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ORLAN, <Bejing Opera Self Hybridization n°6>, ORLAN, Augmented Reality, Beijing Opera, Augmented Reality,120x120cm, 2014
ORLAN, <Bejing Opera Self Hybridization n°1>, ORLAN, Augmented Reality, Beijing Opera, Augmented Reality,120x120cm, 2014
ORLAN, <Bejing Opera Self Hybridization n°10>, ORLAN, Augmented Reality, Beijing Opera, Augmented Reality,120x120cm, 2014
ORLAN Bejing Opera Self Hybridization n°6
ORLAN uses her own body as the material and a visual support for her works. She uses her own body as an area for debate and exhibition. She is the progenitor of body art and a major figure in ‘carnal art’ defined in the 1989 Statement. ORLAN’s tenacity and freeness are essential parts of her works. She adheres to the attitude of innovating, questioning, and being destructive in all of her works. ORLAN destroys the ‘ready-made’ thought process and customs by ceaselessly implementing fundamental changes to data. She opposes the dominant kind such as social, political and natural determinism, male chauvinism, religion, cultural division, and racial discrimination. ORLAN not only describes the female body of the Baroque period and religious iconography, but also explores the culture of India and China before Columbus discovered the Americas. At the same time, she looks into their physical, emotional and virtual reality using the most modern science, biology, and computer technologies. In her recent series work <Masks Beijing Opera, facing designs and augmented reality>(2014), ORLAN grafts the mask of Beijing opera to interactive technologies. Through the use of ‘Augment’, which is an application for augmented reality, she turns self-hybridization and all the sources into QR codes. ORLAN shows acrobatics by having her avatars appear on tablets and smartphones of the audience in Beijing Opera, which was forbidden to women. The audience can also take photographs with those 3D avatars.
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