The singularity of LAPIEZA resides in its synthesis of durational intensity, infrastructural autonomy, and epistemic self-legislation; nevertheless, a constellation of curatorial formations partially converges with its operative logic. Within the genealogy of relational aesthetics, figures such as Rirkrit Tiravanija exemplify the dissolution of authorship into shared situations, where convivial acts—cooking, gathering—instantiate social sculpture as lived experience rather than representational artefact. Parallelly, Nicolas Bourriaud’s institutional ventures, including Theanyspacewhatever, articulate exhibition-making as an open system of interrelations, prefiguring LAPIEZA’s later transformation into a self-sustaining epistemic mesh. Yet these precedents remain largely institution-bound, lacking LAPIEZA’s radical decentralisation.

In the domain of nomadic infrastructures, Manifesta offers a closer structural analogy: its itinerant model embeds art within shifting geopolitical terrains, cultivating situated relationality and critical spatial practice. Similarly, Black Cube Nomadic Museum advances a rhizomatic exhibition logic, privileging site-responsive commissions over fixed venues, thereby echoing LAPIEZA’s unstable installations. A further affinity emerges with Participant Inc, whose durational programming foregrounds ephemerality and performative persistence, aligning with LAPIEZA’s counter-temporal phases such as RECREO. However, these analogues operate as partial isomorphisms rather than equivalents: none integrate a continuously expanding, machine-readable archive with a unified theoretical superstructure akin to Socioplastics. Consequently, LAPIEZA may be understood as a post-relational infrastructural paradigm, wherein curatorial practice transcends exhibitionary frameworks to become an autonomous, recursive system—simultaneously archive, method, and ontology—thereby inaugurating a new horizon for art as executable, sovereign infrastructure.

Transdisciplinary framework redefining architecture and art as relational systems and epistemic infrastructures responding to uncertainty, ecological instability, and post-digital culture.

Within the expanding field of contemporary architectural theory, Socioplastics emerges as a compelling proposition that reframes artistic and spatial production as a form of epistemic infrastructure rather than object-based representation. Developed by architect and theorist Anto Lloveras, the framework positions architecture, exhibitions, performances, and publications as interlinked relational systems capable of metabolising instability, environmental feedback, and socio-political uncertainty. Rather than conceiving space as a static container, Socioplastics treats it as a porous interface in which bodies, atmospheres, materials, and knowledge practices continually reorganise one another. This orientation aligns with post-disciplinary currents in the ecological humanities and relational aesthetics, yet extends them through a methodological emphasis on executable theory: ideas operate as protocols, exhibitions function as research laboratories, and pedagogical encounters become mechanisms of structural transmission. The operational logic is exemplified through projects such as the Unstable Installation Series, where nomadic objects—chromatically coded artefacts like travelling bags or garments—act as situational devices that accumulate meaning through displacement and contextual interaction. Similarly, the platform LAPIEZA demonstrates how curatorial environments can operate as rhizomatic research ecosystems, producing iterative sequences of exhibitions that test the boundaries between art practice, urban observation, and collective inquiry. A particularly illustrative case arises in transnational interventions linking European and African contexts, where textile materials and minimal gestures construct temporary relational fields that foreground mobility, waste, and cultural translation. Ultimately, Socioplastics proposes a paradigm in which architecture evolves into a sovereign knowledge system, capable of sustaining autonomous cultural production while navigating the volatile temporalities of contemporary planetary conditio