complex and rather suggestive iconography on the spiritual level, with characters inspired by Christian iconographies, such as Saint ORLAN, the white virgin, and the black virgin. These works are a continuation of ORLAN's quest for female identity, her critique of religious pressures and her staging of the Baroque. L’Origine de la guerre: in 1989, is a counterpart to Gustave Courbet's famous painting, The Origin of the World. A phallus spread legs with head, arms, and legs cut off, taking up and "transvestising" Courbet's feminine iconography, illustrates the title in a gesture that does not detract from feminism. La Réincarnation de sainte Orlan: begun in 1990, or Images / Nouvelles Images, comprises a serie of nine cosmetic surgery. Operations/performances, during which ORLAN makes her flesh the material of her work and takes as its basis the representations of women in Western art. Each of ORLAN's carefully planned and executed. Operations/performances are staged and controlled by the artist. Through these interventions, she "put the figure on her face". She chooses the literalness of the performance to speak about the violence done to the body, in particular to the women's body, and to question the models of beauty because ORLAN had implants usually put to raise the cheekbones on each side of the forehead, which creates two bumps on the temples. Omniprésence(November 1993): ORLAN meets Dr. Marjorie Cramer in New York, a surgeon who accepts the artistic and feminist objectives of her project: the radical transformation of her face by implants in the temples. The objective is to divert plastic surgery from its usual objectives and to question the standards of beauty. This operation/performance is broadcast live in her exhibition at the Sandra Gering Gallery in New York, at the Centre Georges Pompidou in Paris, at the Mac Luhan Center in Toronto, at the Banff Multimedia Center, and on CNN. Ceci est mon corps…Ceci est mon logiciel… is a performance conference on May 30, 1990, accompanied by a book and a CD-Rom. She develops there the Manifesto of the carnal art (Manifeste de l'art charnel) Le plan du film (2001): following the example of Jean-Luc Godard, who spoke of the production of a "film in reverse", ORLAN starts from the creation of cinema posters to then define the casting, the script, a promotional evening at the Fondation Cartier for contemporary art, a soundtrack by the group Tanger, the trailer of the film, the