All artworks are authored by Jeremy Deller. In cases of collaboration or site-specific installations at Fundación Proa, Buenos Aires, detailed information is provided.
Room 1
Beyond the White Walls, 2012
(Más allá de las paredes blancas)
Mural Painting and Video-installation. Video, 26’ 11’’
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"Beyond The White Walls is a slideshow with spoken commentary documenting projects and artworks I have made in the public domain, including places like nightclubs, student common rooms, and gardens. Because the projects themselves could not be shown as physical entities, I have produced the kind of presentation that I might give as a public talk." — JD
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-Attention all DJs, 2012
(Atención a todos los DJs)
Edition 20/100, 41,9 x 52,1 cms
Room 2
The History of the World, 1997
(La historia del mundo)
Mural painting. Variable dimensions
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"I drew this diagram about the social, political and musical connections between house music and brass bands. It shows a thought process in action. It was also about Britain and British history in the twentieth century and how the country had changed from being industrial to post-industrial. It was the visual justification for Acid Brass. Without this diagram, the musical project Acid Brass would not have a conceptual backbone." — JD
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Acid Brass Live at Lovebox, 2005
(Acid Brass en vivo en Lovebox)
Video, 5’.
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"Based on the connections I made in The History of the World, I decided to try to get a brass band to agree to perform a repertoire of acid house music. I was terrified of ringing up the bandleader of the Williams Fairey Band to ask if he would do this. I thought it would take lots of convincing and explaining – but he agreed immediately. He just said, "All right, we'll do it. We'll do it once and see how it goes", which is exactly the attitude you want. So we performed it once, and it went really well, and we continued to perform it. The experience taught me a lot about working with the public. I realized that I didn't have to make objects anymore. I could just do these sort of events, make things happen, work with people and enjoy it. I could do these messy, free-ranging, open-ended projects, and that freed me up from thinking about being an artist in a traditional sense. I had been liberated by a brass band." — JD
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Posters, 1994-1997
silkscreen on paper
Do You Remember The First Time?, 1995
(¿Te acuerdas de la primera vez?), 71 x 51 cm
Life / Live Muscle Man (green), 1997
(Vida/ vivir Hombre muscular -verde-), 70 x 50 cm
Life / Live Set List (glitter / portuguese), 1997
(Vida/ vivir alistar -brillo/ portugués-), 64 x 45 cm
Life / Live Your Enemies (Orange / Portugues), 1997
(Vida/ vivir Tus enemigos -Naranja /portugués-), 70 x 50 cm
Morrissey A Life In Words, 1995
(Morrissey una vida en palabras). 63 x 37 cm
The Poetry of Shaun (William) Ryder, 1994-95
(La poesÃa de Shaun -William- Ryder), 71 x 46 cm
To Live Is To Dream, 1994-95
(Vivir es soñar), 78 x 54 cm
Cortesía (courtesy) The Modern Institute/ Toby Webster Ltd, Glasgow.
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“I was semi-employed in the early 1990s and I enrolled on a silkscreen printing course at the London College of Printing. The process was a revelation. It seemed to be this amazing combination of photography and painting, and the instant results of it, the comparative ease of doing it — it was just so pleasurable. I made a whole series of posters with slogans that combined art history, pop music and popular culture. I made this posters advertising fictional exhibitions of popular figures at contemporary or national galleries. Exhibitions like this are actually being staged now, but at the time it was just absurd to think they would ever happen. These posters are about things I thought should be looked at in a different way — a serious look into rave culture or Keith Monn’s life and career.†—JD
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I ♥ Melancholy, 1993-2015
(Yo ♥ la melancolía)
Shiny black paint on matte black wall, sofa and performer Variable dimensions
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“This work was a reaction against the whole 'I ♥ ...' or 'I'd rather be..." culture in the 1990s. I wanted to celebrate something that wasn't active, dangerous or 'manly'. Something that is actually introverted, non-active and potentially depressing. It was originally a print, but then I later made a wall-painting and then a t-shirt. When this is installed as a wall painting, it often has a human component, a young person quietly reading in the corner of the room." —JD
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Our Hobbie is Depeche Mode, 2006
(Nuestro hobbie es Depeche Mode)
Video, 120’.
In collaboration with Nick Abrahams.
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"A friend of mine, Nick Abrahams, told me that Mute Records were looking to make a film about Depeche Mode for an anniversary 'greatest hits' package. And either he or I or both of us – I can't actually remember – suggested that we do something about their fans, as you hear almost mythical stories about their Eastern European fanbase, particularly in the 1980s. We went to Mexico, the US, Germany, Romania, Brazil and Canada (...) In Russia, 60 fans met us at the airport and basically kidnapped us for two days, which was brilliant for the film. As we suspected, the story from Eastern Europe was massive. The effect of Depeche in that region during the 1960s was similar to the effect of the Beatles on the UK during the 1960s. The film was never released – we suspect for a number of reasons, (…) the band have been so carefully branded and marketed that the fans' behaviour sometimes disrupts this carefully crafted image. The fans appropriate the band, they do their own thing and have a laugh; it's not clean, it's messy and it's chaotic."
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Martin Jenkinson
Orgreave, Miner’s Strike,1984-85
(Orgreave, huelga de mineros)
8 photos in black and White. Digital printing © Martin Jenkinson, 2015.
27,5 x 18 cm c/u.
5 de marzo de 1984. Jack Taylor, presidente de la sección de Yorkshire del Sindicato Nacional de Trabajadores Mineros (NUM por sus siglas en inglés), junto con Owen Briscoe, Secretario General de la sección de Yorkshire, anuncian la decisión del consejo de área de hacer la huelga en apoyo a Cortonwood a partir del último turno el 9 de marzo de 1984. Las oficinas de los mineros en Barnsley.
21 de mayo de 1984. Día de Lucha de las secciones de Yorkshire y Humberside del Congreso de Sindicatos en apoyo a los mineros, Sheffield.
30 de mayo de 1984. La policía montada alineada en Orgreave durante la huelga minera en 1984.
30 de mayo de 1984. El superintendente John Nesbit arresta a Arthur Scargill, Presidente del Sindicato Nacional de Trabajadores Mineros (NUM por sus siglas en inglés), durante la huelga minera 1984-85.
30 de mayo de 1984. Policía montada con toletes después de cargar en contra de los mineros en huelga en Orgreave.
4 de junio de 1984. Un minero huelguista se ñala a un policía en Orgreave durante la huelga minera de 1984-85.
6 de junio de 1984. Un manifestante con un casco falso de policía hablándole a la policía, durante la huelga minera en Orgreave 1984-85.
18 de junio de 1984. Mineros en huelga perseguidos por la policía montada en Orgreave durante la huelga minera en 1984.
23 de julio de 1984. Manifestante recostado enfrente de la policía con escudos antidisturbios en Orgreave
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The Battle of Orgreave (An Injury to One is an Injury to All), 2001
(La batalla de Orgreave -Si hieren a uno hieren a todos-)
Video, 62’, Directed by Mike Figgis. Co-commissioned by Artangel and Channel 4, 2001. The Artangel Collection
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“In 1998 I saw an advert for an open commission for Artangel. For years I had had this idea to re-enact this confrontation that I had witnessed as a young person on TV, of striking miners being chased up a hill and pursued through a village. It has since become an iconic image of the 1984 strike – having the quality of a war scene rather than a labour dispute. I received the commission, which I couldn't believe, because I actually didn't think it was possible to do this. After two years' research, the re-enactment finally happened, with about eight-hundred historical re-enactors and two-hundred former miners who had been part of the original conflict. Basically, I was asking the re-enactors to participate in the staging of a battle that occurred within living memory, alongside veterans of the campaign. I've always described it as digging up a corpse and giving it a proper post-mortem, or as a thousand-person crime re-enactment." — JD
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Room 3
So Many Ways To Hurt You (The Life and Times of Adrian Street), 2010
(Tantas maneras de hacerte daño -Vida y obra de Adrian Street-)
-Video, 31’ 46’’ and Mural Painting in Fundacóón Proa (Pablo Harymbat –Gualicho)
Commisioned by Grizedale Arts, United Kingdom.
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"Adrian Street is a wrestler I first became aware of through a photograph showing him with his father in 1973, which seemed to me possibly the most important photograph taken post-war. It encapsulates the whole history of Britain in that period – of our uneasy transition from being a centre of heavy industry to a producer of entertainment and services. It's a rather bizarre and disturbing photograph, taken when Adrian went back to Wales, to the mine that he had worked in as a young man, to meet his father. Adrian's still very much alive and still wrestling in Florida, where he has settled. He's an incredible person, who has tremendous willpower and a great sense of his own worth. His story has an epic quality to it, he has basically reinvented himself for the late twentieth century." —JD
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What Is The City But The People?,2009
(¿Qué es la ciudad sino la gente?)
Installation, variable dimensions
Commissioned by Art on The Underground, London.
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"This piece came out of frustration with travelling in Britain and just being hounded all the time by continual messages about remembering to get on and off trains and take your things with you and so on. I produced a book of quotations for people who work on London Underground's Piccadilly Line to read out, if they wanted to, among all these standard announcements, as a way of giving them license to say other things and inject an element of unpredictability into a journey."
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Rythmaspoetry, 2015
(RitmocomopoesÃa).
Video, 6’. Obra en colaboracién con Cecilia Bengolea.
CortesÃa del artista
Posters, 2012
Silkscreen on paper
Animal Vegetable Pop Music, 2012
(Animal Vegetal Música Pop), Edition 1/10 + IV P/A, 54,6 x 69,9 cm
A Range Rover crushed and made into a bench (several parts), 2012
(Un Rover Range triturado y convertido en un asiento -varias partes-),
Edition 2/10 + IV P/A. Variable dimensions
A Time before shopping, 2012
(Un tiempo antes de ir de compras), Edition 2/10 + IV P/A, 99,1 x 69,2 cm
Friendly Bombs, 2012
(Bombas amistosas), Edition 1/10 + IV P/A, 54,6 x 70,5 cm
I blame the Industrial Revolution, 2012
(Yo culpo a la Revolución Industrial), Edition 1/10 + IV P/A, 45,7 x 81,9 cm
I see a bicycle, 2012
(Veo una bicicleta), Edition)1/10 + IV P/A, 52,7 x 53, 3 cm
Send Bat Echolocation sounds to Dub Reggae Producers, 2012
(Envía sonidos de localización de murciélago a productores de Dub Reggae), Edition 1/10 + IV P/A, 66,7 x 48,3 cm
Courtesy Gavin Brown's Enterprise Galleries, New York
En 1913 Rosa Luxemburgo publicó su principal obra, “La acumulación de capital”. Un siglo después, Raqs invierte el orden de las palabras del clásico de Rosa Luxemburgo y repiensa en este ensayo-film la historia y la experiencia que produce el capitalismo. Mas allá de plantear la necesidad de reinterpretar el legado revolucionario de Luxemburgo con sus fantasmas, lo que el film parece plantear es la solidaridad entre la resistencia de las fuerzas de lo vivo en la naturaleza, y la resistencia viva en la política y la historia.
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The Bruce Lacey Experience, 2012
(El mundo de Bruce Lacey)
Video, 67’.
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"When we met Bruce Lacey we were entranced – a modern day magus in brightly coloured clothes, he combines a very British interest in art and science, bringing them together in a way unlike anyone else either of us had encountered. It was as if Dr Dee had been reimagined by the Goons. We proposed to Bruce that we would like to make a feature film about him, and he kindly agreed. So every few months we would descend on his farmhouse and commit a little more of his world to video. Very soon we realized that we would only be providing an introduction to the world of Bruce Lacey, as a thorough documentary would have to be more like a TV series to cover all the ups and downs of Bruce's extraordinary careerâ€â€” JD
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English Magic Remix,2015
(Magia inglesa remixada)
Installation, variable dimensions
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English Magic Re-Mix is a collaborative show of new works by Jeremy Deller and Fraser Muggeridge. Taking elements from Deller’s English Magic exhibition, English Magic Re-Mix is a selection of new and re-worked imagery. Conceived originally as being a celebratory way to mark the end of a touring show, English Magic Re-Mix acts as the naughty offspring of the original.
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English Magic,2013
(Magia inglesa)
Video, 14’ 27’’.
Courtesy British Council Collection, London.
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What does Jeremy Deller mean by ‘English Magic’? ‘Magic’, the dictionary tells us, is ‘the ability to influence the course of events through the use of mysterious or supernatural forces’; to add ‘English’ is to point to a native tradition of expert conjurers, from the druids of Stonehenge to sorcerers such as Merlin and Gandalf and beyond. At the same time Deller also intends ‘English Magic’ to evoke ‘the mythical qualities of popular culture and its abilities to weave spells, especially in music’ — Hal Foster
The video English Magic was part of his exhibition for the British Pavilion in 2013 at the 55th Biennale di Venezia. The music is performed by the Melodians Steel Orchestra from South London and was recorded in Studio 2 of Abbey Road Studios in London.
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More Poetry Is Needed,2014-2015
(Se necesita más poesía)
First commisioned by Locws International for Art Across The City, Swansea, United Kingdom, 2014. Museo Quinquela Martin Walls, Buenos Aires, 2015 Variable Dimensions
Pensmées: A Book in Five Chapters, 1993
(Pensamientos: un libro en cinco capÃtulos)
Libro del artista, en colaboración con Thomas Nicolaou. Instalación en primer piso, baño para discapacitados. CortesÃa del artista.