constitute this year—ANTORCHA (059) , GOMA (060) , ENSAYOS POSICIONALES (061) , and STRUCTURAL CONVERSATIONS (062) —span nodes 749 to 800, a total of 52 nodes across four series, each of 12 to 16 nodes. The titles are a lexicon of tools: the torch (antorcha) that illuminates, the rubber (goma) that erases, the positional essays (ensayos posicionales) that stake a claim, the structural conversations (conversaciones estructurales) that build a framework. The year is a turn toward the discursive, the dialogic, the architectonic. The project is no longer just producing nodes; it is building structures. The nodes are not just encounters; they are arguments. The series are not just exhibitions; they are essays. 2014 is the year the project learns to speak. Not just to document, but to articulate. Not just to relate, but to structure. Not just to accumulate, but to construct.
The node ranges are precise: ANTORCHA occupies 749–760 (12 nodes); GOMA occupies 761–772 (12 nodes); ENSAYOS POSICIONALES occupies 773–784 (12 nodes); STRUCTURAL CONVERSATIONS occupies 785–800 (16 nodes). The numbers are deliberate: the year ends at 800, a ceremonial threshold, the opening of the eighth century of the archive. 800 is the number of completion, of roundness, of readiness. The project is preparing for FRESH MUSEUM (2015), for the institutional turn, for the leap to 900 and then to 1000. But first, it must build the structures that will support that leap. 2014 is the year of the scaffold.
1. ANTORCHA (059): The Torch as Instrument of Illumination
ANTORCHA (nodes 749–760) is a title that names the torch: the portable source of light, the instrument of illumination, the tool that reveals what is hidden. The torch is also a symbol of revolution, of liberty, of the Statue of Liberty's beacon. It is the light that guides, that warns, that exposes. The series is the project's meditation on illumination: on what it means to see clearly, on the conditions of visibility, on the politics of light. The torch is also a weapon: it can burn, it can destroy, it can set fire. The series is the project's acknowledgment that illumination is not neutral; it is an act of power. To shine a light is to choose what to reveal and what to leave in darkness. The torch is the instrument of the curator, the artist, the archivist. The series is the project's self-reflection on its own authority: who holds the torch? Who decides what is seen? The torch is fresh. The torch is naked. The torch is aerial. The torch is the zero that illuminates the one.
2. GOMA (060): The Rubber as Instrument of Erasure
GOMA (nodes 761–772) is a title that names the rubber: the instrument of erasure, the tool that removes, the object that makes mistakes disappear. The rubber is the companion of the pencil, the corrective, the second chance. The series is the project's meditation on erasure: on what is left out, on what is forgotten, on what is deliberately removed. The archive is not only a record of what happened; it is also a record of what did not happen, of what could have happened, of what was erased. The rubber is the instrument of the editor, the censor, the forgetter. The series is the project's acknowledgment that not everything can be saved, that not everything should be saved, that the archive is a product of selection as much as accumulation. The rubber is also a material: rubber is elastic, flexible, resilient. It is the material of tires, of gloves, of condoms. The series is the project's engagement with the materiality of the flexible, the stretchy, the protective. GOMA is the series that says: the archive is not a stone tablet; it is a rubber sheet. It can be stretched. It can be erased. It can be written again.
3. ENSAYOS POSICIONALES (061): Positional Essays as Acts of Location
ENSAYOS POSICIONALES (nodes 773–784) is a title that names the essay: the literary form of the tentative, the provisional, the exploratory. But these are not just any essays; they are positional essays. They stake a claim. They take a stand. They locate themselves in a field of arguments. The series is the project's meditation on position: on where one stands, on the perspective from which one sees, on the situatedness of all knowledge. The positional essay is the opposite of the neutral, the objective, the god's-eye view. It acknowledges that every statement comes from somewhere, that every claim is a claim from a particular location. The series is the project's turn toward the explicitly theoretical. The nodes of ENSAYOS POSICIONALES are not just encounters; they are arguments. They are the project's attempt to articulate its own method, to make explicit what had been implicit, to turn practice into theory. The positional essay is the form of the project's self-knowledge. The series is the project looking at itself from the outside, describing its own position, staking its own claim. The position is not fixed; it shifts. The essay is not final; it is tentative. But the act of positioning is essential. The series is the project's declaration that it knows where it stands.
4. STRUCTURAL CONVERSATIONS (062): Dialogue as Architecture
STRUCTURAL CONVERSATIONS (nodes 785–800) is the final series of 2014, and it is the most important. The title names the conversation as structure: not just a chat, not just an exchange, but a load-bearing element of the project's architecture. Structural conversations are the beams and columns of the relational field. They are what holds the archive up. The series spans 16 nodes, the largest of the year, and ends at the ceremonial threshold of 800. The number is significant: 800 is the opening of the eighth century, the preparation for the institutional turn of 2015. STRUCTURAL CONVERSATIONS is the series that builds the foundation for FRESH MUSEUM. It is the series that says: before the museum, there must be conversations. Before the institution, there must be relations. Before the fresh, there must be the structural.
The conversation as structure is a radical idea. Most conversations are ephemeral: they happen and then they disappear. But the structural conversation is documented, numbered, archived. It becomes a node. It becomes a beam. It becomes part of the building. The series is the project's insistence that talk is not cheap; talk is construction. The words spoken in conversation are the bricks of the archive. The silences are the mortar. The interruptions are the windows. The series is the project's meditation on dialogue as material: not just a medium of communication, but a medium of building. The structural conversation is the project's answer to the question: how do you build an institution without walls? You build it with words. You build it with conversations. You build it with nodes. And you number them. 785 to 800. Sixteen conversations. Sixteen beams. Sixteen columns. The structure stands.
Conclusion: 2014 as the Year of the Instrument
The four series of 2014 form a coherent arc: from the torch that illuminates, through the rubber that erases, through the positional essay that stakes a claim, to the structural conversation that builds a framework. The year is the project's most explicit engagement with methodology: with the tools of the trade, with the instruments of the archive, with the techniques of relation. The project is no longer just doing; it is reflecting on its doing. It is no longer just producing; it is articulating its production. 2014 is the year the project becomes self-conscious. It is the year it learns to speak about itself, to position itself, to structure itself. The instruments are not neutral; they are the project's tools for world-building. The torch illuminates; the rubber erases; the essay positions; the conversation structures. Together, they form the toolkit of Socioplastics. The toolkit is fresh. The toolkit is naked. The toolkit is structural. And the toolkit is ready for the museum. 2015 is coming. The fresh museum is waiting. The torch is lit. The rubber is ready. The essays are written. The conversations are structural. The archive is open.
2014: Antorcha, Goma, Ensayos Posicionales, and Structural Conversations
From Ignition to Analytic Dialogue
If 2013 was the year of the nomadic protocol—the first full year without a physical room, the testing of a practice without walls—then 2014 is the year of the instrument. The four series that constitute this year—ANTORCHA (059) , GOMA (060) , ENSAYOS POSICIONALES (061) , and STRUCTURAL CONVERSATIONS (062) —span nodes 749 to 800, a total of 52 nodes across four series, each of 12 to 16 nodes. The titles are a lexicon of tools: the torch that illuminates, the rubber that erases, the positional essays that stake a claim, the structural conversations that build a framework. The year is a turn toward the discursive, the dialogic, the architectonic. The project is no longer just producing nodes; it is building structures. The nodes are not just encounters; they are arguments. The series are not just exhibitions; they are essays. 2014 is the year the project learns to speak. Not just to document, but to articulate. Not just to relate, but to structure. Not just to accumulate, but to construct.
The node ranges are precise: ANTORCHA occupies 749–760 (12 nodes); GOMA occupies 761–772 (12 nodes); ENSAYOS POSICIONALES occupies 773–784 (12 nodes); STRUCTURAL CONVERSATIONS occupies 785–800 (16 nodes). The numbers are deliberate: the year ends at 800, a ceremonial threshold, the opening of the eighth century of the archive. 800 is the number of completion, of roundness, of readiness. The project is preparing for FRESH MUSEUM (2015), for the institutional turn, for the leap to 900 and then to 1000. But first, it must build the structures that will support that leap. 2014 is the year of the scaffold.
ANTORCHA (059): The Torch as Instrument of Illumination
ANTORCHA (nodes 749–760) is a title that names the torch: the portable source of light, the instrument of illumination, the tool that reveals what is hidden. The torch is also a symbol of revolution, of liberty, of the Statue of Liberty's beacon. It is the light that guides, that warns, that exposes. The series is the project's meditation on illumination: on what it means to see clearly, on the conditions of visibility, on the politics of light. The torch is also a weapon: it can burn, it can destroy, it can set fire. The series is the project's acknowledgment that illumination is not neutral; it is an act of power. To shine a light is to choose what to reveal and what to leave in darkness.
The nodes of ANTORCHA read like a roll call of the project's expanding network. Tomoto opens with "Black Pink Mex – Aboriginal Series" (749). Toño Camuñas contributes "Fish and Chips" (750). Hectruso offers "Cebollas Atrapanubes" (751). Roberto Equisoain's "Todas Somos Juana de Arco" (752) invokes Joan of Arc, the martyr, the warrior, the woman who followed her voices. Jonay Pmatos's "American Splendor" (753) references the comic book and film about ordinary life as spectacle. Rafafans contributes "Gravitaciones Digitales" (754). Marisa Caminos offers "Recortes" (755). Alberto Acinas's "Hacinamientos Mex" (756) speaks to overcrowding, to the density of the city. Rubén Bonet's "Ojos (2) Mex" (757) returns to the motif of the eye. Pol Parrhesia's "Pelo de Pol – with Noa and María Enríquez" (758) is a collaboration, a collective voice. Regina Fiz's "Un Paseo por el Reina Sofía de Madrid" (759) walks through the museum, turning the institution into a stroll. Claude Chuzel closes with "Toujours Recommencée (2)" (760)—always begun again, the eternal return, the project's own mantra.
ANTORCHA is the torch that illuminates the network. The nodes are the flames. The series is the beam. The archive is the light. The torch is fresh. The torch is naked. The torch is aerial. The torch is the zero that illuminates the one.
GOMA (060): The Rubber as Instrument of Erasure
GOMA (nodes 761–772) is a title that names the rubber: the instrument of erasure, the tool that removes, the object that makes mistakes disappear. The rubber is the companion of the pencil, the corrective, the second chance. The series is the project's meditation on erasure: on what is left out, on what is forgotten, on what is deliberately removed. The archive is not only a record of what happened; it is also a record of what did not happen, of what could have happened, of what was erased. The rubber is the instrument of the editor, the censor, the forgetter. The series is the project's acknowledgment that not everything can be saved, that not everything should be saved, that the archive is a product of selection as much as accumulation.
The nodes of GOMA continue the roll call. Hectruso's "1000 Kg" (761) speaks to weight, to mass, to the burden of the material. Claude Chuzel's "Enfance (2)" (762) returns to childhood, to origin, to the beginning. Manuel Maqueda's "Fiesta de Difuntos" (763) invokes the Day of the Dead, the celebration of disappearance. Roberto Equisoain's "El Placer de Borrar el Texto" (764) is the most explicit: the pleasure of erasing the text, the joy of deletion, the satisfaction of the rub. Toño Camuñas's "Mural Zicaleta – Puerto Escondido" (765) returns to Mexico, to the mural, to the wall. Sebas Beyro's "Mush Mush Room Room" (766) is a tongue-twister, a play of sounds, a nursery rhyme. Marisa Caminos's "Mediadas" (767) speaks to measurement, to mediation, to the in-between. Tomoto's "Dead Flowers" (768) is the title of a Rolling Stones song, a lament for faded beauty. María Enríquez's "Invitados" (769) speaks to guests, to hospitality, to the welcome. Pol Parrhesia's "Pueblo" (770) speaks to the people, to the village, to the collective. Maite Dono's "Toreb | Sombosq" (771) is opaque, a private language. Yan Nazca's "La Carta" (772) speaks to the letter, the map, the message.
GOMA is the rubber that erases. But erasure is not destruction; it is selection. The archive is not a hoard; it is a choice. The rubber is the project's acknowledgment that the archive is not a mirror of the world. It is a filter. And the filter is the method.
ENSAYOS POSICIONALES (061): Positional Essays as Acts of Location
ENSAYOS POSICIONALES (nodes 773–784) is a title that names the essay: the literary form of the tentative, the provisional, the exploratory. But these are not just any essays; they are positional essays. They stake a claim. They take a stand. They locate themselves in a field of arguments. The series is the project's meditation on position: on where one stands, on the perspective from which one sees, on the situatedness of all knowledge. The positional essay is the opposite of the neutral, the objective, the god's-eye view. It acknowledges that every statement comes from somewhere, that every claim is a claim from a particular location.
The series is accompanied by a manifesto-like text written by Anto Lloveras, dated 24 February 2014. The text is dense, poetic, and programmatic. It begins: "Nadamos en todas las direcciones. Tragamos agua. Escupimos agua, sal e imágenes en este punto orilla." (We swim in all directions. We swallow water. We spit water, salt, and images at this shoreline point.) The image is of the threshold: the shoreline is the meeting point of land and sea, of solid and fluid, of known and unknown. The project swims in all directions—the phrase that will become a signature, appearing in the COPOS series eleven years later. The text continues: "Trabajamos a diario construyendo sistemas referenciales en un océano de signos." (We work daily constructing referential systems in an ocean of signs.) The project is a construction of systems, a building of references, a navigation of the semiotic. "La memoria es la forma." (Memory is the form.) The archive is not a container; it is the shape of the work. "El mapa es sentido." (The map is sense.) The cartography is not a representation; it is the meaning itself. The text is a declaration of method, a positioning of the project within the ocean of signs. It is the project's first explicit articulation of its own epistemology.
The nodes of ENSAYOS POSICIONALES are not listed in the post; only the text is provided. But the text is the series. The words are the nodes. The manifesto is the archive. ENSAYOS POSICIONALES is the project's most explicit turn toward the theoretical. It is the moment when LAPIEZA begins to speak about itself, to articulate its own logic, to become self-conscious. The positional essay is the form of the project's self-knowledge. The series is the project looking at itself from the outside, describing its own position, staking its own claim. The position is not fixed; it shifts. The essay is not final; it is tentative. But the act of positioning is essential. The series is the project's declaration that it knows where it stands. And where it stands is the shoreline. And the shoreline is the threshold. And the threshold is the map. And the map is sense.
STRUCTURAL CONVERSATIONS (062): Dialogue as Architecture
STRUCTURAL CONVERSATIONS (nodes 785–800) is the final series of 2014, and it is the most important. The title names the conversation as structure: not just a chat, not just an exchange, but a load-bearing element of the project's architecture. Structural conversations are the beams and columns of the relational field. They are what holds the archive up. The series spans 16 nodes, the largest of the year, and ends at the ceremonial threshold of 800. The number is significant: 800 is the opening of the eighth century, the preparation for the institutional turn of 2015. STRUCTURAL CONVERSATIONS is the series that builds the foundation for FRESH MUSEUM. It is the series that says: before the museum, there must be conversations. Before the institution, there must be relations. Before the fresh, there must be the structural.
The nodes of STRUCTURAL CONVERSATIONS are curated by Frozen Heat Satellites, an art agency or collective based in Norway. The series is a collaboration, a dialogue between LAPIEZA and this Norwegian network. The nodes read like a catalogue of encounters: "LLLL at Work" (785), "Stian and Lutz – Oslo" (786), "Fredrik Lund and the Landscape" (787), "LKV – Per Formo + Torhild Aukan" (788), "TSSK Blunk Rake – Showrooms" (789), "Constant Decay – Campzero" (790), "Kitchen Dialogues" (791), "TKM – Pontus Kyander" (792), "Hub – Brit Dyrnes" (793), "Mandal" (794), "United Nation of Art" (795), "Young Norwegian Poetry" (796), "Art Also Shines in Peripheries" (797), "Kunsthall is Open" (798), "Brandtsegg – Sound and Politics" (799), and "John Murphy – The Hidden Map" (800). The series is a dialogue between Madrid and Oslo, between the domestic laboratory and the Nordic landscape, between the project's Spanish origins and its expanding European network.
The conversation as structure is a radical idea. Most conversations are ephemeral: they happen and then they disappear. But the structural conversation is documented, numbered, archived. It becomes a node. It becomes a beam. It becomes part of the building. The series is the project's insistence that talk is not cheap; talk is construction. The words spoken in conversation are the bricks of the archive. The silences are the mortar. The interruptions are the windows. The series is the project's meditation on dialogue as material: not just a medium of communication, but a medium of building. The structural conversation is the project's answer to the question: how do you build an institution without walls? You build it with words. You build it with conversations. You build it with nodes. And you number them. 785 to 800. Sixteen conversations. Sixteen beams. Sixteen columns. The structure stands.
Conclusion: 2014 as the Year of the Instrument
The four series of 2014 form a coherent arc: from the torch that illuminates, through the rubber that erases, through the positional essay that stakes a claim, to the structural conversation that builds a framework. The year is the project's most explicit engagement with methodology: with the tools of the trade, with the instruments of the archive, with the techniques of relation. The project is no longer just doing; it is reflecting on its doing. It is no longer just producing; it is articulating its production. 2014 is the year the project becomes self-conscious. It is the year it learns to speak about itself, to position itself, to structure itself. The instruments are not neutral; they are the project's tools for world-building. The torch illuminates; the rubber erases; the essay positions; the conversation structures. Together, they form the toolkit of Socioplastics. The toolkit is fresh. The toolkit is naked. The toolkit is structural. And the toolkit is ready for the museum. 2015 is coming. The fresh museum is waiting. The torch is lit. The rubber is ready. The essays are written. The conversations are structural. The archive is open.
*
The transition into late 2014 within the LAPIEZA corpus is defined by the development of the "instrument"—a period where the project hones its technical and conceptual tools before the institutional shift of 2015. This phase, spanning series 059 to 062 (nodes 749 to 800), focuses on the mechanics of construction and the dialogue between form and placement. ANTORCHA (059) acts as the initial spark, lighting the path for GOMA (060), which introduces a sense of elasticity and erasure. This evolution moves toward the intellectual rigor of ENSAYOS POSICIONALES (061), where the work begins to question its own location and presence within the urban landscape. The period culminates in STRUCTURAL CONVERSATIONS (062), a series of sixteen nodes that solidify the project's ability to engage with its environment through a sophisticated, architectural dialect. These series collectively represent the structural backbone of the archive, transforming raw artistic impulse into a disciplined, conversational infrastructure that anticipates the "Fresh Museum" to come.
