transmission: oreet ashery

animal with a language. waterside contemporary

  • childhood in Jerusalem: series of small, fenced-off realities (as everywhere). awareness of ability to violate, move between these realities.
  • collecting found objects: objects from one reality end up in another. lose their original significance & have a new set of meanings attached.
  • current aesthetic – pristine, brightly coloured, but flotsam, debris-like – plastic, tape, buckets, toys, foil, paper. utopian post-apocalyptic globalism?
  • objects (/ideas/events etc.) have their own independent existence (see “political unconscious”) – cannot be relied upon to remain exactly what people thought they were. “the world doesn’t have to be as you want it to be”. possessions, ideologies, bodies liable to shift underfoot.
  • recurring theme of smashing together boundaries constructed around fenced-off realities
  • “playing with antagonism”
  • performances that begin to draw in parts of exterior reality
  • breaking down performer/audience boundary (all boundaries inevitably bleed)
  • “degraded actions”

party for freedom | an audiovisual album. oreet ashery

  • statues with human (not human) (moving) eyes
  • not a reflection, the past as it saw itself as a present
  • we are made in the image of this image: this is how we see the past which we try to emulate
  • we apply our own meanings
  • emphasis (through nudity) on all politics being based in the body (privileged, gendered, sexualised, non-sexualised. nudity embraced as part of nationalistic movements)
  • some performers felt too gendered in their own naked bodies (in public) so had to be allowed to perform partially clothed. all performances written especially for specific performers.