ORLAN

Un grand nombre des performances des années 1960/ 1970 se caractérise par une stratégie de prendre contrôle, par les femmes, de son propre corps et de son image . Les artistes féminins de l’époque luttent contre la manière dont les époques antérieures avaient représenté la femme et la féminité . Elles tentent de remettre en question la structure même de la représentation de la femme en refusant les symboles et les images traditionnellement lié à la féminité. En revanche, elles proposent de nouveaux et de multiples représentations, tous fondés sur l’expérience et sur la sexualité des femmes véritables, et non sur des femmes idéales et imaginaires.
          Dans cette recherche de la femme en tant qu’individu spécifique, Psyché de Gina Pane est un des exemples les plus frappants. La première partie de l’action révèle exactement cette lutte contre les images traditionnelles de la femme poursuit par les artistes se vouant au féminisme. L’artiste est agenouillée devant un miroir. A l’aide d’un rouge à lèvres et d’un crayon en khôl elle retrace les formes de sa bouche ouverte et de ses yeux sur ses reflets. Par la suite, tandis qu’elle continue à contempler son reflet dans le miroir (et l’image qui se superpose à son propre visage), elle prend une lame de rasoir et s’inflige des coups - elle crée l’impression de pleurer des véritables « larmes de sang » . Une stratégie visant à détruire le symbolisme féminin si bien établi dans le monde artistique, Psyché dénonce les verrous moraux qui pèsent sur le corps féminin. L’action vise à démystifier l’image du corps, et à le libérer.

          A travers cet exemple spécifique de Pane, tout en introduisant également l’approche d’autres artistes et une comparaison aux images plus traditionnelles qui ont pour sujet la femme et la féminité, je propose d’étudier comment les artistes de l’époque proposaient de se libérer de cette « réalité masculine », de cette représentation idéale de la femme influencé par le regard fétichiste de l’homme.

Praca obejmuje wstępne badania nad charakterystyką estetyki i sztuki post- i transhumanistycznej. Koncentrując się nad ideą projektowania ciała postczłowieka, w kontekście manifestu sztuki transhumanistycznej, projektu Primo Posthuman  Natashy Vity-More oraz performance’ów w wykonaniu Stelarca.

Attitudes towards women as measures of all deviation from societal norms, beginning with the female body in itself, are often situated into the social conscious that justifies their exclusion from political and economic life. For those whose womanhood intersects with other axes of oppression, such as race or queerness, capitalist society has further embedded traditions of abjection and exclusion for what threatens the purity of whiteness and maleness at the core of universal humanism. In examining these historically anchored conceptions of women’s bodies as monstrous and volatile, analyzing these categorizations in the flesh is much more potent, being forced to confront the traumas of their materiality. This paper investigates how many women in performance art have positioned themselves in such a way to showcase the material conditions of being racially, sexually, and/or ‘naturally’ other.


*This paper is published in a conference anthology and is based on the second chapter of my MA thesis.

It has been said that in this technologically inundated era, we are all cyborgs. Such a radical redefinition of the human being is but one manifested example of how the category ‘human’ and its multifaceted sub-categories have undergone a long process of re-conceptualisation under postmodernism. This paper explores how the concept of ‘the posthuman’ allows for human kind to expand its abilities, its perception and its understanding of our world, as seen through the work of various artists articulating these ideas.

This article analyses the conceptions of identity in contemporary times by delving into art practices from the 1970s onwards that deal with topics such as the construction of the self, identity as simulacrum, gender as masquerade, cyberfeminism, the cyborg, the techno-medical body or online identity fluidity. In the information and digital era, new technological, medical and scientific developments like genetic engineering, biotechnology, surgical and hormonal procedures and the Internet permeate our lives, affecting the perception, representation and understanding of the self. Through the analysis of the work of Lynn Hershman Leeson, ORLAN and Francesca da Rimini, this article examines contemporary art practices that reflect on these current issues, mirroring contemporary changes, subverting homogenising and repressive articulations of identity, and considering the new malleability, reproducibility and plurality of the self. These art practices ultimately represent the merging of human and machine, of original and copy, of natural and artificial, of the corporeal and the virtual.

Pour cette etude, nous prendrons uniquement en consideration le travail des performeuses dont les oeuvres ont participe a et traite de l’emancipation des femmes. L’egalite entre les sexes ayant ete l’une des plus importantes preoccupations societales, aux Etats-Unis et dans de nombreux pays d’Europe, depuis les annees 1960, il est naturel que ces questionnements aient ete aussi traites au sein de performances. L’artiste Cheri Gaulke affirma meme que « la performance nous a fait decouvrir une forme d’art jeune, depourvue des traditions de la peinture ou de la sculpture, depourvue des traditions regies par les hommes ». C’etait donc pour les jeunes artistes femmes un terrain vierge, aux nombreuses possibilites de revendications. Cette fois-ci, ce sont des femmes qui vont pouvoir s’exprimer a travers leur sensibilite artistique et politique (...)

The purpose of this endeavor came from my interests in how differing Western representations of the female body are disrupted by some contemporary artists. Over the course of my research, I examined French performance artist ORLAN whose work has been labeled as “Grotesque” and the transgressive choreography of Canadian dance artist Marie Chouinard. Both artists disrupt traditional concepts of the female body that have been constructed by Western cultural ideologies. In the widely publicized performances entitled The Reincarnation of Saint Orlan, ORLAN undergoes a series of ten facial plastic surgeries to re-create a mutant hybrid of the most famous Renaissance women in art history in order to reveal the often brutal and violent conditions that make possible the standard Western representation of female beauty. This exposition occurred in such a way that the spectators could pose questions and interact with ORLAN as she underwent the physical modifications. Chouinard’s choreography produces a similar disruption through the use of unconventional prosthetics in the ballet entitled Body Remix, The Goldberg Variations. The use of these instruments open new and unforeseen horizons of corporeality that break radically with the traditional and anticipated image of the balletic dancer that most spectators come to expect. Thus, both of these artists come to create a subversive experience that forces audience members to enter a space in which they are forced to confront the very presuppositions that underpin their concept of female embodiment.

Un grand nombre des performances des années 1960/ 1970 se caractérise par une stratégie de prendre contrôle, par les femmes, de son propre corps et de son image. Les artistes féminines de l’époque luttent contre la manière dont les époques précédentes avaient représenté la femme et la féminité. Elles tentent de remettre en question la structure même de la représentation de la femme en refusant les symboles et les images traditionnellement liés à la féminité. En revanche, elles proposent de nouvelles et multiples représentations, toutes fondés sur l’expérience et sur la sexualité des femmes véritables, et non sur des femmes idéales et imaginaires. Il s’agit ici d’étudier comment ces artistes proposaient de se libérer de cette « réalité masculine », de cette représentation idéale de la femme influencé par le regard fétichiste de l’homme.

The largest organ and outermost covering of the human body. Skin functions both as a protective shield around the body’s inner layers and as a permeable border that distinguishes the body from its environment. As the connective tissue between the inner and outer 'self', skin problematizes the binary oppositions between surface and depth, interiority and exteriority, visibility and invisibility. It is a multisensory organ, one that complicates above all the perceptions of touch, sight, and sound.

İnsan sahip olduğu güzellik anlayışını yaşadığı çağa göre yeniden yorumlamış ve idealize etmiştir. Bu doğrultuda güzelliğin kültüre ve coğrafyaya göre de değişkenlik gösterdiği bilinmektedir. Güzelliğin görsel ifadesinin nesnesi olarak kullanılan kadın bedeni, güzellik standartlarının belirlendiği estetik pazarlama yöntemlerinin de önemli bir parçasıdır. Güncel sanat ise, kadının erkek bakışından bağımsız güzellik anlayışı ve bunun politik olarak muğlak tezahürleriyle doludur. Bu çalışmada, multimedya ve performans sanatçısı Orlan’ın bedeninde yaptığı estetik ameliyatlarla güzellik kavramını yeniden yapılandırması ve günümüzde kadının sahip olmak istediği standart güzellik ideali arasındaki bağlantılar incelenmiştir. Orlan, modern toplumlarda kadına dayatılan erkek egemen güzellik anlayışını eleştirmek ve kadın öznenin algısını değiştirmek için kendi vücudunu yeniden biçimlendirmektedir. Onun üslubunda kadın bedeninin estetik icrası, ataerkin belirlediği güzellik standartlarını yıkma noktasındadır. Bu standart, kusursuzluk üzerine yapılanmıştır ve neyin kusur olduğuna karar veren erkek, onaylayıcısı ise kadındır. Aldığı az miktarda anestezi ile gerçekleştirilen ameliyatlarda Orlan, acı duygusunu deneyimler ve sakinleştiriciler sayesinde acı çekmekten kurtulmaya çalışır. Onun acı çekmemesi ve acıdan kurtulma çabası eril iktidardan azade kadının belirlediği güzellik anlayışını temsil etmektedir. Onun güzellik anlayışı bir anlamda eril dünya düzeninden de özgürleşmektir. Standart güzellik anlayışının aksine sahip olduğu kusurlu görünümü ona göre güzeldir ve modern toplumun güzellik anlayışı kusurlu bir güzellik anlayışına doğru evrildiğinde de benzer bir mükemmelliğe ulaşabilir. Orlan’ın çalışmalarında öne sürdüğü şey; kaderinin kontrolünü doğa, DNA ve Tanrı’ya karşı bir mücadele olarak ortaya koymaktır. Onun mücadelesi kendini tanrı gibi konumlandıran ve güzellik standartlarını belirleyen eril düzene karşıdır. Orlan hem kendi bedeni hem de dijital görüntüler üzerinde çalışmaktadır ve genellikle onun güzel olarak düşünülmeyen bir beden görünümüne sahip olma çabası aslında bir kimlik yaratma arzusudur. Bu araştırmanın temel amacı; kadınların estetik cerrahiyle güzel olma denemelerinin beden imgesini travmatize ettiğini ortaya koyan cinsel (bedensel) sanat eserlerini incelemektir. Bu doğrultuda Orlan’ın kadın imgesini ve öznelliğini yeniden sorguladığı ve eril dünya düzeni tarafından idealize edilen güzellik temalı çalışmaları üzerinde durulmuştur.

This article (available in German and English) discusses strategies of depicting wounds through the ages, situating different depictions between the two extremes of trace on the one and allegory on the other hand.
Published in the context of the exhibition "Zeig mir deine Wunde / Show me your wound" that Klaus Speidel co-curated with Johanna Schwanberg at the Dom Museum in Vienna (September 2018 - September 2019).

The touch, physical contact between people has always been a problematic issue. When are we allowed to touch somebody? What are we allowed to touch and how?
          In Performance Art, from its beginning a highly experimental and provocative way of creative expression, these questions are most thoroughly and scandalously explored. In the 1960s and 1970s, instead of speaking through inanimate objects (like 1947’s Prière de toucher by Marcel Duchamp), the artist now put him or herself in the center of the action. The public was not only invited to touch the artwork on display, but the body of the creator itself. The result was a highly disturbing event, which not only exposed the vulnerability of the artist through touch, but which also laid bare the sometimes perfidious desires of the spectator. In her performance Rhythm 0, for example, Marina Abramovic told her audience that her body was theirs for a clearly defined, limited amount of time. The spectators were allowed to do whatever they pleased. At the start timid, the actions against the artist became more and more violent - to a point that some people felt like they had to save her from the sadists they themselves were becoming. That being said, the artist was everything but a victim. In her Cut Piece, Yoko Ono adopted a strangely serene position whilst audience members violated her personal space and exposing her body.

          I propose a detailed study of some of some of these tactile performances. Exposed but strong, these artists played with the paradoxical relationship of tactility and vulnerability, the transgressive quality of the touch and the combination between the sexual and the violent. And because they exhibited real bodies, their own bodies, these actions became more real to the public. The audience could no longer fool themselves by saying that they were handling artworks; they were in fact violating the real persons’ space and body – which, more than ever, exposed the transgressive desire to touch the (intimate) body of the other.

The essay explores various responses to artistic practices of Orlan’s, a French artist, performer and art historian. It puts emphasis on the project entitled “Reincarnations of Saint Orlan” and her manifesto of carnal art as an example of feminist criticism of Western construct of the viewing subject, the male gaze, and the voyeur. The argument carried out by John Berger in Ways of seeing, together with the assumptions of the pictorial turn, set the analytic foreground for this paper. Further discussion over identity politics, biopolitics, aesthetics of conceptual and post-humanism art provokes fundamental questions concerning overall rejection of Orlan’s artistic performances and postulates, both among popular culture and academic community. Referring to figures of monsters, goddesses and cyborgs derived from the culture iconic space e.g. petrifying image of Gorgon Medusa, Frankenstein, or the protagonist of Alien cinematic series, the essay seeks ways to enable broader and more engaging debate around Orlan’s carnal art

In recent times, the contemporary performance artist Orlan has appropriated a remarkable performance space, to use it in a very unique manner. Orlan is a French multimedia and performance artist who lives and works in Paris. From 1990 to 1993 she had a series of nine plastic surgeries through which she intended to transform herself into an amalgamate of elements from famous paintings and sculptures of women as depicted by men. These self-mocking operations were precisely staged and recorded as performances, to be shown in art galleries and other public spaces all over the world, as part of Orlan’s ‘Carnal Art’ manifesto. She has often used the screen i.e. the video format, for her performances, but her primary performance space remains her own body.
Postmodern electronic technologies enable multimedia, therefore multisensory receptivities. This leads to a feeling of disembodiment that can in turn give rise to the impression that not only is the human body practically redundant but it can also be controlled at will. A decline in physical experiences engenders virtual stimulation of the body where the body begins to act like a puppet with strings that are pulled by somebody else. It raises the issues of the relationship between the body and technology. The contemporary technology also treats the human body as a non-unified, fragmented corpus capable of being merged with or changed into parts of other bodies, or even other inanimate objects. Orlan challenges existing notions of the image of the body, and reveal it as a shifting construct. This paper will try to explore how her choice of performance space renders this challenge into an intense political statement.

Cet article établit une étude de cas portant sur l’artiste française ORLAN (1947-    ), qui, après un voyage en Italie au début des années 1980, réalise plusieurs œuvres s’inspirant du baroque italien dans différents champs tels que la photographie, la performance et l’installation. L’artiste élabore ainsi sa « sainte ORLAN », personnage inspiré directement de L'Extase de Sainte Thérèse du Bernin, mettant en scène son propre corps dans une sorte de mascarade religieuse. Il s’agit ici d’analyser la manière dont une artiste femme française emprunte, dans les années 1980, le vocabulaire artistique de la période du baroque italien. Après avoir mis en exergue les principes de l’hybridation propre au baroque dans la production performative et photographique d’ORLAN, l’article examine la théâtralisation de son corps en se concentrant sur une installation datant de 1984 et disparue aujourd’hui. Il s’agit enfin d’explorer la redéfinition de son identité à travers l’histoire de l’art italien et la religion chrétienne.

Défaisant les catégories de genre, les représentations artistiques de corps étranges s’éloignant du féminin et du masculin remettent en cause la norme. Michel Journiac, Matthew Barney et ORLAN, considérant leurs corps comme un lieu de transformation, conçoivent des corps travestis, des corps hybrides, ou encore corps-machines, qui peuvent être caractérisés comme monstrueux, laids, ou inquiétants, liés aux phénomènes de différenciation et d’exclusion. L’étrange s’avérant ici être un objet de recherche croisé avec les problématiques de genre, il s’agit de présenter les diverses occurrences de ce nouveau genre sexuel et de saisir les conditions dans lesquelles les différentes pratiques artistiques fabriquent ces étrangetés. Pour ce faire, cette étude pose d’abord la question du corps de l’artiste engagé politiquement, avant d’examiner la transformation de son corps en corpus, c’est-à-dire que celui-ci ne reposerait plus sur un principe biologique mais artificiel. Il est enfin nécessaire de se pencher sur la notion de corps modifié avec l’utilisation du numérique et des biotechnologies. L’étrange comme objet de recherche permet ainsi de montrer que les artistes, par leurs représentations, ont un impact très direct dans la transformation du rapport entre les genres.

The concept of beauty is of particular and somewhat trivial importance in contemporary society. Although notions of beauty have continually changed throughout history, there continually appears to be a benchmark on which to shape expectations and behaviours with regards to one’s appearance. Various artists—performance or otherwise—utilise this benchmark in order to undermine and challenge notions of beauty in an age where celebrity culture tends to define trends of beauty and behaviour. French performance artist Orlan, and singer-song writer Lady Gaga both challenge notions of beauty not merely by rejecting current conventions, but by incorporating the theme of the ‘monster’ or the ‘monstrous’ within their and physical experiments. They do not simply offer up the idea of the monster as an alternative to common conventions of beauty, but instead replace those standards with the monster; the monstrous conversely becomes an aimage or figure with which to understand their own perspective of beauty. In this manner their respective performance and musical art becomes a novel method with which to undermine traditional theories of beauty by providing a monstrous figure to define their unique brand of beauty. Both women achieve this most acutely in their use of body modification and surgical work, most notably Orlan through her filmed surgical procedures to alter her body. Although both women have been criticised for their liaising of the monster with notions of beauty, for their stark and confronting depictions of themselves, they nevertheless prove fundamental in removing strict and conventional theories on which ideas of beauty are built. Of particular importance is their role in celebrity culture, a realm that relies on standard and trite conceptions of beauty. By incorporating the theme and figure of the ‘monster,’ Orlan and Lady Gaga help to subvert mundane concepts of beauty in celebrity culture, by challenging the way in which beauty is culturally constructed.

In this montage chapter, Professor Bailey uses found image and texts to examine the different ways that people perceive, value, fear, and regulate our intrusions into the surface and the ground and the surface of the skin. Have humans always feared cutting the skin? Was there a time and are there places today when and where people have similar fears about cutting the surface of the ground.

Texte publié dans l’ouvrage collectif « « Les Femmes qui pleurent sont en colère » par Femme avec tête(s) » (Éditions Jannink, 2019), sous la direction de Yann Toma, à l’occasion de l’exposition éponyme à la Sorbonne Artgallery (du 04 novembre 2019 au 18 janvier 2020) dans le cadre de Paris Photo.

French artist ORLAN works in the optic of performance, feminism, social-critic and embodiment. Through her performances, she surgically transformed her body into an art object. In her writings, ORLAN adheres to the carnal, science and religion. As she writes her Petition Against Death, question arises as to how death will affect her body as an art object, and how death may become eternal life. This essay examines the possible methods of conservation for this art object with consideration for the artist's scientific and religious preoccupations, in parallel with Anthony Ellis's conception of eternal life. Options such as burial and documentation are overlooked to finally adopt a method of conservation in harmony with her life's artistic preoccupations: formaldehyde.

To interpret—that is, read—the art object is to encounter it as social space. But how
do readers inhabit such spaces when they are not “places” at all? Through self-reference
rather than representation, Korean artist Yee Sookyung’s The Very Best Statue refuses
to function as a sign, instead creating a thoroughfare. In comparison with Edwina
Sandys’s Christa and Orlan’s Self-hybridizations, Yee’s work sends open letters to an
indeterminate public, creating knowledge (episteme) through the act of address
(epistle). Yee’s work invites us to “read” such “texts” in the same way that we inhabit
social spaces.
Keywords: Space; The social; Performance; Epistemology; Reading; Orlan

Considérer ORLAN comme une sculpture vivante semble manifeste depuis sa série d’opérations chirurgicales au début des années 1990, dans lesquelles il s’agissait de « mettre de la figure sur [son] visage ». L’artiste, dont la production touche aussi bien la sculpture, la photographie, la performance que les nouvelles technologies, a sculpté son propre corps telle une « Galatée in progress », évoquant ainsi le mythe de Pygmalion dont la sculpture est métamorphosée en femme par la déesse de l’amour Aphrodite. Néanmoins, cette réflexion peut prendre son origine théorique et plastique dans sa première série photographique, les Corps- sculptures de 1964 à 1967, conservés dans son propre atelier et dans lesquels elle expérimente le caractère sculptural de son corps.

Rapprocher les œuvres d’ORLAN (1947- ) à celles de Deborah de Robertis (1984- ) s’avère important afin de rendre compte de la puissance émancipatrice de la représentation du sexe féminin et de la manière dont elle renverse l’idéologie patriarcale. Ces deux artistes femmes de deux générations différentes ont en effet une pratique artistique semblable pour donner à voir les pressions qui entourent le corps de la femme dans l’histoire de l’art. Cette étude examine d’abord l’aspect militant des œuvres en les remettant dans leurs contextes historiques. Elle analyse ensuite la dialectique entre les médiums artistiques, avec notamment le principe du re-enactment, avant de poser la question de la vision du sexe féminin et de sa reformulation pour renverser le regard masculin dominant. L’étude de leur pratique subversive ne s’établit donc pas sans penser la féminité par rapport au féminin.

Izlaganje se bavi jednom od najznačajnijih tema unutar kulturalnih studija – tijelom (tijelom kao umjetničkim medijem, te tijelom kao biološkim fenomenom). Tokom istraživanja i naglog proširivanja fenomena tijela u postmodernizmu dolazi do definiranja tijela kao diskursa. Izlaganje prezentuje osnovne diskurse u koje tijelo upada – društvo spektakla, modnu industriju, te masovne medije. Tijelo se posmatra iz kroskulturalnog ugla uzimajući u obzir sociološko, kulturalno, te umjetničko tretiranje i razumijevanje tijela kao fiziološkog sistema i diskursa. Modernizam je posebno zagrlio temu tijela, a definiše ga i teorizira na različite načine, zavisno od discipline koja se njim bavi. Postoje razne definicije termina tijelo, ali one najčešće variraju od civilizacije do civilizacije, s obzirom da se u različitim kulturama tijelu pripisuju različite moći i granice. Svaka civilizacija ima svoju kulturalnu agendu, a tijelo je alat kojim se ta agenda obično postiže – tijelo je kulturalni projekt koji se i dalje razvija. Sintagma tijelo kao diskurs se prvi put pojavljuje u Foucaultovoj definiciji diskursa, pa zaključujemo da ova sintagma predstavlja određeni sistem upisanih i neprenosivih značenja. Postmodernističke i poststrukturalističke teorije dosta često sklapaju termin tijela sa ljudskom seksualnošću, što je ujedno i centralna tema postmodernizma proučavana u sklopu kulturalnih analiza tijela. Upravo će ovakav pristup dovesti, sasvim očekivano, do naglog razvoja teorija feminizma. U okviru ovih analiza, zajedno sa širenjem značenja termina tijela, otvara se pitanje roda, spola, seksualne orijentacije, te poetike ružnog i lijepog koje izlaze iz svojih ustaljenih okvira i međusobno se stapaju jedna sa drugom. Skladno sa ovim, nastaje i idealiziranje ljudskog tijela – u okvirima tipične tjelesnosti, a ovo se posebno manifestiralo, te se i dalje manifestira kroz sve vrste medija. Kulturalne studije su 60ih godina izučavale  kulturne i društvene procese koji su uticali na razvoj individue, ali i individualnosti tijela, dok, sa druge strane, feminističke teorije svojim istraživanjima više ukazuju na negativne definiranja identiteta od strane društava i ideologija isključivo putem biološke odrednice. U 20. st. tijelo poprima sasvim novo značenje i ono kao termin biva bačeno u konzumerističko društvo i vizuelne fascinacije. Izlaganje će se također dotaći sintagme tijelo kao tekst, termina performans kao novog umjetničkog (ženskog) medija, ali i feminističkog performansa 60ih i 70ih godina, feminističkog video arta, s obzirom da su 60te i 70te godine, zbog mnogih aktivističkih pokreta, dovele do otvaranja i promišljanja značenja subjektivizma, individualizma, identiteta, a upravo je tijelo zauzimalo glavnu ulogu u samoj umjetnosti, tj. postalo je vodeći umjetnički medij. Najveći fokus rada jeste stvaralaštvo umjetnice Orlan koja djeluje upravo značajnih 90ih godina, te koja na neki način oživljava feministički performans te svojim performans-operacijama reagira na shvaćanje ženskog tijela unutar neokapitalističkog društva. Stalna promjena vlastitog identiteta, koju je umjetnica Orlan forisirala, izazvala je loše kritike kako od zajednice u kojoj živi, tako i od feministkinja, no bez obzira na sve kritike umjetnica nikada svoj izgled ( a samim tim i svoj umjetnički rad) nije dala staviti u kategoriju lijepog ili ružnog, već u okvir unikatnog. Konačna razlika njenog tijela (i ujedno njenog umjetničkog rada) upisuje se i u tijelo i u jezik.

Née dans le cadre du CCC, cette photographie s’inspire de celle d’Orlan, intitulée, Orlan Accouche d’elle-m’aime. Prise avec une tablette digitale elle s’inscrit au coeur de l’écriture de Désincarnée. Sur facebook, j’ai ouvert, en partie, mon atelier d’écriture aux membres du CCC afin de leur laisser le choix de réanimer ou non la psyché de Betty Fernandez en la touchant avec leurs posts. Alertés par l’avertissement de Marie Carpenter, "Mais elle n’aime pas qu’on la touche Betty", personne n’a frôlé son avatar pour lui insuffler le souffle verbale nécessaire à son extraction des limbes de facebook. Alors, le 9 juin 2013, Betty a écrit "Je n’ai plus de veine". Sur facebook, espace-atelier du projet, il est désormais possible de commenter les post avec une image. La photographie digitale montre l’agonie de Betty.