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ORLAN: A Hybrid Body of Artworks by Simon Donger, Simon Shepherd

Posted On March 23, 2017 at 11:35 am by / Comments Off on ORLAN: A Hybrid Body of Artworks by Simon Donger, Simon Shepherd

By Simon Donger, Simon Shepherd

ORLAN: A Hybrid physique of Artworks is an in-depth academic account of ORLAN's pioneering artwork in its entirety. The publication covers her career in functionality and a number different paintings varieties. This unmarried obtainable review of ORLAN's practices describes and analyses her quite a few cutting edge makes use of of the physique as creative fabric.

Edited by way of Simon Donger with Simon Shepherd and ORLAN herself, the gathering highlights her inventive effect from the views of either functionality and visible cultures.

The booklet features:

  • vintage texts by means of ORLAN and on ORLAN's paintings, together with manifestos, key writings and important studies
  • ten new contributions, responses and interviews through prime overseas experts on functionality and visible arts
  • over fifty photos demonstrating ORLAN's paintings, with thirty complete color pictures
  • a new essay through ORLAN, written particularly for this volume
  • a new bibliography of writing on ORLAN
  • an listed directory of ORLAN’s artistic endeavors and key themes.

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Additional info for ORLAN: A Hybrid Body of Artworks

Sample text

Whether we want it or not, we still live in the Baroque. We still live in the too-much, the excess, and even in a moment of concentration of meditation where one would want to extract oneself from excess, as John Cage proposed with 4 minutes and 33 seconds of silence and listening, our blood flows, our heart pumps, our lungs breathe, our system digests: our machine functions, our eyes see, our skin breathes and smells and shivers, our bodies get impatient. It’s a long 4 minutes 33 seconds. Our brain remembers, reflects, associates with the sounds; our ears listen to a myriad loud or imperceptible sounds, in cities as in nature, creating an infinite quantity of auditory events.

Photo: J. P. Lefret for ACE3P. images of me, of photos, flux, explosion, haemorrhage of images, like Adam born from the mud, like Lillith . . like so many starting points for my incarnation, born from the mud that I prefer to call our ‘primal soup’. 25m) [see accompanying image]. It is a sub-series from an important series called Documentary Study: Drapery – The Baroque, which I pursued for about ten years. In those pictures the photographic space is composed of real materials for construction, real blocks and a plastic background imitating bricks, drapes in skaï referencing marble sculpture, and sculptural folds on video, as well as a contemporary pedestal: figuring the old and the contemporary in the same space where I manipulated two crosses, one white and one black, like objects that had no religious importance to me.

And the constitution of ‘global ethnoscapes’, part of a ‘transnational anthropology’ (Appadurai 1996: 48), gives shape to new relations between imagination and anthropology. Intertwining the real and the virtual ORLAN unravels all the strata of a time that emanates from the unfolds and interfolds, with its memory of loss and its reincarnations. In the end, she is always this ‘tattooed, ambidextrous, hermaphrodite and mixed-race monster’ of Harlequin. That is a true transaesthetics of plural singularities, arguing against binary and essentialist logics in order to privilege what Homi K.

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