Installation view, Jeremy Deller, Everybody in the Place, An Incomplete History of Britain, 1984-1992, 2018, video, 62 min. Courtesy Art : Concept, Paris. Photo: OH Dancy.
PARTY DE CAMPAGNE Fabienne Audéoud, Camille Blatrix, Merlin Carpenter, Zuzanna Czebatul, Jeremy Deller, Gina Folly, Florence Jung, Xavier Mary, Dan Mitchell, Henrike Naumann, John Russell, Tobias Spichtig, Marianne Villière.
Off site exhibition in the streets of Delme et le Saulnois
Jeremy Deller, Sacrilege, 2012, FIAC Paris, Invalides
Sacrilege, 2012 Mixed media Dimensions variable
Jeremy Deller defines himself as an “instigator of social interventions”: his works are often characterized by audience participation, his sculptures are social experiences in which performances, videos, and installations become places of exchange and aggregation. This was also the starting point for Sacrilege, originally created for the Glasgow International Festival of Visual Art, and later displayed in London on the occasion of the 2012 Olympics. With funding from Arts Council England Sacrilege travelled to different locations in the UK before being shown in London as part of CREATE and the London 2012 festival.
With the sense of humour that characterizes many of his projects, Deller transforms the Stonehenge monument into a giant inflatable toy for children, reproducing it in plastic and turning it into a funfair attraction 35 meters in diameter; the public is thus called upon to interact with the installation, to climb onto it, and to jump and play within it.
The effect is at once celebratory and sacrilegious, as the title, chosen by the artist in order to deflate any possible criticism, would suggest. With its unabashedly playful approach, Sacrilege is an invitation to reappraise one’s history and one’s own national identity, but it also offers a sarcastic comment on how these themes are often trivialized and exploited by nationalist and populist political agendas – a subject that is unfortunately of our moment.
“Sacrilege is playful and cheeky. The title is a way is to ward off any criticism—some will think that it is just that, a sacrilege, so why not call it that? One intended outcome is laughter, perhaps a few tears, and certainly enjoyment, though not necessarily in that order. For me at least it is also a nod to what I would call the “freak out” tendency in UK culture: Hawkwind, Bruce Lacey, and Ken Russell being its best exponents.” Jeremy Deller, in Art Forum, April 20, 2012
Jeremy Deller’s Stonehenge Anniversary Celebrations
Vue d’installation / Installation view Jeremy Deller, Art is Magic, Musée des beaux-arts de Rennes, 2023. Rennes/FR. Photo Aurélien Mole
Vue d’installation / Installation view Jeremy Deller, Art is Magic, Musée des beaux-arts de Rennes, 2023. Rennes/FR. Photo Aurélien Mole
Vue d’installation / Installation view Jeremy Deller, Art is Magic, Musée des beaux-arts de Rennes, 2023. Rennes/FR. Photo Aurélien Mole
Vue d’installation / Installation view Jeremy Deller, Art is Magic, Musée des beaux-arts de Rennes, 2023. Rennes/FR. Photo Aurélien Mole
Vue d’installation / Installation view Jeremy Deller, Art is Magic, La Criée, 2023. Rennes/FR. Photo Aurélien Mole
Vue d’installation / Installation view Jeremy Deller, Art is Magic, La Criée, 2023. Rennes/FR. Photo Aurélien Mole
Vue d’installation / Installation view Jeremy Deller, Art is Magic, Frac Bretagne, 2023. Rennes/FR. Photo Aurélien Mole
Vue d’installation / Installation view Jeremy Deller, Art is Magic, Frac Bretagne, 2023. Rennes/FR. Photo Aurélien Mole
Vue d’installation / Installation view Jeremy Deller, Art is Magic, Frac Bretagne, 2023. Rennes/FR. Photo Aurélien Mole
Vue d’exposition / Exhibition View, Warning Graphic Content – Jeremy Deller Prints and Posters 1993-2023, FJK3 – Contemporary Art Space, Vienna, March 3rd until May 7th 2023
Vue d’exposition / Installation view Jeremy Deller : Welcome to the shitshow, Kunsthal Charlottenborg, København/DK, 2023 Photo by David Stjernholm / @david_stjernholm
Jeremy Deller, The Deliverers, 2022. Film. Courtesy the Artist; The Modern Institute/Toby Webster LTD; Art : Concept, Paris. Photo by Colin Davison.
Installation view, Warning Graphic Content, MAMCO, Genève/CH. Courtesy the artist ; Art : Concept, Paris ; The Modern Institute/Toby Webster LTD, Glasgow. Photo Annik Wetter
Vue in-situ / In-Situ, Jeremy Deller, Money Laundering, 2022, Parcours Art Basel, Basel/CH. Courtesy the artist ; Art : Concept, Paris ; The Modern Institute/Toby Webster LTD, Glasgow. Photo Courtesy Art Basel
Vue de l’exposition / Installation view, Radical Landscapes, 2022 Tate Liverpool/UK. Jeremy Deller, Cerne Abbas, 2019. Courtesy the artist, the Modern Institute, Glasgow and Art : Concept, Paris. photo Jack Hems
Installation view, Father and Son, 2021, wax. Presented by ACCA at St Saviour’s Church of Exiles, Melbourne
Installation view, The Lovers, 2021, sculpture, Messeyne Garden, Kortrijk
Stonehenge at Sunset, 2013. Sérigraphie sur papier Silkscreen on paper 60 x 90 cm Ed. 60 + 10 AP
Installation view, Jeremy Deller, Everybody in the Place, An Incomplete History of Britain, 1984-1992, 2018, video, 62 min. Courtesy Art : Concept, Paris. Photo: OH Dancy.
Indus Sounds, 2019, file on iPod
Everybody in The Place: An Incomplete History of Britain 1984-1992, 2018, documentary
Jeremy Deller, Centenary Celebration of Stonehenge, Salisbury, 26th October 2018. Photo: Jeremy Deller.
Installation view, Skulptur Projekte Münster 2017, Speak to the Earth and It Will Tell You (2007-2017)
Rhythmasspoetry, 2015 (film still), film in collaboration with Cécilia Bengolea, 13th Biennale de Lyon
Installation view, All That Solid Melts into Air, Manchester Art Gallery, 2013. Photo: Alan Seabright.
Installation view, Sacrilege, FIAC, Paris, 2012. Photo: James Hutchinson.
English Magic, 2012 (detail), lambda print pasted on dibond, polyptych of 8, 40 x 50 cm, 15 3/4 x 19 5/8 in, edition of 5 + 2 AP
Bless This Acid House, 2012, silkscreen on aluminium, 205 x 70 cm (80 3/4 x 27 1/2 in.)
Installation view, Joy in People, Hayward Gallery, 2012. Photo: Linda Nylind.
Installation view, Joy in People, Hayward Gallery, London, 2012. Photo: Linda Nylind.
Procession, 2009, 5 July 2009, Deansgate, Manchester, Commissioned by Cornerhouse and Manchester International Festival, dimensions variables
Installation view, D’Une Révolution à l’Autre, Carte Blanche, Palais de Tokyo, 2008. Photo: Marc Domage.
Installation view, D’Une Révolution à l’Autre, Carte Blanche, Palais de Tokyo, 2008. Photo: Marc Domage.
Manifesta 5, European Biennal of Contemporary Art, San Sebastian, 2004, Courtesy of the Artist.
Manifesta 5, European Biennal of Contemporary Art, San Sebastian, 2004, Courtesy of the Artist.
History of the World, 1997-2004, wall painting, dimensions variable
Bird in Hand at Red Hook Raptor Center, 2003, c-print, 80 x 80 cm, 31 1/2 x 31 1/2 in, edition of 6
Wal-Mart trolley on snow hill, in a car park in Red Hook, from this is US, 2003, c-print, 80 x 80 cm, 31 1/2 x 31 1/2 in, edition of 6
Sans titre, 2002, c-type print, 20,5 x 25,5 cm, 8 1/8 x 10 in, edition of 3
Veterans Day parade near Pahrump, from After the Gold Rush, 2001, c-print, 120 x 80 cm, 47 1/4 x 31 1/2 in, edition of 6
Battle of Orgreave, 2001, Re-enactment and film, commissioned and produced by Artangel
Biography
Jeremy Deller was born in 1996. He lives and works in London.
Much of Deller’s work is collaborative; it has a strong political aspect, in the subjects dealt with and also the devaluation of artistic ego through the involvement of other people in the creative process. The great strength of Jeremy Deller’s artworks is that they directly raise the question of the sacredness and untouchability of spaces, social codes and emblems of power and even more so of political, economic and religious powers. Whether it’s stepping on Stonehenge’s sacred ground, jumping on it or highlighting popular culture, evoking music fans or the British, it’s all about mass creative power. Rather than fearing or suffering the powers in place, it results in a confrontation between history, culture and heritage. The work of Jeremy Deller is to be experienced by all and for all, he invites us to create a participatory work where everyone has a role to play. His artworks, trans-historical and partisan of free expression as a vector of values and meaning, initiate a dialogue between cultures, people, the past, the present and what could be the future. In a society that claims to open up access to culture and continues to provide a model to follow on what is culturally and intellectually acceptable from what is not, Deller gets away and plays with these societal stereotypes by focusing on subcultures, folklore, people.
He won the Turner Prize in 2004, and in 2010 was awarded the Albert Medal of the Royal Society for the encouragement of Arts, Manufactures & Commerce (RSA). His work is present, among others, in the following institutions: FNAC, Paris; FRAC Nord-Pas-De-Calais; FRAC Pays de la Loire; FRAC Provence-Alpes-Côte d’Azur, Musée des Arts Contemporains, Grand-Hornu; Tate Modern, London; Victoria & Albert Museum, London.
Recent exhibitions include : Warning Graphic Content, MAMCO, Genève/CH (2022) ; Wir haben die Schnauze voll, Bonner Kunstverein, Bonn/DE (2020); Everybody In The Place, The Modern Institute, Glasgow/UK (2019); English Magic, British Pavilion, 55th Venice Biennale/IT (2013); Sacrilege, Esplanade des Invalides, Projet Hors les Murs, FIAC Paris/FR (2012); Joy In People, Hayward Gallery, London/UK (2012); D’une révolution à l’autre, Carte Blanche à Jeremy Deller, Palais de Tokyo, Paris/FR (2008). In 2023, a retrospective of his work is going to take place simultaneously at La Criée Centre d’Art Contemporain, at FRAC Bretagne and at the Musée des Beaux-Arts de Rennes.
Richard Fauguet, Tête de thon, 1999, collage sur papier/collage on paper, 30 x 21 cm (11 3/4 x 8 1/4 in.)
Richard Fauguet, Sans titre (Céramique), 2009-2010, céramique, silicone/ceramic, silicone, 107 x 32 x 30 cm (42 1/8 x 12 5/8 x 11 3/4 in.)
Jeremy Deller, Mari Lwyd of Pontypool, Wales (en collaboration avec Alan Kane), 2001, photographie couleur, encadrée/C-type print, mounted and framed, 176 x 81,5 cm (69 1/4 x 32 1/8 in.) ed 3
Vidya Gastaldon, Les invités (après), 2013, 13 objets peints à l’acrylique dimensions variables/13 objects painted with acrylic paint variable dimensions
Ulla von Brandenburg, Monster (monstres), 2013, papier découpé sur document trouvé/cut-out paper on found document, 106 x 86,5 cm (41 3/4 x 34 in.) Collection privée/private collection CH
Ulla von Brandenburg, Masken (masques), 2013, papier découpé sur document trouvé/cut-out paper on found document, 56 x 64 cm (22 x 25 1/4 in.) Collection privée/private collection
Martine Aballéa, Poison mort, 2013, fiole en verre, glycérine, colorant alimentaire noir, arôme/orange glass flask, glycerine, black food colouring, orange smell, 9,5 x 5 x 5 cm (3 3/4 x 2 x 2 in.) ed 1/10
Hubert Duprat, Coupé-Cloué, 1991-1994, bois de hêtre et clous tapissiers en laiton/beech wood and upholstery brass nails, 70 x 517 x 40 cm & 40 x 505 x 40 cm (27 1/2 x 203 x 15 3/4 in. & 15 3/4 x 198 x 15 3/4 in.)
Vidya Gastaldon, Healing Painting (Ante-Landscape), 2014, huile sur tableau trouvé/oil on found painting, 69 x 59 cm (27 1/8 x 23 1/4 in.)
Geert Goiris, Overgrown, 2014 impression pigmentaire/archival pigment print, 150 x 125 cm (59 x 49 1/4 in.) ed 5 + 1 AP