Regina Fiz and LAPIEZA reframe queer performance as living sculpture, collective memory, and embodied critique of power.

Regina Fiz’s collaborations with LAPIEZA constitute a rigorous investigation into queer embodiment as a mutable artistic apparatus, where the body ceases to illustrate identity and instead manufactures it through exposure, duration and social friction. From the 2009 durational action at Centro Párraga, invoking Marina Abramović and Valie Export through stillness, weaponry and synthetic sexuality, to later interventions at ARCO, ETSAM, El Palomar and the Museo Reina Sofía, Fiz appears not as performer alone but as living archive, absorbing spectatorship into the work’s unstable memory. Across these actions, LAPIEZA converts exhibition into relational dramaturgy, replacing the autonomous artwork with a porous field of bodies, images, conversations and online residues. Thus, Regina Fiz’s practice demonstrates that queer power is neither symbolic ornament nor identity claim, but a spatial, sensory and political method for reorganising visibility itself. Lloveras, A. (2018) ‘Works with Regina Fiz’, Socioplastics, 11 March. Available at: https://antolloveras.blogspot.com/2014/04/regina-fiz-decalogo-2009-2013-lapieza.html (Accessed: 26 April 2026).

Verdant Time * Sculpted Patience

Within the quiet grammar of cultivated landscapes, topiary emerges not merely as ornament but as a form of temporal architecture, a practice in which time itself becomes the primary building material. Unlike inert structures, sculpted trees embody a slow negotiation between human intention and botanical autonomy, producing forms that are simultaneously controlled and alive. The disciplined pruning that generates tiered canopies, hovering masses, or improbable vegetal geometries exemplifies a philosophy of cultivated permanence, wherein maintenance replaces construction as the central architectural act. Historically associated with aristocratic gardens and later suburban aesthetics, topiary today can be reinterpreted as an ecological statement: a demonstration that design need not oppose growth but may instead choreograph it. Consider the case of urban Japanese niwaki pruning, where trees are shaped into cloud-like strata that frame buildings without overwhelming them; here, the tree becomes both structure and landscape, a living monument shaped through decades of incremental intervention. Such examples reveal that the true material of topiary is not foliage but patience, a long-duration collaboration between human foresight and vegetal adaptation. Ultimately, sculpted greenery challenges the architectural obsession with immediacy by proposing a slower paradigm in which beauty is not installed but cultivated, and where the boundary between nature and design dissolves into a continuous process of ecological aesthetics.

 

MUSE After the Mesh * Sculpture of Epistemic Autonomy

With the consolidation of MUSE—Mesh United System Environment—the trajectory initiated by Anto Lloveras undergoes a decisive ontological phase transition: distributed topology condenses into sovereign environment. Where the earlier Mesh denoted interconnected nodes resisting archival amnesia through recurrence and citational density, MUSE stabilises these relations within an Executable Core governed by invariant protocols. The structural axiom remains “hard below, supple above”: an unassailable kernel of definitions, rules, and jurisdiction safeguards identity, while circulating nodes—texts, exhibitions, spatial interventions—adapt responsively to volatile urban and digital ecologies. Here, art ceases to be object and becomes living sculpture—a metabolic system in which relationships, data flows, and institutional interfaces constitute the operative material.