Oreet Ashery

Oreet Ashery (born 1966 in Jerusalem, Israel) is an Israeli interdisciplinary artist based in London.[1]

Oreet Ashery
Born1966 (age 53–54)
Jerusalem, Israel
EducationSheffield Hallam University, Central Saint Martins

Career

Ashery received her BA (distinction) in Fine Art from Sheffield Hallam University in 1992, followed by her MA in Fine Arts from Central Saint Martins in 2000. Her work explores ideological, social and gender constructions through an interdisciplinary practice, spanning installation, video, live art and 2-D image making.

Ashery's earlier work was often produced as a male character of her own creation, exploring gender relationships and those between woman and cultural identity.[2] Ashery's most consistent character is Marcus Fisher, an orthodox Jewish man[3][4] found in works such as Dancing with Men and Marcus Fisher | Say Cheese, but she has produced as other male characters, including an Arab man, a Norwegian postman and a black man.[5]

Ashery's more recent work has been based on Mayakovsky's 1921 play Mystery-Bouffe.[6] This work confronts social and class biases alongside issues of political power and agency. Her performance at the Tate Modern The World is Flooding in 2014 was followed by an exhibition Animal with a Language at Waterside Contemporary, both of which saw Ashery work with participants from Freedom from Torture, UK Lesbian and Gay Immigration Group, Portugal Prints,[7] and others, to explore these themes.

Ashery has exhibited and performed at various international venues, such as ZKM, Karlsruhe; Haus der Kulturen der Welt, Berlin; Brooklyn Museum, New York; Overgaden, Copenhagen; DEPO, Istanbul; Whitstable Biennale; Centre Pompidou, Paris; Auto Italia South East, London; Freud Museum, London and Wellcome Collection, London[8] producing works that explore her personal politics and identity in relation to wider social and cultural contexts. Her work is included in the permanent collections of the MAG Collection at the Ferens Gallery and the Tate.[9]

In 2020 Ashery was awarded a one-off Turner bursary of £10,000.[10] These were awarded to ten artists instead of the usual Turner Prize, which was delayed because of the coronavirus pandemic. She was selected for her contribution to Misbehaving Bodies: Jo Spence and Oreet Ashery[11] at the Wellcome Collection, which explored lived experiences of care and chronic illness. The jury were particularly moved by her new film Dying Under Your Eyes[12] and the innovative web series Revisiting Genesis[13] following two nurses who assist people actively preparing for death to create biographical slideshows serving as their posthumous digital legacy.

Awards

Solo exhibitions
2019-2020
  • Misbehaving Bodies: Jo Spence and Oreet Ashery. Wellcome Collection, London, UK

2017-2018

  • Revisiting Genesis. 6th Thessaloniki Biennale of Contemporary Art
2016
  • Revisiting Genesis. Stanley Picker Gallery, Kingston, UK
  • Revisiting Genesis. Tyneside Cinema, UK
2015
  • Oreet Ashery. Revisiting Genesis, fig-2, ICA, London, UK
  • Animal with a Language. Champagne Premiere, Berlin, Germany
2014
  • Animal with a Language. Waterside Contemporary, London, UK
2013
  • Party for Freedom. Hippolythe, Helsinki, Finland
  • Party for Freedom. Overgaden, Copenhagen, Denmark
2012
  • Monkey Bum Prints Factory. Pristine Gallery, Mexico
  • Oreet Ashery, with Nicole Ahland. C. Wichtendahl. Galerie, 5th European Month of Photography, Berlin, Germany
2011
2010
  • The Beautiful Jew. Other Gallery, Shanghai, China
  • Raging Balls. Other Gallery, Beijing, China
2009
  • Back in 5 Minutes and Scratch Performance: Golani Varanasi. The Arches, Glasgow, UK
2008
  • Dancing with Men. Sherwell Centre, Plymouth University, Plymouth, UK
2007
  • What You See, Letchworth Art Centre Gallery, Letchworth, UK
2003
2002
  • Oreet Ashery. Foxy Production Gallery, New York, US
  • 7 Acts of Love. Kapelica Gallery, Ljubljana, Slovenia
  • 7 Acts of Love. Stil und Bruch, Berlin, Germany
1998
  • Magnum Opus III, with Daniel Rubinstein. Jerusalem Artists’ House Gallery, Jerusalem, Israel
1996
  • Magnum Opus II, with Daniel Rubinstein. 68elf Gallery, Cologne, Germany[8]
gollark: > vengeance is a vicious cycle and doesn't actually help anyoneAh, but it *does*, acausally speaking in some confusing way.
gollark: if you make a credible precommitment to take revenge in advance, people might not even *cause* you to require vengeance in the first place!
gollark: What's wrong with vengeance?
gollark: > I theorise that many of the things that slow human brains down are actually required for humanlike reasoningWhat do you mean "humanlike"?
gollark: RUST REWRITE TIME!

References
  1. "Oreet". Elizabeth A. Sackler Center for Feminist Art: Feminist Art Base. Brooklyn Museum. Retrieved 2 April 2014.
  2. http://www.brooklynmuseum.org/eascfa/feminist_art_base/gallery/oreet_ashery.php
  3. Reilly, Maura. "Curating Transnational Feminisms". Feminist Studies. RETHINKING THE GLOBAL. 36 (1): 171.
  4. Jacobs, Katrien (2011). "On Isaac Leung, Cyber Sex as Pseudo-Science". Hong Kong Screenscapes: From the New Wave to the Digital Frontier. Hong Kong: Hong Kong University Press. ISBN 9789888028566.
  5. http://www.artangel.org.uk//projects/2010/staying/about_oreet_ashery/oreet_ashery
  6. "Oreet Ashery's Party for Freedom". Department of Visual Cultures: Archived Event. Goldsmiths, University of London. Retrieved February 23, 2015.
  7. http://www.tate.org.uk/whats-on/tate-modern/performance-and-music/world-flooding
  8. http://oreetashery.net/cv/
  9. Global feminisms : new directions in contemporary art. Reilly, Maura,, Nochlin, Linda,, Brooklyn Museum,, Davis Museum and Cultural Center. London: Brooklyn Museum. 2007. ISBN 978-1-85894-390-9. OCLC 79256724.CS1 maint: others (link)
  10. Tate. "Turner bursaries". Tate. Retrieved 2020-07-14.
  11. "Misbehaving Bodies: Jo Spence and Oreet Ashery". Wellcome Collection. Retrieved 2020-07-14.
  12. "Dying Under Your Eyes, single channel film, 27 minutes". Oreet Ashery. Retrieved 2020-07-14.
  13. "Revisiting Genesis | by Oreet Ashery". Retrieved 2020-07-14.
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