ABOUT

BIOGRAPHY

Aviya Wyse was born in 1988‭ ‬in Haifa, Israel, to British parents‭.‬

While still studying at‭ ‬the Wizo NB Haifa Academy of Design and Education, she won both the Sharett scholarship from the America-Israel‭ ‬Cultural foundation and the Shpilman Institute for Photography Award‭.‬

 

Aviya‘s art deals with the synergy between life‭ ‬and death‭.‬ With her analogue photographic technique she creates installations‭ ‬that construct an archive of bodies with which she commemorates‭ ‬the lives of the living‭.‬

Since‭ ‬graduating in 2013,‭ ‬Wyse’s art was exhibited‭, ‬among others‭, ‬in the Mediation Biennale‭, ‬Poznan‭, ‬Poland‭, ‬the Pink cube gallery‭, ‬Oslo‭, ‬Norway,

At TJ BOULTING Gallery, London, UK. 

And At Compagnietheater Amsterdam Designing A Set For A contemporary Opera piece . 

Her works were featured in GIRL ON GIRL‭, ‬art‭ ‬and photography in the age of the female gaze‭, ‬a‭ ‬book by Charlotte Jansen‭. ‬

In 2018‭ ‬Vogue Magazine named her‭ ‬among the 100‭ ‬most inspiring artists of the year‭.‬

Her work was featured on the cover of NUMERO Magazine, And Twice On the Cover of FRAUILEIN Magazine. 

She was also named by ELEPHANT Magazine - Among the rising Art stars of 2019. 

Currently she lives and works in Berlin‭.‬

SOLO EXHIBITIONS

  • Agents, Stephanie Kelly Gallery, Dresden, January 2017

  • Melanin, joint exhibition with Rachel Erez, Israeli Art Museum, Ramat Gan, May 2015.

  • Battle 15: Wyse + Gabriely vs. Birkeland + Kleiva, Pink cube gallery, Oslo, June 2014.

  • Wyse + Gabriely, Maurice Einhardt Neu Gallery, London, February 2014.

GROUP EXHIBITIONS

  • "BIRTH" Group show At TJ BOULTING Gallery, London, UK, october 2019.

  • "EROTICA" Group show At Blank Space, Oslo , Norway, august 2019

  • "Vrouwenstemmen" , Womens voices An Operatic Exhibition -Compagnietheater Amsterdam, Holland, August 2019.

  • "MATZPEN" Group Show Beit Kandidof, Tel Aviv Yafo, Israel, July 2019.

  •  Hellerau Portraits Award, March 2018.

  • Hellerau, Adolf Appia Utopie, Bodies, Dresden, Germany, October 2017.

  • Meitar Award. The international Photography Festival , November 2017.

  • Sacred space VI. Love , Dzyga gallery, Lviv, Ukraine, April 2017

  • Mediation Biennale, Poznan, Poland, October 2016

  • Ostrale: Error-x, Dresden, July 2016.

  • Container, Tel-Aviv, April 2016.

  • Polaris, Gate no. 3, Haifa, April 2016.

  • 'Elsewhere' video art night, Travak Brabant Tram Gent, Belgium, November 2015.

  • Eves, Bet-Romano, Tel-Aviv, October 2015.

  • The 7th Fresh Paint fair, Tel-Aviv, November 2014.

  • 'Musrara', Jerusalem, May 2014.

  • Showroom, Inga Gallery of Contemporary Art, Tel-Aviv, February 2014. 

  • The Feminine Man, Zimmer, Tel-Aviv, December 2014.

  • Feather and Lead, The Neri Bloomfield Gallery, Haifa, October 2013.

  • Exhibition of the AICF at the Lincoln Center, New-York, November 2013.

  • Barbarian Love, 'Mirpeset', Haifa, October 2013.

  • One/Many, Art gallery in the Kiryat Tivon Memorial Center, July 2012.

PUBLICATIONS

  • FRAUILEIN magazine,"POWER" issue Cover Shoot 2019.

  • ELEPHANT magazine : Wyses Portraits reveal primitive nature Of Parenting, By Charlotte Jansen, 2019.

  • MARY McCARTNEY, PARIS NUDE, Page- 23. HENI PUBLISHING 2019.

  • ELEPHANT magazine : Ones to watch: The Rising Art Stars Of 2019. By Charlotte Jansen.

  • NUMÉRO BERLIN magazine,Cover Shoot The Rot Issue 5 . 2018.

  • FRAUILEIN magazine, UTOPIE Cover Shoot 2018.

  • VOGUE ITALIA , Photographing the female, By Chiara Bardelli Nonino 2018.

  • VOGUE WORLD, 100 People who inspire, 2018.

  • GIRL ON GIRL : Art and Photography in the Age of the Female Gaze

  • Book By Charlotte Jansen, published by Laurence King, p. 24-29. 2017.

  • THE HUFFINGTON POST , by Maddie Krum, 2017.

  • MILK AND HONEY magazine issue 1, innocence, 2017.

  • NEPHILIM magazine, by klone yourself 2016.

  • ARTSLAND magazine, “Under the Radar“, 2015.

  • CENTERFOLD MAGAZINE, Andrew G. Hobbs, 2015.

  • TIME OUT Tel-Aviv,“ to know a women“ by Orna gatanio- shnaid, 2014.

  • OFF BLACK magazine, interview, 2014.

  • HUNGER TV Wyse & Gabriely interview 2014.

  • WE HEART magazine, “Girl power“ by Rob Wilkes 2014.

  • DAZED AND CONFUSED magazine, “Daughters of Frankenstein“ by Charlotte Jansen 2013.

HORROR VACUI

By Yaeli Gabriely

 

Aviya Wyse is engaged in the construction of an archive. An archive that, absent of order or heirarchy, is destined to fail. 

Her collecting is compulsive, not scientific; her photographic work is largely the concrete expression of an obsession with something intangible. An isolated and fragile bubble is created in which the hoarder behaves as a king in his collapsing world. The work of Aviya Wyse is akin to that of obsessive compulsives, for whom the property they collect functions as a protective wall cutting them off from the world. There is one significant difference, she collects living people, an archive of images of living bodies.

 

There is no way to begin the story of this work without the private biography that is the blood of labour. Wyse was 17 when her mother died; the artist and her family were her caregivers in the period before her death. Indeed, in the artist's works, the smell of death, of trying to hold on to life, of daily Sisyphean cleaning of bodily secretions and of rotting flesh on the body which was still alive, is all engulfing from its earliest stages.

 

Wyse began her photographic career by photographing the women closest to her. When the inventory was exhausted and the thirst to find the one woman who would forever be absent from this photographic collection was dissatisfied, she began to appeal to women she did not know and started to set intimate photographic meetings with them.

 

She searched for women everywhere, she turned to them as a man would turn to a woman he wanted to get know

 -Tempting them. The photographic session usually takes place in the homes of the women and is experienced almost as a show - deviated from reality, the creation of an artificial cell in the flow of life.

 

The truly meaningful encounter with the women began paradoxically only when she was alone again, and the smells of the chemicals began to fill the darkroom.

 

Only at this stage is she able to study them in depth, retrospectively, and only at this stage does she leaves her most significant mark on the figure: through various manipulations that transmit to the photographic material, the characters suffer injuries and bruises, stains and blemishes.

The search for the woman in the dark is reinforced by the analogue medium she adopts: a little like a fetus in the belly of his mother, in the darkroom, seeing nothing until the white page darkens, and the image becomes clearer.

 

At this initial stage of the work, which may first be perceived as a study of feminine nudity, it is not only that: the physical body is only the first layer of the study. The body is perceived as allowing the presence of a non-physical element, the body as a armour of the soul, a protector and suffocator, just as the  archive that Aviya builds functions as a protective wall and a choker.

 

The same armour of the naked body is trying to unravel and break down to reach the spiritual elements that are hidden within this cocoon, and the whole work is a powerful symbiosis between inner and outer worlds. Physical nudity is better to expose and show nakedness of mind, free of excess.

 

The women began to pile up, on the walls of the house, on the floor, on the furniture - Wyse printed obsessively and the bodies piled on each other like a kind of huge sister's grave. Wyse tries to preserve her army of women while digging a grave for them. Those who acted as models are all living women, for the time being. Wyse’s  use of traditional photographic techniques, black-and-white printing overlaps them prematurely, attributing them to the world that has passed, lost, dead. She searches for the dead mother in life, but instead of the desired resuscitation she achieves the opposite result, the death of the living. It is Wyse's agnostic act that kills them, although it seems clear that her real attempt is to give them eternal life. Photography after all will give all these women a sort of life after they themselves are buried.

 

These battalions, which are layers of images in a larger archive than the sum of its parts, become a protective army and symbolize something abstract beyond themselves. This is not  one woman or another but a concept.

 

Wyse’s  look is deceptive. On the surface, a re-reading of the masculine gaze that has always mediated women and their private sovereignty, the exposed body, into a spectator. But as the process progressed, this look began to appear, disturbingly, as strikingly masculine: it was evident that the artist's gaze turned these women into material.

 

 

And with time, the gaze becomes external, not looking inward but concentrating more and more on the surface, the body, the material, the mass. The private features, against their will, began to be erased by virtue of the mass and volume that the work had accumulated. Another woman, another woman and another woman, all joined the archive whose name does not recognize the uniqueness of the subjects that make it.

 

Wyse’s photography began, more and more, to take on a kind of research-scientific, perhaps, or criminal or criminological; similar to the act of documentation as used by a repressive regime before mass executions, similar to the act that a scientist or criminal investigator conducts on her body. A systematic study of which the soul is not its subject.

 

But this grave, with faces and limbs thrown into it without any real order, is the complete opposite of scientific cataloging. It is in fact an instinctual action that devours anyone who has the eye of the artist resting on it.

 

 

The mass became more oppressive when any such feminine detail began to be over-represented: one body became a set of bodies, echoing itself and the others preceding it and coming after it. The mass becomes oppressive, the space is too narrow to contain, and Wyse’s later constellations begin to climb the walls to the ceiling, to where they can no longer be seen.

 

What was once a unique detail, looking back at the viewer, is now replaced by physical material, that the viewer is invited to examine and try to understand, when one ends and begins another, if such a distinction can be made at all. The work has accumulated a monstrous volume in its nature, threatening to swallow the viewer into the totality of bodies that are tinged into one another and become one multidimensional body.

 

Then the men appeared. Wyse moved to East Germany and began to hunt for new prey. The reversal of roles was first completed: the men undressing themselves and the time being undressed by her. Aviya places the material, shapes it as she wishes, and takes pictures. From this moment his nakedness is hers forever.

 

The dressed man who looks at the woman undressing for him, and subdues this body into eternal exposed nakedness, is now the woman artist.

 

The arena, German soil, is charging the work all the more forcefully. It is worth paying attention to this Jewish girl -

For in the absence of a mother, she is still a searching child, who controls herself through the medium on a growing line of grown men.

 

Wyse’s naked men, it turned out, were much more uncomfortable than the women. A long tradition of women who allow themselves to be objectified in every conceivable medium, omitting men as objects, has given them the place of a watching subject. And suddenly they are here, with limp limbs, exposed and vulnerable.

 

By the time it reached German soil, Wyse’s work seemed to be indifferent to time and place; temporarily, timeless and non-local. But the place is never neutral, and this realization gradually faded as she walked through the streets and forests of post-war East Germany, where everything still smelled of the forced occupation of a society that was already crumbling, a space littered with monuments and testimonies of another time.

 

And just as recognition of the place as a non-neutral entity had become so her presence in it became a claim of meaning, bursting from it - the action on German soil actually became an essential element of her work.

 

Suddenly, Wyse’s work, which expropriates the personal and private elements from the photographed beings, transforms them into a pure physical element, a mechanism whose action reminisces the crime of the Nazi machine that expropriated the same personal element from the human being in favour of the "non-private,

 reduced humans into a body / body mixed with other bodies / bodies stacked together.

 

 

The mass physical mix on the enormous walls that Wyse build earlier erased the identity, but now the artist began to feel that she was making a distinct use of the raw material as raw material.

Just as there was a reversal in working with the male subjects, here too something similar happened; The artist has now appeared not as a private entity, but as a Jewess, taking a position of power, regaining control through a cold directing on a human mass undressing in front of her lens.

 

Wyse lived for several years in this place, with local people who became the closest people. Still, it was impossible to avoid imagining the objects of her photography - a distinct product of their history, post-GDR's anti-fascists –and  in another time, seventy years back, but in the same place, walking complaisant, indifferent, if not hateful, Potential Nazis.

 

In the construction of the final walls, the Jews and the Germans are mixed, erased - united as a single stratum without internal distinctions, a proposition that descendants of the innocent and the guilty know to be untrue. Perhaps that truth of the untruth is the deep level at which the artist's works lead us to discover. 

Wyse's work takes place in a space created by sucking of the space of her subjects; Her place was built from the extraction of their private place and it depended entirely on it.

 

In order to define a living space for herself, she must suck the life of others, and a thin veil of life-giving death rises from her; Wyse mixes the two so that the division between them finally collapses.

 

My work has always been a documentation of the synergy between life and death. While my ongoing project draws from my personal history it has now evolved into a broader discussion about Jewish history, or my relationship to it. Over the years my series of portraits has extended to become a human, existential record; a proof of existence. 

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