BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Sabre//Sabre VObject 4.5.8//EN CALSCALE:GREGORIAN BEGIN:VTIMEZONE TZID:Europe/Zurich X-LIC-LOCATION:Europe/Zurich TZURL:http://tzurl.org/zoneinfo/Europe/Zurich BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:19810329T020000 RRULE:FREQ=YEARLY;BYMONTH=3;BYDAY=-1SU END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:19961027T030000 RRULE:FREQ=YEARLY;BYMONTH=10;BYDAY=-1SU END:STANDARD END:VTIMEZONE BEGIN:VEVENT UID:news101@english.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20181120T161218 DTSTART;TZID=Europe/Zurich:20181121T181500 SUMMARY:ORLAN – Performance/Talk DESCRIPTION:Questioning representations of genres\, sexuality and the self \, she has constantly brought her appearance and her identity into play\, reinventing herself through a continuous work of “self-sculpture”. S he has created\, since the age of 17\, provocative performance pieces – including Le Baiser de l’artiste (1977) in which\, sitting behind a ph otography of her own naked torso\, she sold French kisses to the visitors of an art fair – as well as sculptures\, photographs\, videos\, etc.\, notably a parody of Courbet’s L’Origine du monde\, turned L’Origine de la guerre (1989) and showing the lower abdomen of a man in erection. In the 1990s\, assisted by medical doctors\, she began a series of “su rgical-operation-performances”\, in which she transformed the operating room into a workshop where her body was surgically modified\, under her direction. She constantly associated these performances to readings of es says by philosophers like Michel Serres\, and she wrote her own Carnal Ar t Manifesto (1992) to explain the issues at stake: as a critical diversio n of cosmetic surgery\, a demonstration of the new plasticity of the fles h that allows the contemporary subject to claim authorship of her/his own body\, a questioning of beauty codes and their violence\, her project di stinguishes itself from body art by rejecting pain and making her body “a space of public debate”. In Reconfigurations-Self-Hybridations (st arting from 1998)\, she has used digital image processing technologies to merge her face with works representing non Western physical and artistic canons\, in order to create as many “mutant” figures. In parallel\, she has pursued her exploration of the impact of (bio)technology by worki ng with geneticists (Harlequin’s Coat\, 2007) or\, in one of her most r ecent works\, developing a robot mimicking her features\, endowed with ar tificial and collective intelligence\, and interacting with the public\, the ORLAN-oïde (2018). The logics of recombination and the irony that pe rmeate her work are well illustrated in a 1990 self-portrait\, significan tly entitled La fiancée numérique de Frankenstein (Frankenstein’s digi tal bride). \\r\\nArtist’s website: http://www.orlan.eu [http://www.orla n.eu] \\r\\n\\r\\nORLAN is a major figure in body art and “carnal art\, ” known for her work with plastic surgery in the early to mid-1990s. Us ing the media of sculptures\, photographs\, performances\, videos\, video games\, and augmented reality\, ORLAN applies scientific and medical tech niques (i.e. surgery and biogenetics) to show every sense of materiality and corporeality. She has been awarded the Chevalier de l’Ordre Nationa l du Mérite (2010)\, the Golden Medal of Saint-Étienne and the Bronze M edal of Saint-Étienne Métropole (2007)\, and the Chevalier de L’Ordre des Arts et des Lettres (2003). Some of her projects include her 2016 di gital photographic series\, “Hybridation Serge Gainsbourg et Salvador D ali” (with Roberto Battistini)\, her 2001 filmic poster series of non-e xistent films\, “Le Plan du Film\,” the 2008 bio-art installation (in collaboration with the SymbioticA laboratory in Perth\, Australia)\, “ Le Manteau d’Arlequin\,” her collaboration with perfumer Christophe Laudamiel for the 2007 perfume “Le Baiser de l’artiste\,” her musica l collaborations (i.e. with Chicks on Speed\, Fréderic Sanchez\, Tanger) \, and her on-going “Suture/Hybridize/Recycle”  project that focuses on suture in Orlan’s deconstructed wardrobe. X-ALT-DESC:
Questioning representations of genres\, sexuality and the self\, she has constantly brought her appearance and her identity into p lay\, reinventing herself through a continuous work of “self-sculpture ”. She has created\, since the age of 17\, provocative performance piec es – including Le Baiser de l’artiste (1977) in which\, sittin g behind a photography of her own naked torso\, she sold French kisses to the visitors of an art fair – as well as sculptures\, photographs\, vi deos\, etc.\, notably a parody of Courbet’s L’Origine du monde\ , turned L’Origine de la guerre (1989) and showing the lower abd omen of a man in erection. In the 1990s\, assisted by medical doctors\, s he began a series of “surgical-operation-performances”\, in which she transformed the operating room into a workshop where her body was surgic ally modified\, under her direction. She constantly associated these perf ormances to readings of essays by philosophers like Michel Serres\, and s he wrote her own Carnal Art Manifesto (1992) to explain the issues at stake: as a critical diversion of cosmetic surgery\, a demonstration of the new plasticity of the flesh that allows the contemporary subject t o claim authorship of her/his own body\, a questioning of beauty codes an d their violence\, her project distinguishes itself from body art by reje cting pain and making her body “a space of public debate”. In Reco nfigurations-Self-Hybridations (starting from 1998)\, she has used digital image processing technologies to merge her face with works r epresenting non Western physical and artistic canons\, in order to create as many “mutant” figures. In parallel\, she has pursued her explorat ion of the impact of (bio)technology by working with geneticists (Harl equin’s Coat\, 2007) or\, in one of her most recent works\, develop ing a robot mimicking her features\, endowed with artificial and collecti ve intelligence\, and interacting with the public\, the ORLAN-oïde (2018). The logics of recombination and the irony that permeate her wor k are well illustrated in a 1990 self-portrait\, significantly entitled < i>La fiancée numérique de Frankenstein (Frankenstein’s digital bri de). \nArtist’s website: http://www.orlan. eu \n\nORLAN is a major figure in body art and “carnal art\, ” known for her work with plastic surgery in the early to mid-1990s. Us ing the media of sculptures\, photographs\, performances\, videos\, video games\, and augmented reality\, ORLAN applies scientific and medical tech niques (i.e. surgery and biogenetics) to show every sense of materiality and corporeality. She has been awarded the Chevalier de l’Ordre Nationa l du Mérite (2010)\, the Golden Medal of Saint-Étienne and the Bronze M edal of Saint-Étienne Métropole (2007)\, and the Chevalier de L’Ordre des Arts et des Lettres (2003). Some of her projects include her 2016 di gital photographic series\, “Hybridation Serge Gainsbourg et Salvador D ali” (with Roberto Battistini)\, her 2001 filmic poster series of non-e xistent films\, “Le Plan du Film\,” the 2008 bio-art installation (in collaboration with the SymbioticA laboratory in Perth\, Australia)\, “ Le Manteau d’Arlequin\,” her collaboration with perfumer Christophe Laudamiel for the 2007 perfume “Le Baiser de l’artiste\,” her musica l collaborations (i.e. with Chicks on Speed\, Fréderic Sanchez\, Tanger) \, and her on-going “Suture/Hybridize/Recycle”  \;project that fo cuses on suture in Orlan’s deconstructed wardrobe. DTEND;TZID=Europe/Zurich:20181121T200000 END:VEVENT END:VCALENDAR