Situación Velázquez 100 * The Architecture of Compression and Collective Memory

The voice of this intervention is activated from within a "interstitial capsule"—a Madrid apartment on the verge of dissolution. This is not merely a site for exhibition, but a high-pressure environment where the urgency of a "funeral for space" meets the tactical necessity of socioplastic action. As curators and practitioners within the PLANCTON collective, we activate this piece now because the urban fabric is increasingly composed of these vanishing points: private, historical interiors that are about to be recycled or erased by the market. We address the friction between the weight of a pre-existing past—imprinted in the dust and the layout of a home—and the fleeting, three-hour compression of contemporary artistic desire. The necessity of this work lies in its refusal to let a space disappear in silence, instead forcing a final, fertile confrontation between its domestic memory and a deliberate, professional artistic presence. The core device of Velázquez 100 is a "three-hour situation" governed by a logic of spatial colonization and professional rigor. Ten invited artists, functioning as a "symbiotic field," operate independently yet contribute to a singular, joint action. The method is strictly non-amateur: artists bring their established trajectories into the space, utilizing it as a laboratory for the compression of intent. The operational structure is defined by a set of rigid constraints: nothing can be destroyed, and everything must eventually return to its original position. Within this timeframe, the process unfolds through the "measurement" of space, where physical bodies and digital sensors (cameras as extensions of the gaze) sequence the environment into a series of "memories." This is a functional system of post-production where the work is liberated from the object and instead occurs as a series of social and symbolic projections, documented in real-time to be later reconstructed in the collective brain of the network.

Engineering of ARCO ART FAIR MADRID

 

The spatial direction of ARCO'05, spearheaded by Anto Lloveras under the @TABLE project unit, activates a critical inquiry into the temporary city as a site of institutional friction. Operating within the 22,511 $m^2$ expanse of Madrid’s trade fair, this intervention emerges at the intersection of high-stakes art commerce and the "socioplastic" need to humanize industrial infrastructure. We activate this voice now to address the urgent necessity of reclaiming public agency within hyper-curated environments. By treating the fair not as a neutral container but as a plastic material, the project addresses the friction between the rigidity of the "white cube" and the metabolic drift of 21st-century urbanism. It is a method of situating the body within a system of global exchange, ensuring that the "right to the city" persists even within the ephemeral confines of an international art fair. 

FISHDISH * Edible Systems and Ritualised Matter

The project Fishdish Ritual, operates as a durational socio-plastic system in which food ceases to be nourishment alone and becomes a material grammar for living architecture. Structured through daily repetitions that explicitly reject repetition itself, the work establishes a ritualised economy of colour, matter, and time. Each dish functions as a unit of practice—an edible module—embedded in the urban metabolism of Madrid’s markets. In this sense, the project extends post-minimal and relational aesthetics into what might be termed alimentary ontology: a condition where consumption, production, and documentation collapse into a single performative act. The fish is not symbolic; it is infrastructural. It anchors the system to perishability, risk, and ethical immediacy. Colour, derived from vegetables and fruits, is neither decorative nor expressive but operational, functioning as a chromatic code that registers seasonality, availability, and bodily adaptation. The refusal of leftovers is crucial: waste is excluded not morally but structurally, positioning the work against extractive abundance and towards calibrated sufficiency. The installation is unstable by design, resisting museological capture and insisting on presence, digestion, and disappearance as its core formal attributes.