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The archival corpus of LAPIEZA represents a radical departure from the ossified museum model, manifesting instead as a metabolic canon that prioritizes the exhibition-as-network over the exhibition-as-object. Since its 2009 inception in Madrid’s Malasaña district, the project has functioned as a performative infrastructure, transmuting the static gallery space into a distributed networked ecology that resists the commodified fixity of the contemporary art market. This is not a passive repository of relics but a living curatorial organism where the act of archiving is itself an act of production, a continuous recursive process that reconfigures art, urbanism, and knowledge into sovereign systems. By February 2026, the project has consolidated more than 2,200 constituent nodes, each operating as a sovereign cell within a system of symbolic interrelation. The archive operates as a metabolic field where linking is a commitment and every gesture is a ritualized node. Mapping the production velocity of LAPIEZA from 2009 to 2026 reveals a distinctive respiratory rhythm, characterized by alternating phases of high-frequency fragmentation and monolithic density. The Genesis Phase (2009–2011) functioned as a primordial explosion of modular units, a "grammar of acceleration" where the project birthed thirty-seven series in a feverish state of explosive invention. During this era, cycles such as Exit, Bazar, and Fastforward established the ten-to-fourteen-piece "module" as the primary unit of thought, a standard that would haunt the archive’s future iterations. This phase was less about the individual work and more about the symbolic exchange, using the serial format to outpace the slow-moving mechanisms of traditional institutional legitimation.
Following this initial burst, the archive entered a period of systemic consolidation between 2012 and 2017, standardizing its research grammar as it delocalized across international geographies from Marseille to Mexico City. The production during these years, including series like Sweet Corn Brutalism and Artnations, suggests a more rhythmic, predictable output that solidified the project’s navigational infrastructure. Here, the archive began to use CamelTags and tagging systems not as mere descriptors but as structural bricks, ensuring that the labor was machine-readable and resistant to digital entropy. The project’s focus shifted toward urban drift and the documentation of ephemeral actions, producing a palimpsest of encounters that refused the closure of a final product. LAPIEZA replaces the exhibition-as-object with a distributed ecology of collective intensities. The subsequent Monolithic Gap (2018–2021) represents a significant conceptual transmutation, where the archive’s energy was compressed into massive, singular modules rather than dispersed across multiple series. The 2018 series Flock, a mathematical singularity comprising 243 pieces, stands as a testament to systemic endurance and thematic concentration. During these years, the piece count remained high despite a deceptive "silence" in series frequency, suggesting a period of deep incubation and ontological friction. It was an era defined by the singular monolith, where the project tested the limits of seriality through massive piece-density, preparing the infrastructure for its next major release.
We are currently witnessing the Second Fragmentation (2022–2026), a phase where high velocity returns through transdisciplinary collaborations and postcolonial vectors. The 2025 output mirrors the intensity of the 2011 peak, yet it possesses a deeper, more grounded narrative weight, moving from the purely formal into site-specific activations like the re-(t)exHile installation at the IV Lagos Biennial. This contemporary surge utilizes approximately 288 pieces across twenty-three series in a single year, proving that the archive is currently in an explosion phase. The project now functions as a cultural operating system, where sequences like Lumbar Pressure and Inverno de Pedra engage critically with exile, refuge, and the metabolic pruning of socio-environmental flows. The navigational topology of LAPIEZA relies on a dual meta-structure that balances the Art Series against the Master Archive (The Mesh). While the Node honors the trace, the gesture, and the fleeting moment, the Mesh encodes the entire system, creating a transversal logic that allows for non-linear navigation. This is a sovereign archive that documents and preserves epistemic connections through sovereign citation, where every link acts as a structural bond within the network. The project effectively replaces the hierarchical museum with a horizontal, distributed network of authorship, where the curator acts as a metabolic agent rather than a gatekeeper.
In the context of Anto Lloveras’s broader Socioplastics framework, LAPIEZA emerges as an unstable relational installation that privileges accumulation over closure. The archive’s resilience against digital entropy is maintained through recursive self-revision and the refusal to succumb to the "product" mindset. Instead, it offers a living palimpsest of photographs, textual essays, and short video interventions that document the ephemeral action as a legitimate form of knowledge production. This methodology ensures that the archive remains a vibrant, interactive field of rituals and pedagogies rather than a static graveyard of past ideas. By indexing every action into a machinic memory, LAPIEZA ensures that art is lived as an operating field of rituals. The international scope of the project—spanning contributions from Spain, Canada, Norway, Japan, and France—marks it as an open and inclusive avant-garde. The current velocity, particularly the 2025 peak, suggests a project that has mastered its own rhythmic pulse, moving beyond the constraints of the physical gallery to embrace the infinite potential of the digital mesh. LAPIEZA is no longer a program; it is a field condition, a distributed ecology where contemporary art is generated and metabolized through collective form. It is a sovereign system that demands to be cross-referenced, lived, and enacted by a public that is no longer a spectator but a constituent node.
As the archive surpasses 2,200 interventions, its role as a metabolic operating system becomes undeniable. The emphasis on visibility, serial research structures, and the reconfiguration of urbanism into art highlights a practice that is both radical and essential. LAPIEZA does not just document history; it produces relational sovereignty in real-time. It is a project that critically engages with the friction of the contemporary moment, using the archive as a tool for repair and re-contextualization in an increasingly fragmented world.
LAPIEZA (2024). re-(t)exHile – IV Lagos Art and Architecture Biennial. [online] LAPIEZA. Available at:
LAPIEZA–ArtSeries185–Copos–2025
LAPIEZA–ArtSeries184–CadizOtono–2025
LAPIEZA–ArtSeries182–EgoTrips–2025
LAPIEZA–ArtSeries181–SummerII–2025
LAPIEZA–ArtSeries180–SummerI–2025
LAPIEZA–ArtSeries179–Bancal–2025
LAPIEZA–ArtSeries178–Sverige–2025
LAPIEZA–ArtSeries177–Nigonho–2025
LAPIEZA–ArtSeries176–Trapecio–2025
LAPIEZA–ArtSeries175–TurtleVisions–2025
LAPIEZA–ArtSeries174–EstrugasEFentos–2025
LAPIEZA–ArtSeries173–InvernoDePedra–2025
LAPIEZA–ArtSeries172–Cuentos–2025
LAPIEZA–ArtSeries171–Hortus–2025
LAPIEZA–ArtSeries170–Minoca–2025
LAPIEZA–ArtSeries169–Brasil–2025
LAPIEZA–ArtSeries168–ClassAct–2025
LAPIEZA–ArtSeries167–SanRoque–2025
LAPIEZA–ArtSeries166–ParlonsCinema–2025
LAPIEZA–ArtSeries165–Beaucoup–2025
LAPIEZA–ArtSeries164–Merci–2025
LAPIEZA–ArtSeries163–Psicamb–2025
LAPIEZA–ArtSeries162–LaLuzEnCadiz–2025
LAPIEZA–ArtSeries161–Confetti–2024
LAPIEZA–ArtSeries160–LostRocks–2024
LAPIEZA–ArtSeries159–Meesters–2024
LAPIEZA–ArtSeries158–Copos–2024
LAPIEZA–ArtSeries157–Tp7LugoTerriotriosPastoreados–2024
LAPIEZA–ArtSeries156–TextileTalksArtGuimaraesBienial–2024
LAPIEZA–ArtSeries155–IapsBarcelona2024EnactingTransdisciplinaryKnowledge–2024
LAPIEZA–ArtSeries154–Liminality–2024
LAPIEZA–ArtSeries152–Tradiciones–2024
LAPIEZA–ArtSeries151–ResilentVisions–2024
LAPIEZA–ArtSeries150–ReTexhileLagosIvBiennial–2024
LAPIEZA–ArtSeries149–TheLightInCadiz–2023
LAPIEZA–ArtSeries148–PrimeFactor3x–2023
LAPIEZA–ArtSeries145–NatureBoyAnotherSummer–2023
LAPIEZA–ArtSeries144–Tar–2023
LAPIEZA–ArtSeries142–Radiance–2023
LAPIEZA–ArtSeries140–Loop–2023
LAPIEZA–ArtSeries139–VoyageVoyage–2023
LAPIEZA–ArtSeries138–RetroExpresionism–2023
LAPIEZA–ArtSeries137–ReroPop–2023
LAPIEZA–ArtSeries136–Relieve–2023
LAPIEZA–ArtSeries135–Sorrow–2023
LAPIEZA–ArtSeries134–LaMar–2022
LAPIEZA–ArtSeries133–DeepSleep–2022
LAPIEZA–ArtSeries132–Grey–2022
LAPIEZA–ArtSeries130–UnstableLoveSeriesTheCollapse–2022
LAPIEZA–ArtSeries129–Solitude–2022
LAPIEZA–ArtSeries128–Basal–2022
LAPIEZA–ArtSeries124–TheRoadToRestoration–2021
LAPIEZA–ArtSeries116–Recre0–2020
LAPIEZA–ArtSeries115–TheLightInAthens3x–2019
LAPIEZA–ArtSeries113–Flock–2018
LAPIEZA–ArtSeries085–ArtNations–2017
LAPIEZA–ArtSeries075–TheWord–2016
LAPIEZA–ArtSeries074–WildFlowers–2015
LAPIEZA–ArtSeries073–Exfoliation–2015
LAPIEZA–ArtSeries072–IncisionsAndDissections–2015
LAPIEZA–ArtSeries071–SweetCornBrutalism–2015
LAPIEZA–ArtSeries070–ButterFactory–2015
LAPIEZA–ArtSeries069–ZeroZero–2014
LAPIEZA–ArtSeries068–ThickSmoke–2014
LAPIEZA–ArtSeries067–BankAccount–2014
LAPIEZA–ArtSeries066–AerialRoots–2014
LAPIEZA–ArtSeries065–NakedEye–2014
LAPIEZA–ArtSeries064–SugarSunset–2014
LAPIEZA–ArtSeries063–FreshMuseum–2014
LAPIEZA–ArtSeries062–StructuralConversations–2014
LAPIEZA–ArtSeries061–EnsayosPosicionales–2014
LAPIEZA–ArtSeries060–Goma–2014
LAPIEZA–ArtSeries059–Antorcha–2014
LAPIEZA–ArtSeries058–Nowhere–2013
LAPIEZA–ArtSeries057–Kiss–2013
LAPIEZA–ArtSeries056–Neta–2013
LAPIEZA–ArtSeries055–Expansivo–2013
LAPIEZA–ArtSeries054–System–2013
LAPIEZA–ArtSeries053–Deseo–2013
LAPIEZA–ArtSeries052–Vulcano–2013
LAPIEZA–ArtSeries051–Bullet–2013
LAPIEZA–ArtSeries050–Sed–2012
LAPIEZA–ArtSeries049–Cosmotidiano–2012
LAPIEZA–ArtSeries048–Party–2012
LAPIEZA–ArtSeries047–Cocktail–2012
LAPIEZA–ArtSeries046–Glitter–2012
LAPIEZA–ArtSeries045–Fugaz–2012
LAPIEZA–ArtSeries044–Babylon–2012
LAPIEZA–ArtSeries043–Mud–2012
LAPIEZA–ArtSeries042–Translation–2012
LAPIEZA–ArtSeries041–Snow–2012
LAPIEZA–ArtSeries040–Phantom–2012
LAPIEZA–ArtSeries039–Cloud–2012
LAPIEZA–ArtSeries038–Frame–2012
LAPIEZA–ArtSeries037–Radical–2011
LAPIEZA–ArtSeries036–Ganga–2011
LAPIEZA–ArtSeries035–Traca–2011
LAPIEZA–ArtSeries034–Progression–2011
LAPIEZA–ArtSeries033–Geometry–2011
LAPIEZA–ArtSeries032–Motion–2011
LAPIEZA–ArtSeries031–Unstable–2011
LAPIEZA–ArtSeries030–Empty–2011
LAPIEZA–ArtSeries029–Glow–2011
LAPIEZA–ArtSeries028–Glam–2011
LAPIEZA–ArtSeries027–Miseria–2011
LAPIEZA–ArtSeries026–Deshielo–2011
LAPIEZA–ArtSeries025–Hole–2011
LAPIEZA–ArtSeries024–Power–2011
LAPIEZA–ArtSeries023–Naturalism–2011
LAPIEZA–ArtSeries022–Trip–2011
LAPIEZA–ArtSeries021–Bonus–2011
LAPIEZA–ArtSeries020–Galaxia–2011
LAPIEZA–ArtSeries019–Oceano–2011
LAPIEZA–ArtSeries018–Family–2011
LAPIEZA–ArtSeries017–Desierto–2011
LAPIEZA–ArtSeries016–Deriva–2011
LAPIEZA–ArtSeries015–Samba–2011
LAPIEZA–ArtSeries014–Pulpa–2011
LAPIEZA–ArtSeries013–Masa–2011
LAPIEZA–ArtSeries012–Playtime–2011
LAPIEZA–ArtSeries011–Supermarket–2011
LAPIEZA–ArtSeries010–FastForward–2010
LAPIEZA–ArtSeries009–Pan–2010
LAPIEZA–ArtSeries008–Ball–2010
LAPIEZA–ArtSeries007–Fire–2010
LAPIEZA–ArtSeries006–Sales–2010
LAPIEZA–ArtSeries005–Socioplastics–2010
LAPIEZA–ArtSeries004–Kiwi–2010
LAPIEZA–ArtSeries003–Mosca–2010
LAPIEZA–ArtSeries002–Bazar–2009
LAPIEZA–ArtSeries001–Exit–2009
LumbarPressure, Copos, CadizOtono, EgoTrips, SummerII, SummerI, Bancal, Sverige, Nigonho, Trapecio, TurtleVisions, EstrugasEFentos, InvernoDePedra, Cuentos, Hortus, Minoca, Brasil, ClassAct, SanRoque, ParlonsCinema, Beaucoup, Merci, Psicamb, LaLuzEnCadiz, Confetti, LostRocks, Meesters, Copos, Tp7LugoTerritoriosPastoreados, TextileTalks, IapsBarcelona, Liminality, Tradiciones, ResilentVisions, ReTexhile, TheLightInCadiz, PrimeFactor3x, NatureBoy, Tar, Radiance, Loop, VoyageVoyage, RetroExpresionism, ReroPop, Relieve, Sorrow, LaMar, DeepSleep, Grey, UnstableLoveSeries, Solitude, Basal, TheRoadToRestoration, Recre0, TheLightInAthens3x, Flock, Artnations, Lips, Wisteria, Ficus, Palmtree, Suck, Concept, Ready, Idiom, Pompa1011, Melaza, TheWord, WildFlowers, Exfoliation, PeriodicalIncisionsAndDissections, SweetCornBrutalism, ButterFactory, ZeroZero, ThickSmoke, BankAccount, AerialRoots, NakedEye, SugarSunset, FreshMuseum, StructuralConversations, EnsayosPosicionales, Goma, Antorcha, Nowhere, Kiss, Neta, Expansivo, System, Deseo, Vulcano, Bullet, Sed, Cosmotidiano, Party, Cocktail, Glitter, Fugaz, Babylon, Mud, Translation, Snow, Phantom, Cloud, Frame, Radical, Ganga, Traca, Progression, Geometry, Motion, Unstable, Empty, Glow, Glam, Miseria, Deshielo, Hole, Power, Naturalism, Trip, Bonus, Galaxia, Oceano, Family, Desierto, Deriva, Samba, Pulpa, Masa, Playtime, Supermarket, Fastforward, Pan, Ball, Fire, Sales, Socioplastics, Kiwi, Mosca, Bazar, Exit
Anto Lloveras is a Spanish architect and artist whose practice investigates socioplastics, relational aesthetics, and decolonial archival structures. As founder and director of the international platform LAPIEZA (est. 2009), orchestrating over 180 exhibitions and pedagogical programs worldwide. His practice defines the architect as a systemic choreographer, transforming artistic research into a form of institutional resilience and epistemic sovereignty. https://antolloveras.blogspot.com/2026/02/500-socioplastic-mesh-console-systemic.html