{"id":18122,"date":"2023-08-28T16:12:32","date_gmt":"2023-08-28T16:12:32","guid":{"rendered":"http:\/\/www.orlan.eu\/design-stylisme\/"},"modified":"2024-03-13T13:03:47","modified_gmt":"2024-03-13T13:03:47","slug":"design-stylisme","status":"publish","type":"page","link":"https:\/\/www.orlan.eu\/en\/design-stylisme\/","title":{"rendered":"Design \/ Styling"},"content":{"rendered":"\n

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\n ORLAN X  CAMILLE FOURNET, <\/strong>\n<\/em>capsule collection <\/strong> “From body to body                                                                                                        <\/strong><\/em><\/p>\n\n\n\n
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An eye, a mouth, a nose: “the body is a bag, the body is a suit”. With this new creation, ORLAN becomes part of the leather and flesh of the Camille Fournet house. This encounter enables the artist to break down the ice walls between practices, creating porosities between the visual arts, luxury goods and leather goods.
An international artist, carnal, feminist and always in capital letters, ORLAN has created an exceptional collection for the Maison, featuring fragments of her body in quotations from her landmark work “Se vendre sur les march\u00e9s en petits morceaux” (“Selling oneself in small pieces on the market”).<\/p>\n

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ORLAN has long used the representation of her body to question current social phenomena from a critical distance. When we designate handbags and backpacks, we’re referring to the body. The bag is carried by the hand, but its name could lead us to believe that it contains hands, hence the idea of inscribing parts of the artist’s body on the bags, whether they are hand-held, back-held or other (impressions of the face, eye, ear, ear, hand…). The bag is like a prosthesis that allows us to carry the things we need. It is the development, the continuation of our pockets.<\/p>\n

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Artist’s Slow costume, by Be\u00f1at Moreno,2023<\/p>\n\n\n\n
For the launch of her first musical album, Le Slow de l’Artiste, ORLAN collaborated with Be\u00f1at Moreno to create a costume that she uses for promotion, clips and live performances. He created a lycra dress and muslin cape with a textile print featuring the project’s slogans, “JE SUIS SLOWSEXUEL.LE”, “NOUS SOMMES SLOWSEXUEL.LE.S”, “JE SUIS ARTSEXUEL.LE”, “NOUS SOMMES ARTSEXUEL.LE.S”, all in black and white. With this costume, ORLAN becomes a manifesto, visually embodying her concept.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\nngg_shortcode_1_placeholder\n

Prototype shoes, motifs from self-hybridization between women 2022<\/p>\n\n\n\n
ORLAN has always had a conflictual relationship with fashion, which very often feeds the beauty stereotypes she fights against. Nevertheless, it’s a creative tool that ORLAN sometimes questions with the right concept and critical distance.
In 2022, she creates shoe prototypes with her self-hybridizations between women.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\nngg_shortcode_2_placeholder\n

MASKS OF ORLAN, 1984-2020 <\/p>\n\n\n\n
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For ORLAN, the body is just a bag, the body is just a costume. She has worked extensively on the subject, and in particular on the mask in her work. <\/p>\n

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Already in 1964, in the CORPS-SCULPTURES series, she presented her naked body for the first time, most often without identity because hair, a mask or the position of her body concealed her face. In 1984, ORLAN created a mask printed with a photo of her vulva for her video performance, Mise en sc\u00e8ne pour un grand fiat. She would later use this accessory on numerous occasions, notably in her Kiss on pussy performance. In her 1st Operation-Surgery-Performance, known as Sheriff’s Block, in 1986, she underwent surgery masked at times. Of course, in her self-hybridations with the masks of the Peking Opera in 2014, ORLAN uses Chinese masks to reclaim her place as a woman in a place where they are outlawed. Finally, with COVID21 , ORLAN has created several works based on the mask and the virus, creating usable masks with a photo of her vulva and her harlequinade on the inside of her body, with bacteria, cells and so on.<\/div><\/div>Show More<\/a>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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MUGS, 2014-2023<\/strong><\/p>\n\n\n\n
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ORLAN has produced mugs as merchandising for her work on several occasions.<\/p>\n

In 2014, she made her first mugs around her series on Le Plan du Film for her solo show at the Museum of Decorative Arts and Design in Riga, Latvia, European City of Culture, curated by Inese Baranovska.<\/p>\n

In 2018, she is making mugs with each of the works from her Self-hybridations between women.<\/p>\n

In 2023, she produced two new models to mark the launch of her album Le Slow de l’Artiste, as well as condoms.<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\nngg_shortcode_4_placeholder\n

\n \n New OMICS Buildings, <\/strong>\n <\/span>\n<\/em>\n Institut PASTEUR, artistic intervention, invitation as part of Fabrice Hyber’s ORGANO\u00cfDE<\/em> <\/strong>\n<\/span>\n \n LES PHAGES D’ORLAN”, <\/strong>\n <\/span>\n<\/em>\n 2018<\/strong>\n<\/span><\/p>\n\n\n\n
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Following her exhibition Le boeuf sur la langue <\/i>(2010), ORLAN had the pleasure of being invited to take part in the ORGANO\u00cfDE 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. <\/p>\n

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.<\/p>\n

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After a long discussion with him, she wanted to work with her own stem cells, and she proposed a project along these lines to the Institut Pasteur, which was refused by the ethics committee because it is forbidden in France to work with these cells. The body and its use are political and social. Our bodies don’t belong to us.<\/p>\n

Finally, the Institut Pasteur, through Fabrice Hyber, invited him to work artistically in their new OMICS building, in the lobby of the Simone Veil and Alexandre Yersin buildings.<\/p>\n

ORLAN has created a complete environment from colorful images of her cells and viruses, as in Le b\u0153uf sur la langue<\/i>, but in a different version. The words included in these colorful harlequinoid images were, for example, “rabies”, “pasteurella pestis”, “vaccine”, or “researcher”, a term that ORLAN greatly appreciates as it underlines the feminization of professional names, whereas Marie Curie, as a woman, suffered greatly from being a researcher among researchers.<\/p>\n

The images were installed in light boxes and on a floor covering, on and under bleachers and on high round tables covered with this print. The final touch is a very large tondo, installed at the top of the white wall opposite the bleachers. <\/div><\/div>Show More<\/a>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\nngg_shortcode_5_placeholder\n

ORLAN X NUBI, From drape to digital fold,  2<\/strong><\/em>016 Animated digital brooch OLED screen, stainless steel and black glass paste 3.8cm x 3.8cm x 1.6cm Limited edition of 12.<\/strong> \/ CELLS, <\/strong><\/em>2016 Animated digital necklace OLED screen, stainless steel and black glass paste 3.8cm x 3.8cm x 1.6cm 222 copies made<\/strong><\/p>\n

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\n \n ORLAN x Brochier Soieries, <\/span>\n <\/strong>\n<\/em>\n Carr\u00e9e de soie, <\/span>\n<\/strong>\n \n Self-hybridisations Masques de l’Op\u00e9ra de P\u00e9kin, <\/span>\n <\/strong>\n<\/em>\n Facing Designs and augmented reality n\u00b01<\/span>\n<\/strong>\n 2016, 90×90 cm<\/span>\n<\/strong><\/p>\n\n\n\n
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ORLAN and Brochier silks collaborated to create silk scarves based on her series of Self-hybridations of Peking Opera masks, 2014. In this opera, women are outlawed and men play their roles. <\/p>\n

Like the artwork, the scarf serves as a QR code. The customer can scan it and see an ORLAN avatar appear, stepping out of the frame of the work and performing the acrobatics of the Peking Opera. <\/p>\n

You can then take photos of yourself, your friends and your avatar, and send them around the world just like any other selfie.<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\nngg_shortcode_7_placeholder\n

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DEUX DOIGTS BAROQUE POUR UNE BELLE MAIN, Ring in sterling silver, 4.3 x 6 x 3.2 cm, Edition of 12,2015<\/p>\n\n\n\n
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In 2015, ORLAN created DEUX DOIGTS BAROQUE POUR UNE BELLE MAIN, a solid silver ring in keeping with her work on Baroque drapery. She creates volumes with organic shapes, curves and counter-curves…<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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ORLAN x Diane Venet, T\u00eate de fou, 2010, gold and silver, 8.5×10.5×3 cm<\/div>\n
Brooch from the work Disfiguration-Refiguration, African self-hybridization, Ejagham Nigeria ancient dance crest and Euro-Stephanoise woman’s face<\/span><\/div>\n
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This series consists of a series of black and white photographs based on ethnographic photography, the first photos in which the Other is photographed. In 2010, ORLAN collaborates with Diane Venet. These are the gold and silver T\u00eate de fou brooches created from the work D\u00e9figuration-Refuguration, Self-hybridations Africaines, Cimier ancien de danse Ejagham Nig\u00e9ria and visage de femme euro-st\u00e9phanoise.<\/div>\n<\/div>\n<\/div>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n
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Un Boeuf Sur La Langue, Mus\u00e9e des Beaux Arts de Nantes, Chapelle de l’Oratoire, France, 2010<\/span><\/strong><\/p>\n\n\n\n
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In 2010, ORLAN created the exhibition Un boeuf sur la langue (An ox on the tongue<\/i>).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.<\/p>\n

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These dresses were worn by black models and were black on the back, but very colorful on the front. The furniture included a table with a revolving top and a very large semi-circular bench made up of interlocking stools on castors, on which the public sat during the many discussions organized during the exhibition about the words featured in the space. Participants could either stay in the conversation collectively, or roll up their seats and detach themselves from the group, and the conversation became individual again.<\/p>\n

The concept of the exhibition was to blend design, fashion, art, sculpture, texts and medical imagery in a single venue, the Mus\u00e9e des Beaux-Arts in Nantes.<\/p>\n

When we entered the installation, everything was black and we couldn’t understand what the mannequins were holding. The atmosphere was heavy, inquisitive, almost morbid. Moving into the oratory chapel, little by little it was possible to read texts like “dire”, “ath\u00e9e”, “sur-femme”, “symbiotique”… And, at the same time, see the front of the garments made from this very colorful silk velvet, like a harlequinade. <\/div><\/div>Show More<\/a>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\nngg_shortcode_10_placeholder\n

Suture-Hybridization-Recycling, Espacio Artes Visuales, Murcia, Spain,2009<\/strong><\/span><\/p>\n\n\n\n
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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. <\/p>\n

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In 2009, ORLAN created the installation Suture-Hybridation-Recyclage, in which she hybridized her wardrobe following the same protocol with David Delfin, Maroussia Rebecq and Agatha Ruiz de la Prada, asking them to find a way of assembling two of her different garments to bring together times, materials, designers and moments in her history. Maroussia Rebecq has cut two garments and attached a small fluorescent yellow lace to bring them together, while David Delfin has attached ribbons full of staples, enabling them to be detached and reattached to another garment, creating a hybridization, or rather a temporary assembly and multiple shifting hybridizations.<\/p>\n

Agatha Ruiz de la Prada proposed a more radical solution. She carefully selected beautiful dresses from her museum, cut them in half and then split ORLAN’s garments in half from the waist down and assembled them.<\/p>\n

So each dress was recomposed with half an Agatha Ruiz de la Prada dress, and half dresses from ORLAN’s wardrobe, whose designer I don’t necessarily know. ORLAN has kept her entire wardrobe since adolescence. <\/div><\/div>Show More<\/a>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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Pi\u00e8ce \u00c0 Conviction,1993<\/strong><\/span><\/p>\n\n\n\n
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On May 30, 1990, in a desecrated church called “All Saints” in Newcastle, England, ORLAN announced her decision to undertake Op\u00e9rations-Chirurgicales-Performances in an inaugural performance-ritual, reading from her manifesto of Charnel Art, which she had written in 1989. <\/p>\n

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LA R\u00c9INCARNATION DE SAINTE-ORLAN OU IMAGES NOUVELLES-IMAGES DITES OP\u00c9RATIONS-CHIRURGICALES-PERFORMANCES, is a series of 9 performances created by ORLAN between 1990 and 1993 in Paris, Brussels and New York. ORLAN created this series to derail surgery from its habits of enhancement and rejuvenation, and to perform surgical operations that weren’t supposed to bring beauty, but ugliness, monstrosity and indesirability. <\/p>\n

The central idea behind these surgical operations was to combat stereotypes and models. ORLAN is not against cosmetic surgery, but against what we do with it. She uses this technique to invent the self-love by attacking the mask of the innate. The first condition with the different surgeons was no pain, because ORLAN is all for BODY-PLEASURE. For each performance, ORLAN decorated the operating theatre, turning it into her artist’s studio. She and the rest of the medical staff were costumed by a renowned designer working in collaboration with the artist. The performances were orchestrated by readings, and when the surgical gesture allowed it, ORLAN produced images, films, videos, photos, drawings with her blood and fingers, reliquaries with her fat and flesh, “holy-suaries” of sorts made with her dried blood and medical gauze from the operation onto which she made photographic transfers, and objects subsequently exhibited in museums and galleries. <\/div><\/div>Show More<\/a>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\nngg_shortcode_12_placeholder\n

Dressing in your own nakedness, Caldas da Rainha, Portugal, 1976-77<\/strong><\/span><\/p>\n\n\n\n
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In the performance S’habiller de sa propre nudit\u00e9 <\/i>(1976-77), ORLAN wanders through public gardens in Portugal, wearing a photograph of her naked body in the form of a photographic canvas dress covering her entirely.<\/p>\n

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Police officers wanted to charge her with exhibitionism, but it was impossible because ORLAN was dressed from head to toe and had her identity papers in her bag. <\/p>\n

In the public space, others are confronted with the representation of her nudity, without her actually being naked. ORLAN highlights this same gap in public life, where others represent rather than present themselves. In this sense, performance acts on real space, disrupting the relationship with the other and making the encounter critical. ORLAN seeks to get closer to the environment, to objects that mediate encounters with the other, and to create by challenging and disrupting the law without condemning it. <\/div><\/div>Show More<\/a>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\nngg_shortcode_13_placeholder\n","protected":false},"excerpt":{"rendered":"

  ORLAN X  CAMILLE FOURNET, capsule collection “From body to body                                                                                         […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_eb_attr":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_s2mail":"yes","ngg_post_thumbnail":0,"footnotes":""},"class_list":["post-18122","page","type-page","status-publish","hentry"],"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.orlan.eu\/en\/wp-json\/wp\/v2\/pages\/18122","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.orlan.eu\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.orlan.eu\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.orlan.eu\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.orlan.eu\/en\/wp-json\/wp\/v2\/comments?post=18122"}],"version-history":[{"count":5,"href":"https:\/\/www.orlan.eu\/en\/wp-json\/wp\/v2\/pages\/18122\/revisions"}],"predecessor-version":[{"id":19717,"href":"https:\/\/www.orlan.eu\/en\/wp-json\/wp\/v2\/pages\/18122\/revisions\/19717"}],"wp:attachment":[{"href":"https:\/\/www.orlan.eu\/en\/wp-json\/wp\/v2\/media?parent=18122"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}