{"id":3647,"date":"2020-09-10T15:03:01","date_gmt":"2020-09-10T15:03:01","guid":{"rendered":"http:\/\/www.galerieartconcept.com\/new\/?p=3647"},"modified":"2026-03-24T14:57:22","modified_gmt":"2026-03-24T14:57:22","slug":"jeremy-deller-2","status":"publish","type":"post","link":"https:\/\/www.galerieartconcept.com\/en\/jeremy-deller-2\/","title":{"rendered":"Jeremy Deller"},"content":{"rendered":"\n
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Vue d’exposition \/ Installation view 17e Biennale d’art contemporain de Lyon – Crossing the water, Les Grandes Locos, Lyon\/FR. 21.09.24 – 5.01.25. Jeremy Deller, banni\u00e8res r\u00e9alis\u00e9es par Ed Hall. Photo : Jair Lanes<\/figcaption><\/figure>\n\n\n\n
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Vue d\u2019exposition \/ Installation view \u00ab Sortir le travail de sa nuit \u00bb, CCC OD, Tours, France,
f\u00e9vrier 2024.Photo by: Aur\u00e9lien Mole<\/figcaption><\/figure>\n\n\n\n
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History of the World, 1997-2004, Wall painting.
Installation view, Joy in People, Hayward Gallery,
London\/UK. 2012<\/figcaption><\/figure>\n\n\n\n
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History of the world, 2023
Carpet, cotton and wool
Hand-tied, Shakti quality 100 knots per inch2.
Produced by Di Nepi And – Carpet Agency and Consulting, Roma<\/figcaption><\/figure>\n\n\n\n
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Jeremy Deller, So Many Ways to Hurt You (The Life and Times of Adrian Street), 2010. vid\u00e9o \/ video 16:9, 30 mn. peinture murale, dimensions variables \/ Wall paint, variable dimensions.Edition of 3.
Installation view Jeremy Deller, Art is Magic, Mus\u00e9e des beaux-arts de Rennes, 2023. Rennes\/FR. Photo Aur\u00e9lien Mole<\/figcaption><\/figure>\n\n\n\n
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Vue d’installation \/ Installation view Jeremy Deller, Art is Magic, Mus\u00e9e des beaux-arts de Rennes, 2023. Rennes\/FR. Photo Aur\u00e9lien Mole<\/figcaption><\/figure>\n\n\n\n
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Vue d’installation \/ Installation view Jeremy Deller, Art is Magic, Mus\u00e9e des beaux-arts de Rennes, 2023. Rennes\/FR. Photo Aur\u00e9lien Mole<\/figcaption><\/figure>\n\n\n\n
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Vue d’installation \/ Installation view Jeremy Deller, Art is Magic, Frac Bretagne, 2023. Rennes\/FR. Photo Aur\u00e9lien Mole<\/figcaption><\/figure>\n\n\n\n
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Vue d’installation \/ Installation view Jeremy Deller, Art is Magic, Frac Bretagne, 2023. Rennes\/FR. Photo Aur\u00e9lien Mole<\/figcaption><\/figure>\n\n\n\n
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Vue d’installation \/ Installation view Jeremy Deller, Art is Magic, La Cri\u00e9e, 2023. Rennes\/FR. Photo Aur\u00e9lien Mole<\/figcaption><\/figure>\n\n\n\n
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Vue d’installation \/ Installation view Jeremy Deller, Art is Magic, La Cri\u00e9e, 2023. Rennes\/FR. Photo Aur\u00e9lien Mole<\/figcaption><\/figure>\n\n\n\n
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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<\/figcaption><\/figure>\n\n\n\n
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Vue d’exposition \/ Installation view Jeremy Deller : Welcome to the shitshow, Kunsthal Charlottenborg, K\u00f8benhavn\/DK, 2023 Photo by David Stjernholm \/ @david_stjernholm<\/figcaption><\/figure>\n\n\n\n
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Jeremy Deller, Thank God for Immigrants, 2020. S\u00e9rigraphie sur papier \/ Silk screen on paper. 59,4 \u00d7 42 cm (23 \u215c \u00d7 16 \u00bd inches). Edition variable of 500 Courtesy the Artist; The Modern Institute \/ Toby Webster, ltd. Glasgow, and Art : Concept, Paris<\/figcaption><\/figure>\n\n\n\n
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Jeremy Deller, Every age has its own fascism, 2019. Flyposting poster, 76,2 \u00d7 51 cm (30 \u00d7 20 \u215b inches). Edition of 300 Courtesy the Artist; The Modern Institute \/ Toby Webster, ltd. Glasgow, and Art : Concept, Paris<\/figcaption><\/figure>\n\n\n\n
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Vue en situation \/ Street view, Jeremy Deller, Une Nouvelle Aube, 2021, print on paper, 300 \u00d7 400 cm, unlimited edition. Courtesy Art: Concept, Paris & Duuu Radio. Photo \u00a9 Duuu<\/figcaption><\/figure>\n\n\n\n
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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<\/figcaption><\/figure>\n\n\n\n
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Installation view, Father and Son, 2021, wax. Presented by ACCA at St Saviour\u2019s Church of Exiles<\/strong>, Melbourne<\/figcaption><\/figure>\n\n\n\n
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Installation view, Father and Son, 2021, wax. Presented by ACCA at St Saviour\u2019s Church of Exiles<\/strong>, Melbourne<\/figcaption><\/figure>\n\n\n\n
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I Love Melancholy, 1993-94
Glossy black paint on matt black painted wall.
Installation view, Joy in People, Hayward Gallery,
London\/UK. 2012<\/figcaption><\/figure>\n\n\n\n
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Ask the Animals, and They Will Teach You, 2021
Paradise Kortrijk – Triennial for contemporary art,
Infopunt Belfort, Kortrijk\/BE.
Courtesy the Artist, Art : Concept, Paris and The Modern Institute\/Toby Webster Ltd., Glasgow
Photo: Filip Claessens<\/figcaption><\/figure>\n\n\n\n
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Installation view, The Lovers, 2021, sculpture, Messeyne Garden, Kortrijk<\/figcaption><\/figure>\n\n\n\n
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Jeremy Deller, Centenary Celebration of Stonehenge, Salisbury, 26th October 2018. Photo: Jeremy Deller.<\/figcaption><\/figure>\n\n\n\n
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Installation view, Skulptur Projekte M\u00fcnster 2017, Speak to the Earth and It Will Tell You (2007-2017)<\/figcaption><\/figure>\n\n\n\n
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Installation view, Skulptur Projekte M\u00fcnster 2017, Speak to the Earth and It Will Tell You (2007-2017)<\/figcaption><\/figure>\n\n\n\n
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Installation view, Jeremy Deller, Everybody in the Place, An Incomplete History of Britain, 1984-1992,<\/em> 2018, video, 62 min. Courtesy Art : Concept, Paris. Photo: OH Dancy.<\/figcaption><\/figure>\n\n\n\n
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Everybody in The Place: An Incomplete History of Britain 1984-1992, 2018, documentary<\/figcaption><\/figure>\n\n\n\n
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Installation view, Biennale de Venise Pavilion britannique, 2013. Photo : Cristiano Corte<\/figcaption><\/figure>\n\n\n\n
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A Good Day for Cyclists, 2013, wallpainting, rubber stamp, dimensions variable, 55th Venice Biennale<\/figcaption><\/figure>\n\n\n\n
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Ooh-oo-hoo ah-ha ha yeah, 2013,video 14’27”, banni\u00e8re 10 x 12 feet, carcass of car, edition of 2, 55th venice biennale<\/figcaption><\/figure>\n\n\n\n
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Factory Record, 2013
Installation view, All That Solid Melts into Air, Manchester Art Gallery, 2013. Photo: Alan Seabright.<\/figcaption><\/figure>\n\n\n\n
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Battle of Orgreave, 2001, Re-enactment and film, commissioned and produced by Artangel<\/figcaption><\/figure>\n\n\n\n
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English Magic, 2013 video, color and sound, 14\u201923\u201d, ed 3\/6 + 1 AP<\/figcaption><\/figure>\n\n\n\n
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Putin’s Happy, 2019
Video, sound
41′ 14”<\/figcaption><\/figure>\n\n\n\n
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Wir haben die Schnauze voll, 2020
HD video, sound, color,
17 min<\/figcaption><\/figure>\n\n\n\n
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Installation view, Sacrilege, FIAC, Paris, 2012. Photo Marc Dommage<\/figcaption><\/figure>\n\n\n\n
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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<\/figcaption><\/figure>\n\n\n\n
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Bless This Acid House, 2012, silkscreen on aluminium, 205 x 70 cm (80 3\/4 x 27 1\/2 in.)<\/figcaption><\/figure>\n\n\n\n
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Installation view, Joy in People, Hayward Gallery, 2012. Photo: Linda Nylind.<\/figcaption><\/figure>\n\n\n\n
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So Many Ways to Hurt You (The Life and Times of Adrian Street), 2010. Vid\u00e9o \/ video 16:9, 30 mn. Peinture murale, dimensions variables \/ Wall paint, variable dimensions. Edition of 3
Installation view, Joy in People, Hayward Gallery, London, 2012. Photo: Linda Nylind.<\/figcaption><\/figure>\n\n\n\n
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So Many Ways to Hurt You (The Life and Times of Adrian Street), 2010. Vid\u00e9o \/ video 16:9, 30 mn. Peinture murale, dimensions variables \/ Wall paint, variable dimensions. Edition of 3<\/figcaption><\/figure>\n\n\n\n
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Procession, 2009, 5 July 2009, Deansgate, Manchester, Commissioned by Cornerhouse and Manchester International Festival, dimensions variables<\/figcaption><\/figure>\n\n\n\n
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Manifesta 5, European Biennal of Contemporary Art, San Sebastian, 2004, Courtesy of the Artist.<\/figcaption><\/figure>\n\n\n\n
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Installation view, D’Une R\u00e9volution \u00e0 l’Autre, Carte Blanche, Palais de Tokyo, 2008. Photo: Marc Domage.<\/figcaption><\/figure>\n\n\n\n
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Installation view, D’Une R\u00e9volution \u00e0 l’Autre, Carte Blanche, Palais de Tokyo, 2008. Photo: Marc Domage.<\/figcaption><\/figure>\n\n\n\n
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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<\/figcaption><\/figure>\n\n\n\n
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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<\/figcaption><\/figure>\n\n\n\n
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Untitled (Miss Exotic), (After The Gold Rush), 2002
photographie couleur
10,5 \u00d7 15,5 cm (4 \u215b \u00d7 6 \u215b inches)
Edition of 3 plus II AP<\/figcaption><\/figure>\n\n\n\n
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Untitled (Veteran’s Day Parade), from After the Gold Rush, 2001, c-print, 28 \u00d7 36 cm (11 \u00d7 14 \u215b inches), edition of 6<\/figcaption><\/figure>\n\n\n\n
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Untitled (Famous artists), 2003
(Memory Bucket)
photographie couleur \/ color photograph
120 \u00d7 80 \u00d7 5 cm (47 \u00bc \u00d7 31 \u00bd \u00d7 2 inches)
Edition of 5 plus II AP<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

Biography<\/h4>\n\n\n\n

Jeremy Deller was born in 1966. He lives and works in London. <\/p>\n\n\n\n

Much of Deller\u2019s 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\u2019s 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\u2019s stepping on Stonehenge\u2019s sacred ground, jumping on it or highlighting popular culture, evoking music fans or the British, it\u2019s 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 \u200b\u200band 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.<\/p>\n\n\n\n

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-C\u00f4te d\u2019Azur, Mus\u00e9e des Arts Contemporains, Grand-Hornu; Tate Modern, London; Victoria & Albert Museum, London. <\/p>\n\n\n\n

Recent exhibitions include : Warning Graphic Content, MAMCO, Gen\u00e8ve\/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\u2019une r\u00e9volution \u00e0 l\u2019autre, Carte Blanche \u00e0 Jeremy Deller, Palais de Tokyo, Paris\/FR (2008). In 2023, a retrospective of his work is going to take place simultaneously at La Cri\u00e9e Centre d’Art Contemporain, at FRAC Bretagne and at the Mus\u00e9e des Beaux-Arts de Rennes.<\/p>\n\n\n\n

At the gallery<\/h4>\n\n\n\n