Selecting ten iconic series from 185 is necessarily a subjective exercise. But certain series stand out as hinges: moments when the project turned, discovered a new method, or achieved a particular density of meaning. The following ten series are not necessarily the largest, the most ambitious, or the most theoretically sophisticated. They are the series that, in retrospect, seem most essential to understanding what LAPIEZA was, what it became, and why it matters.
EXIT (001–010) – 2009 - The Primordial Gesture.
EXIT is the first series. It is node 001. It is the departure from the object, the refusal of the static, the embrace of the relational. The title is an architectural sign, the green running figure, the way out. But EXIT is not an escape; it is an opening. It is the project's first breath. Everything that follows—every node, every series, every year—is an elaboration of this initial gesture. EXIT says: art is not a destination. Art is a departure. The room is not a prison. The room is a laboratory. The exit is not an end. The exit is a beginning. Why it's iconic: It is the origin. Without EXIT, there is no LAPIEZA.
SOCIOPLASTICS (046–063) – 2010 - The Method Named.
The fifth series of the project, and the first to name its own methodology. SOCIOPLASTICS is the term that will anchor the next fifteen years. Drawing from Beuys and Bourriaud, the series articulates a practice of shaping the social: art as catalyst, relation as material, encounter as form. The series is not a manifesto; it is a demonstration. The 18 nodes of SOCIOPLASTICS perform the method they name. They are encounters, documents, gestures. They are the project's first self-description. Why it's iconic: It gives the project its name. Without SOCIOPLASTICS, LAPIEZA would be a practice without a concept. The concept is the practice. The practice is the concept.
FRESH MUSEUM (801–830) – 2015 - The Institution Infiltrated.
FRESH MUSEUM is the series that marks the project's turn toward the institutional. The title is a provocation: a museum that is fresh, that is not stale, that is not dead. The 30 nodes of FRESH MUSEUM are the project's declaration that the museum is not a temple but a laboratory—a space of experiment, of risk, of failure. The series is 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. Why it's iconic: It names the project's relationship to the art world. FRESH MUSEUM is LAPIEZA's most explicit engagement with the institution as both target and medium.
THE WORD (981–1000) – 2016 - The Millennium Threshold.
THE WORD is the series that crosses the threshold of node 1000. 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 WORD spans the final 20 nodes before the millennium, culminating in node 1000—a ceremonial number, a round number, a threshold. The series does not celebrate the millennium; it simply reaches it. And in reaching it, it demonstrates that the archive is not a collection of objects. It is a language. Why it's iconic: It marks the numerical maturity of the project. Node 1000 is the point at which the archive becomes a library. THE WORD is the series that opens that library.
ARTNATIONS (1001–1100) – 2017 - The Global Constellation.
ARTNATIONS is the series that takes the project global. The title is a careful equivocation: art nations, art-nations, the nation of art. The series spans 100 nodes, from 1001 to 1100, and includes over 100 artists from multiple continents. It is the project's first sustained engagement with scale as a problem and a possibility. ARTNATIONS does not argue for or against nationalism; it simply practices internationalism. The nation is not erased; it is one attribute among many. The artist is not reduced to their passport; they are presented as a node, a name, a link. The series is a quiet rebuttal to the logic of borders. Art has no borders. The archive has no borders. Why it's iconic: It is the project's most explicit articulation of its own global reach. ARTNATIONS is LAPIEZA as world.
FLOCK (1101–1343) – 2018 - The Peak of Accumulation.
FLOCK is the largest series in the LAPIEZA corpus: 243 nodes, over 300 artists, a dense constellation of relations. The title is precise: a flock is not a herd (centralized) nor a crowd (aggregate). A flock is a distributed collective: each bird moves autonomously, yet together they form a coherent pattern. FLOCK is the peak of the Expansive Epoch, the moment when the project's nomadic intensity reaches its maximum. After FLOCK, the project will slow down, turn inward, retreat to Ávila. But FLOCK is the summit. It is the project's declaration that it has seen enough, met enough, documented enough. The flock is complete. Why it's iconic: It is the largest and most ambitious series. FLOCK is LAPIEZA at its most expansive, its most inclusive, its most overwhelming.
THE LIGHT IN ATHENS (1344–1361) – 2019 - The Mediterranean Anchor.
THE LIGHT IN ATHENS is the series that turns the project toward the Mediterranean. The title names the light: the clear, sharp, crystalline light that has drawn artists for centuries. But the series is not a travelogue; it is a situated immersion in a single city. The 18 nodes of THE LIGHT IN ATHENS read like a field notebook: No Space Show Kypseli, Twins, Sub Rosa, Bread Bowl, Dinner Round Table, Exarchia Squads, Wall Cuts, Poseidon Classic Storm. The series is the project's most sustained engagement with a single place. It is the last great journey before the retreat. It is the final accumulation before the consolidation. Why it's iconic: It is the project's most beautiful series. The light in Athens is the light of the project at its peak. And it is the light that will guide the project through the darkness of the pandemic.
RECREO (1362–1469) – 2020 - The Great Pivot.
RECREO is the series that names the project's turn inward. The term does not mean recreation; it means creating again. After years of nomadic expansion, the project retreats to rural Ávila, slows down, attends to foundations. The series spans 108 nodes, from 1362 to 1469, and includes sub-series such as FRONTLINE SPACESHIP and THE ROAD TO RESTORATION. RECREO is the project's most explicit engagement with time as material: slow time, atmospheric time, the time of the body and the landscape. The series is the pivot. Before RECREO, the project was expanding outward. After RECREO, the project will deepen inward. RECREO is the hinge. Why it's iconic: It marks the most significant methodological shift in the project's history. RECREO is LAPIEZA learning to breathe differently.
THE ROAD TO RESTORATION (1416–1424, extended) – 2021 - The Cinematic Turn.
THE ROAD TO RESTORATION is the series that turns the project toward the cinematic. The 40 short films—from WAR to WAIT BEHIND—are the project's most sustained engagement with movement, landscape, and the healing power of attention. The series is a response to the pandemic: a road that can be traveled without leaving home, a restoration that is possible even in isolation. The swan is the recurring figure: grace, solitude, the slow glide across the surface of the world. THE ROAD TO RESTORATION is the project's most vulnerable series, and its most hopeful. Why it's iconic: It is the project's most directly therapeutic series. THE ROAD TO RESTORATION is LAPIEZA as healing practice.
COPOS / THE END OF AN ERA (2181–2200) – 2025 - The Final Scattering.
COPOS is the final series of the fifteen-year arc. The title means flakes: snowflakes, cornflakes, flakes of paint or stone. The series consists of 20 short videos—FARO, TERRAZA, DUCADOS, LAS PALMERAS, MIRÓ, MALLORCA, BELT, A CORUÑA, CHERRY, CHAPARRO ALGECIRAS, LOS MALAGUEÑOS, CASTILLO, STOP WORRING, JARDINERÍA ÁVILA, DÉCIMAS JERTE, SHELL, RED BÁSICA, DREAM, BOGAVANTE, MADRID—each lasting between 39 seconds and 1 minute 35 seconds. COPOS is the series that most fully embodies LAPIEZA's aesthetic of fragmentation. A flake is a piece broken off from a larger whole. The series is composed of pieces that are complete in themselves yet point beyond themselves to a larger field. THE END OF AN ERA is not a lament; it is a recognition. The era ends not with a bang but with a scattering. And the scattering is beautiful. Why it's iconic: It is the conclusion. COPOS is LAPIEZA's final exhalation. The map is sense. We swim in all directions.
Honorable Mentions
BASAL (1470–1481) – 2022 : The foundations series. Basal is the ground beneath the ground. It is the project's most geological series. DEEP SLEEP (1519–1540) – 2022 : The defense of sleep. Deep sleep is the series that says: without rest, there is no learning. CONFETTI (1902–1932) – 2024 : The lightness series. Confetti is the opposite of stone. It is the project's embrace of the ephemeral. PRIME FACTOR 3X (1701–1727) – 2023 : The mathematical series. Prime factors are the indivisible constituents of the archive. The series is the project's most explicit self-description as a number. The Logic of the Selection. These ten series are not the only important ones. But they trace the arc of the project: from the primordial gesture (EXIT) to the naming of the method (SOCIOPLASTICS) to the institutional turn (FRESH MUSEUM) to the numerical threshold (THE WORD) to the global constellation (ARTNATIONS) to the peak of accumulation (FLOCK) to the Mediterranean anchor (THE LIGHT IN ATHENS) to the great pivot (RECREO) to the cinematic turn (THE ROAD TO RESTORATION) to the final scattering (COPOS). Together, they tell the story of a project that began in a room in Madrid and ended as an infrastructure, a laboratory, a university of thought. They are the ten breaths of a fifteen-year exhalation. They are the ten nodes that contain all the others. They are the ten series that are LAPIEZA.
