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.
