BAROCK - Art, Science, Faith and Technology in Contemporary Ege
13.12.09 | 05.04.10
 Heaven2008 / 2009  Mirror-portraits-stress of our society2009  Fraught Times: For Eleven Months of the Year it's an Artwork and in December it's Christmas (October)2008  Many2009  Natural Historie on the altar Natural Historie on the parapet2008  Dolphin2002  Worker2006  Paravent2008  Daybed2998  Dass Kapital ist Kaput? Ya? Nein! Dummkopf!2008  Rivers of Blood2007  Ship of Fools2009  Disasters of War III2000  Men move an engine block2008  Mbreti dhe Mbreteresha2007  Manhole2000  Moulin Rouge2009  Romeo e Giulietta2006  432 Hz2009  Puppets2009  Black Sun2004  Saint Bartholomew, Exquisite Pain2006  Black Sheep, Divided2008  Lost Memories and Dreams Forgotten2008 / 2009  Chaplet2009  FAEZEH2008  Untitled (# 471)2008  Smash Armed faith Rosetted2008  Bombers2006  Europe Supported by Africa and Asia2009  V Shadow2005  Moon Shadow2005  Dark Brother2005  Crepe nel tempo2009  Is freedom therapeutic?2009  Cremaster 3: The Five Points of Fellowship2002  Untitled2009  Ora2008  Etude Documentaire. Le Drapé- le Baroque. Sein unique: monstration phallique Reliquaire Ma chair, le texte et les langages (grand reliquaire anglais)1993  Le Drapé- Le Baroque Étude documentaire en marbre : Le Drapé-le baroque. Buste d'ORLAN en sainte ORLAN1978  Vierge blanche aux deux croix et au regard en coin (white virgin with two crosses and a sidelong look)1983  Vierge Noire Manipulant une croix blanche et une croix noire (Black virgin wielding white cross and black cross)1983  Operation Reussié , 1991, 8’30’’ Omnipresénce , 1993, 1h 20’1977 - 1993  Opération-chirurgicale-performance n°7 dite Omniprésence Gros plan sur un des rires1993  Relational2009  Four Seasons2009  Untitled2009  Untitled2008  Tutti giù per terra (We all fall down)2004 - 2009 |
Orlan
Reliquaire Ma chair, le texte et les langages (grand reliquaire italienne)
1993
Courtesy :
Courtesy the Artist and Galerie Michel Rein, Paris
ORLAN is an irreverent, ironic, blasphemous, iconoclastic artist. Provocations of the flesh, reversals of the body, art and life, a playing with identity and a continuous oscillation between real and virtual are raised to the level of an aesthetic. From the comparison with Bernini’s Saint Theresa in Ecstasy, a paradigmatic example of Roman post-Tridentine baroque there emerges a provocative alter-ego: Saint Orlan, with the stress on the combination of spiritual tension, emotional intensity and the sensuousness of the model, beginning a long artistic-existential approach to rereading Western sacred iconography. The artist achieves a recovery of the original, a subtle and subversive charge that persists latently in its Baroque poetic, transposed into a redundant, excessive and sarcastic aesthetic.
With the Ré-incarnation de Sainte Orlan the artist raises aesthetic surgery to the status of an artistic medium, used regardless of medical legitimacy as a means for transforming the self but above all as an instrument for the production of works of art. Reliquaries that contain parts of the artist’s body, drawings and self-portraits made with her own blood during operations, pieces of gauze and Shrouds, as well as the residual traces of the intervention: photographs of the operating theatre and videos of the surgery. ORLAN’s work touches on anthropology, psychoanalysis, aesthetics and science. It is wedged into all these disciplines, constantly supported by the mass media system. Questions of identity, the taboos related to the opening of the body, the shattered myths of a lost femininity, the public and private sphere, the limits of art, language and life are simultaneously questioned in her work.
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