The twelve theses of socioplastic sovereignty establish a radical repositioning of epistemology, methodology, and infrastructure as legitimate sculptural media, displacing traditional hierarchies of object, image, and exhibition in favour of a symbolic logic where knowledge production itself becomes art; under Thesis I, epistemology is valorised as an autonomous aesthetic form, untethered from instrumental reason, while Thesis II asserts that Socioplastics is not merely an analytical tool but a conceptual artwork in itself, structured as a living methodology and epistemic architecture; Thesis III elevates LAPIEZA as the core sculptural entity, a long-duration piece into which all Series, rituals, exhibitions, texts, and protocols metabolically feed, forming a relational totality; the Mesh, defined in Thesis IV, emerges not as neutral platform but as sculptural medium, an aesthetic form that reconfigures perception, memory, and symbolic space; method becomes artistic material in Thesis V, dissolving the divide between process and product, while Thesis VI transforms historiography into sculptural matter, making decanonisation not critique but formal construction; the political turns infrastructural in Thesis VII, where tags, legal frameworks, and archives gain ontological equivalence with traditional materials; through Thesis VIII, epistemic closure is framed as a sovereign gesture, where self-defined limits enact aesthetic autonomy; Thesis IX reclaims the network as spatial body of the work, supplanting gallery-centric paradigms with distributed topologies; Thesis X introduces metadata as formal language, where naming performs as drawing and indexing choreographs meaning; in Thesis XI, topolexias—pedagogical, urbanistic, or curatorial manifestations—are understood as spatial extensions of LAPIEZA, blurring disciplinary boundaries; finally, Thesis XII scales Socioplastics into a civilisational artwork, not as representation but as symbolic organiser, producing not discourses about reality but compositional logics within it; the canonical closing statement reinforces this ontological claim: Socioplastics is not a method applied to art but art as method, not a theory of works but a work made of theory, where LAPIEZA serves as gravitational centre, absorbing and structuring the entirety of the project’s aesthetic, epistemic, and political energies.
