ORLAN

By Maëlle Galerie
Curator: Rolando J. Carmona.
In the occasion of Marbella Art Fair, we show a video by the famous french artist ORLAN. All the world know her because of « Canal art » which is committed to demystifying and questioning the traditional concepts of beauty.

The artwork exposed is : 7e Opération-Chirurgicale-Performance dite Omniprésence, New York, 21 Novembre 1993.

This video projection is presented to support the project « FOCUS VENEZUELA » a special proposal by Maëlle Galerie, curated by Rolando J. Carmona.

ORLAN is one of the most famous french artist internationally known.

She creates sculptures, photographs, performances, videos, and videogames, augmented reality, using scientific and medical technics like surgery and biogenetic. Those are only mediums for her, the idea prevails and the materiality pursues.

ORLAN makes her own body the medium, the raw material, and the visual support of her work. It takes place as the “public debate”. She is a major figure of the body art and of “carnal art” as she used to define it in her 1989 manifesto.

Her commitment and her liberty are an integral part of her work. She defends innovative, interrogative and subversive positions, in her entire artwork. ORLAN changes constantly and radically the datas, which disrupt conventions, and “ready-made thinking”. She is opposed to the natural determinism, social and politic and to all domination forms, male supremacy, religion, cultural segregation and racism, etc.

Always mixed with humor, often-on parody or even grotesque, her provocative artworks can shock because she shakes up the pre-established codes.

ORLAN won the E-reputation award, designating the most observed and followed artist on the Web.

MANIFESTO OF CARNAL ART,1989

DEFINITION

CARNAL ART IS SELF-PORTRAITURE IN THE CLASSICAL SENSE, BUT REALISED THROUGH THE POSSIBILITY OF TECHNOLOGY. IT SWINGS BETWEEN DEFIGURATION AND REFIGURATION. ITS INSCRIPTION IN THE FLESH IS A FUNCTION OF OUR AGE. THE BODY HAS BECOME A “MODIFIED READY-MADE”, NO LONGER SEEN AS THE IDEAL IT ONCE REPRESENTED ;THE BODY IS NOT ANYMORE THIS IDEAL READY-MADE IT WAS SATISFAYING TO SIGN.

DISTINCTION

AS DISTINCT FROM “BODY ART”, CARNAL ART DOES NOT CONCEIVE OF PAIN AS

REDEMPTIVE OR AS A SOURCE OF PURIFICATION. CARNAL ART IS NOT INTERESTED IN THE PLASTIC-SURGERY RESULT, BUT IN THE PROCESS OF SURGERY, THE SPECTACLE AND DISCOURSE OF THE MODIFIED BODY WHICH HAS BECOME THE PLACE OF A PUBLIC DEBATE.

ATHEISM

CARNAL ART DOES NOT INHERIT THE CHRISTIAN TRADITION, IT RESISTS IT! CARNAL ART ILLUMINATES THE CHRISTIAN DENIAL OF BODY-PLEASURE AND EXPOSES ITS WEAKNESS IN THE FACE OF SCIENTIFIC DISCOVERY. CARNAL ART REPUDIATES THE TRADITION OF SUFFERING AND MARTYRDOM, REPLACING RATHER THAN REMOVING, ENHANCING RATHER THAN DIMINISHING – CARNAL ART IS NOT SELF-MUTILATION.

CARNAL ART TRANSFORMS THE BODY INTO LANGUAGE, REVERSING THE BIBLICAL IDEA OF THE WORD MADE FLESH ; THE FLESH IS MADE WORD. ONLY THE VOICE OF ORLAN REMAINS UNCHANGED. THE ARTIST WORKS ON REPRESENTATION

CARNAL ART FINDS THE ACCEPTANCE OF THE AGONY OF CHILDBIRTH TO BE

ANACHRONISTIC AND RIDICULOUS. LIKE ARTAUD, IT REJECTS THE MERCY OF GOD -HENCEFORTH WE SHALL HAVE EPIDURALS, LOCAL ANAESTHETICS AND MULTIPLE ANALGESICS ! (HURRAY FOR THE MORPHINE !) VIVE LA MORPHINE ! (DOWN WITH THE PAIN !) A BAS LA DOULEUR !

PERCEPTION

I CAN OBSERVE MY OWN BODY CUT OPEN WITHOUT SUFFERING !….I CAN SEE MYSELF ALL THE WAY DOWN TO MY VISCERA, A NEW STAGE OF GAZE. “I CAN SEE TO THE HEART OF MY LOVER AND IT’S SPLENDID DESIGN HAS NOTHING TO DO WITH SYMBOLICS MANNERED USUALLY DRAWN.

DARLING, I LOVE YOUR SPLEEN, I LOVE YOUR LIVER, I ADORE YOUR PANCREAS AND THE LINE OF YOUR FEMUR EXCITES ME.

FREEDOM

CARNAL ART ASSERTS THE INDIVIDUAL INDEPENDENCE OF THE ARTIST. IN THAT SENSE IT RESISTS GIVENS AND DICTATS. THIS IS WHY IT HAS ENGAGED THE SOCIAL, THE MEDIA, (WHERE IT DISRUPTS RECEIVED IDEAS AND CAUSE SCANDAL), AND WILL EVEN REACHED AS FAR AS THE JUDICIARY (TO CHANGE THE ORLAN’S NAME).

CLARIFICATION

CARNAL ART IS NOT AGAINST AESTHETIC SURGERY, BUT AGAINST THE STANDARDS THAT PERVADE IT, PARTICULARLY, IN RELATION TO THE FEMALE BODY, BUT ALSO TO THE MALE BODY. CARNAL ART MUST BE FEMINIST, IT IS NECESSARY. CARNAL ART IS NOT ONLY ENGAGES IN AESTHETIC SURGERY, BUT ALSO IN DEVELOPMENTS IN MEDICINE AND BIOLOGY QUESTIONING THE STATUS OF THE BODY AND POSING ETHICAL PROBLEMS.

STYLE

CARNAL ART LOVES PARODY AND THE BAROQUE, THE GROTESQUE AND THE EXTREME.

CARNAL ART OPPOSES THE CONVENTIONS THAT EXERCISE CONSTRAINT ON THE HUMAN BODY AND THE WORK OF ART.

CARNAL ART IS ANTI-FORMALIST AND ANTI-CONFORMIST.

 En  el Marco de la Feria ART Marbella , se estará proyectando uno se los performances de la celebre artista Francesa ORLAN. reconocida mundialmente por su “arte Carnal” que apuesta por desmitificar y cuestionar los conceptos tradicionales de belleza. 

La obra presentada es la documentacion de :
7e Opération-Chirurgicale-Performance dite Omniprésence, New York, 21 Novembre 1993.
 
Esta proyeccion es presentada como soporte al proyecto FOCUS VENEZUELA, propuesto por Maëlle galerie de Paris con la curaduria de Rolando J. Carmona.
En el contexto ORLAN nos hace reflexionar sobre  la industria de la belleza, especificamente en Venezuela, donde a pesar de la crisis humanitaria sigue estando en la vanguardia internacional y marca un referente de éxito para las niñas de las favelas que sueñan con ser reinas

ORLAN.
7e Opération-Chirurgicale-Performance,
New York, 21 Novembre 1993

ORLAN.
7e Opération-Chirurgicale-Performance,
New York, 21 Novembre 1993

LITA CABELLUT by GUSTAVO MONTOYA

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(Sariñena, 1961) is a multidisciplinar spanish artist that works with óleum on canvas, drawings on paper, sculpture, photography, poetry, visual poems and videos. Her origin is ghipsy, she was raised in Barcelona and lives in La Haya since she was 19 years old. She is recognized by her paintings, she works with canvas of big size using a characteristical contemporary variation of the fresco technique. In 2011 she received the Arts and Painting Prize of the Ghypsy Culture Institut due to her dedicated work to ghypsy culture around the globe. In 2015 she was considered by the specialized magazine Artprice as one of the contemporary artists most valued of the world, situating her at the number 333 just behind Miquel Barceló and Juan Muñoz from the “top 500”, becoming the most valued spanish woman artist.

(Sariñena, 1961) es una artista multidisciplinar española que trabaja con óleo sobre lienzo, dibujos en papel, escultura, fotografía, poesía, poemas visuales y vídeos. De origen gitano, fue criada en Barcelona y desde los 19 vive en La Haya. Reconocida por su pintura, trabaja con lienzos de gran formato utilizando una característica variación contemporánea de la técnica del fresco.1 En 2011 recibió el Premio de Cultura Gitana de Pintura y Artes Plásticas del Instituto de Cultura Gitana en reconocimiento al trabajo realizado en beneficio de la cultura gitana en el mundo. En 2015 fue reconocida por la revista especializada Artprice como uno de los artistas contemporáneos más cotizados del mundo, situándola en el puesto 333 sólo por detrás de solo por detrás de Miquel Barceló y Juan Muñoz de su ‘ top 500’ y convirtiéndose en la artista femenina española más cotizada.

Lita Cabellut
Janis Joplin
Mix media / óleo en canvas, 2012
200 x 280 cm

ARTIST OF PROXIMITY: MARIA CARRION (SOTOGRANDE)

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Carrión inspires herself in the effects of light on the sea. Forms from the nature imperceptibly appear on stage ignored by the naked eye. Isolated from their environment through the photographic camera and coated by pictoric value, these forms that belong to the ordinary, suddenly make an extraordinary sense.The characteristics of the materials – their luminocity and ductility – define also the contents of the works. It is about a confluence of sensitive paradoxes: the intangible on the physical; the invisible on the visible; the eternal on the transient. At the same time, through the structure, and iconography of her works, the artist make alusion to a long tradicion of Christian Art, recovering pictorical models as the retablum and symbolic motives like the fish. In this way the artist tries to reconciliate the historical dialogue between the arts and the Christian faith with the contemporary culture.

Carrión se inspira en los efectos de la luz sobre el mar. Aparecen en escena formas presentes en la naturaleza pero imperceptibles o ignoradas por el ojo desnudo. Aisladas de su entorno por medio de la cámara fotográfica y revestidas de valor pictórico, estas formas, que pertenecen a lo ordinario, de pronto cobran un sentido extraordinario. Las propiedades de los materiales su luminosidad y ductilidad definen también el contenido de las obras. Se trata de una confluencia de paradojas sensoriales; lo intangible en lo corporal; lo invisible en lo visible; lo eterno en lo fugaz. Al mismo tiempo, mediante la estructura y la iconografía de sus obras, el artista hace alusión a una larga tradición del arte cristiano, recuperando modelos pictóricos como puede ser el retablo y motivos simbólico como el pez. De esta forma, trata de reconciliar el histórico diálogo entre las artes y la fe cristiana con la cultura contemporánea.

Maria Carrion
Retablo Delfín
Digital photography on aluminum, 2015
100 x 78 cm

GENALGUACIL PUEBLO MUSEO

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Genalguacil Pueblo Museo
www.genalguacil.es

Genalguacil, museum town of Malaga province, situated 30km from Estepona at Genal Valley, is one of the little towns with just five hundred habitants which conforms the Ronda’s sierra. Its peculiar urban structure, heritage of the previous Arab population, is escalonated, adapting itself to the sharp terrain that has held it down for centuries. Distinguishing itself among the green of the valley stands the white hamlet decorated with pieces of art.

The town hall has organized the biannual Meetings of Art of the Genal Valley, with great success due to the high quality of the pieces exposed and the concurrency of participants, becoming the stage for a creative experience where life and nature merge in coexistence and a cooperation space.

The pieces that are placed permanently on squares and streets are converting the town in an open-air museum. There are more than a hundred painters, sculptors, photographers, ceramists, from different nationalities, who left their imprint by showing their sculptures to open air or expose their work at the principal museum, that is about to open. As a result streets and corners, squares and nooks, walls and ceilings have turned Genalguacil in an authentic sculptures forest and open-air museum.

Genalguacil, “pueblo museo” de la provincia de Málaga, situado a 30 Km de Estepona en el Valle del Genal, es una de las pequeñas poblaciones con apenas quinientos habitantes que conforman la Serranía de Ronda. Su peculiar estructura urbana, herencia de los pobladores árabes que dieron origen a la villa, se escalona adaptándose al empinado terreno que desde hace centenares de años lo acoge, distinguiéndose entre el verde del valle su blanco caserío adornado de obras de arte.

Con carácter bianual, el Ayuntamiento organiza los “Encuentros de Arte” del Valle del Genal, de gran éxito por la calidad de piezas expuestas y la afluencia de participantes, convirtiéndose en el escenario de una experiencia creativa donde el arte, vida y naturaleza se funden en un espacio participativo de cooperación y convivencia.

Las piezas, colocadas con carácter permanente en las plazas y calles, están convirtiendo el pueblo en un museo al aire libre. Ya son más de un centenar de pintores, escultores, fotógrafos y ceramistas de distintas nacionalidades, los que han dejado su impronta exponiendo sus esculturas al aire libre cediendo su obra para el ser expuesta en el Museo Municipal de próxima inauguración. El resultado es calles y esquinas, plazas o rincones, paredes o tejados de Genaguacil han convertido la localidad en un auténtico museo al aire libre y un bosque de esculturas.

Isidro López-Aparicio
Memorias de Genalguacil
Instalación, 2016

EMILIO MACHADO BY STARLITE
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Emilio Machado

www.emiliomachado.com

 Emilio Machado (1936) in three hundred words: Canarian islands: Antonio González Suárez, gave me a box of watercolors to paint a vine tree for days; evidently, i got tired and painted mi first work: a peacock. Barcelona: i was obsessed with two towns Barcelona and New York: with 16 years i asked (to my father) to let me go to New York, but he got scared; in Barcelona i decided to study architecture and i had professors that understood that what i liked more was to paint. Dali:i used to see him painting and i said: ¡Good heaven!; he used to speak with me a lot about the sea, about how to paint it and i learned technical aspects. he was attached to me because i was “well educated”; he said: “Canary ¿Would you come with me to Paris?” and i went. Mexico: i was marked by the light, the concept of life and death. New York: a place you love the first day or you hate for ever, i said: ¡this is a beauty! and i stayed living there. Alberto Vázquez Figueroa sobre Machado:“to Emilio, like his mother, what he enjoys is to stay inside the cave”Emilio sobre Alberto:“he is a human being who i appreciate a lot, he is a great man and a friend from the childhood”. Architecture: has marked my work, any person that see my paintings knows i am an architect. Literature: my house is a library, the literature has had an enormous influence in me. Music: Cuixart used to say that my painting reminded him to Prokofiev’s music and, after listening to it, i said: yes, in my work there is something of this. White: when you paint over the shadow, the white color shines and appears like the light that emerges from the darkness. Conviction: what the human being needs is elegance, conviction on what he does, in what he feels and to be totally committed to it.

Emilio Machado (1936) en trescientas palabras: Canarias:Antonio González Suárez, me dio una caja de acuarelas para pintar una parra durante días; evidentemente, yo me cansé y pinté mi primera obra: un pavo real. Barcelona: tenía obsesión con dos sitios: Barcelona y Nueva York: con diecisiete años le pedí (a mi padre) que me dejara ir a Nueva York, pero él se asustó; en Barcelona decidí estudiar arquitectura y tuve profesores que entendieron que a mí lo que me gustaba era pintar. Dalí:le veía pintar y decía: ¡santo cielo!; hablaba mucho conmigo del mar, de la forma de pintarlo, y yo fui aprendiendo aspectos técnicos. Me cogió cariño porque yo era “educadito”; me decía: “Canario ¿te vienes conmigo a París?” y yo me iba. México: me marcó mucho la luz, el concepto de la vida y la muerte. Nueva York: un lugar del que te enamoras el primer día o lo odias para siempre; yo dije: ¡esto es una belleza! y me quedé a vivir.

Alberto Vázquez Figueroa sobre Machado:“a Emilio, al igual que a su madre, lo que le gusta es encuevarse”. Emilio sobre Alberto: “es un ser al que quiero un montón, es un gran hombre y un amigo de infancia”. Arquitectura: ha marcado mi obra, cualquier persona que ve mis cuadros sabe que soy arquitecto. Literatura:mi casa es una biblioteca, la literatura ha tenido una enorme influencia en mí. Música: Cuixart decía que mi pintura le recordaba a la música de Prokofiev y, tras escucharla, dije: sí, en mi obra hay algo de esto.

Blanco:al pintar sobre la sombra, el blanco brilla y aparece como la luz que surge de la oscuridad. Convicción:lo que necesita el ser humano es elegancia, convicción en lo que hace, en lo que siente; estar totalmente entregado a lo que hace.

 

Emilio Machado
Atlántida
Oil on cancas / Óleo sobre lienzo
195 x 130 cm