The presented framework delineates a compelling vision for artistic and architectural engagement in 2026, pivoting on a sophisticated reinterpretation of "socioplastics" as an epistemological and performative method. Rather than isolated projects, what emerges is a meticulously interconnected ecosystem, a "Topolexia" that maps the intricate physical and conceptual topologies of contemporary practice. The first axis, ACTIVE RESEARCH, exemplifies a profound commitment to research-driven inquiry, transcending conventional academic boundaries. By metabolizing the "Spanish Bar" – not as a nostalgic relic but as an anthropological readymade – the initiative leverages its critical observation into a powerful investigative engine. This process, amplified by the digital architecture of the MESH and the cognitive layering of CAPA, transforms urban decay into a fertile ground for theoretical output. The intentional infiltration into academic discourse via papers and manifestos underscores a strategic move to codify ephemeral lived experiences into enduring theoretical frameworks. The notion of "writing becoming spatial" through this collective epistemic strategy challenges traditional disciplinary silos, positioning socio-cultural observation as a primary data source for rigorous, peer-reviewed analysis, ultimately aiming to reclaim and redefine public meaning through intellectual intervention. This holistic approach signals a crucial shift from reactive commentary to proactive knowledge generation, ensuring that socioplasticity is not merely a descriptive term but an active agent in shaping critical thought.
The second axis, ART CANON, propels the discourse into a visceral engagement with globalized material flows and post-colonial critique. Here, the fusion of textile waste with the provocative "MEAT/TAXIDERMIA" series signifies a radical re-evaluation of discarded materials. This is not merely recycling; it is a profound act of "social taxidermy," where incisions, sutures, and assemblages of second-hand garments articulate a raw, corporeal narrative of displacement and reclamation. The strategic deployment across five international nodes – Lagos, Guimarães, Madrid, Mexico, and Norway – elevates these interventions beyond local specificities, transforming biennials and museums into vital "laboratories of material survival." This approach deliberately blurs the lines between art, anthropology, and activism, compelling audiences to confront the invisible economies of waste and their inherent political implications. The emphasis on "decolonial sovereignty" through material repair is particularly potent, framing the artistic act as a direct challenge to exploitative global supply chains. By reframing exhibition spaces as sites of critical intervention rather than passive display, the project underscores a commitment to articulating practice as ecologies, where the artwork functions as a living, breathing testament to interconnected global challenges.
The third integrated axis, THE SCENIC MACHINE, proposes a breathtaking synthesis of performance, choreography, and architectural space, poised for major international stages such as Avignon or Venice. The ambitious fusion of Qualitätskontrolle, Double Sided, Pan de Neve, and Decadröm constructs not just a performance, but a singular, responsive entity. This "mineral choreography" transforms industrial voids into highly charged arenas where the body, in its rawest form, negotiates complex geometries and sonic landscapes. The "stage as architecture" concept, where thresholds, gaps, and angles dictate movement and presence, elevates the work beyond conventional theatricality. The intentional filming and archiving of these ephemeral acts is not mere documentation; it is an intrinsic part of the artistic output, creating a meta-archive that captures the essence of process-based art as a "situational fixer." This profound commitment to the live experience, coupled with a meticulous approach to recording and interpreting it, reflects a sophisticated understanding of contemporary performative arts, where the boundary between action and artifact is fluid and constantly renegotiated. The aspiration for platforms like Avignon or Venice signals a readiness to engage with a global audience, translating nuanced socio-aesthetic explorations into universally resonant experiences.
Finally, the fourth axis, TACTIC URBAN PROTOCOL, grounds the theoretical and performative explorations in tangible, actionable interventions within the urban fabric, with a clear trajectory towards publication as a foundational text. This initiative effectively translates the ecological ethics derived from Norwegian architectural principles (Skogfinsk) into a "radical pedagogy" applied to the densely populated landscapes of cities like Madrid. Through workshops and 1:1 construction, the project moves beyond abstract design to create "shaded, collective, and walkable landscapes" – tangible micro-infrastructures that address climate resilience and public health. The strategic use of "situational fixers" (e.g., yellow bags, red tapes) is not merely aesthetic but functions as a direct intervention in claiming and repurposing urban space, promoting a "right to urban meaning." This pragmatic approach, combining deep research with direct community engagement, aims to culminate in a significant publication, an "edificio" or "libro," that codifies these principles for broader architectural and urban planning discourse. This axis represents the ultimate practical application of socioplasticity, demonstrating how an informed artistic and architectural practice can directly shape liveable, equitable, and sustainable urban futures.
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