Ashley Hans Scheirl

Ashley Hans Scheirl, Glorious Restraint, from the series “Painter’s Parody” (2016), acrylic and oil on canvas, 125 × 175 cm

Ashley Hans Scheirl, installation view, EMST—National Museum of Contemporary Art, Athens, documenta 14, photo: Mathias Völzke

Ashley Hans Scheirl, works from the series “TV Drawings” (1980–81, Mixed-media installation, installation view, Neue Galerie, Kassel, documenta 14, photo: Liz Eve

Oversized Storyboard for Reproductive Derangement:

Ovaries in Motion Pictures Present: Turmoil in the Angry Womb
In_efficient Ejaculation Management
Anal Baby Bat Sperm
Corporate Castration Content.

Libidinal Economy 2010:

Exhibitionist Testicle Inject Jet
Hedge Funds Join the Rush to Stock Up on Gold: Investors Recession Orgasm
Bubble Territory: Deteriorating Liquidity Conditions
10,000 Markets Behaving Oddly
The Pathological Dimension of Business
Prosthetic Profit Prospect
Growth Rates of Spending Ecstasy.

Fiscal Stimulus Faltering:

Fiscal Stimulus Faltering
Absolutely Military: Backgrounds for Excremental Transfer Tactics
Cum Shot in Space
Fluffy.

Fluid Membership:

Fluid Membership Trend Levels Peaking
Hardly Clandestine Observation of Meltdown Target
Mumbling Tales of Investor’s Confidence.

Numbered:

Numbered
Intergalactic Discount Elegance
Glamour of Anal Narration.

Rogue Economics:

Offshore Creativity
Hairy Deals
Shadow Economy.

Neoliberal Musings:

Fat Finger Melancholy
Balancing Priorities
Libidinal Detachment.

Angela, Angela Scheirl, Angela Hans, Angel Hans, Zeze Hans, Ah, A A A A, Hans Scheirl, Hans, Hansi, Hansda, Hans von S/hit, Scheirl, Ashley Hans Scheirl:

Born in Salzburg, Austria, in 1956. Lives and works in Vienna.

Early film practice of the 1980s and 1990s contributed significantly to the development of conceptual art in Austria by moving between the definitions of experimental film, public-space actions, performance, music, and other forms of expression related to lesbian and queer sexuality.

Her transition to painting (see above: title list of recent artworks) has been accompanied by a metamorphosis of her own physical appearance to one of male allure, helped by testosterone injection.

His recent accomplishment with this art medium encouraged him to emancipate one more time from his gender identification, to be called a “she” again. This time using “Ashley” (which, like “Hans,” uses letters from the name given at birth: Angela Scheirl), a gender variable name.

Proposition:

To give up monolithic ideas of “self” and cultivate an open mind to the “other,” we need to allow the intrapersonal other to exert agency.

An artwork that assertively performs itself as a lively dynamic of intrapersonal “selves” mirrors the dynamic of viewership and thereby invites engagement in interagency.

Interagency includes intra-agency and always performs its relationship to death, loss, and becoming…

—Pierre Bal-Blanc

Posted in Public Exhibition
Excerpted from the documenta 14: Daybook
Related

A conversation on Ashley Hans Scheirl and her contribution to documenta 14

with Arnisa Zeqo and Alkisti Efthymiou (aneducation), moderated by Antonia Rahofer

Alkisti Efthymiou, Antonia Rahofer, and Arnisa Zeqo enfold an open discussion about Ashley Hans Scheirl’s contribution to documenta 14. Apart from focusing on her EMST-based series of paintings Painter’s…

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