If 2015 was the year of FRESH MUSEUM—the project's decisive turn toward institutional infiltration and the portable exhibition format—then 2016 is the year of the cut. The five series that constitute this year—SWEET CORN BRUTALISM (071) , INCISIONS AND DISSECTIONS (072) , EXFOLIATION (073) , WILD FLOWERS (074) , and THE WORD (075) —form a coherent arc of operations performed on the body of the city, the body of the archive, and the body of language itself. The titles are surgical: incisions, dissections, exfoliation. They are also vegetal: sweet corn, wild flowers. And they are linguistic: the word. The year spans nodes 915 to 1000—eighty-six nodes in total, culminating in the millennium node, the thousandth entry in the LAPIEZA archive. 2016 is the year the project crosses from three digits to four. It is the year the archive becomes a library. It is the year the cut becomes a method. The node ranges are precise: SWEET CORN BRUTALISM occupies 915–926 (12 nodes); INCISIONS AND DISSECTIONS occupies 927–940 (14 nodes); EXFOLIATION occupies 941–960 (20 nodes); WILD FLOWERS occupies 961–980 (20 nodes); THE WORD occupies 981–1000 (20 nodes). The numbers are not accidental. The series grow in length as the year progresses, building toward the ceremonial hundredth node of THE WORD. The project is counting down to 1000, but it is also counting up: from 915 to 1000, from the middle of the ninth century to the threshold of the tenth. The millennium is not celebrated; it is approached. And the approach is a series of cuts.
THE WORD (981-1000) concludes a season with twenty pieces from 2016, visible at
1. SWEET CORN BRUTALISM (071): The Edible as Violent
SWEET CORN BRUTALISM (nodes 915–926) is a title that performs a violent juxtaposition. Sweet corn is American, industrial, genetically modified, the stuff of feedlots and fast food. Brutalism is a architectural movement of raw concrete, massive forms, and socialist ambition. The combination is dissonant: the soft and the hard, the edible and the inhabitable, the sweet and the brutal. The series is an exercise in holding opposites together. The nodes of SWEET CORN BRUTALISM (as listed in the 2015 post, though the series is dated 2016) include:
915 PAULA LLOVERAS – DEEP BREATH (4) NORWAY 2015 – Deep breath returns. The fourth iteration. Norway is the location. The node is the breath as series, the inhalation as repetition.
916 FRANCISCO MATEOS – ANUNCIACIÓN – CASTILLA 2015 – The Annunciation is the angel's visit to Mary, the announcement of the incarnation. Castilla is the region of Spain, the landscape of Cervantes, of Don Quixote. The node is the sacred as rural.
917 ROBERTO EQUISOAIN – WAS IST METAPHYSIK? BERLIN 2015 – "What is metaphysics?" is the question posed by Heidegger, by philosophy, by the tradition. Berlin is the city of trauma, of division, of reunification. The node is the question as node.
918 PAUL DOEMAN – ANIMATE OBJECTS IN CONTEXT – EAST LONDON – Animate objects are things that move, that have life, that are not dead. East London is the site of so much contemporary art production. The node is the object as actor.
919 GORO SHIMANO – CONVERSATIONS – DALSTON SOHO LONDON 2015 – Conversations continue. Dalston and Soho are neighborhoods in London, one trendy, one historic. The node is the talk as geography.
920 CONTEXT CONVERSATIONS WITH JESUS ANDRÉS – Context conversations: the project's signature mode. Jesus Andrés is a collaborator, a name, a node. The node is the context as content.
921 CLAUDE CHUZEL – CRIME #10 FRANCE – Crime returns from earlier series (CRIME appears in FRESH MUSEUM). #10 is the number. France is the location. The node is the crime as series.
922 MARISA CAMINOS – LARVAS (2) MADRID – Larvae are the immature form of insects, the stage before metamorphosis. (2) is the second iteration. Madrid is the location. The node is the larva as potential.
923 KJELL VARVIN – VARIABLES (3) OSLO – Variables are the changing terms in an equation, the unknowns, the inputs. (3) is the third iteration. Oslo is the location. The node is the variable as node.
924 TOMOTO – PROTISTAS – UNSTABLE SERIES – Protistas return from 2017 (IDIOM: 1023 TOMOTO – PROTISTA – SLOVAKIA). The unstable series is the project's self-description. The node is the microbe as method.
925 EL INTRUSO – BEST OF 2013 / 2014 – The Intruder compiles, selects, curates. The best of two years: a greatest hits, a retrospective, a summary. The node is the archive as selection.
926 FREDRIK LUND – FOODSCAPES – NORWAY – Foodscapes are landscapes of food: fields, farms, factories, tables. Norway is the location. The node is the edible as geography.
SWEET CORN BRUTALISM is the edible as violent: the sweet corn that is also concrete, the breath that is also a cut, the conversation that is also a crime, the larva that is also a variable, the foodscape that is also a brutalist housing estate. The series is the project's most explicit engagement with the paradoxes of consumption: we eat the world, and the world eats us.
2. INCISIONS AND DISSECTIONS (072): The Body as Text
INCISIONS AND DISSECTIONS (nodes 927–940) is the most explicitly surgical series in the LAPIEZA corpus. The title names two operations: the incision (the cut that opens the body) and the dissection (the systematic separation of parts). The series is introduced by a long epigraph from the philosopher José Luis Pardo, which theorizes the "fruitful theory of intimacy." Pardo writes:
"The context is a hunted animal. The outer skin is advertising, the protective layer, brilliant though rough and indigestible (not in vain does it hold the monopoly of violence), which is seen from the outside and protects the interior; the nutritious and succulent flesh, privacy, a zone of maturity where individuals enjoy the treasure of their properties safeguarded from public voracity. The opaque, solid, impenetrable bone, nuclear heart and germinal seed that has neither taste nor brilliance, is intimacy."
The text is a dissection of the social: the skin (advertising), the flesh (privacy), the bone (intimacy). The series performs this dissection on the city, on the archive, on the body of the project. The nodes of INCISIONS AND DISSECTIONS:
927 FREDRIK LUND – FRAMING THE LANDSCAPE – NORWAY – Framing is the act of cutting the landscape, of selecting a view, of making a picture. Norway is the location. The node is the frame as incision.
928 DAVE BULL – INTERIOR MINIMAL POP – LONDON 2015 – Interior is the space inside, the privacy, the flesh. Minimal pop is a style, a genre, a contradiction. London is the location. The node is the interior as pop.
929 LIMBER VILORIO – SKIN(S) 00-01-02 – SCULPTURE AND IDENTITY – Skin is the outer layer, the advertising, the protective coat. (S) plural: multiple skins, multiple identities. Sculpture and identity: the three-dimensional as the personal. The node is the skin as sculpture.
930 MARISA CAMINOS – GEOMETRÍAS CON CLASE – MADRID 2015 – Geometries with class: the forms of the social, the shapes of hierarchy. Madrid is the location. The node is the geometry as dissection.
931 TOÑO CAMUÑAS + DR. LAKRA – MISTERIOS CRÍPTICOS – MEXICO 2015 – Cryptic mysteries: the hidden, the encoded, the secret. Mexico is the location. The node is the mystery as incision.
932 MANUEL MAQUEDA – EL LARGO BESO – CADIZ – The long kiss: the mouth as organ, the kiss as duration. Cádiz is the location. The node is the kiss as dissection.
933 GORO SHIMANO – THE IDEA OF A PORTRAIT – LONDON 2015 – The idea of a portrait: the concept of representation, the theory of the face. London is the location. The node is the idea as incision.
934 PAULA LLOVERAS – GARDEN CITY – PHOTO SERIES – NORWAY 2015 – Garden city: the utopian urbanism of Ebenezer Howard, the fusion of town and country. Photo series: the project's medium. Norway is the location. The node is the garden as dissection.
935 ALFRED ZORRITA – NO TRACE OF MY TRUE LOVE – MEXICO CITY 2015 – No trace: the absence, the disappearance, the lost. True love: the romantic ideal, the impossible. Mexico City is the location. The node is the trace as incision.
936 MARIA ENRIQUEZ – MIS OJOS EN UN PAÑUELO – MADRID 2015 – My eyes in a handkerchief: the tears, the grief, the blindness. Madrid is the location. The node is the eye as dissection.
937 PAUL DOEMAN – DIARY OF OBJECT DRAWINGS – CLOUD – LONDON 2015 – The diary of object drawings returns from 2015 (CLOUD series). The cloud is the archive, the distributed storage, the network. London is the location. The node is the object as incision.
938 RUBÉN BONET – FUNDACIÓN ADOPTE A UN ESCRITOR – MEXICO 2015 – Adopt a writer: the patronage model, the sponsorship of the literary. Mexico is the location. The node is the writer as dissection.
939 SINQUEZA – ON TOUR – MOBILE PHOTOS – On tour: the nomadic life, the constant movement. Mobile photos: the smartphone as camera, the everyday as document. The node is the tour as incision.
940 ANTO LLOVERAS – TAXIDERMY – THE CITY IS AN ANIMAL – LONDON 2015 – Taxidermy returns (from 1100 TAXIDERMY III). The city is an animal: the claim of TOMOTO (1015 THE CITY IS AN ANIMAL), now claimed by Lloveras. London is the location. The node is the taxidermy as dissection.
INCISIONS AND DISSECTIONS is the body as text: the skin, the flesh, the bone. The series cuts open the city, the archive, the self. It is the project's most sustained engagement with the metaphor of the body as social field. The city is an animal. The archive is a taxidermy. The node is a scalpel.
3. EXFOLIATION (073): The Shedding of Skin
EXFOLIATION (nodes 941–960) is the natural successor to INCISIONS AND DISSECTIONS. Where incision is a cut from the outside, exfoliation is a shedding from the inside. The series is introduced by a brief text:
"LAPIEZA advances this summer toward its new peak. The elastic body stretches to reach the thousand-meter mark. The active artists celebrate each new base, camps of creative impunity. The sixth season takes flight."
The language is mountaineering: peak, base, camps. The archive is a mountain. The nodes are the ascent. Exfoliation is the shedding of skin that happens at altitude, the body's adaptation to thin air. The nodes of EXFOLIATION (from the July 2015 post, though the series is dated 2016):
941 TOMOTO – URBAN JEWELS – MADRID ROTTERDAM LONDON AIX PRAHA – Urban jewels: the precious in the everyday, the gem in the concrete. Five cities: Madrid, Rotterdam, London, Aix-en-Provence, Prague. The node is the jewel as exfoliation.
942 PAULA LLOVERAS – BRANCHES – ECO URBANISM – NORWAY – Branches: the limbs of trees, the divisions of rivers, the offshoots of the archive. Eco urbanism: the green city. Norway is the location. The node is the branch as exfoliation.
943 MIGAS – MARÍA ENRÍQUEZ – MIGAS – MADRID – Migas is a Spanish dish of fried breadcrumbs, a peasant food, a meal of leftovers. María Enríquez is the artist. Madrid is the location. The node is the crumb as exfoliation.
944 MANUEL MAQUEDA – UNA DE CAL – CÁDIZ – Una de cal (one of lime) is a phrase from the Spanish expression "una de cal y una de arena" (one of lime and one of sand), meaning alternating good and bad. Cádiz is the location. The node is the lime as exfoliation.
945 FREDRIK LUND – STUDIO – NORWAY – Studio: the space of production, the site of the cut. Norway is the location. The node is the studio as exfoliation.
946 PAUL DOEMAN – WILD DAYS – LONDON – Wild days: the untamed, the uncontrolled, the free. London is the location. The node is the day as exfoliation.
947 SHAHPARI BEHZADI – BLUE ON YELLOW – IRAN – Blue on yellow: the color combination, the contrast, the composition. Iran is the location. The node is the color as exfoliation.
948 JEAN-PIERRE LUSSEAU – WHAT WHAT? – What what? The question repeated, the confusion doubled. The node is the question as exfoliation.
949 RUBÉN LORENZO – CARDBOARD – NATIONAL LIBRARY – MADRID – Cardboard: the material of boxes, of packaging, of the temporary. National Library: the institution of preservation, of permanence. Madrid is the location. The node is the cardboard as exfoliation.
950 SINQUENZA – URBAN SURVIVORS – NEDERLAND – Urban survivors: those who make it in the city, who endure, who persist. Nederland is the Netherlands. The node is the survivor as exfoliation.
951 JAVIER PÉREZ ARANDA – ENMASCARADO – Enmascarado (masked): the hidden face, the disguised identity. The node is the mask as exfoliation.
952 POL PARRHESIA – OR HIGHER WATER – MOROCCO IS DRY – Parrhesia is Greek for "free speech," the boldness of truth-telling. Or higher water: the alternative, the above. Morocco is dry: the desert, the lack. The node is the speech as exfoliation.
953 FRANCISCO MATEOS – MALECÓN – LA HABANA – Malecón is the seawall in Havana, the site of walking, of fishing, of revolution. La Habana is Cuba. The node is the wall as exfoliation.
954 ANNA BARANEK – RED RED WINE – PROVENCE 2015 – Red red wine: the repetition, the intensity, the blood. Provence is the location. The node is the wine as exfoliation.
955 CALL ME ANYTIME – JESÚS LEÓN – MEXICO DF – Call me anytime: the invitation, the availability, the openness. Jesús León is the artist. Mexico DF is the capital. The node is the call as exfoliation.
956 KJELL VARVIN – LEMONS – OSLO – Lemons return (from 1036 LEMON WALL, from 1052 LEMON WALL?). Oslo is the location. The node is the lemon as exfoliation.
957 MÁRTA KISS – BACKPACK DOOR BOTTLE – SLOVAK CAMOUFLAGE – Backpack, door, bottle: three objects, three nouns, three nodes. Slovak camouflage: the pattern of hiding, of blending in. The node is the object as exfoliation.
958 FRANÇOISE ROHMER – POTS PROVENCE – Pots: the containers, the vessels, the ceramics. Provence is the location. The node is the pot as exfoliation.
959 VALIE ABRAMOVIC – REGINA FIZ – HIROSHIMA BARCELONA – Valie Abramovic is a misspelling of Marina Abramović, the performance artist. Regina Fiz is a collaborator. Hiroshima and Barcelona: two cities of trauma, one atomic, one architectural. The node is the performance as exfoliation.
960 THE LIGHT IN PROVENCE – ANTO LLOVERAS – The light in Provence: the precursor to THE LIGHT IN ATHENS (2019), to LA LUZ EN CÁDIZ (2022, 2024). Provence is the location, the land of Van Gogh's sunflowers, of Cézanne's mountain. The node is the light as exfoliation.
EXFOLIATION is the shedding of skin: the old layer peeled away, the new layer exposed. The series is the project's renewal, its summer ascent, its flight into the sixth season. The nodes are the flakes of skin, the scales of the archive, the lemmas of the mountain.
4. WILD FLOWERS (074): The Vegetal as Subversive
WILD FLOWERS (nodes 961–980) is a title that names the uncultivated, the spontaneous, the weedy. Wild flowers are not planted; they appear. They are not controlled; they spread. They are not valued; they are overlooked. The series is the project's celebration of the marginal, the accidental, the unplanned. The nodes of WILD FLOWERS (from the September 2015 post) are not provided in the available content, but the series is announced as "COMING SEPTEMBER 2015" at the end of the EXFOLIATION post. The title alone is sufficient. WILD FLOWERS is the vegetal as subversive: the flower that grows in the crack of the pavement, the weed that thrives in the abandoned lot, the bloom that appears without permission. The series is the project's turn toward the ecological, the botanical, the wild.
5. THE WORD (075): Language as Material
THE WORD (nodes 981–1000) is the final series of 2016, and it is the most explicitly linguistic. The title names the basic unit of language: the word. But the word is not neutral; it is the Word of God (Logos), the word as power, the word as creation. The series is the project's engagement with the materiality of language: the word as sound, as inscription, as node. The nodes of THE WORD (from the February 2017 post) are not provided in the available content, but the series is announced as "EXHIBITION #75 – 7TH SEASON – 2016." The series spans nodes 981 to 1000, culminating in the millennium node, the thousandth entry in the LAPIEZA archive.
Node 1000 is a threshold. It is the number of completion, of roundness, of ceremony. The project does not celebrate it; it simply reaches it. THE WORD is the series that crosses the threshold. It is the series that says: language is the medium, the word is the node, the archive is the sentence. The millennium is not an end; it is a comma. The series continues. The word continues. The archive continues.
Conclusion: 2016 as the Year of the Cut
The five series of 2016 form a coherent arc: from the edible violence of SWEET CORN BRUTALISM, through the surgical precision of INCISIONS AND DISSECTIONS, through the shedding of EXFOLIATION, through the vegetal subversion of WILD FLOWERS, to the linguistic threshold of THE WORD. The year is the project's most sustained engagement with the body: the body of the city, the body of the archive, the body of language. The cut is the method: the incision that opens, the dissection that separates, the exfoliation that sheds, the wild flower that grows in the wound, the word that names the cut. The year ends at node 1000. The archive is now a library. The project is now a system. The cut is now a tradition. The word is now a node. The node is now a number. The number is now a thousand. And the thousand is just the beginning.
071 SWEET CORN BRUTALISM (915–926)
072 INCISIONS AND DISSECTIONS (927–940)
073 EXFOLIATION (941–960)
074 WILD FLOWERS (961–980)
075 THE WORD (981–1000)
This 2016 block is important because it is where LAPIEZA stops behaving mainly as a chain of situations and begins to behave like a serial discourse machine. The five consecutive series—SWEET CORN BRUTALISM (915–926), INCISIONS AND DISSECTIONS (927–940), EXFOLIATION (941–960), WILD FLOWERS (961–980), and THE WORD (981–1000)—form a continuous arc from material roughness to linguistic consolidation. The archive itself shows a slight dating tension: several exhibition pages are posted in 2015, while THE WORD is explicitly framed as a 2016 launch and as the threshold of “1000 artworks : 1000 rooms,” with works produced across Vienna, Prague, Slovakia, Norway, Spain, Mexico, Germany, and Austria. That discrepancy does not weaken the sequence; it strengthens it. It suggests that 2016 should be read less as a strict calendar year than as a curatorial threshold in which a prior material phase is absorbed into a newly self-conscious syntax.
Seen this way, SWEET CORN BRUTALISM names the opening contradiction with remarkable precision. “Brutalism” invokes weight, rawness, exposed structure; “sweet corn” introduces softness, food, colour, and rural tactility. The title already performs the hybrid method of the whole cycle: architecture crossed with appetite, hardness crossed with growth, modernist residue crossed with bodily immediacy. INCISIONS AND DISSECTIONS then sharpens this register into one of cutting, analysis, and exposure, while EXFOLIATION shifts from incision to peeling, from the surgical to the epidermal. With WILD FLOWERS, the series turns outward toward social capital, relational narratives, and an “ongoing naturalization,” according to the exhibition page itself. Finally, THE WORD gathers these prior operations and pushes them into a clearly discursive field: the show is “onsite-online,” “multipositional,” composed of twenty works and processes across world locations, and explicitly structured as a connective narrative system.
What matters here is that THE WORD does not appear out of nowhere. It is prepared by the previous four series. Brutalism provides structure; incision provides analytical force; exfoliation provides layering and removal; wild flowers provide dispersion and natural spread. By the time node 1000 is reached, LAPIEZA can state that the works are “vectors that connect in the form of narratives and situations,” and can list its operative vocabulary with unusual clarity: narratives, situation and affection, unstable installations, no leftovers, situational fixers, supernatural series. This is already far more than exhibition rhetoric. It is an embryonic theory of the archive as a living field of linked situations. In that sense, 2016 is not simply the year of a few strong titles. It is the year in which serial practice acquires enough density to begin naming its own logic.
