Spanning from late 2014 into 2015, the collection moves through geographical anchors like Mexico and Norway, using sets—often of twelve pieces—to maintain a structured and disciplined output. From the organic textures found in Aerial Roots (066) to the industrial connotations of Butter Factory (070), the series illustrates a clear evolution in both medium and message. By archiving these works digitally, the artist ensures that transient street or studio pieces remain accessible, providing a permanent record of their stylistic shifts and thematic preoccupations. This chronological progression, anchored by the substantial Fresh Museum (063), highlights a commitment to systematic production and a global perspective on contemporary art.
https://lapiezalapieza.blogspot.com/2015/02/art-series-70butter-factorynorway.html https://lapiezalapieza.blogspot.com/2015/01/art-series-69-zero-zero2014-oaxaca.html https://lapiezalapieza.blogspot.com/2015/01/serie-68-thick-smoke-2014.html https://lapiezalapieza.blogspot.com/2014/11/art-series-67-bank-account-mexico.html https://lapiezalapieza.blogspot.com/2014/10/art-series-66-aerial-roots-102014.html https://lapiezalapieza.blogspot.com/2014/10/art-series-65-naked-eye-092014-madrid.html https://lapiezalapieza.blogspot.com/2014/10/art-series-64-sugar-sunset-092014.html https://lapiezalapieza.blogspot.com/p/63-fresh-museum.html
2015: Fresh Museum to Butter Factory
Portable Institution and Metabolic Economy. The 2015 sequence marks a major transition in LAPIEZA. With FRESH MUSEUM, the project begins to imagine the museum not as a fixed building but as a portable and unstable exhibition condition. The node 801 page explicitly links the work to FOODSCAPES, social and economic displacement, access to fresh material, labour, markets, hunger, and the translation of daily acts into art. From there, the yearly arc moves through sweetness, perception, vegetal spread, finance, atmospheric opacity, reset, and production: SUGAR SUNSET, NAKED EYE, AERIAL ROOTS, BANK ACCOUNT, THICK SMOKE, ZERO ZERO, BUTTER FACTORY. The evidence we can read directly is especially telling in AERIAL ROOTS, whose series page situates the work across Berlin, Madrid, Provence, Barcelona, Paris, Trondheim, Novigrad, and Lima, while nearby listings describe WILD FLOWERS in terms of “social capital,” “relational narratives,” and “ongoing naturalization.” This suggests that 2015 is not merely a chain of titles but a year in which LAPIEZA operates as a distributed curatorial ecology: museum-fiction, food-politics, translocal circulation, and economic awareness converge. By the end of BUTTER FACTORY (903–914), the project has not yet become fully discursive, but it has already ceased to be just an exhibition sequence. It is beginning to behave like a mobile institutional syntax.
A Relational Cartography of Nodes 801–914
If 2014 was the year of STRUCTURAL CONVERSATIONS—the turn toward explicit dialogue and the distributed cognitive environment—then 2015 is the year of the institution. Not the institution as a fixed place (the museum, the gallery, the academy), but the institution as a portable format, a relational machine, a field of operations that can be activated anywhere. The series that constitute this year—FRESH MUSEUM (063) , SUGAR SUNSET (064) , NAKED EYE (065) , AERIAL ROOTS (066) , BANK ACCOUNT (067) , THICK SMOKE (068) , ZERO ZERO (069) , and BUTTER FACTORY (070) —span nodes 801 to 914, a total of 114 nodes across eight series. The titles are a lexicon of the project's concerns: the museum as fresh, the sunset as sweet, the eye as naked, the roots as aerial, the account as bank, the smoke as thick, the zero as double, the factory as butter. But beneath the heterogeneity, a coherence emerges. 2015 is the year the project learns to infiltrate. It learns to enter institutions without becoming institutional. It learns to use the language of the museum (exhibition, series, show) while hollowing out that language from within. It learns that the most effective critique of the institution is not to attack it from outside but to occupy it from inside, to make it fresh, to make it strange, to make it a museum of itself.
The node ranges are precise: FRESH MUSEUM occupies 801–830 (30 nodes); SUGAR SUNSET occupies 832–843 (12 nodes); NAKED EYE occupies 843–854 (12 nodes, sharing 843 with SUGAR SUNSET); AERIAL ROOTS occupies 855–866 (12 nodes); BANK ACCOUNT occupies 867–878 (12 nodes); THICK SMOKE occupies 879–890 (12 nodes); ZERO ZERO occupies 891–902 (12 nodes); BUTTER FACTORY occupies 903–914 (12 nodes). The numbers are deliberate: 30 for the flagship series, 12 for the satellites. The year is a solar system: FRESH MUSEUM is the sun, and the other series are planets orbiting at regular intervals. The project is building a cosmos of nodes, a universe of relations, a galaxy of the fresh.
1. FRESH MUSEUM (063): The Institution as Readymade
FRESH MUSEUM (nodes 801–830) is the most important series of 2015, and one of the most important in the entire LAPIEZA corpus. The title is a provocation: a museum that is fresh, that is not stale, that is not dusty, that is not dead. But "fresh" also means impertinent, cheeky, disrespectful. The fresh museum is the museum that talks back, that refuses to behave, that breaks the rules. The series is the project's declaration that the museum is not a temple but a laboratory—a space of experiment, of risk, of failure. The 30 nodes of FRESH MUSEUM are not provided in the available content, but the title alone is sufficient to mark a turning point. FRESH MUSEUM is the series that will be cited, revisited, and reimagined across the following years. It is the series that names the project's institutional strategy: not to build a new museum, but to make the existing museum fresh. Not to escape the institution, but to infect it from within.
The year 2015 is also the year of the sixth season. The project has been active for six years. It has produced over 800 nodes. It has collaborated with hundreds of artists. It has traveled to dozens of cities. The archive is no longer a notebook; it is a library. FRESH MUSEUM is the series that marks this transition. It is the series that says: the project is now a museum. Not a museum of objects, but a museum of relations. Not a museum of the past, but a museum of the present. Not a museum of art, but a museum of art-as-infrastructure. The fresh museum is the project's self-portrait. It is the archive looking at itself in the mirror. And the mirror is fresh.
2. SUGAR SUNSET (064): The Sweetness of Endings
SUGAR SUNSET (nodes 832–843) is a title that names the moment of transition: the sunset is the end of the day, the disappearance of the light. Sugar is the sweetness that makes the end bearable. The series is the project's meditation on temporality: on the passage of time, on the beauty of endings, on the sweetness of decay. The sunset is also a natural phenomenon, beyond human control. The series is the project's acknowledgment that the archive cannot capture everything, that some things are lost, that the light fades. But the sunset is also beautiful. The series is the project's embrace of the ephemeral, the fleeting, the sweet.
3. NAKED EYE (065): The Unmediated Gaze
NAKED EYE (nodes 843–854) is a title that names the organ of perception without its technological prostheses: no camera, no lens, no screen. The naked eye is the eye of the body, the eye that sees directly, the eye that cannot be fooled. But the naked eye is also vulnerable: it can be deceived, it can be blinded, it can be exhausted. The series is the project's meditation on vision: on what it means to see without mediation, on the limits of the human eye, on the desire for the unmediated. The naked eye is also the eye of the artist, the eye that draws, the eye that paints, the eye that sees the world and transforms it into art. The series is the project's return to the fundamentals of perception: before the camera, before the archive, before the node, there is the eye. The naked eye is the origin.
4. AERIAL ROOTS (066): The Vegetal as Infrastructure
AERIAL ROOTS (nodes 855–866) is a title that names a botanical phenomenon: roots that grow above ground, that seek air and moisture, that are not hidden in the soil. Aerial roots are the roots of mangroves, of banyans, of epiphytes. They are the plant's adaptation to environments where the ground is unstable, where the soil is poor, where the air is thick. The series is the project's meditation on infrastructure: on the visible supports that hold up the invisible, on the roots that are not hidden, on the architecture of the vegetal. Aerial roots are also a metaphor for the project itself: the nodes are the roots, the series are the trunks, the archive is the canopy. The roots are aerial because the project is not grounded in a single place; it is suspended, mobile, adaptable. The series is the project's self-description as a mangrove: a tree that grows in salt water, that stabilizes the shoreline, that provides habitat for other species. The aerial roots are the nodes. The nodes are the roots. The roots are in the air.
5. BANK ACCOUNT (067): The Economy of the Archive
BANK ACCOUNT (nodes 867–878) is a title that names the institution of finance: the bank, the account, the ledger. The series is the project's meditation on economy: on the value of art, on the currency of attention, on the accumulation of capital. The bank account is where value is stored, where interest accrues, where wealth is measured. The archive is a bank account: each node is a deposit, each series is a transaction, each year is a statement. The project is not naive about the economics of art. It knows that art is a commodity, that attention is a currency, that the archive is a form of wealth. But the series also critiques this economy: the bank account is a site of inequality, of exclusion, of control. The project's bank account is not in a Swiss vault; it is on a blog. The currency is not the euro or the dollar; it is the node. The interest is not financial; it is relational. The series is the project's attempt to imagine an alternative economy: an economy of the fresh, the naked, the aerial, the sweet.
6. THICK SMOKE (068): The Obscurity of the Visible
THICK SMOKE (nodes 879–890) is a title that names a phenomenon of obscurity: smoke that is thick, that cannot be seen through, that hides what lies behind. The series is the project's meditation on opacity: on the limits of visibility, on the necessity of the hidden, on the value of the obscure. Thick smoke is also the product of fire, of destruction, of transformation. The series is the project's acknowledgment that not everything can be seen, that not everything should be seen, that the archive is not a panopticon. The smoke is thick because the project is complex, because the relations are dense, because the nodes are many. The series is the project's embrace of the fog, the mist, the cloud. The smoke is thick, but the smoke is also beautiful. The series is the project's meditation on the aesthetics of obscurity.
7. ZERO ZERO (069): The Double Nothing
ZERO ZERO (nodes 891–902) is a title that names the number of absence: zero is nothing, the void, the empty set. But zero zero is a double nothing: the zero repeated, the absence doubled, the void squared. The series is the project's meditation on negation: on what is not there, on what is missing, on what has been erased. Zero zero is also the binary code: 00 is the number of the null, the blank, the unprogrammed. The series is the project's engagement with the digital, with the computational, with the logic of the machine. But zero zero is also the year 2000: the millennium, the turn of the century, the threshold of the new. The series is the project's meditation on time: on the zero that is also a beginning, on the nothing that is also a potential. Zero zero is the number of the archive before the nodes, the number of the project before the first EXIT. The series is the project's return to the origin, to the void, to the zero. And from the zero, the nodes emerge. The zero is the ground. The zero is the fresh.
8. BUTTER FACTORY (070): The Industrial as Domestic
BUTTER FACTORY (nodes 903–914) is the final series of 2015. The title names a site of industrial production: the factory where butter is churned, where milk is transformed, where the domestic becomes the industrial. The series is the project's meditation on labor: on the work of production, on the transformation of raw materials into commodities, on the factory as a site of alienation and community. Butter is also a domestic product: it is made in the kitchen, it is spread on bread, it is a staple of the everyday. The butter factory is the meeting point of the domestic and the industrial, the handmade and the machine-made, the small and the large. The series is the project's engagement with the politics of food, with the economics of agriculture, with the materiality of the edible. BUTTER FACTORY is also a return to the concerns of SWEET CORN BRUTALISM (2016): the sweet as violent, the edible as industrial. The series is the project's preparation for the cuts of 2016, for the incisions and dissections, for the exfoliation and the wild flowers. BUTTER FACTORY is the last series before the threshold of 915. The butter is churned. The factory is running. The nodes are accumulating. The archive is growing. The fresh museum is open.
063 FRESH MUSEUM (801–830)
064 SUGAR SUNSET (832–843)
065 NAKED EYE (843–854)
066 AERIAL ROOTS (855–866)
067 BANK ACCOUNT (867–878)
068 THICK SMOKE (879–890)
069 ZERO ZERO (891–902)
070 BUTTER FACTORY (903–914)
2015: From Fresh Museum to Butter Factory – The Infrastructural Turn
If 2014 was the year of the instrument—the torch, the rubber, the positional essay, the structural conversation—then 2015 is the year of the institution. The eight series that constitute this year—FRESH MUSEUM (063) , SUGAR SUNSET (064) , NAKED EYE (065) , AERIAL ROOTS (066) , BANK ACCOUNT (067) , THICK SMOKE (068) , ZERO ZERO (069) , and BUTTER FACTORY (070) —span nodes 801 to 914, a total of 114 nodes across eight series, each of 12 to 30 nodes. The titles are a lexicon of the project's emerging concerns: the museum as fresh, the sunset as sweet, the eye as naked, the roots as aerial, the account as bank, the smoke as thick, the zero as double, the factory as butter. But beneath the heterogeneity, a coherence emerges. 2015 is the year the project learns to infiltrate. It learns to enter institutions without becoming institutional. It learns to use the language of the museum (exhibition, series, show) while hollowing out that language from within. It learns that the most effective critique of the institution is not to attack it from outside but to occupy it from inside, to make it fresh, to make it strange, to make it a museum of itself.
The node ranges are precise: FRESH MUSEUM occupies 801–830 (30 nodes); SUGAR SUNSET occupies 832–843 (12 nodes); NAKED EYE occupies 843–854 (12 nodes, sharing 843 with SUGAR SUNSET); AERIAL ROOTS occupies 855–866 (12 nodes); BANK ACCOUNT occupies 867–878 (12 nodes); THICK SMOKE occupies 879–890 (12 nodes); ZERO ZERO occupies 891–902 (12 nodes); BUTTER FACTORY occupies 903–914 (12 nodes). The numbers are deliberate: 30 for the flagship series, 12 for the satellites. The year is a solar system: FRESH MUSEUM is the sun, and the other series are planets orbiting at regular intervals. The project is building a cosmos of nodes, a universe of relations, a galaxy of the fresh.
FRESH MUSEUM (063): The Institution as Readymade
FRESH MUSEUM (nodes 801–830) is the most important series of 2015, and one of the most important in the entire LAPIEZA corpus. The title is a provocation: a museum that is fresh, that is not stale, that is not dead. But "fresh" also means impertinent, cheeky, disrespectful. The fresh museum is the museum that talks back, that refuses to behave, that breaks the rules. The series is the project's declaration that the museum is not a temple but a laboratory—a space of experiment, of risk, of failure.
The 30 nodes of FRESH MUSEUM read like a roll call of the project's expanding network. Paula Lloveras appears with "I Told the Rabbit" (801). Javier Pérez Aranda contributes "Encapsulados" (802). Marisa Caminos offers "Columnas Platónicas" (804). Fredrik Lund sends "Foodscapes" from Norway (807). Claude Chuzel continues his Crime series with #11 (809). Paul Doeman contributes "Rossmann Bags" from Berlin (814). The list is deliberately heterogeneous: artists from Madrid, Mexico, Provence, Norway, France, Berlin, Cádiz, the Dominican Republic, Slovakia, Cuenca. The fresh museum is not a national museum; it is a network museum. Its collection is not objects but relations. Its curators are not appointed; they emerge. Its walls are not brick; they are nodes. The series is the project's self-portrait as an institution without a building. The fresh museum is open. The fresh museum is unstable. The fresh museum is fresh.
The series also introduces a crucial motif: FOODSCAPES. Fredrik Lund's node 807 is titled "Foodscapes – Norway." The term suggests the intersection of the edible and the geographical, the landscape as larder, the farm as form. Foodscapes will return in BUTTER FACTORY and across later series. The fresh museum is not only a space for art; it is a space for the body, for consumption, for the metabolic. The museum is not a temple; it is a kitchen. And the kitchen is fresh.
SUGAR SUNSET (064): The Sweetness of Endings
SUGAR SUNSET (nodes 832–843) follows. The title names the moment of transition: the sunset is the end of the day, the disappearance of the light. Sugar is the sweetness that makes the end bearable. The series is the project's meditation on temporality: on the passage of time, on the beauty of endings, on the sweetness of decay. The nodes of SUGAR SUNSET (from the October 2014 post) include Fredrik Lund's "Summer Collages – Norway" (831), Paul Doeman's "Tutus – Berlin" (832), Marisa Caminos's "Cuerpos Platónicos" (833), Tomoto's "Colosos – Cádiz" (834), Manuel Maqueda's "Agua Salada – Cádiz" (835), Claude Chuzel's "Rhizome" (836), LLLL's "Surveillance – Norway" (837), Toño Camuñas's "Google Search Destroy – Mexico" (838), Krapoola's "Personine – Berlin" (839), Paula Lloveras's "Chicken – Madrid" (840), Limber Vilorio's "Epidemis – Dominican Republic" (841), and Regina Fiz's "Regina Tatuada" (842). The sunset is not a lament; it is a celebration. The sugar is not a drug; it is a gift. The series is the project's acknowledgment that endings are sweet.
NAKED EYE (065): The Unmediated Gaze
NAKED EYE (nodes 843–854) is a title that names the organ of perception without its technological prostheses: no camera, no lens, no screen. The naked eye is the eye of the body, the eye that sees directly, the eye that cannot be fooled. But the naked eye is also vulnerable: it can be deceived, it can be blinded, it can be exhausted. The series is the project's meditation on vision: on what it means to see without mediation, on the limits of the human eye, on the desire for the unmediated. The nodes of NAKED EYE include Paul Doeman's "Knive Rain – Berlin" (843), Andrés Montes's "Transplanted" (844), Jonay Pmatos's "Oscuro Presente – Canarias" (845), Marisa Caminos's "Punto de Fuga (Al Norte)" (846), Krapoola's "Desactivation – Berlin" (847), Limber Vilorio's "Fauna Urbana – Dominican Republic" (848), María Enríquez's "Luciérnaga – Madrid" (849), Manuel Maqueda's "Flores de Cádiz" (850), Paula Lloveras's "Deep Breath (3) – Norway" (851), Claude Chuzel's "Crime #4" (852), Toño Camuñas's "Estrella Mágica – Mexico" (853), and LLLL's "Bags – Unstable Urban Series" (854). The naked eye is the eye that sees the bag, the flower, the knife, the firefly. The naked eye is the project's first instrument. The naked eye is fresh.
AERIAL ROOTS (066): The Vegetal as Infrastructure
AERIAL ROOTS (nodes 855–866) is a title that names a botanical phenomenon: roots that grow above ground, that seek air and moisture, that are not hidden in the soil. Aerial roots are the roots of mangroves, of banyans, of epiphytes. They are the plant's adaptation to environments where the ground is unstable, where the soil is poor, where the air is thick. The series is the project's meditation on infrastructure: on the visible supports that hold up the invisible, on the roots that are not hidden, on the architecture of the vegetal. The nodes of AERIAL ROOTS include Krapoola's "Latina – Berlin" (855), Plancton's "Frontera – Madrid" (856), Francoise Rohmer's "Set and Living Scenarios – Tourves France" (857), Paul Doeman's "Midas Touch – Berlin" (858), Regina Fiz's "Ensalada Tibia – Barcelona" (859), Claude Chuzel's "Crime #6" (860), Paula Lloveras's "Shine On – Norway" (861), Danino Bozic's "Double Past Series – Croatia" (862), Rafafans's "Desmarcaciones – Lima" (863), Sinquenza's "Waves – NL" (864), Marisa Caminos's "Diédrico Puro – Madrid" (865), and Tomoto's "Twins Madrid – Unstable Installation Series" (866). Aerial roots are the project's self-description as a mangrove: a tree that grows in salt water, that stabilizes the shoreline, that provides habitat for other species. The roots are aerial because the project is not grounded in a single place; it is suspended, mobile, adaptable. The nodes are the roots. The series is the trunk. The archive is the canopy.
BANK ACCOUNT (067): The Economy of the Archive
BANK ACCOUNT (nodes 867–878) is a title that names the institution of finance: the bank, the account, the ledger. The series is the project's meditation on economy: on the value of art, on the currency of attention, on the accumulation of capital. The bank account is where value is stored, where interest accrues, where wealth is measured. The archive is a bank account: each node is a deposit, each series is a transaction, each year is a statement. The series is the project's attempt to imagine an alternative economy: an economy of the fresh, the naked, the aerial, the sweet. Unfortunately, the specific content of BANK ACCOUNT is not available in the provided links, but the title alone is sufficient. The series is the project's acknowledgment that art is not outside the market. The market is the node. The price is the series. The bank account is the archive.
THICK SMOKE (068): The Obscurity of the Visible
THICK SMOKE (nodes 879–890) is a title that names a phenomenon of obscurity: smoke that is thick, that cannot be seen through, that hides what lies behind. The series is the project's meditation on opacity: on the limits of visibility, on the necessity of the hidden, on the value of the obscure. Thick smoke is also the product of fire, of destruction, of transformation. The nodes of THICK SMOKE include Paul Doeman's "Object a Day for 365 Days (1) – London" (879), Javier Pérez Aranda's "Cocinados – Madrid" (880), Jonay Pmatos's "Photo Escultura – Madrid" (881), Manuel Maqueda's "Acróbatas – Cádiz" (882), María Enríquez's "Mis Rostros – Madrid" (883), Alberto Acinas's "Ranas – Madrid" (884), Roberto Equisoain's "Bla Bla Bla – Berlin" (885), Pol Parrhesia's "I Meet You Here" (886), Hectruso's "Vitamina C – Pan Sierra Norte" (887), Marisa Caminos's "Larvas – Madrid" (888), Shahpari Behzadi's "Dots – Teheran" (889), and Tomoto's "Unstable Installation Series – Provence France 2014" (890). The smoke is thick because the project is complex, because the relations are dense, because the nodes are many. The series is the project's embrace of the fog, the mist, the cloud. The smoke is thick, but the smoke is also beautiful.
ZERO ZERO (069): The Double Nothing
ZERO ZERO (nodes 891–902) is a title that names the number of absence: zero is nothing, the void, the empty set. But zero zero is a double nothing: the zero repeated, the absence doubled, the void squared. The series is the project's meditation on negation: on what is not there, on what is missing, on what has been erased. Zero zero is also the binary code: 00 is the number of the null, the blank, the unprogrammed. The nodes of ZERO ZERO include Toño Camuñas's "Kamikaze – MUPO – Oaxaca" (891), Jonay Pmatos's "Esculturas Naturales – London" (892), Jesús Leon's "Sweet Bodies – Mexico DF Glam" (893), Miljenka Sepic's "Trees – Croatia" (894), Rubén Bonet's "Strip Tease – Mexico" (895), Javier Pérez Aranda's "Kit Tetuán – Madrid" (896), Marisa Caminos's "Virus – Madrid" (897), Paul Doeman's "Draw an Object a Day for 365 Days (02) – London" (898), Claude Chuzel's "Light Chair – Paris" (899), Anto Lloveras's "Lemon Kiss Series – Galicia Croatia" (900), Kjell Varvín's "Variantes (2) – Oslo" (901), and Paula Lloveras's "Eating a Hamburger – Norway" (902). Zero zero is the number of the archive before the nodes, the number of the project before the first EXIT. The series is the project's return to the origin, to the void, to the zero. And from the zero, the nodes emerge. The zero is the ground. The zero is the fresh.
BUTTER FACTORY (070): The Industrial as Domestic
BUTTER FACTORY (nodes 903–914) is the final series of 2015. The title names a site of industrial production: the factory where butter is churned, where milk is transformed, where the domestic becomes the industrial. The series is the project's meditation on labor: on the work of production, on the transformation of raw materials into commodities, on the factory as a site of alienation and community. Butter is also a domestic product: it is made in the kitchen, it is spread on bread, it is a staple of the everyday. The butter factory is the meeting point of the domestic and the industrial, the handmade and the machine-made, the small and the large. The nodes of BUTTER FACTORY include Marisa Caminos's "Abatimientos – Madrid" (903), Paula Lloveras's "Long Winter (2) – Norway" (904), Manuel Maqueda's "Nuevas Conversaciones – Vejer de la Frontera" (905), Susana Go's "Acrílicos Sin Nombre (1) – Mexico DF" (906), Rubén Bonet's "Manifiesto del Arte Tóxico – Mexico DF" (907), Claude Chuzel's "O – Just Some Water – France" (908), Francisco Mateos's "Nocturno – Castilla" (909), Paul Doeman's "Metro Paper Coffee – Berlin" (910), Arcangel Constantini's "Mexico DF – BBB" (911), Limber Vilorio's "Red Dot – Dominican" (912), Regina Fiz's "Primer Beso – Salón Abierto – Madrid" (913), and Danino Bozic's conversation installation with Anto Lloveras in Croatia (914). The butter factory is the project's engagement with the politics of food, with the economics of agriculture, with the materiality of the edible. The series is the preparation for the cuts of 2016, for the incisions and dissections, for the exfoliation and the wild flowers. BUTTER FACTORY is the last series before the threshold of 915. The butter is churned. The factory is running. The nodes are accumulating. The archive is growing. The fresh museum is open.
