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Jorge [Orta's husband and creative partner] and I are researching notions of "operationability," and several projects could already be defined in these terms, the most successful being (2001).

We are developing poetic actions closely linked to human, social, and economic developments.

Artists such as Krisztof Wodiczko and Christine Hill made works for the homeless, for example.

Faced with manipulative globalization, how can one not react?

To become "operational," each work triggers another work via a network system of "acts." Each object or project forms a link in the catalyst chain.

"Functioning aesthetic": the term seems right, and pertinent.

A debate arose: how can art have a direct effect on reality when it is mediated solely through galleries and the art system? In other words, can we speak of your work as a ‘functioning aesthetic’?

The ambiguity between the actual usage of the work and its aesthetics creates an interesting problem: what part is shaping and what part is operational in these works that ‘function’? The context for my first work in the 1990s was the economic recession, resulting from the repercussions of the first Gulf War and the stock market crash.

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