{"id":10895,"date":"2009-06-05T16:06:06","date_gmt":"2009-06-05T19:06:06","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=10895"},"modified":"2009-06-09T15:21:47","modified_gmt":"2009-06-09T18:21:47","slug":"o-manto-de-arlequim-the-harlequin-coat","status":"publish","type":"post","link":"https:\/\/idanca.net\/o-manto-de-arlequim-the-harlequin-coat\/","title":{"rendered":"O Manto de Arlequim | The Harlequin Coat"},"content":{"rendered":"

O texto abaixo foi publicado no livro ‘Performance Presente Futuro’, organizado por Daniela Labra, curadora da mostra de mesmo nome realizada no Rio de Janeiro em agosto de 2008. A publica\u00e7\u00e3o re\u00fane ainda textos de Stelarc, Bia Medeiros, Ricardo Dominguez, Silvio de Gracia e Rosangella Leote, al\u00e9m de registros do evento. Clique aqui<\/a> para saber mais sobre a mostra Performance Presente Futuro.
\n<\/em><\/span><\/p>\n

Sempre considerei a vida como um fen\u00f4meno est\u00e9tico recuper\u00e1vel e meu corpo como o primeiro material que estava ao meu dispor. Usei meu corpo e\/ou a representa\u00e7\u00e3o do meu corpo em quase todas as minhas obras.<\/span><\/p>\n

“Trabalhar com o corpo e com o seu pr\u00f3prio significa juntar o \u00edntimo e o social. As lutas feministas levaram ao \u00e2mago dos problemas hist\u00f3ricos a evid\u00eancia de que o corpo \u00e9 pol\u00edtico” (Christine Buci-Glucksmann<\/a>). Sou de uma gera\u00e7\u00e3o para a qual mostrar seu corpo, falar da sua sexualidade, do seu gozo n\u00e3o era nada f\u00e1cil; da contracep\u00e7\u00e3o e do aborto, tampouco. Nosso corpo n\u00e3o nos pertencia e \u00e9 nesse contexto que decidi criar, com esse material e com essa rela\u00e7\u00e3o com o corpo.<\/span><\/p>\n

Minhas obras se misturaram com minha exist\u00eancia. Para cada s\u00e9rie de obras, foi preciso entrar em cena de novo, encarar, se re-encarar. Tamb\u00e9m significou criar momentos de intensidade para si mesmo e para os outros.<\/span><\/p>\n

Mudei de rosto colocando uma figura no meu rosto, ou seja, uma representa\u00e7\u00e3o. Trabalhei com a pol\u00edcia de Copenhague a partir do meu DNA. Vendi meus “beijos de artista” e vendi peda\u00e7os da minha carne em Relic\u00e1rios<\/em><\/strong>. Vendi meu sangue na s\u00e9rie dos Santos Sud\u00e1rios<\/strong><\/em>, sem que o c\u00e9u se abatesse sobre minha cabe\u00e7a. Agi sem medo, n\u00e3o me sentindo de maneira alguma influenciada ou amea\u00e7ada pelo medo coletivo e ancestral de atentar contra a integridade do corpo. Esse sentimento anacr\u00f4nico vindo da ideia de que o corpo – antigamente considerado como a obra-prima de Deus – \u00e9 sagrado e intoc\u00e1vel, intransform\u00e1vel.<\/span><\/p>\n

Meus relic\u00e1rios s\u00e3o fabricados com minha carne e um fragmento do texto de Michel Serres, vertido para v\u00e1rios idiomas.<\/span><\/p>\n

“O que pode nos mostrar agora debaixo de sua pele o monstro atual, tatuado, ambidestro, hermafrodita e mesti\u00e7o? Sim, o sangue e a carne. A ci\u00eancia fala em \u00f3rg\u00e3os, fun\u00e7\u00f5es, c\u00e9lulas e mol\u00e9culas, para acabar confessando que h\u00e1 muito tempo que n\u00e3o se fala mais em vida nos laborat\u00f3rios; mas a ci\u00eancia nunca fala em carne, que significa precisamente a mistura de m\u00fasculos e sangue, de pele e pelos, de ossos, de nervos e de diversas fun\u00e7\u00f5es, que misturam o que o saber analisa.<\/span><\/p>\n

A vida arremessa os dados ou joga as cartas. No final, Arlequim descobre sua carne. Misturados, a carne<\/em> e o sangue de Arlequim podem muito bem ser considerados juntos como o manto de Arlequim” (O terceiro instru\u00eddo<\/em>, Michel Serres<\/a>).<\/span><\/p>\n

Li a integralidade do texto Laicidade<\/em> no bloco operat\u00f3rio no decorrer da minha quinta opera\u00e7\u00e3o cir\u00fargica-performance intitulada “opera\u00e7\u00e3o-\u00f3pera” com um chap\u00e9u de arlequim na cabe\u00e7a. Reli esse texto em uma performance que hibridava e reciclava minha cole\u00e7\u00e3o de roupas e, finalmente, para a bi\u00f3psia de c\u00e9lulas da minha pele na faculdade de biologia e de anatomia da Universidade de Perth (Austr\u00e1lia). Esse gesto foi necess\u00e1rio para a elabora\u00e7\u00e3o de O Manto de Arlequim<\/strong><\/em>, instala\u00e7\u00e3o midi\u00e1tica mista concebida durante minha resid\u00eancia em Symbiotica, o laborat\u00f3rio de pesquisa colaborativa de artes e ci\u00eancias da Universidade da Austr\u00e1lia Ocidental.<\/span><\/p>\n

O Manto de Arlequim<\/strong><\/em> foi exibido na Bienal de Artes Eletr\u00f4nicas de Perth (BEAP 07), de 10 a 23 de setembro de 2007, no complexo Bakery Artrage, como parte da exposi\u00e7\u00e3o Symbiotica’s Still Living, sob a curadoria de Jens Hauser. Ele atualmente est\u00e1 na FACT de Liverpool e viajar\u00e1 sob outra vers\u00e3o para o Cassino Luxemburgo, em Luxemburgo, em setembro de 2009: trata-se de uma obra em progresso.<\/span><\/p>\n

O elemento central desta instala\u00e7\u00e3o \u00e9 um biorreator que fabrica tecido natural, especialmente concebido e desenvolvido desde o in\u00edcio para o ambiente de uma galeria e as necessidades de uma exposi\u00e7\u00e3o.<\/span><\/p>\n

O biorreator recria as condi\u00e7\u00f5es ambientais necess\u00e1rias ao crescimento e \u00e0 alimenta\u00e7\u00e3o das c\u00e9lulas. Al\u00e9m do mais, ele cont\u00e9m tr\u00eas pol\u00edmeros com c\u00e9lulas vivas de minha pele, coletadas recentemente em uma bi\u00f3psia realizada em Perth; c\u00e9lulas cut\u00e2neas de um feto feminino africano de doze semanas; e c\u00e9lulas do m\u00fasculo fibrobl\u00e1stico de um rato marsupial de cauda larga. As c\u00e9lulas de origem africana foram obtidas em um laborat\u00f3rio norte-americano e enviadas congeladas para a Austr\u00e1lia, enquanto as c\u00e9lulas do rato marsupial s\u00e3o oriundas de um animal usado para pesquisas cient\u00edficas na Universidade da Austr\u00e1lia Ocidental. Em um dos tr\u00eas pol\u00edmeros, podemos encontrar as tr\u00eas c\u00e9lulas em processo de hibrida\u00e7\u00e3o. Na FACT de Liverpool, as co-culturas foram feitas com c\u00e9lulas de cisne e de boi.<\/span><\/p>\n

No conjunto da instala\u00e7\u00e3o, o biorreator constitui a cabe\u00e7a do Arlequim. O manto e o chap\u00e9u s\u00e3o feitos de diferentes plexiglas coloridos, e no centro de cada forma, que lembram diamantes, encontramos pratos de Petri, alguns contendo pol\u00edmeros de c\u00e9lulas mortas.<\/span><\/p>\n

Tudo isso, por sua vez, \u00e9 iluminado por uma proje\u00e7\u00e3o de diamantes, cada um deles contendo macroimagens de c\u00e9lulas, algumas em movimento. As c\u00e9lulas \u00e0 mostra nos pratos de Petri e na proje\u00e7\u00e3o foram coletadas nos seguintes \u00f3rg\u00e3os: c\u00e9rebro humano (c\u00f3rtex cerebral), peito em amamenta\u00e7\u00e3o, colo do \u00fatero, endom\u00e9trio menstrual, l\u00e1bio, pele (escalpo fino e grosso), cord\u00e3o umbilical e vagina, assim como olho de macaco (retina), ov\u00e1rio de primata, l\u00edngua de coelho (fungiforme e filiforme) e de carneiro (caliciformes). As c\u00e9lulas vivas na proje\u00e7\u00e3o incluem as tr\u00eas c\u00e9lulas em crescimento e em processo de hibridiza\u00e7\u00e3o que encontramos no biorreator (minhas c\u00e9lulas, as c\u00e9lulas cut\u00e2neas do feto africano e as c\u00e9lulas do fibroblasto do rato marsupial de cauda larga), assim como sangue humano, tecido conjuntivo e m\u00fasculos de um camundongo, neur\u00f4nios de peixinho dourado, e muitas outras formas mostrando as origens.<\/span><\/p>\n

Essa pe\u00e7a se inspirou no pensamento do fil\u00f3sofo franc\u00eas Michel Serres, que emprega a met\u00e1fora do Arlequim no pref\u00e1cio de seu livro O terceiro instru\u00eddo<\/em><\/a>, trecho chamado “Laicidade”, um conceito geralmente traduzido como “secularismo”, embora esse termo n\u00e3o d\u00ea conta do conte\u00fado da palavra. A met\u00e1fora do Arlequim representa a ideia de multiculturalismo e a aceita\u00e7\u00e3o do outro dentro de si, com ou sem religi\u00e3o.<\/span><\/p>\n

A instala\u00e7\u00e3o deve evoluir no decorrer das suas diversas exposi\u00e7\u00f5es. A cada vez, novas c\u00e9lulas minhas crescer\u00e3o com c\u00e9lulas de outras origens e os pratos de Petri ir\u00e3o aos poucos ficando cheios.<\/span><\/p>\n

A proposta de Oron Catts e Ionat Zurr de virem trabalhar nos laborat\u00f3rios da Symbiotica me entusiasmou, evidentemente, por\u00e9m era necess\u00e1rio para mim que ela se inscrevesse na coer\u00eancia e na continuidade de minhas obras, que a l\u00f3gica dessa nova perspectiva generosamente aberta por Symbiotica pudesse se tornar um elo a mais da minha obra, entre corpo e cirurgia, corpo e medicina, arte e ci\u00eancia e, finalmente, entre arte e biotecnologias.<\/span><\/p>\n

A cultura de pele \u00e9 corriqueira para queimaduras graves. Fazer cultura com minha pele foi, portanto, um ato “comum”; menos comum foi cultiv\u00e1-la junto com c\u00e9lulas do feto de uma mulher negra (compradas em um laborat\u00f3rio), as quais tomam um sentido bem especial em Liverpool, como elas tamb\u00e9m teriam tomado em Nantes, se esse projeto tivesse sido realizado em 2004 na exposi\u00e7\u00e3o Biotech, do curador Jens Hauser, porque ambas as cidades t\u00eam um passado carregado em rela\u00e7\u00e3o \u00e0 escravid\u00e3o. As c\u00e9lulas de marsupiais ressoam mais na Austr\u00e1lia.<\/span><\/p>\n

Cientificamente, a experi\u00eancia podia significar que as coisas j\u00e1 estavam predefinidas e o vencedor j\u00e1 conhecido antes da luta: as c\u00e9lulas jovens ganhando das minhas… A constata\u00e7\u00e3o de mais uma vit\u00f3ria cl\u00e1ssica e normal do mais forte sobre o mais fraco me interessava, embora Fiona Wood tenha afirmado que muitos crit\u00e9rios podiam alterar o curso da experi\u00eancia.<\/span><\/p>\n

Como eu tamb\u00e9m sabia de antem\u00e3o que a hibrida\u00e7\u00e3o de peles de origem diferente n\u00e3o desenvolveria uma cor de pele diferente.<\/span><\/p>\n

A postura desta constata\u00e7\u00e3o, semelhante \u00e0 de um ready-made<\/em> – s\u00f3 que um ready-made<\/em>ready-made<\/em>\/corpo muda seu significado. modificado -, est\u00e1 na l\u00f3gica de minhas opera\u00e7\u00f5es cir\u00fargicas-performances. Pois uma min\u00fascula modifica\u00e7\u00e3o do <\/span><\/p>\n

Ora, o corpo n\u00e3o \u00e9 mais para mim esse ready-made<\/em> que basta assinar como o fazia o artista Piero Manzoni nos anos 1960. As duas pequenas protuber\u00e2ncias inseridas nas minhas t\u00eamporas s\u00e3o um desvio dos tradicionais implantes usados para real\u00e7ar as ma\u00e7\u00e3s do rosto, transformando o corpo em um lugar de debate p\u00fablico.<\/span><\/p>\n

As c\u00e9lulas coletadas no meu corpo n\u00e3o me pertencem mais, eu n\u00e3o conseguiria vend\u00ea-las como obras de arte: tomei o risco de criar uma obra que me sai muito caro, que \u00e9 dif\u00edcil de mostrar e que em teoria n\u00e3o posso vender.<\/span><\/p>\n

Um passo a frente<\/a> para me<\/a> sentir livre para criar, estudar e me apaixonar fora do dom\u00ednio das obras pelo mercado, tal como meu Beijo de Artista<\/strong><\/em>.<\/span><\/p>\n

A exposi\u00e7\u00e3o das obras criadas com a ajuda das biotecnologias tem a ver com a performance, um ato de vida intensa, vis\u00edvel durante um curto momento de compartilhamento, de emo\u00e7\u00e3o e de inova\u00e7\u00e3o.<\/span><\/p>\n

A posi\u00e7\u00e3o do ser vivo na instala\u00e7\u00e3o, t\u00e3o fr\u00e1gil, como o rosto do Arlequim que se torna o biorreator, lugar da dram\u00e1tica passagem da vida para a morte do Arlequim – lembrando um memento mori<\/em> emoldurado, fantasiado em uma grande proje\u00e7\u00e3o de v\u00eddeo -, mostrando ao mesmo tempo as c\u00e9lulas vivas morrendo ou j\u00e1 mortas dentro de losangos suturados pela luz branca misturada com todas as cores.<\/span><\/p>\n

Orlan nasceu na Fran\u00e7a e trabalha entre Paris, Nova York e Los Angeles. Atualmente trabalha com escultura e fotografia digital para a s\u00e9rie Auto-hibridiza\u00e7\u00f5es ao mesmo tempo em que trabalha com biotecnologias. <\/strong><\/span><\/p>\n

Adaptado de artigo publicado em: HAUSER, Jens. SK-INTERFACES. Exploding Borders in Art, Science and Technology, Liverpool University Press, 2008.<\/em><\/span><\/p>\n

The text below was published in the book \u2018<\/em>Performance Presente Futuro\u2019, organized by Daniela Labra, curator of the showcase with the same name, which took place in Rio de Janeiro, 2008. The publication also brings articles by Stelarc, Bia Medeiros, Ricardo Dominguez, Silvio de Gracia and Rosangella Leote, besides records of the event. Click here<\/a> to read more about <\/em>Performance Presente Futuro.<\/em><\/span><\/p>\n

I’ve always considered life as a recoverable aesthetical phenomenon and my body as the first material at my disposal. I’ve used my body and\/or the representation of my body in almost all of my works.<\/span><\/p>\n

“To work with the body, with your own body means to unite the intimate and the social. The feminist struggles brought to the core of historical problems the evidence that the body is political” (Christine Buci-Glucksmann). I belong to a generation for which to show the body, to speak about sexuality, about your pleasure, was not easy at all; we wouldn’t speak of contraception and abortion either. Our bodies didn’t belong to us and it was in this context that I’ve decided to create, with this support and with this kind of relation.<\/span><\/p>\n

My works are mingled with my existence. For each series of works, it was necessary to reenter the stage, to face, to reface oneself. It also meant to create moments of intensity for oneself and for others.<\/span><\/p>\n

I’ve changed my face by placing a figure over it, that is, a representation. I’ve worked with the Copenhagen’s police using my DNA. I’ve sold my “artist kisses” <\/strong><\/em>and pieces of my flesh in Reliquaries<\/strong><\/em>. I’ve sold my blood in the series Holy Shrouds<\/strong><\/em> and the sky has not fallen on my head. I’ve acted with no fear, not at all influenced or threatened by the ancestral and collective fear of attempting against the integrity of the body. This anachronism comes from the idea that the body – considered in ancient times as God’s masterpiece – is sacred and untouchable, not subject to transformation.<\/span><\/p>\n

My reliquaries are made of my flesh and a fragment of a text by Michel Serres, translated into several languages. “What could the current, tattooed, ambidextrous monster, hermaphrodite and half breed, make us see now under his skin? Yes, flesh and blood. Science speaks of organs, functions, cells, and molecules, to admit finally that it’s been a long time since life has been spoken of in laboratories, but it never says flesh, which, very precisely, designates the mixture of muscles and blood, skin and hairs, bones, nerves, and diverse functions, which thus mixes what the relevant disciplines analyse.<\/span><\/p>\n

Life throws the dice or plays cards. Harlequin discovers, in the end, his flesh. Combined, the mixed flesh and blood of the Harlequin is still quite likely to be taken for a harlequin coat.” (The Troubador of Knowledge<\/em>, Michel Serres).<\/span><\/p>\n

I’ve fully read the text La\u00efcit\u00e9<\/em> in the surgical block throughout my fifth permanent surgical operation entitled “opera-operation” with a harlequin hat on my head. I reread this text in a performance that hybridized and recycled my collection of clothes and, finally, for the biopsy of cells from my skin in the Faculty of Biology and Anatomy of the Perth University (Australia). This gesture was necessary for the re-elaboration of “The Harlequin Coat”, a mixed media installation conceived during her residency at Symbiotica, the art and science collaborative research laboratory, University of Western Australia.<\/span><\/p>\n

The Harlequin Coat<\/strong><\/em> is being exhibited at the Biennale of Electronic Arts Perth, Australia (BEAP 07), 10-23 September 2007, at the Bakery Artrage Complex as part of the exhibition SymbioticA’s Still, Living<\/em>, curated by Jens Hauser. It is presently at FACT in Liverpool and in another version it will travel to the “Casino Luxembourg” in Luxembourg in September 2009: it is an installation in progress.<\/span><\/p>\n

The central element of the installation The Harlequin Coat <\/strong><\/em>is a tissue engineering bioreactor especially designed and built for a gallery environment and with the needs of an exhibition in mind.<\/span><\/p>\n

The bioreactor recreates the environmental conditions necessary for cell growth and nourishment, and contains within it three polymers on which we find the living my skin cells, recently collected during a biopsy performed in Perth, the skin cells of a 12-week old female foetus of African origin, and fibro-blast muscle cells of a fat-tailed dunnart, a marsupial. The cells of African provenance were obtained from a US laboratory and shipped frozen to Australia, while the dunnart cells are from an animal leftover from scientific research at the University of Western Australia. On one of the polymers we find the three cells in the process of hybridising and in Fact in Liverpool, the co-cultures were with swan cells and bovine cells.<\/span><\/p>\n

The whole is then lit by a projection of diamonds, each containing macro images of cells, some of these in movement. The cells that appear in the petri dishes and in the projection include human brain (cerebral cortex), lactating breast, cervix, menstrual endometrium, lip, skin (thin, thick scalp), umbilical cord and vagina, as well as monkey eye (retina), primate ovary, rabbit tongue (fungiform and filiform) and sheep tongue (vallate). The live cells in the projection comprise the three growing and hybridizing cells found in the bioreactor (my cells, the African foetus skin cells, and the fat-tailed dunnart fibro-blast cells), as well human blood, connective tissue and muscle of a mouse, neurons of a goldfish and many other forms of her origins.<\/span><\/p>\n

This piece has been inspired by French philosopher Michel Serres who uses the metaphor of the Harlequin in the preface to his book The Troubadour of Knowledge, entitled La\u00efcit\u00e9, a concept usually translated in English as “secularism”, but not adequately captured by this English label. The metaphor of the Harlequin represents the idea of multiculturalism and the acceptance of the other within oneself, with or without religion.<\/span><\/p>\n

The installation will evolve over the course of several exhibitions. Each time, newly grown my cells will be co-cultured with cells of other origin and the petri dishes will slowly be filled.<\/span><\/p>\n

The proposal by Oron Catts and Ionat Zurr of working at the Symbiotica labs enthused me, evidently, but for me it was necessary that it was inscribed in the coherence and continuity of my works, that the logic of this new perspective generously opened by Symbiotica could become yet another link in my work between body and surgery, body and medicine, art and science, and, finally, between art and biotechnologies.<\/span><\/p>\n

Skin culture is common for serious cases of burning. To made a culture of my own skin was, therefore, a “common” act; less common was cultivating it along with the cell of a foetus of a Black woman (bought in a lab), which take a quite special meaning in Liverpool, as they also would take in Nantes, if this project were done in 2004 during the Biotech exhibition, of the curator Jens Hauser, because both cities have a charged past in relation to slavery. The cells of marsupials resonate more in Australia.<\/span><\/p>\n

Scientifically, the experience could mean that things were already predefined and that the winner was known before the fight: the young cells wining over mine… The acknowledgement of yet another classic and normal victory of the stronger over the weaker interested me, although Fiona Wood had stated that many criteria could alter the course of the experience.<\/span><\/p>\n

As I also knew beforehand that the hybridation of skins of different origins would not develop a different skin color.<\/span><\/p>\n

The stance of this acknowledgment, similar to the one of a readymade – although a modified ready-made – is in the logic of my surgical-performances operations. Since a minimum amendment of the ready-made\/body changes its meaning.<\/span><\/p>\n

But the body for me is no longer this ready-made just waiting to be signed, as the artist Piero Manzoni did in the 1960’s. The two small protuberances inserted in my temples are a deviation of the traditional implants used to highlight the cheeks, transforming the body into a place of public debate.<\/span><\/p>\n

The collected cells of my body no longer belong to me, I wouldn’t be able to sell them as works of art: I took the risk of creating a work that costs me a great deal, that is hard to show and that in theory I cannot sell.<\/span><\/p>\n

A step forward in order to feel free to create, to study and to fall in love outside the control of the works by the market, as in my The Kiss of the Artist<\/strong><\/em>.<\/span><\/p>\n

The position of the living being in the installation, so fragile, as the Harlequin’s face that becomes the bio-reactor, the place of the Harlequin’s dramatic passage from life to death – reminding a framed memento mori, fantasized in a large video projection – showing at the same time the living cells dying or already dead inside lozenges sutured by the whitelight mixed with all colors.<\/span><\/p>\n

Adapted from an article published in HAUSER, Jens (Ed.). SK-INTERFACES. Exploding Borders in Art, Science and Technology. Liverpool: Liverpool University Press, 2008.<\/em><\/span><\/p>\n

Orlan was born and works in Paris, New York and Los Angeles. She currently works with sculpture and digital photography for the Self Hybridization series, at the same time she develops work with biotechnologies. <\/strong><\/span>
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Uma das mais pol\u00eamicas performers da atualidade, Orlan descreve neste texto o processo de um de seus trabalhos. Mais um em que seu corpo \u00e9 o pr\u00f3prio material de trabalho. Leia e comente!<\/span>
\nOne of the most controversial contemporary artists, Orlan describes the creative process for one of her works. Another one in which her body is thye material. 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Mais um em que seu corpo \u00e9 o pr\u00f3prio material de trabalho. Leia e comente! One of the most controversial contemporary artists, Orlan describes the creative process for one of her works. Another one in which her body is thye material. 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