Oreet Ashery is a transdisciplinary visual artist, working in local and international contexts and engaged with bio/political fiction, gender materiality and potential communities. Ashery’s practice manifests through distinct multiplatform projects and spans live situations and performances, still & moving image, fibers, writing and assemblages. The work turns to areas such as costume & banners, music, sound, education, distribution, research and activism.
Ashery’s recent large scale commissions included Passing Through Metal, a sonic performance with 80 mic’d up knitting needles and a death metal band, commissioned by LPS Malmo, 2017, and the web-series Revisiting Genesis, shortlisted for the Jarman Film Award 2017, looking at digital death, memory as identity and feminist art reincarnations, http://revisitinggenesis.net, commissioned by The Stanley Picker Gallery, 2016.
In 2014 Ashery presented The World is Flooding at Tate Modern’s Turbine Hall, including an hour-long performance, a collection of banners, costumes and headgear made from cleaning materials and a zine. Working with asylum seekers, The World is Flooding was a re-enactment of Mayakovsky’s play Mystery-Bouffe, set in a world inhabited by The Clean and The Unclean. In 2013 Ashery produced Party for Freedom, an Artangel commission, including live performances, AV album and live concerts. The project focused on freedom rhetoric used by the far right and the left.