Founded in 2009 in Madrid’s Malasaña district by Anto Lloveras, the project unfolds across fifteen years, 180 series and more than 2,000 pieces, configuring what may be described as a living archive rather than a catalogue of works. Its founding gesture—the transformation of a modest room at Palma 15 into a weekly mutating “laboratory”—established a grammar of socioplastics: art as relational process, as distributed authorship, as situated ethics. This grammar resonates with Bourriaud’s relational aesthetics and Beuys’s social sculpture, yet departs from both by refusing the spectacular and privileging precarious materiality, ritual repetition, and affective economies. The early series (EXIT, BAZAR, KIWI, SOCIOPLASTICS) articulate a proto-institutional critique: the exhibition as event, the archive as breath, the artwork as a trace of encounter rather than a commodity. What is decisive is not the visual outcome but the relational residue. This first epoch consolidates a rhizomatic method grounded in seriality, scarcity, and immediacy, producing over 500 pieces in four years. The socioplastic logic inaugurated here situates LAPIEZA within a lineage of post-minimal, post-conceptual practices that treat form as contingent and meaning as co-authored. The archive becomes performative, metabolising bodies, texts, and gestures into a dense ecology of relations. This foundational matrix frames all subsequent phases, rendering LAPIEZA less a project than a long-duration epistemic experiment.