LAPIEZA ART SERIES, initiated by Anto Lloveras in Madrid in 2009, can be understood as one of the most coherent attempts to translate post-relational aesthetics into a durable, transdisciplinary cultural infrastructure. Conceived under the conceptual banner of Socioplastics, the project departs from Nicolas Bourriaud’s relational paradigm while simultaneously exposing its limitations: where relational aesthetics often stabilised into convivial micro-events sanctioned by institutional frames, LAPIEZA radicalises relation as a long-term, accumulative, and epistemically productive condition. From its inception, the project positions itself against the closure of canonical exhibition formats and the inertia of institutional legitimation. It replaces the autonomous artwork with a serial, unstable, and collectively authored meta-form, in which each contribution functions as a semiotic node within an expanding field of meaning. The platform’s early emphasis on urban interventions and neighbourhood-scale ecologies in Madrid already signals a refusal of the white cube as the privileged site of art. Instead, LAPIEZA performs what might be termed a civic aesthetics: art as a walkable, inhabitable, and socially embedded practice. This civic turn, later theorised through notions such as Shaded, Collective, and Walkable Landscapes, reframes urbanism itself as a socioplastic medium. The city becomes not merely a context but a material with which relational form is composed. In this sense, LAPIEZA operates less as an art project than as a proto-institution: a mutable architecture of relations, capable of absorbing heterogeneity while maintaining internal coherence through seriality, documentation, and shared protocols.
