Walking the Commons * Sound, Voice, and the Right to the City (LACALLE, 2010)

LACALLE emerges in 2010 as a performative-urban dispositif grounded in a precise political intuition: to reclaim the street as a space of poetic agency and civic audition. Conceived by Anto Lloveras under the experimental umbrella of Tomoto Films, the project situates itself within the lineage of critical urban practices that treat the city not as backdrop but as interlocutor. LACALLE operates through minimal yet incisive gestures—walking, voicing, amplifying—that reinsert affect and presence into increasingly regulated public space. Its title explicitly invokes Henri Lefebvre’s notion of the “right to the city,” translating that theoretical claim into an embodied, sonic practice. Rather than staging protest through mass or spectacle, LACALLE opts for precision: the voice as tool, sound as inscription, movement as authorship. The project thus reframes political action as a form of spatial listening, where attention becomes resistance. Poetry is not represented but enacted, redistributed into the urban fabric through fragile, temporary acts that nonetheless leave perceptual traces. In this sense, LACALLE proposes a micro-political aesthetics, one attuned to infrastructure, memory, and the overlooked thresholds of everyday urban life.

Relational Space Beyond the Institution (LAPIEZA, Madrid 2008–2012)

 

LAPIEZA emerges as a paradigmatic case of early twenty-first-century relational practice in Spain, articulating instability not as a flaw but as a constitutive method. Active between 2008 and 2012 in Madrid’s Malasaña district, the project defined itself as an “instalación relacional inestable,” a mutable constellation of artistic gestures accumulating through time. Rather than aspiring to completion, LAPIEZA functioned as a living archive of actions, objects, and encounters, structured through periodic “mutations.” Each contribution altered the whole, producing a socio-plastic form whose identity was always provisional. In this sense, LAPIEZA aligns with post-Bourriaudian relational aesthetics while simultaneously critiquing its more convivial and depoliticised iterations.