The 15-year evolution of LAPIEZA represents a significant shift from the creation of static art objects to the cultivation of an infrastructural, post-objectual practice where time serves as the primary material. Since its inception in 2009, this project has functioned as a "research unit" and a "portable exhibition format," systematically breaking down the boundaries between artworks, theoretical conversations, and the public. Through a staggering output of 180 series, LAPIEZA has developed a methodology termed SOCIOPLÁSTICA (Socioplastics), which draws inspiration from the social sculpture theories of Joseph Beuys and the relational aesthetics of Nicolas Bourriaud. This approach seeks to increase the strength of humanistic symbolic capital within a society increasingly dominated by post-industrial commodity systems. By utilizing digital networks as a site for "relational insurgency," the project has reached over a million people, effectively merging the high legitimation of museum spaces with the immediate, mass-diffused nature of social networks. The accumulation of series—ranging from early explorations like EXIT and BAZAR to more recent iterations like STONE DREAM, generates a growing ecology of relations where the curator's role mirrors that of a writer working across a long-form duration. This decade-and-a-half journey, encompassing thousands of numbered "piezas" and a vast roster of international artists including Tomoto, Marisa Caminos, and Paula Lloveras, highlights a transition from traditional artistic production to a "cyborg textuality." In this framework, the "mesh" of institutional mediation, technical objects, and distributed flows creates a living archive of presence and attention. Ultimately, LAPIEZA posits that art is not merely a discrete artifact but an expansive, unstable, and ongoing naturalization of common life forms, where the map is sense and we swim in all directions.
