| This article proposes that the French performance artist Orlan, has, by undertaking a series of surgical interventions on her face and body, radically challenged current standards of beauty. By engaging with Judeo-Christian iconography, Greek mythology and French literature in her operations/performances, she has established an oeuvre that aligns her not only with corporeality and the abject body through images of the sacrificial, but also with aberrant body forms associated with the carnival. Although seduced by the rhetoric that surrounds the body in technology, she has turned to excess as a strategy against the benign and controlled nature of the screen, and the media?s homogenization of body images. Her new identity, although not extreme, is a site of resistance in a society bent on eliminating forms that threaten the status quo. |