Installation

INSTALLATION

Slow de l’Artiste installation at CENTQUATRE Paris, 2022/2023

A few months before the release of her first musical album “Le Slow de L’Artiste”, ORLAN created an immersive art installation at the CENTQUATRE Paris, designed to tease out her future musical project. The album is previewed in this installation, on a loop, all day long. A video projection illustrates each of the songs, accompanied by a karaoke machine allowing the audience to sing along.

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Following her performance le baiser de l’artiste (the artist’s kiss) at the FIAC in 1977, ORLAN presents le slow de l’artiste (the artist’s slow), her very first “all slow” album! She wants to offer what we’ve missed most since March 17, 2020: human warmth, hugs, body-to-body… she wants to bring bodies closer together after the physical distancing!

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Nouveaux Bâtiments OMICS, Institut PASTEUR, artistic intervention, invitation as part of Fabrice Hyber’s ORGANOÏDE, “LES PHAGES D’ORLAN”, 2018

Following her exhibition Le boeuf sur la langue (2010), ORLAN had the pleasure of being invited to take part in the ORGANOÏDE project created by her friend and academician Fabrice Hyber and Olivier Schwartz. This is a database of images created by artists to support Institut Pasteur’s scientific research. 

As part of this project, she had the opportunity to collaborate with researcher Shahragim Tajbakhsh, head and expert of the Stem Cells and Development unit, which ORLAN is passionate about.

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Sentimental hat, 2014

For the exhibition “Chapeaux! Hommage à Robert Fillliou” exhibition, curator Raphael Cuir asked several artists, including ORLAN, to create a new work. ORLAN loved the Fluxus artist and his work, and wanted to pay tribute to his Galerie Légitime. She asked her friends, most of them personalities from the art world, to take a photo posing in a hat.

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Un Boeuf Sur La Langue, La Nuit Blanche, Paris, France,2012

ORLAN creates a light installation for the Nuit Blanche on October 6, 2012 in Paris.

The artist set the words she projected from a flyboat making the Grenelle-Ivry trip, using a light cannon, onto both sides of the Paris facades. Words in motion, beacon words, verbal spectres gliding over riverside dwellings, offered to night owls for their reflection and reverie.

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“WORDS DEFINED IN DICTIONARIES ARE DEFINED, REREAD AND RECODED ACCORDING TO CONTEXT, POLITICAL EVENTS, CURRENT IDEOLOGIES AND FASHIONS BY THOSE WHO USE THEM, I.E. EVERYONE.

AND BY EVERYONE WHO PUTS THESE WORDS BACK INTO ANOTHER LANGUAGE THAT HE HYBRIDIZES, REINVENTING WORDS THAT ARE ALSO USED BY THE PEOPLE WHO ARE MISSING.

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Draps-peaux, Centre Pompidou, Paris, France,2011

In 2011, ORLAN presented Drap-Peaux Hybridés in the exhibition Paris-Delhi-Bombay at the Centre Pompidou organized by Sophie Duplaix and Fabrice Bousteau. The artist created an enormous Indian and French hybrid flag in sequins, entitled Draps-peaux hybridés, measuring 7 m x 5 m, which was installed at the entrance to the exhibition, with a technical ceiling made up of fans and lights. The wind coupled with the lights gave the illusion of LED programming.

Un Boeuf Sur La Langue, Musée des Beaux Arts de Nantes, Chapelle de l’Oratoire, France,2010

In 2010, ORLAN created the exhibition Un boeuf sur la langue (An ox on the tongue).for which she created a silk velvet printed by Brochier silk mills with a design showing viruses, phages, blood, skin and muscle cells, almost purely for the pleasure of touching and seeing this highly vibratory, highly pictorial material with which she created seats, dresses, works and spaces imitating stained glass.

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Drive-In: ORLAN Remix, Abbaye de Maubuisson, France,2009

Drive-in: ORLAN REMIX, the unlimited installation presented in the largest room at Maubuisson Abbey, not only highlights the tyranny of social convention, but also substitutes it with a space of freedom where other ideals of life become possible.

A symbol of the social constraints attached to marriage (the preoccupation with luxury and appearance), the huge inflatable limousine turns out to be a simulacrum. Far from this standardization, and echoing the generic title of the exhibition: “Mixed unions, free marriages and barbarian nuptials”. ORLAN points out the absurdity of racism and puts into perspective the evidence of mixing and hybridization.

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No Comment, Saint-Étienne Design Biennial,2009

No-comment is a sculpture-installation created against soccer harassment. It consists of a large cross made of stretched canvas and frame, onto which is projected a video in which ORLAN has mixed the sound of soccer matches and mass, creating a soundtrack of rumors and clamor.

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Suture-Hybridization-Recycling, Espacio Artes Visuales, Murcia, Spain,2009

Virtually all of ORLAN’s work can be read through the prism of dress, costume and cross-dressing. For the artist, clothing is a better interface than skin. You can’t choose your skin, but thanks to clothing, you can create a second skin, a calling card as close as possible to who you are, to the image you want to produce, to your culture, to your tastes, to build your calling card and who you want to be. 

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Portraits of my time, mirrors with hermetically sealed containers containing: blood, oil, polluted water from the canals of Venice, gold, sequins, Venice, GLASSTRESS 2009

Biopsie, Le manteau d’Arlequin, Liverpool,2007

In the preface to Tiers-instruit, entitled “Laïcité”, Michel Serres describes the Harlequin who, having gradually removed all his layers of patchwork clothing during a round-the-world tour, presents a skin that is also in patchwork form. ORLAN was greatly inspired by this work, which she will read during the Biopsie performance.

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Pièce Lumineuse, Palais de Tokyo, Paris, France, 2005

Pièce lumineuse is an installation created by ORLAN with the help of architect Philippe Chiambaretta and exhibited at the CCC in Tours in 2004, curated by Marc Sanchez and Jérôme Sans, then at the Palais de Tokyo in Paris in 2005.

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OMNIPRESENCE II, New York, Galerie Sandra Gering, 1993

OMNIPRÉSENCE II is the major component in surgical-performance operations.

This is a photographic installation presented as a work in progress in the Sandra Gering gallery , based on two ideas: to show what is usually kept secret, and to establish a comparison between the self-portrait made by the machine-computer and the self-portrait made by the MACHINE-CORPS. For this purpose, ORLAN had arranged 40 metal diptychs lacquered red-brown like dried blood in the gallery, corresponding to 40 days of exhibition. At the bottom of the diptych: a screen shot showing the image of a face created using morphing software.

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“Un peu de temps … et vous ne me verrez plus … un peu de temps … et vous me verrez.”, Espace Lyonnais d’art contemporain, 1995

ORLAN created the installation “Un peu de temps … et vous ne me verrez plus … un peu de temps … et vous me verrez” in 1995 for the Lyon Biennial of Contemporary Art, in the continuity of his surgical operations-performances.

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ART-ACCÈS-REVUE, 1982-1987

In 1980, a Minitel, the forerunner of the Internet, was given to every household, but without having anticipated any interesting content.

ORLAN has seized upon it to give it artistic content. So, in 1982, she founded ART-ACCÈS-REVU, an art magazine available on Minitel, co-produced by Frédéric Develay, who was seeking, among other things, to democratize art.

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Staging
for a large Fiat, Festival d’art électronique, 1986

The video is made up of several sequences, each presented by ORLAN as a spectator announcing the title of each clip, including “Sainte-ORLAN makes fire come out of her ass!”; “Sainte-ORLAN pulls a big rabbit out of her sex”; “ORLAN transvestite en Sainte-ORLAN throws arrows and turns her heart upside down for a few sequins”; “Sainte-ORLAN inscribes herself tone on tone between her fathers and tonsure” …

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Wedding outfit, 1981

Panoplie d’une fille bonne à marier is an interactive installation in three panels of faux black tiles. In the center is a life-size, 1:1 effigy of ORLAN, created with a black-and-white photograph of her nude body, photographed and colored in Tyrian pink, glued to wood and trimmed.

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Étude Documentaire : Le Drapé-le Baroque : Plafond Baroque et Rococco, Performance with 30 puttis, Espace Lyonnais d’Art contemporain,1981

ORLAN creates the performance Plafond baroque et rococo in her installation La Chapelle élevée à moi-même (mise en scène pour une Sainte), one of the key works in the Etude Documentaire series: le Drapé-le Baroque. It condenses various aspects of the artist’s reflections on the Baroque into an extravagant sensory installation. Built for the Made in France exhibition at the Espace lyonnais d’art contemporain, the monumental chapel measured 10m². Both an installation and a performance space, the Chapelle functioned as a work of art in the artist’s absence, and as a set designed for the performance. 

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Documentary study: Drapé-the Baroque. Chapelle élevée à moi-m’aime (Staging for a saint), Espace Lyonnais d’art contemporain, 1980

The Chapel Raised to Myself (staged for a Saint) is one of the key works in the Documentary Study series: Drapé-the Baroque. It condenses various aspects of the artist’s reflections on the Baroque into an extravagant sensory installation. Built for the Made in France exhibition at the Espace lyonnais d’art contemporain, the monumental chapel measured 10m² x 10m².

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Déshabillage, habillage, rhabillage, libres et changeants, Interactive photographic installation,1977

Déshabillage, habillage, rhabillage, libres et changeant (Undressing, dressing, undressing, free and changing) is a 1977 installation in which the public is invited to turn pieces of ORLAN’s body photographs, glued to wood, to dress her as a madonna or undress her, setting up an image of ORLAN and very surprising intermediate images.

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Têtes à claques, jeu de massacre, 1977

In 1977, ORLAN created the work “Tête à claques, jeu de massacre”, which we consider today to be the first evidence of her interest in interactivity between works and public, prefiguring her use of new technologies. 

This was an installation using photographs of ORLAN’s face  cut out and glued to wood.  The public was invited to tap a cloth ball on the heads to make them fall. They fell, making a noise, and came up again, making another noise, like at a funfair.