Revisiting Genesis follows two nurses, both named Jackie, who create biographical slideshows for people actively preparing for death. When a group of friends request this Reminiscent Therapy treatment for Genesis – an artist who is dying or withdrawing – Jackie initially refuses. However, as the episodes unfold, so does Jackie’s presentation of Genesis’s slideshow, including images from Charles Keene College, a unique small minorities college that has been demolished and amalgamated into a generic multi-campus university, or images from a defunct Swindon Marks & Spenser Cake Factory. Genesis’ withdrawal reflects the loss of social structures under neoliberalism.

A parallel story follows a patient called Bambi, played by artist Martin O’Brien who has Cystic Fibrosis in his real life. Nurse Jackie introduces Bambi to services provided by the emerging death industries, and encourages him to make decisions while he still can, such as the making of a digital will that deals with his intellectual assets and online content, or joining avatar research like LifeNaut’s Bina 48.

Revisiting Genesis was developed in consultation with Medical and Death Online experts, people with life limiting conditions, and produced with a range of artistic collaborators.

Revisiting Genesis combines fiction and interviews with people who have real life-limiting conditions. The work responds to digital and emerging technologies of death, outsider politics, social networks in post-industrial England, care and feminist reincarnations of women artists.

Oreet Ashery is a transdisciplinary visual artist and an educator working with political/bio-fiction, gender materiality and potential communities. Ashery’s established practice manifest through distinct multiplatform collaborative projects and spans live situations and performances, moving and still image, writing, workshops and assemblages. Ashery’s recent large scale projects include Passing Through Metal, a sonic performance commissioned by Lilith Performance Studio, Malmo, 2017, the web-series Revisiting Genesis, commissioned by The Stanley Picker Foundation, 2016, The World is Flooding, a Tate Modern Turbine Hall commission, 2014, and Party for Freedom, an Artangel commission 2013.

Johanna Linsley is a London-based artist and researcher who works around performance, language, voice and the document. Her work has been presented at festivals, museums and theatres internationally. She is a co-founder of the performance/producing collective I’m With You, and a founding partner of UnionDocs. Johanna is currently a research associate on the Leverhulme Trust-funded project Acts of Assembly at the University of Roehampton.