The SERIE PAN (2010), a pivotal movement within the broader LAPIEZA decolonial exhibition sequence curated by Anto Lloveras, functions as a visceral archive of "emotional residues." This series marks a transition toward a "Superjunk" aesthetic, where the debris of urban consumption—crushed memories, street icons, and industrial leftovers—are reconfigured into portable research units. Spanning 180 series over 15 years, the project treats time as raw material, transforming the act of curating into a form of durational writing. Within SERIE PAN, artworks are not static objects but nodes in a "temporary public," where the contributions of diverse agents like Krapoola, Paula Lloveras, and Tomoto coalesce into a socioplastic landscape of ruins and resurrections. At the core of the series lies the concept of Crushed Memories, where the iconography of the street is appropriated and intervened upon. Using "Superjunk" as a conceptual motor, the artists explore the "second life" of objects—be it the second life of a tree or the tattooing of toast by Hombre U. These works, such as "Tostadas Fuck" and the "Toxic Pan" by Paula Lloveras, utilize organic decay as a metaphor for urban fragility. The concentric progression of mold becomes a poetic and musical project (as seen in the collaboration for the Son-Nús album), where the synergy of voices and visual typography creates a tactile oxidation of the domestic sphere.
