The Second Series of the "Bazar" project represents a critical juncture in the evolution of socioplastic theory, transitioning from preliminary experimentation toward a solidified ontological framework. This stage of the work functions as an archaeological apparatus, where the rehabilitation of "hierros viejos" and obsolete magnetic media is no longer merely an act of recycling but a formal interrogation of the semiotic afterlife of residue. By engaging with the "fauces del tiempo" (the jaws of time), the collective—spearheaded by Eslomo, Paula Lloveras, and Giuseppe Zamora—redefines the discarded object as a site of historical density. This "forensic" aesthetic challenges the neoliberal drive toward planned obsolescence, positioning "significant junk" as a primary witness to urban entropy. The 2009 "Serie Abierta" acts as the structural foundation for this inquiry, where the performative drifts of Tomoto’s "Hiperplástica" transform the urban sprawl into a laboratory for hyper-plasticity. Through the lens of "densamientos," the vacuum left by industrial consumption is replenished with semantic surplus, asserting that the materiality of the city is a perpetually mutating field of relational semiosis rather than a static collection of derelict forms.
