Small Orange Tag (2015–2020) operates as a portable protocol for Light Social Sculpture, activating spontaneous alliances and ephemeral gestures across diverse geographies without leaving material remains; beginning with a fluorescent tag acquired at the Prague Quadrennial, the project travels lightly through Serbia, Croatia, Colombia, and Spain, where the act of “tagging” transforms individuals into site-specific artworks, inscribed in time rather than in objecthood, forming a cartography of human presence guided by the ethos of “No Leftovers”, a principle that insists on zero waste—not only materially but conceptually—rejecting permanence in favor of relational intensity; in Cádiz, the Lemon Wall interventions blur ritual with environment, while in Bogotá’s botanical gardens the tag migrates into living ecosystems, generating micro-events where the aesthetic resides in the gesture, not the artifact; each iteration builds a translatorial economy, where the orange tag becomes a mutable sign crossing disciplines, languages, and codes—seen in encounters with Slavica Marin in Croatia or Clara Castro in Colombia, where the object acts less as a marker than as a conduit; Recreo (2020), the final chapter, proposes an expanded pause, a soft deceleration, where the tag becomes a memory device—a residue of collective play and distributed authorship, light enough to carry, sharp enough to persist without weight; Orange Tag proposes sculpture not as volume but as velocity, relation, and trace, a choreography of mutual recognition encoded in the simplest possible form.
