Tenemos la visión y la responsabilidad desde las prácticas relacionales (arte conceptual político) de incrementar la fuerza de los vínculos a través de las plataformas red, elevando los capitales simbólicos de valores humanistas en una sociedad cada vez más definida por los capitales mercancía derivados de los sistemas abstractos post-industriales. Nuestro objetivo es generar lazos entre artistas en ese inmenso lugar donde pasamos cada vez más tiempo, la red. Usaremos toda la infraestructura que nos habilita esta red para generar estos vínculos, para generar lo que llamamos una escultura social (Beuys, Zizek, Bourriaud, Russell). El vector que seguimos desde el 2009 (UNA DÉCADA) es una línea de trabajo e investigación que denominamos SOCIOPLÁSTICA ACTIVA. Una forma de trabajo que incluye no solo la selección y comisariado de los artistas y de su obra (textos e imágenes), sino la generación de relaciones visibles en exposiciones en red, donde la obra de los artistas trabaja de manera conjunta, en una forma híbrida entre las exposiciones de los museos (alta legitimación), las exposiciones en las galerías de arte (arte-mercancía; media legitimación) y la difusión masiva a través de redes sociales (formas emergentes) donde el valor de la obra se mide por su calidad directa, y por la redifusión masiva de los usuarios sin costes de instalación en sala. Las exposiciones de LAPIEZA han sido consumidas y difundidas por más de un millón de personas en red desde 2009. El marco y la obra se funden en un marco híbrido, que explora la calidad actual de las formas publicitarias no solo de los museos y las instituciones, sino las prácticas artísticas en cada foco de exploración. Metodología de interacción. Los artistas que construyen LAPIEZA tienen orígenes y legitimaciones dispares, por lo que su interrelación activa mecanismos de extrañamiento y deseo. Hay artistas emergentes (desconocidos, o periféricos a espacios de legitimación ortodoxos) y artistas con trayectoria, que funcionan como catalizadores. Se encuadran bien en lo que se ha dado en llamar “ecologías culturales”. Se trata de proyectos que articulan la producción de imágenes, textos o sonidos, con la exploración de las formas de vida en común, en principio renunciando a la producción de objetos artísticos convencionales, para iniciar o intensificar procesos abiertos de conversación e interacción que involucren a los artistas a través del nuevo y transformador vínculo generado. La importancia de la sinergia y la publicidad en el proceso creativo. SKETCHES :  Laddaga explains that there is a kind of transition from the old 'aesthetic regime' where the artist is conceived as such or which media specialist (painter, writer, filmmaker, musician), produced works, i.e. strict edges, with precise beginning and end entities, the author produces them in relative isolation, the spectator received them in true silence (that not passivity), the play was some interruption of normal. The old aesthetic regime Rancière explains it very well: it is a practice whose turning point is the isolation, the implementation within distance of a fragment of subject or language which, pursuant to the interruption of its immediate links to the space in which it comes to appear, is exposed as a carrier of other powers. And is the artist who, from a retreat, constitutes a separate and saturated, for this reason, exteriority appearance. In the 19TH century, the dominant idea is that art should be practiced in the production of objects or events that are separated and interrupt the usual course of action in the world. The budget of the old aesthetic order is: family is suffocating, art is liberating as that breaks the familiar and introduces "the other". Globalization, transformations of the work, the network and new forms of individuation through emergency, today attended the birth of the new "practical scheme of the arts" (NRP). We are in a practical regime when more and more of the descendants of that momentary tribe of artists, without having to think too much about the matter, are otherwise: as waypoints in a general conversation, captured on the fly, which are incorporated, made of segments to interrupt and returning to launch. Sometimes, if they can, they are collaborative groups that are a bit like mechanisms of amplification where circulation, being very fast, causes rapid transformations. These groups generate collections of texts, films, soundtracks, information packets that forwarded and that rarely or never end up steady. And design structures to display these collections, often taking place in unusual spaces: at crossroads, in paragraphs quarters. In short, in the practical regime do not occur both works, as cultural ecologies, experimental communities, open and cooperative processes, ways of life and common worlds. In the "practical scheme", the Viewer is no longer a silent stranger, but an active collaborator carried out actions aimed to amend immediate States of things in the world. What I do is no longer presented in externality to the place where it appears (a Museum for example), but which directly build living spaces (or intervene in them). What I do are not so much obras-eventos that they magnetize or assault the Viewer, but contexts of research and collective learning, outdoor laboratories. And what occurs above all are links and connections, make those connections, questioning of connected visible. Some examples would be the experimental communities of Roberto Jacoby, the open production of Wu Ming, the collective film of Peter Watkins's La commune or the reconstruction of the library of Vyborg, which was opened from artists for the district. The "work" is not already clipped forms of life, but it establishes thousand connections with the place in which it is produced. Does not operate in a different medium, but it aspires to produce effects where happens. The "work" not already aims both to produce crisis, trance or event, but other possibilities of existence and coexistence. He is no longer so much of visible thing, worry or wonder, as produce common worlds. The process (slow, sustained duration) becomes more important than the result. This type of artistic events, like LAPIEZA RELATIONAL SERIES fit well into what E. Laddaga has been called "cultural ecologies" in his book 'Aesthetics of the emergency'. It is projects that articulate the production of images, texts or sounds, with the exploration of ways of life in common (in principle renouncing the production of conventional art objects), to initiate or intensify processes of conversation involving not artists during long times in defined areas, where the aesthetic production is associated with the deployment of organizations to change States of things in certain areas , and which point to the Constitution 'artificial forms of social life' or experimental ways of coexistence.