ORLAN, Experimental involvement into playwithin art (détail), 2015

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ORLANVariable time andMedusa's Kisses

Exhibition

From 11 July to 25 October 2015

Opening on 10 July at 6.30 pm

Curator : Jacqueline-Ruth MeyerMoulins Albigeois – 41 rue Porta – 81000 Albi - FRANCEFrom Wednesday to Sunday from 2-7 pm

Information : 00 33 +5 63 38 35 9100 33 +9 63 03 98 84centredart@centredartlelait.com

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ORLANVariable time and Medusa's Kisses

ORLAN is one the greatest living French artists. In its full maturity, her oeuvre has a powerful, keenquality set within the context of major artistic and social issues.

In 1964, ORLAN started questioning the status of the body and the social, cultural, political andreligious pressures that are part and parcel of it. She questions scientific, technological and medicaldiscoveries, and champions hybridization, tolerance and human rights through nomadic and changingidentities. She uses different techniques: photography, video, sculpture, drawing, installations,performance, biotechnologies, augmented reality, etc.

Variable time and Medusa's kisses is the first exhibition bringing together just ORLAN’s digital works andquestions the notion of time in ORLAN’s work through an unprecedented selection of videos fromdifferent periods, rounded off by the production of a new interactive 3D installation which incorporatesa video game. With Experimental involvement into play within art, ORLAN hijacks the codes of videogames. As an artist, she reconstructs a world where the serial frageur killer is no longer the hero, andimmerses visitor in the virtual action.

Apart from the artistic challenge of translating the world of games into the register of art and vice versa,this work proposes to facilitate access to art through play and thus create new forms of reception andexchanges with art for the public, echoing current cultural uses and running counter to warlike anddestructive stereotypes of commercial video games.

Based on a proposal by Jacqueline-Ruth Meyer, curator and director of the Centre d’art Le LAIT, an initialstage of the project will take place in Albi. Devised over a long time span, in different places, it will bepossible to increase or decrease its contents (and the more complex video game), depending on theparticular venues playing host to it.

ORLAN. Freedomécorché and skinned

In partnership with :

With the support of Arcadi Île-de-France

Liste des oeuvres présentées:

- Experimental involvement into play within art, interactive 3D installation with a video game, 2015- Self Hybridation Opéra de Pékin n°1, 2014, projection d'une image fixe (réalité augmentée avec lelogiciel AUGMENT)

- Freedom écorché and skinned, 2013, 3D video, 28’32”- Asil/Exil, 2011 – Asylum/Exile – 25’52”- Repère(s) Mutant(s) / Mutant Landmark(s), 2013 – 4h 59’'- Laïcite/Suture – Secularism/Suture, 2007 – 24’30”- MesuRages: - 1979, Musée de St Pierre, Lyon, France– 17'40''

- 2012, Andy Warhol Museum, Pittsburgh, USA – 52' 02''- 2012, M HKA Museum, Antwerp, Belgium – 26' 23''

- Harlequin’s Coat, 2008, video, 29'04''- Operation réussie, 1990, video, 6’11''- Operation Opera, 1991, video, 9'11""- Omnipresence, 1993 – 1 h 22' 51''- Scan strip-tease de Bump Load, 2013 video, 12' 15''- ORLAN Remix/ Romain Gary, Costa-Gravas, Deleuze et Guattari, 2010, video, 3'40''- Bien que... Oui mais... – Although... Yes but..., 2003, video, 29' 59 ''- Mise en scène pour un grand Fiat, 1986, video, 21' 31''- Sainte ORLAN and the old men, 1984, vidéo, 9' 27''

ORLAN has turned her own body into the medium, raw material and visual tool of her work. Havingbecome “the forum of public debate”, it questions society, and it activates and puts on the agendaforms and values which are opposed to natural, social and political determinism, to all manner ofdomination, religion, male supremacy, cultural segregation, and the restrictions of norms andstandards...

Freedom, which ORLAN regularly represents in her works through the famous gesture of the raisedarm, borrowed from Bartholdi’s Statue of Liberty, is both the starting point and the culmination ofher quest. The integrity of her approach is only matched by the inventiveness of forms that are beingceaselessly renewed in order to broaden the power peculiar to art, the power that can “add muscle”to the imagination, hone the way people look at things, and deepen our consciousness of reality.

Jackie-Ruth Meyer, curator and director of Art Center Le LAIT

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Variable Time and Medusa's kissesSelected videos

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Asil/Exil, 2011 – Asylum/Exile – 25’52”

Freedom écorché and skinned, 2013, 3D video, 28’32”

ORLAN has manufactured her 3D self-portrait in an écorché or skinned style, making use ofmedical imagery of the body and giving it a cyborg touch. In slow motion, this avatar takes theposition of the Statue of Liberty, which ORLAN uses at the end of all her mesuRAGEperformances.And in this large video projection two other avatars remake the movement ofORLAN’s body during the mesuRAGE performance, on the floor..

At her exhibition Est-ce que vous êtes belge?/Are you Belgian?, ORLAN created a video tape byfilming undocumented people who talked to her about the countries they had crossed. She thenhybridized their flags and moved them slowly over their faces, changing the colour of their skinwith colours differing from those of their origins.

Repère(s) Mutant(s) / Mutant Landmark(s), 2013 – 4h 59’'

This video continues the work undertaken with Asylum/Exile in Belgium.Turn by turn, the video shows 24 Marseille immigrants who have just finally obtained Frenchnationality. On a static shot of their faces, ORLAN makes hybridized flags passing transparentlyover their faces file past, in slow motion.This impertinent work questions nationalism and the way skin colour is accepted, because theflags, rendered transparent, colour skins and faces, so that they become at times whiter, redder,yellower, blacker...

Laïcite/Suture – Secularism/Suture, 2007 – 24’30”

At the Museum of Modern art in Saint-Etienne, during her retrospective held there in 2007,ORLAN started to hybridize her wardrobe, which she had had all her life.This video records the performance. ORLAN appears on stage totally hidden by a very longyardage of black fabric which crosses the entire room; she frees herself from this black veil bycutting and tearing it. Using micro-sensors, she creates a sound track.

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Omnipresence, 1993, vidéo – 1 h 22' 51''

This is one of the most significant performances in the series Surgical-operation-performance. It isthe most high-tech. ORLAN was a pioneer, not only by questioning surgery but also through thetechnical means she made use of.Omnipresence was transmitted by satellite to the Centre Pompidou, the Sandra Gering gallery inNew York, and the McLuhan Centre in Toronto, Canada ... at a time when webcams did not yet exist.It was necessary to reserve a satellite network which was expensive and did not always work. Inthe operating theatre, a sign language specialist was involved, along with many assistants, as well asConnie Cheng of CNN. At the Centre Pompidou, numerous personalities held a public debate withORLAN. She answered during the operation. This two-part video shows what happened in theoperating theatre and at the Centre Pompidou.

MesuRages: - Musée de St Pierre, Lyon, 1979, vidéo, France– 17'40''- Andy Warhol Museum, Pittsburgh, USA, 2012, vidéo – 52' 02''- M HKA Museum, Antwerp, Belgium, 2012, vidéo – 26' 23''

The ORLAN-body is an instrument used for measuring both cultural institutions (Musée SaintPierre, Guggenheim Museum, Andy Warhol Museum, M HKA Museum, Centre Pompidou...) andstreets named after stars from our cultural past.For much of her life (1968-2012) ORLAN used her body, clothed and shod, to measure herselfagainst architectures and/or spaces. The performance has a protocol, invariably the same, but usedin different ways depending on the place where it unfolds.The dress (made of trousseau netting) which she uses is washed at the end of the performanceand the dirty water from the dress is kept in small bottles which are labelled and sealed with wax.In these latest performances at the Andy Warhol Museum in Pittsburgh, USA, and the M HKAMuseum in Antwerp, Belgium, ORLAN has used measuring instruments gauging the physicalinvestment of the body during the performance, thus highlighting the body’s physical expenditureduring the development of the work.

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Scan strip-tease de Bump Load, 2013, vidéo – 12' 15''

ORLAN not only performed a strip-tease right down to her bare bones with the help of medicalimagery, but also mixed this with macro images of her own cells. She also had her skull made as a3D printing sculpture. In this black-and-white video, ORLAN re-works her images and talks aboutthe mutant body called Bump Load, with which she has prepared several sculptures.

ORLAN Remix/Romain Gary, Costa-Gavras, Deleuze and Guattari, 2010, vidéo – 3’40”

This film was commissioned from ORLAN by SOS Racisme. She chose to remix a sequence of thefilm, “Claire de femme”, based on the book by Romain Gary, at a moment in the film when YvesMontand is waiting for Romy Schneider, who does not turn up. Bar jokes are exchanged in whichBelgians and Japanese are poked fun at...Brandishing a shaker, ORLAN advises us to hybridize ourselves and in the end makes her own cellsdance on a paso-doble disk, triggered by the chimpanzee to get a pink poodle to dance.

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Mise en scène pour un grand Fiat, vidéo, 2003 – 21' 31''

One of ORLAN’s first videos, devised in several sequences full of wit and impertinence presentedby the artist. (ORLAN tosses jellyfish kisses at art, science and religion, ORLAN blows fire out ofher arse, ORLAN extricates a large rabbit from her vagina, etc). This video was created at a momentwhen the technical possibility of inlays was just emerging.

Bien que... Oui mais... – Although... Yes but..., 2003, vidéo, 29' 59 ''

On the island of Gozo (Malta), ORLAN filmed firework rockets which are banned in France forbeing too dangerous, and which give rise to firework contests between villages. A “memento Mori”in the form of a triptych....

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St. ORLAN and the Old Men, vidéo, 1984 – 9’27”

ORLAN has started with the sound of a very damaged disk, from which we hear a very lovelyanonymous soprano voice. ORLAN has manufactured images borrowing techniques from sound, and“scratch”, and showing the grid of the montage. The pictures of the old men move constantlydownwards while St. ORLAN moves upwards. This is a museographic work, because ORLAN has usedimages which served to test the first graphic palettes, the graph 9, when it came out. So theseimages are steeped in the date when they were created, and in old men released by ORLAN from anasylum where they were waiting to die.

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Experimental involvement into play within artNotice of Intent by ORLAN

“WE HAVE ART SO AS NOT TO DIE OF TRUTH”ART IS WHAT HUMANIZES

ALL THE ELEMENTS OF THE GAME ARE CONNECTED WITH THE THEME OF THE CREATION, REINVENTION,AND RECONSTRUCTION OF THE WORLD AND THE HUMAN.THE PURPOSE OF THE GAME IS TO ACQUIRE THE ABILITY TO CONSTRUCT AND INVENT.

SCREENPLAY FOR A GAME OF SEARCHES AND ENIGMASFROM THE ROBOT TO THE HUMAN

ORLAN IS A ROBOT LOOKING FOR ITS IMPROVED HUMANITY

IN ORDER TO STRUGGLE IN THE PHYSICAL WORLD WHERE THERE ARE RETRIEVABLE OBJECTS WHICH WILLENABLE IT TO BECOME HUMANIZED, SHE MUST CREATE HER AVATAR AND GIVE IT THIS MISSION

THE “BUMP LOAD” AVATAR CHARACTER IS LAUNCHED IN LANDSCAPES OF RUINS IN THE SITES OFDIFFERENT CONFLICTS (SYRIA, LEBANON, IRAQ, IRAN, THE BALKANS, UKRAINE…) AS WELL AS PLACESWHERE MONUMENTS AND WORKS OF ART BELONGING TO THE PAST WERE DESTROYED

THIS SCULPTURE, WHICH IS AT ONCE ROBOT-SCULPTURE AND AUGMENTED REALITY, MUST RECONSTRUCTTHE RUINED BUILDINGS TO REDISCOVER THE ELEMENTS OF ORLAN’S ART: VARIOUS SELF-HYBRIDIZEDHEADS WHICH SHE WILL TURN BY TURN TRY ON, TO CHANGE BOTH HEAD AND STATUS“BUMP LOAD” CLONES WILL TRY TO STOP HER IN ORDER TO KEEP THEIR ROBOT STATUS AND THE PRIMARYFORCES PROGRAMMED TO DESTROY

AFTER TRYING SEVERAL DIFFERENT HYBRIDIZED HEADS, ORLAN’S SKULL WILL START TO GIVE THEM THESTATUS OF HUMAN BODIES

THE CLONES ARE DISGUISED AS ORLAN WITH A GENERIC SKULL TO TRY AND STOP THE HEROINE FROMBECOMING HUMANIZED THEY DESTROY THE BUILDINGS ALL OVER AGAINBUT IN NO TIME ORLAN MUST FIND LEGS HANDS, A BODY AN ÉCORCHÉ HEAD IN THE RUINS AND PUTTHEM IN THE PLACE OF HER FLESHLESS BODYHENCEFORTH IT IS AS AN ÉCORCHÉ THAT SHE WILL REBUILD THE STATUE OF LIBERTY IN RUINS AND THETWIN NEW YORK TOWERS

IN PASSING, SHE WILL REBUILD SEVERAL OF HER BROKEN AND DISFIGURED WORKS

LASTLY, SHE WILL PUT ON DIFFERENT HEADSARMS LEGS EYES TEXTURES FOUND IN THE RUINSAND THE ROBOT-SCULPTURE WILL ONCE AND FOR ALL BECOME A HUMAN BODYWITH EACH ACROBATICS, THIS NEW CHARACTER WILL INVENT NEW KINDS OF VISIONARY ANDFORWARD-LOOKING ARCHITECTURE IN A CITY WHERE CREATIVITY INVENTION GENEROSITY TOLERANCEWILL BE PRESENT

Design and development of the project : Bruno Millas (film director, animation director,screenwriter )

Vitrines sur l'artA work of ORLAN in the windows of Galeries Lafayette in Toulouse

From 2 to 29 July 2015Opening on 2 July at 7 pm

6th floor of Galeries Lafayette4 à 8 rue Lapeyrouse – 31 000 Toulouse - FRANCE

ORLAN, Self-Hybridation Opera de Pekin n°10, 120*120 cm, 2014,laminated photographic on dibon © ORLAN

"TO ACCESS THE WORK IN AUGMENTED REALITY, BRING UP THE AVATAR OF ORLAN IN ACROBATICPERFORMANCE BY DOWNLOADING THE FREE "AUGMENT" SOFTWARE THEN SCAN THE WORK IN THEWINDOW. ORLAN IN 3D WILL DEPART FROM HER WORK BY UPSETTING THE PEKING OPERA WICHFORBIDS WOMEN FROM PLAYING THEIR ROLE AND YOU WILL BE ABLE TO PHOTOGRAPH YOURSELFWITH HER AND YOUR FRIENDS".

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ORLANBiography

http://www.orlan.eu

Selection of future exhibitions....

2016SOLO EXHIBITIONMaison Européenne de la Photographie; curator: Jean-Luc Monterosso; Paris, France.Sungkok Museum; Temps variable et baisers de méduse, curator: Soukyoun Lee; Seoul, South-Korea

GROUP EXHIBITIONSVictoria & Albert Museum; On Botticelli Renaissance Renaissance; curator: Ana Debenedetti and MarkEvans; London, United Kingdom.Museum of Modern Art; Feminist Avantgarde of the 1970s. Works from the collection SAMMLUNGVERBUND; curator: Gabriele Schor; Vienna, Czech Republic.

2015SOLO EXHIBITIONSCentre d’art Le LAIT; Temps variable et baisers de Méduse, curator: Jackie-Ruth Meyer; Albi, France.CDA Enghien-les-bains; ORLAN Strip tease des cellules jusqu'à l'os, curator: Emmanuel Cuisinier;Enghien-les-bains, France.Bòlit Centre d’Art Contemporani; Temps variable et baisers de méduse; curator: Girona, Spain.

GROUP EXHIBITIONSCentre Pompidou Provisoire, curator: Brigitte Leal; Malaga, Spain.Hamburger Kunsthalle Museum; Feminist Avantgarde of the 1970s. Works from the collectionSAMMLUNG VERBUND; curator: Gabriele Schor; Hamburg, Germany.Gemäldegalerie; The Botticelli Renaissance; curator: Ruben Rebmann; Stefan Weppelmann, Berlin,Germany.Museo di Arte Moderna e contemporanea di Trento e Rovereto; La guerra che verrà non è la prima ;(The war which is coming is not the first one); curator: Saretto Cincinelli and Gabi Scardi, Rovereto,Italy.Tropenmuseum; Body design/ Body Art; curator: Daan Van Dartel; Amsterdam, Netherlands.Seongnam Art Center; Modern and contemporary french art; curator: Sunhee Choi; Seongnam, SouthKorea.Museum Villa Rose; Plaisir de la Chair; curator: Stefanie Dathe; Burgrieden, Germany.Van Abbemuseum; A Republic or Art (FRAC international collections); curator: Charles Esche;Eindhoven, Netherlands.Deutches Hygiene - Museum; Roll up, Roll up!; curator: Eva Meyer-Hermann, Dresde, Germany.

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ORLANBiography

ORLAN was born in 1947 at Saint-Étienne, France.She lives and works between Paris, Los Angeles and New York.

1. Artistic practices

ORLAN explores different techniques such as photography, video, sculpture in resin, marble and inflatable,drawing, installation, performance, biotechnology, Video, 3D, Augmented reality, etc...She was the first artist to use surgery as an artistic medium.

2. Honorific

In 2003, ORLAN was made Chevalier de l’ordre des Arts et des Lettres (the Ministry of Culture).She received the medal from Jean-Jacques Aillagon (the french Minister of Culture at the time)In 2007, on the occasion of her retrospective at the Musée d’Art Moderne de Saint-Étienne, ORLAN receivedthe golden medal of Saint-Étienne (France), her native town In 2010, ORLAN was made chevalier de l’ordre dumerite. She received the medal from Frederic Mitterrand (the french Minister of Culture at the time)

3. Awards, grants and prizes

ORLAN has received awards and grants throughout her career.In 1967, she received the top prize from the Labour grant in Saint-Étienne (France).In 1989 and 1992, she received two grants from fiacre for her research and residency in Chennai (Madras),India.In 1993, she received the Mona Lisa grant and the Lavoisier grant.In 1999, she was awarded the Arcimboldo prize for digital photography from Hewlett Packard (France), aswell as the griffel-kunst’s prize in Hambourg (Germany).In 2004 she received the top prize at the Moscow festival of photography in Moscow (Russia).In 2013, she received the e-reputation great prize by Alexia Guggemos, at Christie’s, Paris (France).

4. Artistic residences

In 2005 ORLAN was a guest at the ISCP (International Studio and Curatorial Program) sponsored by theAFAA, in New York, USAIn 2007 she was a guest of the scholar research and residence program at the Getty Research Institute, LosAngeles, USA.In 2008 she was also a guest at Symbiotica, the art and science collaborative research laboratory at theUniversity of Western Australia, in Perth, Australia.

5. Public commissions

ORLAN produced large installations for both the University of medicine and the medical library of theUniversity of the city of Nantes, France, as public commission (1% artistic).

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6. Main retrospective

Several retrospectives have been dedicated to ORLAN :In 2002, FRAC des Pays de la Loire, France curator : Jean-François TaddeiIn 2002, Centro de fotografia in Salamanca and Museum Atrium, Victoria, Spain ; curators : Olga Guinotand Juan GuardiolaIn 2004, CCC (Centre de Création Contemporaine), Tours, France ; curator : Alain Julien-LaferrièreIn 2004, Centre National de la Photographie, Paris, France ; curator : Régis Durand, assisted by ClaireGuezengarIn 2007, Museum of Modern Art of Saint-Étienne, France ; curator : Lorand HegyiIn 2008, Tallinn art hall in Estonia ; curator : Eugenio ViolaIn 2010, Prometeo Gallery, Milan and Lucca, Italy ; curator : Eugenio Viola2012, Museo de Arte Moderno de Bogota, Colombia ; curator : Ricardo Arcos-Palma2012, M HKA, Antwerpen, Belgium ; curator : Bart De Baere

7. Biennales

ORLAN’s work has been featured in several biennales of contemporary art: in France, at the museum ofmodern art in Paris (1975, 1980), Nice (1981) and Lyon (1995, 2000); in Italy, at the Venice Biennale (1986,1993, 1997, 2007 and 2009); in Turkey, at the Istanbul Biennale (2001); in Poland, at the Poznan Biennale(2008); in Australia, at the Biennale of Sydney (1992) ; in Russia, Moscow at the Biennale ofContemporary Art (2004, 2009), and in South Korea, at the Busan Biennale (2008).

8. Exhibition places

ORLAN’s work has been featured in many exhibitions; ORLAN’s work can be found in the permanentcollections of several museums, and has appeared in many temporary exhibitions throughout the world.In the USA : Lacma and Moca, Fondation Annenberg, Los angeles ; Ps1, New york ; Bass museum, Miami ;Milred Kemper Art Museum, Saint-Louis, Missouri ; Sheldon Museum, Lincoln, Nebraska ; the SchmidtCenter Gallery Public Space, Florida Atlantic University, Boca Raton, Andy Warhol Museum, Philadelphia ;Slought FoundationIn Canada : Art Gallery of VancouverIn Italy : Palazzo Strozzi ; Florence Palazzo Delle Esposizioni, Rome ; Palazzo Grassi and PalazzoFranchetti, MadreMuseum Napoli, VeniceIn France : Centre Pompidou, Centre National de la photographie, Palais de Tokyo, Maison Européenne dela photographie, Musée d’Orsay, ParisIn Germany : Kunst Museum, Ahlen; Kw Institute for Contemporary Art, ZKM Karlsruhe, StädtischeGalerie, Karlsruhe, BerlinIn Austria : Kunsthalle and Mak, ViennaIn Luxembourg : Casino of LuxembourgIn Spain : Miro Foundation, MACBA, Barcelona ; Contemporary Art Museum ; Museum of Photography,Salamanca , MadridIn Switzerland : Musée de l’Elysée, LausanneIn Russia : House of Photography, Laboratoria Art & Science Space, Manège, Photography fesival, MoscowIn South Korea : Center Hall of the National Museum of Contemporary Art, Seoul; the Busan Museum;The Daejon Museum of Art in SouthkoreaIn Japan : Red Brick Warehouse, Yokohama; The National Museum of Art, OsakaIn Colombia : Museo de Arte Moderno de Bogota (MAMBO); Museo de Antioquia, Medellin; AcademiaSuperior de Artes de BogotaIn Latvia: the Museum of Decorative Arts and Design, Riga

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9. Public and private collections

The Centre Pompidou (Paris, France) has selected one of ORLAN’s works belonging to its permanentcollection to appear in the book entitled 100 masterpieces of the 20th century. This artwork is the famouskiss of the artist, a performance made in 1977 during the international contemporary art fair of paris (FIAC).Her works are part of public and private collections such as : the Los Angeles County Museum of Art (usa),Frederick R. Weisman Art Foundation of Malibu (USA), and The Getty Museum in Los Angeles (USA); theNational Museum of Art In Osaka (Japan); M HKA, Antwerp (Belgium); The Centre Georges Pompidou, Paris(France);The Fond Regional d’Art Contemporain des Pays de la Loire and The Fonds Regional d’Art Contemporain d’Île-de-France (France) ; The Maison Européenne de la Photographie, Paris (France), Musée de la Photo deBievre, Museum of Epinal, the Musée du Nouveau Monde of la Rochelle and the Museum of Modern Art ofSaint-Étienne Métropole, Museo de Antioquia, Colombia.

10. Main monographs

ORLAN’s work is published in a large number of books including several monographs which have beenpublished recently :- Inese Baranovska, Catherine Grenier, Dominique Païni, Jean-Pierre Rehm; ORLAN, The Icon of theFrench Contemporary Art, Editions Neputns, Riga, Latvia, 2014- Jose Ignacio Benito Climent, el Arte-Carnal en ORLAN, hacia una estetica del sacrificio, Madrid, 2013- Hubert Besacier, Alain Charre, Bart De Baere, Sophie Gregoir and win van mulders, ORLAN measurages(1968-2012) actions : ORLAN-body, M HKA, Antwerpen, 2012- Ricardo Arcos-Palma, Nicolas Bourriaud, Michael La Chance, Carnal Art and Obsolet body / Hybridizationand refigurations, Museo de Antioquia, 2012- Anne Morelli, Johan Muyle, Pierre-Olivier Rollin, Are you belgian ? ORLAN, Bruxelles, Yellow Now/ENSAV, LaCambre, 2012- Blandine Chavanne, Christine Buci-Glucksmann and Camille Morineau, Un bœuf sur la langue ORLAN, Lyon,publisherfage, 2011- Rhonda K. Garelick and Jorge Daniel Veneciano (publisher), Homi K. Bhabha, Michel Serres, Isabel Tejeda,PaulVirilio, and Lan Vu, Faboulous Harlequin, ORLAN and the patchwork self, Lincoln (Nebraska), the Universityof Nebraska press, 2010- Simon Donger and Simon Sheperd (editor), Gianna Bouchard, Christine Buci-Glucksmann, Howard Caygill,Simon Donger, Sander L. Gilman, Markus Hallensleben, Jens Hauser, Dominic Johnson, Stéphane Malysse,Hans-Ulrich Obrist, Catherine Petitgas, Simon Shepherd, Paul Virilio, and Sarah Wilson, ORLAN, a hybrid bodyof artworks, London and New York, routledge, 2010- Raphael Enthoven, ORLAN, Raoul Vaneigem, Free unions, mixed mariage and barbarous nuptial, Paris,Publisher Dilecta, 2010- ORLAN, Paul Virilio, Transgression, Transfiguration [conversation], Paris, Publisher L’une et l’autre, 2009- Joerg Bader, Lorand Hegyi, Marcela Iacub, Donald Kuspit, Peggy Phelan, Eugenio Viola, ORLAN, The Narrative/ Le Récit, Milan, Publisher Charta, 2007- Bernard Blistène, Christine Buci-Glucksmann, Caroline Cros, Régis Durand, Eleanor Heartney, Laurent Le Bon,Hans Ulrich Obrist, ORLAN, Vivian Rehberg, Julian Zugazagoitia, ORLAN, Carnal Art, Paris, PublisherFlammarion, 2004

11. Galleries

Galerie Michel Rein, Paris, France ; Prometeo Gallery, Milan & Lucca, Italy ; Hélène LAMARQUE Gallery,Miami, USA ; Ace Gallery, Los Angeles, USA ; Guy Pieters, Knokke, Belgium ; Stephan Stux Gallery, New York,USA

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Press selection

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http://riga2014.org19

Paris Match, october 201420

artpress, november 2014

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Contact

From 11 July to 25 october 2015Opening on 10 July at 6.30 pm

The institutional partners of the Centre d'art le LAIT

Direction Régionale des Affaires Culturelles / Ministère de la Culture et de la communication,Région Midi-Pyrénées, Département du Tarn et la Ville d'Albi.

Curator : Jacqueline-Ruth Meyer

Moulins Albigeois41 rue Porta – 81000 Albi - FRANCE

From wednesday to sunday from 2-7 pmInformation : (00 33) 5 63 38 35 91

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Practical information

ORLANVariable time and Medusa's Kisses

Murielle EdetCommunicationmurielle.edet@centredartlelait.com(00 33) 6 72 82 22 78

Centre d'art Le LAIT6 rue Jules Rolland - 81000 Albi -FRANCE

00 33 +9 63 03 98 84centredart@centredartlelait.comwww.centredartlelait.com

In partnership with :

With the support of Arcadi Île-de-France