{"id":3440,"date":"2005-05-01T14:49:15","date_gmt":"2005-05-01T14:49:15","guid":{"rendered":"https:\/\/archee.uqam.ca\/?p=3440"},"modified":"2023-02-14T14:52:17","modified_gmt":"2023-02-14T14:52:17","slug":"mai-2005-orlan-posthumanisme-romantisme-et-mediation-technologique","status":"publish","type":"post","link":"https:\/\/archee.uqam.ca\/mai-2005-orlan-posthumanisme-romantisme-et-mediation-technologique\/","title":{"rendered":"Mai 2005 &#8211; Orlan. Posthumanisme, romantisme et m\u00e9diation technologique"},"content":{"rendered":"\n<figure class=\"wp-block-image aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"895\" height=\"322\" src=\"https:\/\/archee.uqam.ca\/wp-content\/uploads\/2023\/02\/Capture-decran-le-2023-02-14-a-09.42.25.png\" alt=\"\" class=\"wp-image-3441\" srcset=\"https:\/\/archee.uqam.ca\/wp-content\/uploads\/2023\/02\/Capture-decran-le-2023-02-14-a-09.42.25.png 895w, https:\/\/archee.uqam.ca\/wp-content\/uploads\/2023\/02\/Capture-decran-le-2023-02-14-a-09.42.25-300x108.png 300w, https:\/\/archee.uqam.ca\/wp-content\/uploads\/2023\/02\/Capture-decran-le-2023-02-14-a-09.42.25-768x276.png 768w\" sizes=\"(max-width: 895px) 100vw, 895px\" \/><\/figure>\n\n\n\n<p>Orlan est cette artiste fran\u00e7aise multim\u00e9dia qui, au milieu des ann\u00e9es 1960, d\u00e9laisse la peinture pour faire de son corps le site canaliseur de sa cr\u00e9ation artistique \u00e0 venir :<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"467\" height=\"210\" src=\"https:\/\/archee.uqam.ca\/wp-content\/uploads\/2023\/02\/Capture-decran-le-2023-02-14-a-09.43.39.png\" alt=\"\" class=\"wp-image-3442\" srcset=\"https:\/\/archee.uqam.ca\/wp-content\/uploads\/2023\/02\/Capture-decran-le-2023-02-14-a-09.43.39.png 467w, https:\/\/archee.uqam.ca\/wp-content\/uploads\/2023\/02\/Capture-decran-le-2023-02-14-a-09.43.39-300x135.png 300w\" sizes=\"(max-width: 467px) 100vw, 467px\" \/><\/figure>\n\n\n\n<p>Depuis, ses oeuvres proposent une r\u00e9flexion sur la relation entre l\u2019art, le corps et les technologies \u00e0 diff\u00e9rents niveaux : l\u2019identit\u00e9 et l\u2019alt\u00e9rit\u00e9, la sensualit\u00e9 et le puritanisme, le pass\u00e9 et le futur, la contrainte et le choix, etc. Dans cette dialectique, il ne s\u2019agit pas d\u2019exclure l\u2019un o\u00f9 l\u2019autre, mais bien de jouer sur le fil t\u00e9nu des sens, des images, qu\u2019inspirent ces non-lieux, pour penser autrement la production et la reproduction de la soci\u00e9t\u00e9 et de la vie humaine par le corps et les nouvelles technologies. En fin de compte, Orlan nous am\u00e8ne \u00e0 r\u00e9fl\u00e9chir sur l\u2019humain comme construction socio-historique. C\u2019est ainsi qu\u2019elle s\u2019inscrit dans la question du posthumanisme et agit \u00e0 titre de m\u00e9diatrice technologique dans la mise en place d\u2019imaginaires susceptibles de donner une suite sociale au posthumain, bien que ce corps \u00ab&nbsp;d\u00e9poss\u00e9d\u00e9&nbsp;\u00bb et \u00ab&nbsp;r\u00e9appropri\u00e9&nbsp;\u00bb traduise l\u2019exp\u00e9rience quotidienne de l\u2019ali\u00e9nation culturelle d\u2019\u00ab&nbsp;\u00eatre-au-monde&nbsp;\u00bb qui sied parfaitement au regard f\u00e9ministe-<em>queer<\/em>romantique et marxiste du \u00ab&nbsp;travail&nbsp;\u00bb artistique chez Orlan.<\/p>\n\n\n\n<p>Je passe d\u2019abord en revue les concepts de m\u00e9diation technologique, de techno\u00e8sis, d\u2019ex-centricit\u00e9, de pouvoir-r\u00e9sistance et finalement de condition virtuelle afin d\u2019\u00e9tayer mon argumentation en lien avec certaines \u0153uvres de l\u2019artiste. Pour finir, je propose de r\u00e9fl\u00e9chir sur les implications sociales du posthumanisme tel qu\u2019envisag\u00e9 \u00e0 partir d\u2019une analyse du discours et des productions artistiques de \u00ab\u00a0Sainte Orlan\u00a0\u00bb, cela, \u00e0 la lumi\u00e8re des revendications du mouvement \u00ab\u00a0intersex\u00a0\u00bb et transsexuel. Il en ressort que, tout en affirmant l\u2019importance de la corporalit\u00e9 et de l\u2019autonomie corporelle, Orlan annonce une nouvelle \u00ab\u00a0politique des genres\u00a0\u00bb.<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"890\" height=\"607\" src=\"https:\/\/archee.uqam.ca\/wp-content\/uploads\/2023\/02\/Capture-decran-le-2023-02-14-a-09.48.07.png\" alt=\"\" class=\"wp-image-3443\" srcset=\"https:\/\/archee.uqam.ca\/wp-content\/uploads\/2023\/02\/Capture-decran-le-2023-02-14-a-09.48.07.png 890w, https:\/\/archee.uqam.ca\/wp-content\/uploads\/2023\/02\/Capture-decran-le-2023-02-14-a-09.48.07-300x205.png 300w, https:\/\/archee.uqam.ca\/wp-content\/uploads\/2023\/02\/Capture-decran-le-2023-02-14-a-09.48.07-768x524.png 768w\" sizes=\"(max-width: 890px) 100vw, 890px\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-image aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"890\" height=\"296\" src=\"https:\/\/archee.uqam.ca\/wp-content\/uploads\/2023\/02\/Capture-decran-le-2023-02-14-a-09.48.28.png\" alt=\"\" class=\"wp-image-3444\" srcset=\"https:\/\/archee.uqam.ca\/wp-content\/uploads\/2023\/02\/Capture-decran-le-2023-02-14-a-09.48.28.png 890w, https:\/\/archee.uqam.ca\/wp-content\/uploads\/2023\/02\/Capture-decran-le-2023-02-14-a-09.48.28-300x100.png 300w, https:\/\/archee.uqam.ca\/wp-content\/uploads\/2023\/02\/Capture-decran-le-2023-02-14-a-09.48.28-768x255.png 768w\" sizes=\"(max-width: 890px) 100vw, 890px\" \/><\/figure>\n","protected":false},"excerpt":{"rendered":"<p>Orlan est cette artiste fran\u00e7aise multim\u00e9dia qui, au milieu des ann\u00e9es 1960, d\u00e9laisse la peinture pour faire de son corps le site canaliseur de sa cr\u00e9ation artistique \u00e0 venir : Depuis, ses oeuvres proposent une r\u00e9flexion sur la relation entre l\u2019art, le corps et les technologies \u00e0 diff\u00e9rents niveaux : l\u2019identit\u00e9 et l\u2019alt\u00e9rit\u00e9, la sensualit\u00e9 &hellip; <a href=\"https:\/\/archee.uqam.ca\/mai-2005-orlan-posthumanisme-romantisme-et-mediation-technologique\/\">Continued<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5],"tags":[209],"acf":[],"_links":{"self":[{"href":"https:\/\/archee.uqam.ca\/wp-json\/wp\/v2\/posts\/3440"}],"collection":[{"href":"https:\/\/archee.uqam.ca\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/archee.uqam.ca\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/archee.uqam.ca\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/archee.uqam.ca\/wp-json\/wp\/v2\/comments?post=3440"}],"version-history":[{"count":2,"href":"https:\/\/archee.uqam.ca\/wp-json\/wp\/v2\/posts\/3440\/revisions"}],"predecessor-version":[{"id":3446,"href":"https:\/\/archee.uqam.ca\/wp-json\/wp\/v2\/posts\/3440\/revisions\/3446"}],"wp:attachment":[{"href":"https:\/\/archee.uqam.ca\/wp-json\/wp\/v2\/media?parent=3440"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/archee.uqam.ca\/wp-json\/wp\/v2\/categories?post=3440"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/archee.uqam.ca\/wp-json\/wp\/v2\/tags?post=3440"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}