Why did Frank Zappa cover the Bolero of
She photographed herself naked, giving birth to an androgynous mannequin; It was transformed into a kissing vending machine in exchange for five francs; exposed the semen-stained sheets of her multiple lovers; disguised himself as an antichrist superstar with one nipple exposed; at the Louvre Museum he glued a small triangle of his own pubic hair to the nude E
l raptode Antíope and in The origin of the war it showed a man with his sex erect, lying on a bed like the woman in Courbet’s painting. Born Mireille Porte in Saint-Étienne in 1947, she changed her name at the age of 15. ORLAN, thus, with capital letters, a mutant and feminist artist whose work was always focused on the pressure that society exerts on the body of women and who, entering the quarantine, began her most radical series. Also the one that gave him the most notoriety: The reincarnation of Saint Orlan.
Between 1990 to 1995, he underwent nine plastic surgery operations, rewriting Western art on his own face. An operation altered his mouth to mimic that of Europe of François Boucher, another changed her forehead to mimic that of the Mona Lisa of Leonardo; he modified his chin to resemble that of Botticelli’s Venus; he borrowed the eyes from Gérôme’s Psyche and the nose is inspired by a Diana sculpture. He was not looking for an ideal of beauty, but to remove the mask he was born with and reinvent it. Create herself by destroying any trace of imposed identity.
The operations were carried out in a baroque operating room-theater full of plastic fruits, crosses and huge photographs, with ORLAN wide awake, reciting poetry and psychoanalytic texts, while surgeons dressed by Paco Rabanne, Franck Sorbier, Issey Miyaké or Lan Vu , they followed the transformation of her face to the letter. Each surgery was recorded on video, and the seventh was relayed via satellite from the operating table to the Sandra Gering Gallery in New York.
At the end of the series, he placed two of those silicone implants that are usually used to enhance the cheekbones, one on each side of the forehead, above the eyebrows, as if it were a little imp. He called it carnal art and was not so interested in the final plastic result, but in the surgical-performance operation and the modified body turned into a place of public debate.