COLLECTIVE Benedetto, Chedid, Cristoforou, Cieslewicz, Etienne, Feret, Goffette, Gosselin, Grandmont, Guillevic, Khoury-Ghata, Kijno, Klasen, Kolar, Le Parc, Lybinka, Maulpoix, Messagier, Noiret, Ouzani, Para, Ristat, Segui, Taillandier, Weiss Liberty, Equality, Fraternity, a world of peace, 1989. Portfolio edited on the occasion of the bicentenary of the French Revolution under the direction of Christian Lanoy for the gallery L'Art et la Paix in a global edition to 153 copies, this publication mixes, through its twenty-five (25) plates, texts of poets and works of visual artists with André BENEDETTO (1934-2009), Andrée CHEDID (1920-2011), John CRISTOFOROU (1921-2014), Roman CIESLEWICZ (1930-1996), Marie ETIENNE (born 1938), François FERET (born 1942), Guy GOFFETTE (born 1947), Gérard GOSSELIN (1933-2023), Dominique GRANDMONT (born in 1941), Eugène GUILLEVIC (1907-1997), Vénus KHOURY-GHATA (born in 1937), Ladislas KIJNO (1921-2012), Peter KLASEN (born in 1935), Jiri KOLAR (1914-2002) (missing plate), Julio LE PARC (born in 1928), LYBINKA (1922-2015) Jean-Michel MAULPOIX (born 1952), Jean MESSAGIER (1920-1999), Gérard NOIRET (born 1948), Melik OUZANI (born 1942), Jean-Baptiste PARA (born 1956), Jean RISTAT (born 1943), Antonio SEGUI (1934-2022), Yvon TAILLANDIER (1926-2018), Hugh WEISS (1925-2007) All plates are signed and justified 44/100. 56 x 37.5 cm Missing the plate of Jiri Kollar

ORLAN (Saint-Étienne, France, 1947). "Disfiguration-Refiguration, Precolumbian Self-Hybridization" No. 12, 1999. Photograph. Specimen 2/7. Dampness and damage to the frame. Signed, justified, and titled on the back. Measurements: 100 x 100 cm; 104 x 104 cm (frame). In this photograph, Orlan continues to question the social and cultural pressures exerted on the body and its representation in the media. Orlan has created a new image in this work, literally combining pre-Columbian and African icons with his own image; the resulting hybridizations create a complex narrative that blurs distinctions between time and place, real and unreal. He has created a new image to produce new images: Self-Hybridizations. The work contains evidence of past tribal rites and rituals associated with beautification that, along with her own modifications through plastic surgery, argue over salient issues in recent history such as collective identity, tragedy and exclusivity. The self-hybridizations also act as portraits of a potential future humanity, in which interbreeding between humans of diverse backgrounds gives rise to new bodies, with nomadic and mutant identities. ORLAN's career as a performance artist began in 1964, when he performed Marches au ralenti (slow-motion walks) in his hometown of Saint-Étienne. During these performances, he walked as slowly as possible between two central parts of the city. In 1965, ORLAN produced MesuRages, in which he used his own body as a measuring instrument. With his "ORLAN-body" as a unit of measurement, he assessed how many people could fit into a given architectural space. This was the first time he used his body in a performance piece. ORLAN reused this concept in several subsequent projects. Between 1964 and 1966, ORLAN produced Vintages, a series of black and white photographic works. She destroyed the original negatives of these pieces and today only one copy of each photograph remains. In this series, she posed nude in various yoga-like positions. One of the most famous images from this series is ORLAN accouche d'elle m'aime.Between 1967 and 1975, ORLAN produced a body of work entitled Tableaux Vivants. He based them on the works of Baroque artists such as El Greco and Gericault. He used inmates as models, wore exaggerated imitation Baroque costumes and drew inspiration from Caravaggesque stereotypes. In 1971, ORLAN "christened itself" Sainte-ORLAN, adorning itself with black corrugated vinyl and white faux leather. Color photographs of Sainte-ORLAN were subsequently incorporated into photo-collages, videos and films tracing a fictional hagiography. During the 1977 FIAC International Contemporary Art Fair in Paris, ORLAN performed the controversial performance piece The Artist's Kiss (Le baiser de l'artiste). Outside the Grand Palais in Paris, a life-size photo of his torso was turned into a slot machine. Spectators could watch the coin inserted into the torso descend into a groin before receiving a kiss from the artist.ORLAN founded the International Performance Symposium in Lyon. In 1982, he collaborated with artist Frédéric Develay to create the first online contemporary art magazine, Art-Accès-Revue, on the French precursor to the Internet, the Minitel. In 1990, ORLAN initiated the Reincarnation of Sainte-ORLAN. This is a series of plastic surgeries through which the artist transformed herself into elements of famous paintings and sculptures of women. As part of her manifesto "Carnal Art", these works were filmed and shown in institutions around the world, such as the Georges Pompidou Center in Paris and the Sandra Gehring Gallery in New York. ORLAN's goal in these surgeries is to acquire the ideal of feminine beauty as depicted by male artists. When it is compl It presents humidity and damages in the frame.