An expanding exhibition with Hans Rosenström, Nikita Kadan, Anetta Mona Chişa & Lucia Tkáčová, Marinella Senatore, anonymous, Kamen Stoyanov, Mounira Al Solh, Oreet Ashery, Iván Argote, Nick Hornby, Núria Güell, Nicoline van Harskamp, Marianna Christofides
waterside contemporary, 2017
Solo art fair presentation of ‘Monkey Bum Print Factory’ by Oreet Ashery
Group exhibition with Olivia Plender, Mathilde ter Heijne, Chiara Fumai, Anetta Mona Chisa & Lucia Tkácova, Pauline Boudry / Renate Lorenz, Judith Barry, Oreet Ashery
waterside contemporary, London
Curated with Jaime Davis
This exhibition intentionally does not offer interpretative text.
Art fair presentation with Oreet Ashery, Mathilde ter Heijne, Karen Mirza and Brad Butler
Performance commission by Oreet Ashery featuring Woolf, Leah Borromeo, Owen Glyndrwr Parry, Edd Hobbs, Alice MacKenzie and The Emancipated, and The Un/Clean
Swedenborg House, 2014
Curated with Jaime Davis
Part catwalk, part punk-rock concert, part emancipated choreography, the event moves between threads of poetic resistance, musical declarations, and a foil of chaotic revelry. Historical moments summoned from humble materials of the great hall will be regenerated, as the evening culminates with an auction of the Swedenborg Carpet.
Ashery’s expansive body of work often confronts ideological, social and historical constructions within the fabric of personal and broader contemporary realities. This new work weaves together ideas the artist has been exploring since the beginning of the century. Guests had a chance to bid on and own a piece of this legendary collection, in exchange for incremental measures of freedom.
Solo exhibition by Oreet Ashery
waterside contemporary, London, 2014
Campagne Première, Berlin, 2015
Curated with Jaime Davis
Animal with a Language engages with ‘rage against reason’, an attempt to foreground agency against a backdrop of prevailing flatline economies. In the ex- hibition, degraded actions and material forms, the po- litical unconscious, body languages of exile and the salvage of utopian moments interact.
Within a flesh toned environment, hypnotic sound, text, videos and assemblages, Ashery’s objects and actors acquire meaning through associative transmis- sion and direct expression. The gallery space becomes a codified system for the flow of subconscious excess, exhaustive languages of protest, grassroots actions and questionable cultural appropriations.
Reactivating The Clean and The Unclean, the pro- tagonists of vladimir Mayakovsky’s revolutionary 1921 play Mystery-Bouffe, Ashery collaboratively produced a collection of ponchos and headgear. These humble forms of dress made from ubiquitous cleaning materi- als – dish cloths, wipes, dusters – are the uniforms of speculative purists and partisans, exploited labourers and heroes. Adorned with this couture collection, the cast expose themselves to the inevitable risk of be- coming objectified fashion icons.
