Articoli di riviste: "Orlan"

1

Katz, Stéphanie. "ORLAN : postface". Cités 55, n. 3 (2013): 59. http://dx.doi.org/10.3917/cite.055.0059.

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Lovelace, Carey. "Orlan: Offensive Acts". Performing Arts Journal 17, n. 1 (gennaio 1995): 13. http://dx.doi.org/10.2307/3245692.

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Ince, Kate. "Orlan: Millennial Female". Woman's Art Journal 22, n. 2 (2001): 59. http://dx.doi.org/10.2307/1358932.

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Sicard, Monique. "Orlan, post-woman". Les cahiers de médiologie 15, n. 1 (2003): 129. http://dx.doi.org/10.3917/cdm.015.0129.

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5

Hatat, Brigitte. "Entretien avec Orlan". L'en-je lacanien 3, n. 2 (2004): 165. http://dx.doi.org/10.3917/enje.003.0165.

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6

O'Bryan, Jill. "Saint Orlan Faces Reincarnation". Art Journal 56, n. 4 (1997): 50. http://dx.doi.org/10.2307/777720.

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O'Bryan, Jill. "Saint Orlan Faces Reincarnation". Art Journal 56, n. 4 (dicembre 1997): 50–56. http://dx.doi.org/10.1080/00043249.1997.10791849.

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8

CLARKE, JULIE. "The Sacrificial Body of Orlan". Body & Society 5, n. 2-3 (giugno 1999): 185–207. http://dx.doi.org/10.1177/1357034x99005002011.

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9

Rodrigues, Rejane Lopes. "CORPO E AUTOEXPERIMENTAÇÃO: UMA LEITURA DA ARTCHARNELDE ORLAN A PARTIR DO PENSAMENTO PÓS-FEMINISTA DE PAUL B. PRECIADO / Body and self-experimentation: a reading of ORLAN's artcharnel from Paul B. Preciado's post-feminist thinking". arte e ensaios 26, n. 39 (15 agosto 2020): 93–105. http://dx.doi.org/10.37235/ae.n39.8.

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A partir da década de 1960 teve início na Europa e nos EUA um novo movimento artístico conhecido como arte performativa. ORLAN, artista plástica francesa, insere-se neste movimento através de obras que incluem intervenções cirúrgicas em seu próprio corpo com o objetivo de questionar o status do corpo feminino na sociedade ocidental contemporânea. Diante disso, propomos no presente artigo, uma análise do seu trabalho a partir das considerações teóricas do filósofo e escritor transgênero Paul B. Preciado.Palavras-chave: Arte performativa; ORLAN; Gênero; Feminismo; Paul. B. Preciado.AbstractFrom the 1960s, a new artistic movement known as performative art began in Europe and the USA. ORLAN, a French artist, is part of this movement through works that include surgical interventions on her own body in order to question the status of the female body in contemporary Western society. Therefore, in this article, we propose an analysis of his work based on the theoretical considerations of the transgender philosopher and writer Paul B. Preciado.Keywords: Performative art; ORLAN; Genre; Feminism; Paul B. Preciado.

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10

McKee, Francis. "Orlan, Portfolio Gallery, Edinburgh, June 1996". Circa, n. 77 (1996): s22. http://dx.doi.org/10.2307/25563036.

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11

Zerihan, Rachel. "ORLAN: A Hybrid Body of Artworks". Contemporary Theatre Review 22, n. 3 (agosto 2012): 426–28. http://dx.doi.org/10.1080/10486801.2012.697734.

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12

Johnson, P. Louise. "Industries of false memoirs: Representing Salvador Orlan". Digithum, n. 15 (15 maggio 2013): 18. http://dx.doi.org/10.7238/d.v0i15.1798.

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13

Sherman, D. L., K. P. Pullen, W. P. Cooke e V. K. Tripp. "Development of the Orlan Space-Station antenna". IEEE Antennas and Propagation Magazine 42, n. 5 (2000): 9–27. http://dx.doi.org/10.1109/74.883504.

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14

Białkowski, Łukasz. "Body as the Object of Ascetic Experience (Opałka, Dudek-Dürer, Orlan)". Idea. Studia nad strukturą i rozwojem pojęć filozoficznych, n. 23 (2011): 215–24. http://dx.doi.org/10.15290/idea.2011.23.12.

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15

Vicet, Marie. "The French Telematic Magazine Art Accès (1984–1987)". Arts 11, n. 6 (31 ottobre 2022): 112. http://dx.doi.org/10.3390/arts11060112.

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Created in 1984 by the French artists ORLAN, Frédéric Develay and Frédéric Martin and shown for the first time at the Centre Pompidou during the exhibition Les Immatériaux (28 March to 15 July 1985), the telematic magazine Art Accès has marked the history of the art on Minitel, the French Videotex system in use between 1980 and 2012. For ORLAN and Frédéric Develay, Art Accès was a way both to propose an artistic and cultural alternative to a purely utilitarian and mercantile content, but also to explore the possibilities of a ‘poor’ medium. Working within the framework of the magazine, ORLAN and Frédéric Develay invited visual artists, but also poets and musicians to use videotex, to transgress it in all possible ways and thus to make an original work that is made by this medium and for this medium. Although the French Minitel network ended in 2012 and the magazine has long since disappeared, there are still traces, fragments or documents that allow us to reconstruct its history. This essay proposes an initial study of this telematic experience and of some of its most emblematic creations.

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16

Govan, Emma. "Visceral excess: Cosmimesis in the work of Orlan". Women & Performance: a journal of feminist theory 15, n. 2 (gennaio 2005): 147–59. http://dx.doi.org/10.1080/07407700508571509.

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17

Campbell, Patrick, e Helen Spackman. "With/out An-aesthetic: The Terrible Beauty of Franko B." TDR/The Drama Review 42, n. 4 (dicembre 1998): 56–74. http://dx.doi.org/10.1162/105420498760308355.

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18

Castanet, Hervé. "ORLAN : « Je suis un femme, je suis une homme »". La Cause Du Désir N° 95, n. 1 (2017): 95. http://dx.doi.org/10.3917/lcdd.095.0095.

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19

Ince, Kate. "Operations of Redress: Orlan, the Body and Its Limits". Fashion Theory 2, n. 2 (maggio 1998): 111–27. http://dx.doi.org/10.2752/136270498779571112.

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20

Chaudier, Stéphane. "Style et intensité dans la prose de Mac Orlan". Roman 20-50 47, n. 1 (2009): 79. http://dx.doi.org/10.3917/r2050.047.0079.

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21

Malysse, Stéphane. "Galeria: Orlan e a sutura entre Moda e Design". dObra[s] – revista da Associação Brasileira de Estudos de Pesquisas em Moda 3, n. 6 (9 febbraio 2009): 52. http://dx.doi.org/10.26563/dobras.v3i6.286.

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Vestir-se da sua própria nudez Exibir-se através de obras reconhecidas ainda é atuar sob a máscara, deixar-se cair na armadilha da fantasia. E, como a máscara é indispensável à Sua ação, e à sua Sobrevivência, que ela torna socialmente possível o cumprimento do Seu processo, por que não ir mais longe na sua lógica revestindo uma máscara da Sua própria imagem? (...)

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22

Marzano, Michela. "Ceci est mon corps : Orlan ou de l'identité incertaine". Cités 21, n. 1 (2005): 89. http://dx.doi.org/10.3917/cite.021.0089.

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23

O'Brien, C. "Review: 'Inquietude' in the Work of Pierre Mac Orlan". French Studies 56, n. 4 (1 ottobre 2002): 548. http://dx.doi.org/10.1093/fs/56.4.548.

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24

Faber, Alyda. "Saint Orlan: Ritual As Violent Spectacle and Cultural Criticism". TDR/The Drama Review 46, n. 1 (marzo 2002): 85–92. http://dx.doi.org/10.1162/105420402753555868.

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The French performance artist's practice of self-directed violence creates a spectacle that violates the viewer and establishes Orlan's body as “a site of public debate.” Her work radically exposes the violence of patriarchically established “beauty standards.”

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25

AYERS, ROBERT. "Serene and Happy and Distant: An Interview with Orlan". Body & Society 5, n. 2-3 (giugno 1999): 171–84. http://dx.doi.org/10.1177/1357034x99005002010.

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26

Lee, Su-An. "Corporeality and Extension of Sense from the Perspective of Technofeminism - with the Analysis on Orlan’s Technobody -". Journal of Korean Women's Studies 33, n. 1 (31 marzo 2017): 77–105. http://dx.doi.org/10.30719/jkws.2017.03.33.1.77.

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27

Madamba, Samuel G., Paul Schweitzer e George Robert Siggins. "Nociceptin Augments K+ Currents in Hippocampal CA1 Neurons by Both ORL-1 and Opiate Receptor Mechanisms". Journal of Neurophysiology 82, n. 4 (1 ottobre 1999): 1776–85. http://dx.doi.org/10.1152/jn.1999.82.4.1776.

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We previously reported (see also the accompanying paper) that dynorphin A significantly enhanced the voltage-dependent K+ M-current ( I M) in CA3 and CA1 hippocampal pyramidal neurons (HPNs). Because the opioid-receptor-like-1 (ORL-1) receptor shares a high sequence homology with opioid receptors and is expressed in rat hippocampus, we examined the effects of orphanin FQ or nociceptin, the endogenous ligand for the ORL-1 receptor, using the rat hippocampal slice preparation and intracellular voltage-clamp recording. Current-voltage ( I-V) relationships from CA1 HPNs revealed that nociceptin superfusion induced an outward current reversing near the equilibrium potential for K+ ions. Ba2+ (2 mM) blocked this effect. The nociceptin-induced current was largest at depolarized membrane potentials, where I M is largely activated. Nociceptin concentrations of 0.5–1 μM (but not 0.1 μM) significantly increased I M relaxation amplitudes with recovery on washout. Interestingly, both the general opiate antagonist naloxone and the κ receptor antagonist nor-binaltorphimine (nBNI) inhibited the nociceptin-induced I Mincreases and outward currents in the depolarized range but not the inward current induced at hyperpolarized potentials. The putative ORL-1 receptor antagonist, [Phe1Ψ(CH2-NH)Gly2]NC(1–13)NH2(hereafter ORLAn), blocked most of the nociceptin current near rest but not the I M increase. However, ORLAn alone had direct effects similar to those of nociceptin, indicating that ORLAn might be a partial agonist. Our results suggest that nociceptin postsynaptically modulates the excitability of HPNs through ORL-1 and κ-like opiate receptors linked to different K+channels.

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28

Kang, Soeun. "An Analysis of the Plastic Surgery Performance in Saint Orlan". Europe Culture Arts Association 10, n. 1 (30 marzo 2019): 135–47. http://dx.doi.org/10.26854/jeca.2019.10.1.135.

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29

Drozdov, A., A. Amelushkin, L. Bratolyubova-Tsulukidze, I. Churilo, A. Grigoriev, O. Grigoryan, D. Iudin, E. Mareev, O. Nechaev e V. Petrov. "Experiment based on spacesuit “Orlan-M”: Neutron fluxes from thunderstorms". Journal of Geophysical Research: Space Physics 115, A8 (agosto 2010): n/a. http://dx.doi.org/10.1029/2009ja014903.

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30

Smith, Kathy. "Abject Bodies Beckett, Orlan, Stelarc and the politics of contemporary performance". Performance Research 12, n. 1 (giugno 2007): 66–76. http://dx.doi.org/10.1080/13528160701398107.

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31

Smith, Kathy. "The body in pain: Beckett, Orlan and the politics of performance". Studies in Theatre and Performance 25, n. 1 (febbraio 2005): 33–46. http://dx.doi.org/10.1386/stap.25.1.33/0.

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32

Silva Salazar, Steven. "Una mirada al performance de Orlan desde una lectura del CsO". Análisis 48, n. 88 (15 aprile 2016): 213. http://dx.doi.org/10.15332/s0120-8454.2016.0088.10.

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<p>La obra de arte puede ser mirada, y es la perspectiva desde la que se construye este texto, como una forma de pensamiento, y en este contexto, como una forma de producción de la filosofía. Se trata de ver cómo el mismo objeto artístico se convierte en un fenómeno de interpretación de la vida, y así ofrece respuestas vitales a la misma cotidianidad, tanto del artista/creador como del espectador. El ejercicio surge con ocasión de la visita de la reconocida y polémica artista francesa Orlan al Museo de Arte Moderno de Bogotá, de forma que este artículo tiene como propósito hacer un acercamiento estético y filosófico al performance de la artista, desde sus inicios hasta sus últimas obras fotográficas, a través de la perspectiva de cuerpo sin órganos; concepto filosófico utilizado por G. Deleuze y F. Guattari (2000).</p>

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33

Abramov, I. P. "The experience in operation and improving the Orlan-type space suits". Acta Astronautica 36, n. 1 (luglio 1995): 1–12. http://dx.doi.org/10.1016/0094-5765(95)00034-w.

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34

Garelick, Rhonda. "Fashioning Hybridity". TDR/The Drama Review 53, n. 2 (giugno 2009): 150–57. http://dx.doi.org/10.1162/dram.2009.53.2.150.

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In the summer of 2008, French performance artist ORLAN launched a large-scale political, psychoanalytic, and philosophical meditation on the roles of artist and spectator in the installation Suture, Hybridization, Recyclage, bringing together a new kind of biogenetic fusion process; work by young Spanish designer David Delfin (Davidelfin); a text by philosopher Michel Serres; and furniture by designer Philippe Starck.

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35

Foellmer, Susanne. "Anatomie der Grenze Andreas Vesalius, Orlan und Thomas Lehmen treten aus dem Rahmen". Sprache und Literatur 36, n. 1 (17 dicembre 2005): 15–30. http://dx.doi.org/10.30965/25890859-036-01-90000004.

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36

Merrifield, Andy. "The sentimental city: the lost urbanism of Pierre Mac Orlan and Guy Debord". International Journal of Urban and Regional Research 28, n. 4 (dicembre 2004): 930–40. http://dx.doi.org/10.1111/j.0309-1317.2004.00561.x.

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37

Steele, Stephen. "Le faux dans le réel : Mac Orlan et ses poèmes en prose de Boutiques". Les Lettres Romanes 65, n. 3-4 (luglio 2011): 433–47. http://dx.doi.org/10.1484/j.llr.1.102599.

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38

Abramov, I. P., S. S. Pozdnyakov, G. I. Severin e A. Yu Stoklitsky. "Main problems of the Russian Orlan-M space suit utilization for EVAs on the ISS". Acta Astronautica 48, n. 5-12 (marzo 2001): 265–73. http://dx.doi.org/10.1016/s0094-5765(01)00077-7.

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39

GOODALL, JANE. "An Order of Pure Decision: Un-Natural Selection in the Work of Stelarc and Orlan". Body & Society 5, n. 2-3 (giugno 1999): 149–70. http://dx.doi.org/10.1177/1357034x99005002009.

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40

Rocha, Guilherme Massara, e Vanessa Guimarães Da Silva. "Liberdade e determinismo Pós-Humano". Revista 2i: Estudos de Identidade e Intermedialidade 2, n. 2 (3 dicembre 2020): 51–65. http://dx.doi.org/10.21814/2i.2669.

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O presente artigo examina processos, circunstâncias e contextos da obra da artista francesa contemporânea ORLAN. Privilegia-se aqui a hipótese de tratar-se de uma estética que se desenvolve a partir de matrizes convergentes com aquelas que forjam substancialmente o discurso pós-humanístico. Matrizes que, por um lado, se divorciam da normatividade em jogo na moralidade racional pós-humanística, mas que paradoxalmente a ela parecem se subordinar. Buscaremos compreender em que medida a força emancipatória de uma obra que critica as normas de gênero e identidade formais e estéticas se conecta, num certo momento, a um ideal edênico de pureza da corporeidade abstrata e bem-aventurada.

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41

Szempruch, Matylda. "Twórczość feministyczna a kobieca podmiotowość: ujęcie monstrualne". Przegląd Humanistyczny, n. 64/4 (20 aprile 2021): 73–83. http://dx.doi.org/10.31338/2657-599x.ph.2020-4.5.

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The article shows the relationship between philosophical thought and feminist art in terms of searching for subjectivity in women’s creations. This is a review of the theories proposed by Luce Irigaray, Hélène Cixous, Julia Kristeva, and by Judith Butler, Donna Haraway, and Rosi Braidotti, which, as this article proves, manifest themselves in the art that defines itself as feminist. Monstrosity is an important prospect here. The author presents écriture féminine and women’s literature, namely Charlotte Roche’s Wet Places and Izabela Filipiak’s Total Amnesia. Moreover, visual arts by Cindy Sherman, Chili Kumari Burman, Jo Spece, as well as a performance by Carolee Schneemann and ORLAN are discussed.

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42

Ziane, Audrey. "Les manifestes de Georg Baselitz, 1961-1994". Études littéraires 44, n. 3 (9 giugno 2014): 61–81. http://dx.doi.org/10.7202/1025481ar.

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L’artiste Georg Baselitz ne « renverse » pas uniquement ses tableaux ; il réinvente, dans ses huit manifestes publiés entre 1961 et 1994, l’écriture manifestaire, liant et déliant volontairement le texte aux oeuvres picturales. Baselitz renoue ainsi avec la vision parnassienne de « l’art pour l’art », ne vit que dans son créatorium intérieur, où plane l’ombre d’Antonin Artaud, invente sous nos yeux son propre mythe. Comme Yves Klein et comme Orlan, Baselitz lira ensuite ses manifestes lors de conférences, tel un artiste-prédicateur. Si ses manifestes se sont délestés de leurs revendications tapageuses, ils gardent le goût de la subversion, créant un discours dans lequel se confrontent la création d’une mythologie personnelle et l’écrit-confession, qui amène l’artiste à exposer son intimité.

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43

김영호 e 강가림. "La violence et la guérison dans l'art française d'aujourd'hui : la performance auto-violante de l'artiste Orlan". ASSOCIATION CULTURELLE FRANC0-COREENNE ll, n. 31 (novembre 2015): 359–96. http://dx.doi.org/10.18022/acfco.2015..31.013.

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44

O'Bryan, Jill. "Penetrating layers of flesh: Carving in/out the bodies of Orlan and Medusa, Artaud and Marsyas". Women & Performance: a journal of feminist theory 11, n. 1 (gennaio 1999): 49–63. http://dx.doi.org/10.1080/07407709908571314.

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45

Aguilar, María Teresa. "No cuerpos, lugares del anonimato: El cuerpo en el net.art". Education in the Knowledge Society (EKS) 12, n. 2 (22 luglio 2011): 184–202. http://dx.doi.org/10.14201/eks.8278.

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Este texto se ocupa del papel que la representación del cuerpo humano adquiere en el net.art. Por un lado, considera que el cuerpo humano ha sido descorporeizado y proyectado en el no lugar del espacio telemático, enfrentado así a las tendencias de rematerialización del cuerpo, como el arte carnal y el body art, y, por otra, parte considera que incluso en esta esfera ciberespacial el cuerpo de Internet se ve como una prolongación del arte carnal, según los trabajos de Orlan y Tomic. La construcción del género y el trabajo artístico de las mujeres en la red es otro de los objetivos que este texto pone de manifiesto como vinculación de mujeres y nuevas tecnologías en el contexto artístico del net.art.

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46

Vänskä, Annamari. "A heroic male and a beautiful woman. Teemu Mäki, Orlan and the ambivalence of the grotesque body". NORA - Nordic Journal of Feminist and Gender Research 10, n. 3 (dicembre 2002): 154–67. http://dx.doi.org/10.1080/080387402321012180.

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47

Stahl, Joan. "ORLAN: CARNAL ART. Bernard Blistène , Regis Durand , Julian Agazagoitia , Christine Buci-Glucksmann , Laurent le Bon , Caroline Cros". Art Documentation: Journal of the Art Libraries Society of North America 24, n. 1 (aprile 2005): 57–58. http://dx.doi.org/10.1086/adx.24.1.27949362.

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48

Abramov, I. P., G. M. Glazov e V. I. Svertshek. "Long-term operation of “Orlan” space suits in the “Mir” orbiting station: Experience obtained and its application". Acta Astronautica 51, n. 1-9 (luglio 2002): 133–43. http://dx.doi.org/10.1016/s0094-5765(02)00097-8.

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49

Avila, Santiago. "Registro y difusión del performance atístico en la era digital". Index, revista de arte contemporáneo, n. 04 (21 dicembre 2017): 99–106. http://dx.doi.org/10.26807/cav.v0i04.79.

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El siguiente texto tiene como objetivo indagar en la relación entre performance y nuevas tecnologías, haciendo énfasis en su registro y difusión. Primero se pondrá en contexto el momento en el que surge la era digital y su influencia en las artes visuales y específicamente en el performance. Luego, a partir de la obra de las artistas: Orlan y Amalia Ulman, se evidenciarán distintas metodologías para abordar el registro de performance, dando especial atención a elementos como: el ciberespacio, la simultaneidad de la acción a través de la pantalla y el uso del cuerpo virtual, entre otros. Finalmente se reflexionará acerca de lo que supone para el performance y su registro, enfrentarse a un publico que no puede entender la realidad, sin la mediación de dispositivos tecnológicos. Palabras clave: Performance, Era Digital, Tecnología, Registro.

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50

Durán-Allimant, Ronald. "Cyborgs y diseño del cuerpo: arte y tecnología, una mirada desde Félix Duque". Pensamiento. Revista de Investigación e Información Filosófica 76, n. 291 Extra (21 maggio 2021): 1049–77. http://dx.doi.org/10.14422/pen.v76.i291.y2020.012.

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En este artículo se analizan las relaciones entre arte, tecnología y cuerpo, teniendo como marco de análisis el pensamiento del filósofo español Félix Duque. En primer lugar, consideramos la concepción del cuerpo como máquina y su derivación actual en la noción de cyborg. En segundo lugar, mostramos cómo la concepción del cuerpo-máquina se hace parte del body art de Stelarc y del arte carnal de Orlan, quienes plantean el diseño del cuerpo dada su obsolescencia. En tercer lugar, presentamos las críticas de Duque a estos ciberartistas y en general a los planteamientos transhumanistas y posthumanistas. Finalmente, comparamos la metáfora del «cyborg» en Broncano con la «filosofía de la técnica de la naturaleza» de Duque, poniendo de relieve la necesidad de plantear y explicitar la cuestión política implícita en el diseño del cuerpo y la «libre creación».

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Articoli di riviste sul tema "Orlan"

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