LAPIEZA is the archival index of a seventeen-year curatorial sequence that gradually became a living field. Across more than 180 series and a network of over 150 artists, the project evolved from exhibition format to relational system, from room to network, and from archive to research infrastructure. This page gathers the principal chronological nodes of that trajectory and provides access to the annual memory from which LAPIEZA-LAB emerges.
17 Years · 180+ Series · 150+ Artists · Founded 2009
Chronological Archive
2009 — Foundational Aperture
https://antolloveras.blogspot.com/2026/04/lapieza-2009-foundational-aperture.html
2010 — Acceleration
https://antolloveras.blogspot.com/2026/04/lapieza-2010-acceleration.html
2011 — Acceleration
https://antolloveras.blogspot.com/2026/04/lapieza-2011-acceleration.html
2012 — Atmosphere
https://antolloveras.blogspot.com/2026/04/lapieza-2012.html
2013 — System
https://antolloveras.blogspot.com/2026/04/lapieza-2013.html
2014 — Instrument
https://antolloveras.blogspot.com/2026/04/lapieza-2014.html
2015 — Institution
https://antolloveras.blogspot.com/2026/04/lapieza-2015.html
2018 — Flock
https://antolloveras.blogspot.com/2026/04/lapieza-2018-flock.html
2019 — Athens
https://antolloveras.blogspot.com/2026/04/lapieza-2019-athens.html
2020 — Recreo
https://antolloveras.blogspot.com/2026/04/lapieza-2020-recreo.html
2021 — Road
https://antolloveras.blogspot.com/2026/04/lapieza-2021-road.html
2022 — Lamar
https://antolloveras.blogspot.com/2026/04/lapieza-2022-lamar.html
2023 — Development
https://antolloveras.blogspot.com/2026/04/lapieza-2023.html
2024 — Chronicle
https://antolloveras.blogspot.com/2026/04/lapieza-2024.html
2025 — Stone Dream
https://antolloveras.blogspot.com/2026/04/lapieza-2025-stone-dream-final.html
About the Archive
LAPIEZA began as a decolonial exhibition sequence and gradually consolidated itself as a durational curatorial system. Its distinctive operation was not simply to organise shows, but to build continuity through repetition, adjacency, rhythm, and return. Each series functioned as a temporary public, a research unit, and a compositional fragment within a larger evolving structure. Across the years, the project moved from object to node, from exhibition to field, and from episodic presentation to accumulated memory. What this archive preserves is therefore not only a list of past exhibitions, but the morphology of a practice that learned to think through time. The archive matters because it reveals the long-form construction of a relational ecology: artists, titles, spaces, publics, and concepts sedimented into an operative history. LAPIEZA-LAB begins from this accumulated ground. The archive is not a nostalgic appendix, but the foundational layer of a new research infrastructure.
Artists
Tomoto · Marisa Caminos · Paula Lloveras · María Enríquez · Paul Doeman · Krapoola · Hectruso · Federico Gómez · Manuel Maqueda · Toño Camuñas · Regina Fiz · Sebas Beyro · Fredrik Lund · Sinquenza · Claude Chuzel · Yrealydad · Eduardo Cajal · Juan Barte · Pol Parrhesia · Thomassin · Yan Nazca · Jonay Pmatos · Javier Pérez Aranda · Limber Vilorio · Roberto Equisoain · Lucia C Pino · Francisco Mateos · Luis García Gil · Monoperro · Rubén Bonet · Giuseppe Zamora · Axel Di Chiappari · Omar Jerez · Miguel Guzman · Ana Matey · Carlos Llavata · Jesús Andrés · Jesús León · Maite Dono · Andrés Montes · Elise Plain · Luján Marcos · Danino Bozic · Yaky Bonacic-Doric · Alfonsina Ramírez · Heather Passmore · Pablo Esplá · Ruben Lorenzo · Sabine Felden · Ho Wai Fong · Susan Campos · Martinka Bobrikova · Taka Fernández · Kjell Varvin · Miralda · Pepe Pujol · Victor Tronic · Shiraz Randería · Tereza Erbenová · Khosro Khosravi · Jeffrey Harris · Pontus Kyander · Goro Shimano · Françoise Rohmer · Abel Azcona · Left Hand Rotation · Meninas Cartoneras · Niké Nagy · Markus Lantto · Stian Adlandsvik · Øyvind Brandtsegg · Per Formo · Torhild Aukan · Sylvain Cherkaoui · Tania Arias · and many others.
Series Lexicon
Exit · Bazar · Mosca · Kiwi · Socioplastics · Sales · Fire · Ball · Pan · Fastforward · Supermarket · Playtime · Masa · Pulpa · Samba · Deriva · Desierto · Family · Océano · Galaxia · Bonus · Trip · Naturalism · Power · Hole · Deshielo · Miseria · Glam · Glow · Empty · Unstable · Motion · Geometry · Progression · Traca · Ganga · Radical · Frame · Cloud · Phantom · Snow · Translation · Mud · Babylon · Fugaz · Glitter · Cocktail · Party · Cosmotidiano · Sed · Bullet · Vulcano · Deseo · System · Expansivo · Neta · Kiss · Nowhere · Antorcha · Goma · Ensayos Posicionales · Fresh Museum · Sugar Sunset · Naked Eye · Aerial Roots · Bank Account · Thick Smoke · Zero Zero · Butter Factory · Sweet Corn Brutalism · Exfoliation · Wild Flowers · The Word · Flock · The Light in Athens · Recreo · The Road to Restoration · Basal · Solitude · Unstable Love · Grey · Deep Sleep · La Mar · Sorrow · Relieve · Rero Pop · Retro Expresionism · Voyage Voyage · Loop · Radiance · Prime Factor · The Light in Cádiz · Re-(T)exHile · Resilient Visions · Liminality · IAPS Barcelona · Lost Rocks · Confetti · Merci · Beaucoup · Parlons Cinema · Meesters · Bancal · Stone Dream.
Transition
LAPIEZA → LAPIEZA-LAB * https://lapieza-lab.es/inicio-ingles
A curatorial sequence became an archive.
An archive became a field. A field became a laboratory.
Foundational Epoch (2009–2012): The room as laboratory
LAPIEZA was founded in 2009 in Madrid as an independent space that operated less as a gallery than as a living organism. During these first four years, the rhythm was nearly weekly: a new work, a new mutation, a new series. That sustained velocity consolidated an early socioplastic logic in which what was shown was never just an object, but also gesture, document, body, relation, and narrative. Installation became language; the room became laboratory. Series such as EXIT, KIWI, BAZAR, SALES, FAMILY, and SOCIOPLASTICS traced an early aesthetic map in which the ephemeral, the domestic, and the affective converged. Material scarcity was transformed into conceptual intensity, and the space itself functioned as a rigorous machine of experimentation and documentation. More than 500 pieces were activated in Palma 15, Madrid, generating a first dense archive and establishing the project’s long-term grammar.
Expansive Epoch (2013–2019): Drift, residence, and affective geometry
Between 2013 and 2019, LAPIEZA became nomadic. Without a fixed room, the project expanded across cities, residencies, collaborations, and temporary structures of hospitality. Mexico, Oslo, Cádiz, Bratislava, Amsterdam, Stockholm, Bogotá, Marseille, and other contexts entered the field as situated textures rather than mere locations. Each place contributed a different material and emotional register; each series acted as a choreographic response to context. During this phase, LAPIEZA refined the series as a narrative unit and deepened its editorial, performative, and installation-based strategies. What had once been a room-based programme evolved into a mobile archive and a distributed relational system. The project no longer depended on a fixed centre. It travelled through architectures, conversations, climates, and local scenes, producing a body of work that was increasingly translocal, affective, and structurally open.
Recreo Epoch (2020–2022): Slow time, landscape-body, living archive
With RECRE0, LAPIEZA entered a phase of fertile withdrawal. This was not passivity, but a deliberate reorganisation of pace, scale, and attention. Landscape became both context and method. The work shifted toward slower, quieter, more porous gestures rooted in walking, observation, climate, ground, and duration. The archive ceased to be merely retrospective and became a breathing presence within the work itself. Pieces no longer appeared through urgency but through sedimentation. The relation between body and territory intensified, and the project explored the symbolic density of minimal actions, vegetal presences, and low-scale interventions. This phase opened a more intimate epistemology in which art was less projected outward than grown from contact with atmosphere, seasonality, and place. LAPIEZA discovered here a poetics of slowness that would later become central to its territorial turn.
Biennial Epoch (2023–2024): Institutional openings and global scene
After the introspective density of RECRE0, LAPIEZA re-entered a broader public and institutional scene with greater international visibility. Biennials, congresses, and territorial platforms became part of its operative horizon. Yet this did not produce a conventional institutionalisation. Rather, it extended a post-institutional socioplastic language into wider frameworks of mediation, pedagogy, and situated cultural production. The work began to circulate across exhibitions, talks, publications, and collaborative infrastructures without losing its affective and experimental core. In this phase, LAPIEZA appeared as a relational agency capable of operating between art, landscape, discourse, and territorial listening. The archive became more consciously articulated, and documentation itself turned into a shared and multi-sited form. This period marks the moment when LAPIEZA became legible not only as an art sequence, but as a broader cultural and epistemic platform.
5. Ruralist Epoch (2025– ): Territorial school and affective infrastructure
With the move to Galicia in 2025, LAPIEZA initiated a new epoch defined by territory, pedagogy, and ecological attention. This phase does not reject the previous ones; it reorganises them through a slower and more grounded sensitivity. The rural is not treated as picturesque opposite to the urban, but as a critical fold through which memory, ecology, language, and common life can be rethought. Here LAPIEZA-LAB emerges as a territorial school: diffuse, affective, transdisciplinary, and site-responsive. Landscape becomes archive, classroom, and compositional frame. The work listens rather than imposes; it gathers rather than occupies. Art becomes a situated form of knowledge and relation. This ruralist phase marks the opening of a new decade in which pedagogy, curating, writing, and territorial practice are increasingly braided together within a living infrastructure of attention.