55th International Art Exhibition. La Biennale di Venezia – America Latina IILA Pavilion

El Atlas del Imperio
Commissioner: Sylvia Irrazábal. Curator: Alfons Hug. Deputy Curator: Paz Guevara.
Venue: Pavilion at Arsenale

From June 1 to November 24 of this year, the IILA, together with his institutional partner Goethe-Institut, proposes an exhibition in Venice in the great space of the Isolotto dell’Arsenale, which turns into an Atlas into which the Latin-American art and the European talk and are confronted, with an impact of reciprocal enrichment of cultural identities increasingly loudly. For this reason the thematic axis of the PAVILION AMERICA LATINA-IILA, with his Healer Alfons Hug, the co-healer Paz Guevara, and the Commissioner Sylvia Irrazábal, Cultural Secretariat of the IILA, is ” The Atlas of the Empire ” and tries to explore new geopolitical aspects of the contemporary art, in his experiences of mutual fertilization between Latin-American and European artists.

The central idea inspires by the literary allegory of the great Argentine writer Jorge Luis Borges who, in his book Of The rigor in the science, describes the Cartographers trying to design ” a Map of the Empire, which had the Size of the Empire and was coinciding punctually with him “, in the writings and in the thought of the big Carlos Fuentes and in Italo Calvino’s Invisible Cities: the exhibition ” The Atlas of the Empire ” in 55. Esposizione Internazionale d’Arte – the Biennale I gave Venezia it tries to be an occasion for ri – to design his symbolic cartography in which the topographic precision is not important so much, but the punctual observations of seemingly secondary details of the interpersonal relations or of precarious situations of the present.

In the contemporary this dynamic art exchange has been intensified furthermore. Today, some of the best Latin-American artists live in Europe, where even often they are considered to be representatives of his new mother land. Inversely, several European artists of renown are employed at Latin America

In the Pavilion America Latina-IILA the Latin-American invited artists think about this new geopolitical aspect: Guillermo Srodek-Hart (Argentina), Sonia Falcone (Bolivia), Juliana Stein (Brazil), León and Cociña (Chile), François Bucher (Colombia), Lucía Madriz (Costa Rica), Humberto Díaz (Cuba), Michael Alvear and Patricio Andrade (Ecuador), Simón Vega (El Salvador), Marcos Agudelo (Nicaragua), Jhafis Quintero (Panama), Fredi Casco (Paraguay), David Zink Yi (Peru), Group Quintapata (Dominican Republic), Martin Sastre (Uruguay), Susana Arwas (Republic Bolivariana of Venezuela).

Besides it, since the Italo-Latin American Institute promotes the cultural relations of Latin America with Italy and Europe, they are included in the explanatory project: Luca Vitone (Italy), Harun Farocki and Antje Ehmann (Germany / Brazil), Christian Jankowski, German artist linked with Latin America.

Guillermo Srodek-Hart
Sonia Falcone
Juliana Stein
León & Cociña
François Bucher
Lucía Madriz
Humberto Díaz
Miguel Alvear and Patricio Andrade
Simón Vega
Luca Vitone
Marcos Agudelo
Jhafis Quintero
Fredi Casco
David Zink Yi
Collettivo Quintapata -Pascal Meccariello, Raquel Paiewonsky, Jorge Pineda, Belkis Ramírez
Martín Sastre
Susana Arwas
Harun Farocki & Antje Ehmann. 
In collaboration with: Cristián Silva-Avária, Anna Azevedo, Paola Barreto, Fred Benevides, Anna Bentes, Hermano Callou, Renata Catharino, Patrick Sonni Cavalier, Lucas Ferraço Nassif, Luiz Garcia, André Herique, Bruna Mastrogiovanni, Cezar Migliorin, Felipe Ribeiro, Roberto Robalinho, Bruno Vianna, Beny Wagner
Christian Jankowski

55th International Art Exhibition. La Biennale di Venezia – Central Asia Pavilion

exhibition_map_web_0CENTRAL ASIA PAVILION
Commissioner: HIVOS (Humanist Institute for Development Cooperation). Deputy Commissioner: Dean Vanessa Ohlraun (Oslo National Academy of the Arts/The Academy of Fine Art). Curators: Ayatgali Tuleubek, Tiago Bom. Scientific Committee: Susanne M. Winterling. Venue: Palazzo Malipiero, San Marco 3079
Kamilla Kurmanbekova
Erlan Tuyakov
Ikuru Kuwajima
Aza Shade 
Anton Rodin
Sergey Chutkov
Saodat Ismailova
Vyacheslav Akhunov
The title of the exhibition WINTER is inspired by the poem of the 19th century Kazakh poet and thinker Abay Qunanbayuli who left a great intellectual legacy to the region of Central Asia and whose work was concerned with questions of social justice in his time.

In our curatorial project for the International Art Exhibition – la Biennale di Venezia 2013, we recontextualize this poem to current day Central Asia, employing the key of the metaphorical to address the current socio-political context in the region and the issue of artistic agency. We aim to broaden the political debate in the region by raising questions rather than proposing statements. One of the questions we pose, is: How can the specificity of the local political and artistic context be approached in a way that transgresses common assumptions about authority and power?

The exhibition brings together visual reflections on the current socio-political situation of the region through the metaphor of winter. Winter represents a social, political and cultural climate in which an analytical or critical public discourse is frozen, or nearly absent. However, it bears the potential to develop into spring – a more vibrant public debate based on openness and participation.

In the first years after the dissolution of the USSR in 1991, the newly gained independence of the Central Asian republics gave rise to hopes for a free and fair society. However, the collapsed economy inherited from the Soviet Union and the abrupt transition to a neo-liberal market economy left these countries in an extreme state of disarray. The authorities of the newly founded republics promoted the idea of “economy first, democracy later” which, under these circumstances, became universally accepted. Evidently, later never arrived. Today, it is not in the interest of the powers in charge to allow for a vibrant public debate or a broad spectrum of voices to be heard in the decision-making processes. Rather, their aim is to sustain a state of general silence. This state of silence is usually covered up by the ideological mantra of stability – a phenomenon characteristic for most post-Soviet states.

As regards the artistic and cultural sphere in the region of Central Asia, it is characterized by a lack of institutions such as exhibition spaces and platforms for art education promoting critical thinking. This creates a feeling of alienation amongst the artists who fail to engage in public discourse and face the social challenges in their respective countries.

The project seeks to engage a variety of practices within the exhibition, the publication and a parallel program of lectures, film screenings and conferences in Central Asia, Venice and Oslo. Our hope is to serve as a catalyst for a genuinely open public debate on issues such as the relation between art and power structures, its potential to have an impact on society and possible strategies that artists can follow under precarious conditions and in oppressive times, as well as other issues currently pertinent to the region. With the active participation of Central Asian as well as international contributors, we hope to arrive at a deeper understanding of the current socio-political situation in the region, raise new questions and discover alternative ways to move beyond the state of stagnation we experience there today.

Selected through an open call for the cultural practitioners – artists, poets, writers, activists and others involved in cultural production were invited to submit their proposals – the works in the exhibition address a variety of questions relevant to Central Asian realities.

Vyacheslav Akhunov’s site-specific installation Breathe Quietly was originally sketched in 1976 as a public monument which was never realized. A set of words in Cyrillic characters portrays a social environment and invites us to look at the present situation in Uzbekistan through the lens of the Soviet period. By exhibiting this piece today, approximately 40 years later, and under  different social and political structures, the artist establishes a parallel with present-day Uzbekistan and asks us to look at similarities and differences between those different realities

Anton Rodin and Sergey Chutkov will present a joint project depicting social patterns of dissens and affinity in Tajikistan through the interpretation of written letters. Letters from Tajikistan will show disparities as well as similarities between individuals from various social,  ethnic and religious backgrounds. Using the letters they receive, the artists will construct a semantic map highlighting issues of relevance to various strata of contemporary Tajik society.

The video installation Zukhra by Saodat Ismailova and the film The Disappearing City by Aza Shade explore the role of women in contemporary Central Asia where tradition still plays a major role in defining one’s position in society.

Astana’s Winter Urbanscapes, a series of photographs by Ikuru Kuwajima, and the site-specific installation entitled Zhol (The Way) by Kamilla Kurmanbekova and Erlan Tuyakov explore the field of architecture as subject to appropriation by ideology. While Kuwajima explores the recent architectural developments in Kazakhstan’s new capital Astana, Kurmanbekova and Tuyakov  reinterpret the yurt, an archetypically nomadic structure which has recently been appropriated by the state for the political project of constructing a sense of national identity based on tradition.

Farukh Kuziev’s work will be presented in the publication accompanying the exhibition. His work is based on a collective effort by artists from Tajikistan and draws connections between the poor infrastructure in the country and social tensions arising when, in the winter, people suffer from discomfort due to the lack of electricity. Kuziev will show a series of works that feature the answers of artists to the question: “What work would you produce if you had total freedom of action and expression ?”

Ayatgali Tuleubek and Tiago Bom

55th International Art Exhibition. La Biennale di Venezia – Dénes Farkas – Estonia Pavilion

Evident in Advance
Dénes Farkas
Commissioner: Maria Arusoo. Curator: Adam Budak. 
Venue: Palazzo Malipiero, San Marco 3199, San Samuele

The exhibition EVIDENT IN ADVANCE develops a vast diapason of issues, grouped around the elusiveness of language, the (im)possibilities of translation and the logic of infinite re-translations. Its concept is playfully inspired by an adventurous storyline of American writer, Bruce Duffy’s ground-breaking novel, „The World As I Found It“ (1987), a melange of fiction and reality, truth and fake, where history, biography and philosophy are intertwined in a witty narrating of lifes of three philosphers, Ludwig Wittgenstein, Bertrand Russell, and G. E. Moore.

Here, on the pages of this fascinating book, contemplation, free thinking and magnetic philosophy construct an architecture of thought, precise and logic, but unstable too, challenged by a polymorphousness of sense and meaning.

The exhibition in Estonian Pavilion is orchestrated as a composition based upon a slightly varying sets of a (as if musical) score: the articulations of the same story created from the carefully deconstructed novel and from other related sources (the texts of the above mentioned philosophers, texts of the authors and co-authors of the project) are spatialized within a give physical space and a mental space of the viewer’s perceptive field. Here, we are at the threshold of a meaning’s construction as an on-going study of a repetition and silence.

The very act of working with the original text – taking apart, dismantling, editing and appropriating – is conducted under a supervision and a control of the author of the novel himself – a mastermind – and assisted by a linguist, an expert of sorts, a passionate of words, letters, and their troublesome relationships and by a scholar, an expert in echoes and resonances, shadow-meanings and their secret influence.

The rigid interior architecture of Estonian Pavilion with a vast entrance-hallway and adjacent living-rooms writes a potential scenario of a master-narrative and chapter-like episodes. The rooms are chamber-minds – rough references to situations, positions and spaces that surround a more complex, almost questionably standard-like exhibition space. A close collaboration with an architect should help to deal with such a complex construction site by turning it into a realm of criticality where language is perceived as a mathematical issue in a truly Wittgensteinian way.

The exhibition’s concept relies upon elements that come from various fields of culture and knowledge production. A variety of direct references in a spatial concept of related rooms but also the articulation of the main thought are fueled by the ideas of collections, archives, museums, libraries, but also of dictionaries, indices and cataloging. They deal with the systems of order and classification and correspond with the usage of and relationality between public and private spaces. How do we understand the same word or sentence in dissimilar surroundings? How do we communicate in different situations? How do we write space? How can we achieve a real communication with a medium of an exhibition?

Challenged by Bruce Duffy’s act of a narrative forgery, the exhibition explores a doubt and suspension of belief by a further reconsideration of the thoughts of the author’s protagonists in a reasonably critical way. Breaking up the imaginary story and creating a whole new dizzy polylogue produces an intriguing but also heavily coded play. The narrative is not eventual – the visitor, drawn in a textual net, is supposed to become a part of a unique story. Various fragments of the main text and elements of a stage paired in different forms, mostly not visibly at first sight, contribute to a new geometry of a site, both physical and mental. A relatively silent play on a very simple and restrained stage – an artificial setting, very likely just a model, existing only as reproductions on photographs, puzzles of a generic cartography. Here, we are in a realm of palimpsest, overlap of texts, an ivory towers of memory, history and contemporary desire to replay the times past.

However EVIDENT IN ADVANCE rejects a hyper-narrative which would emphasize the fabricated mastery and perfection of a human mind. Instead, it focuses on errors and logical mistakes, moments of weakness and inability. From the very beginning, being haunted by its predictability, the narrative is condemned to a delicious failure and collapse. Aware of such a fate, the project in a Beckettian way exercises its own inabilities in an ritualistic act of repetition and seriality.

Here, there is a maze of almost identical rooms, acting like words in a lost sentence before its articulation. What are we saying? Why are we saying (it)? The content and its pronounciation are seemingly blurred. How do we understand (it)? How are we trying to put bits of information together in order to construct a useful and meaningful story? The process of production and the act of reception concentrate on such questions. The despair conducts the deconstruction of a text and the assemblage of installations. Using the same words and the same sentences and even the same logical constructions, we are still in a danger of manouvering through misled areas of meaning and common sense.

Proustian paraphrase „a la recherche de la recit perdu“ (mis)guids the authors of this project. In order to receive instructions how to navigate in the exhibition’s real and imaginary space, it is necessary to open and study the specially created books, while walking around and examining the potential connections between images, objects and words, sentences and episodes. It is not the authors’ intention to create a well recognizable exhibition-like setting as a whole. Eventually the aim is to generate a bit dysfunctional interactive installation within such familiar although uncanny spaces.

Playing with the fragments and resetting the acknowledged codes of a play but also desperately trying to decipher the borders – the end and the beginning – and, last but not least, the center, a guarantee of the meaning of the story; a story which might not be constructable; or the one which does not exist at all; a phantasmagoria.

Dénes Farkas, the artist

Adam Budak, the curator

55th International Art Exhibition – La Biennale di Venezia – German Pavilion


Ai Weiwei, Romuald Karmakar, Santu Mofokeng, Dayanita Singh
Commissioner: Federal Foreign Office Institut für Auslandsbeziehungen (ifa). Curator:Susanne Gaensheimer. Venue: Pavilion at Giardini

On Invitation of Susanne Gaensheimer the German Contribution to the 55th International Art Exhibition – La Biennale Venezia 2013 in the French Pavilion represents works of Ai Weiwei, Romuald Karmakar, Santu Mofokeng und Dayanita Singh. Information about the artists’ work presented at the Venice Biennale can be found here as of May 28.

A panel discussion held by the German pavilion at the 55th International Art Exhibition—La Biennale di Venezia 2013 in collaboration with the Goethe-Institut and the Institut für Auslandsbeziehungen (ifa).
With Susanne Gaensheimer, Gilles Kepel, Simon Njami, Dayanita Singh, and Mark Terkessidis. Moderation: Koyo Kouoh

Date: Friday, May 31, 4 p.m.

Location: French pavilion, Giardini della Biennale, Venice

The German pavilion at the 55th Biennale di Venezia pursues a transnational approach. Due to the French-German cooperation at this yearʼs Biennale, the contribution curated by Susanne Gaensheimer with works by Ai Weiwei, Romuald Karmakar, Santu Mofokeng, and Dayanita Singh is held at the French pavilion. Gaensheimerʼs exhibition examines the format of the national pavilion as an open concept and explores Germany as a cosmopolitan place that is actively involved in an international network, in its art as much as in the realities of its everyday life.

In this context, the panel discussion And who are you? National representation in art today engages with the question of the contemporary significance of national representation in art. The speakers are the curator of the German pavilion, Susanne Gaensheimer; the political scientist and Islam scholar Gilles Kepel; the sociologist and cultural critic Mark Terkessidis; and the curator and author Simon Njami. The art critic and curator Koyo Kouoh moderates the debate.

Susanne Gaensheimer is director of the MMK Museum für Moderne Kunst, Frankfurt am Main, and already curated the German pavilion in 2011, when her installation of the art of Christoph Schlingensief was awarded the Golden Lion for Best Pavilion.

Dayanita Singh is one of the participating artists in this yearʼs German contribution.

Gilles Kepel is an islam scholar, sociologist, and political scientist. He has worked on aspects of radical Islam; his book “The War for Muslim Minds: Islam and the West” was published in 2004.

Mark Terkessidis is a journalist and writer who focuses on pop culture, racism, and migration; his book “Interkultur” came out in 2010.

Simon Njami is a writer and curator of numerous exhibitions of African contemporary art such as “African Remix” (2004–2007); he was also co-curator of the first African pavilion at the 2007 Venice Biennale.

Koyo Kouoh was an advisor to the artistic directors of documentas 12 and 13 and is the founder and director of RAW MATERIAL COMPANY, a mobile exhibition space for artistic practices and the exchange of critical ideas headquartered in Dakar.

The panel discussion And who are you? National representation in art today is held by the German pavilion in collaboration with the Goethe-Institut and the Institute for Foreign Cultural Relations (Institut für Auslandsbeziehungen – ifa). The German contribution is realized on behalf of the Federal Foreign Office and in cooperation with the Institute for Foreign Cultural Relations (Institut für Auslandsbeziehungen – ifa). The Goethe-Institut and the ifa Freunde des Deutschen Pavillon / Biennale Venedig e.V. support the German Pavilion. The Sparkassen-Kulturfonds of the German Savings Banks Association is main sponsor of the German Pavilion at the 55th International Art Exhibition—La Biennale di Venezia.

55th International Art Exhibition – La Biennale di Venezia – Iraq Pavilion


Welcome to Iraq
Abdul Raheem Yassir, Akeel Khreef, Ali Samiaa, Bassim Al-Shaker, Cheeman Ismaeel, Furat al Jamil, Hareth Alhomaam, Jamal Penjweny, Kadhim Nwir, WAMI (Yaseen Wami, Hashim Taeeh)
Commissioner: Tamara Chalabi. Deputy Commissioner: Vittorio Urbani. Curator: Jonathan Watkins. Venue: Ca’ Dandolo, San Polo 2879, San Tomà

The Pavilion of Iraq at the 55th International Art Exhibition – la Biennale di Venezia in 2013 will host a group exhibition curated by Jonathan Watkins comprising works by eleven contemporary Iraqi artists resident in Iraq. Working across a wide range of media, including photography, drawing, painting, video, installation, sculpture, and textiles, they represent two generations of artists from across the country and were selected after many studio visits, other meetings and much careful thinking.

The exhibition will be held at Ca’ Dandolo, a 16th century building that has not been used as a pavilion before during a Venice Biennale. It will insinuate Iraq into this first floor apartment, creating a salon atmosphere and interactive space where visitors can sit, read and learn about Iraqi culture and drink tea.

Blog: http://www.theiraqpavilion.com/blog/

55th International Art Exhibition – La Biennale di Venezia – Zsolt ASZTALOS. Fired but unexploded. Hungarian Pavilion


Fired but unexploded
Zsolt Asztalos
Commissioner: Gábor Gulyás. Curator: Gabriella Uhl. Venue: Pavilion at Giardini

About the open competition
The national commissioner announced the competition for an exhibit at the Hungarian pavilion of
the 55th International Art Exhibition – la Biennale di Venezia, 2013 in the autumn of 2012. From an unprecedentedly high number of applications, the eight-strong jury chose Zsolt Asztalos’s Fired but unexploded (curator: Gabriella Uhl) as the exhibit to be presented at the national pavilion.
Consistently explored and extremely minimalist, but also lyrical and memorable as a result, Zsolt
Asztalos’s project was found by the jury to be connected to both the Hungarian and the international contexts. Since the proposed exhibit represents its concerns, both formal and philosophical, in a variety of manners, it makes its subject accessible for the general public of the Biennale.
“Luckily found since World War One, the various bombs, projectiles and grenades (which have an
absurd visual appeal like so many designer objects) were rendered useless by some ‘error,’ making them deny their own fate, as it were,” wrote the jurors. “As a result, they ‘saved’ people’s lives, while their presence, their very existence, created a state of continuous threat, a condition of tension.”
Compact, metaphorical and relying on a broad horizon of thought, the installation at the Hungarian pavilion of the Venice Biennale will touch on both the historical traumas of the 20th century, and the immediate results of tension in contemporary Hungarian and European society.

About the concept
grace – terror – (in) memory (of)
Each bomb has its own story. Which is essentially one of two kinds. Bombs may explode and thus
fulfil their role as objects made specifically for the purpose of destruction, and then enter history
books and the personal histories that families maintain.
Zsolt Asztalos in his turn looks into another possible story in the installation he has created for the 55th International Art Exhibition in Venice: the story of the malfunctioning device which stays with us, generating, interpreting and symbolizing conflicts among humans. In what semantic fields can these destructive objects, these relics of wars waged and raging, these latent carriers of a constant threat, be interpreted, asks Asztalos. His “found objects” are multiple representations of conflict situations, open to simultaneous interpretations on personal, local, regional and global levels.
An unexploded bomb makes a statement. It thinks. Motionless. Mathematically. The process frozen by chance devours time. They are manifestations of a state of grace. The machine that was created to destroy man left its original function, and went on (may go on) to write the history of humanity on its own, creating personal myths and narratives which may make the inexplicable, if not interpretable, at least relatable. It is with its own disorders that technicized society creates an opportunity for mystery to work—while denying its very existence. Their fault or “unnatural” behaviour extends the temporal dimensions of the conflicts, even reveal them as timeless. The theoretical approaches, as well as the research and installation praxes of the visual arts have been instrumental in processing the brutal traumas of the late 20th and 21th centuries. It shows that bloody genocides occur in the name and shadow of false slogans about humanism. They were dropped but did not explode. What has become of them? How did they determine the future, our future? These are the questions that Asztalos’s installation makes us ponder on, rigorously, in all their ramifications.
About the catalogue
The texts selected for the catalogue of the exhibit, published separately in English and Hungarian,
serve to offer an interdisciplinary approach to the issues raised by the installation, involving both
the humanities and the natural sciences. Csaba Horváth, a bomb disposal expert, offers a history of  the technology; mathematician László Mérő introduces the reader to the mathematical definition of chance; and poet and Benedictine monk Mátyás Varga provides an overview of the Christian teachings on grace. We can learn more about the artist and the installation from the study of the curator,
Gabriella Uhl. The personal reflections of the national commissioner, Gábor Gulyás can be read in
the introduction of the volume.
About the installation
The installation comprises twenty videos, each presenting an unexploded projectile found in Hungary.
The vision of the destructive weapons, which hover in a homogeneous, indefinite space, is complemented with the sounds of the world around them, and thus the films open the way to new
The inscription of the past into the future takes place in a group of works that use different media,
including videos of unexploded bombs which resemble stills but for their fine movements,
and a video that employs a different perspective (panorama projection). The latter, 9-minute film
shows the present-day history or everyday functioning of the places where the unexploded bombs were once found. Built on places where danger is a physical reality, the present has transposed the unexpressed tensions and conflicts into the people who live there.
The website at http://www.fired-but-unxeploded is an integral part of the installation: it not only provides further information on the exhibition, but also aims to create a worldwide map of conflicts with its interactive interface.
An application available for all smartphone platforms will guide visitors through the exhibition and will provide more information for those who want to further immerse themselves.
Fine artist lives in Budapest

55th International Art Exhibition – La Biennale di Venezia. Jeremy Deller – British Pavilion


Jeremy Deller
Commissioner: Andrea Rose. Curator: Emma Gifford-Mead. Venue: Pavilion at Giardini

Jeremy Deller’s way of working as artist, orchestrator, filmmaker, curator and cultural archivist is both highly influential and often collaborative. People often take centre stage in Deller’s practice and, over the last two decades, the Turner Prize-winning artist has collaborated with groups as diverse as former miners, bat behavioural experts, Depeche Mode fans and numerous musicians. Deller has an infectious interest in the creativity of others, overturning cultural hierarchies and staging opportunities for interaction with characteristic wit and clarity.

The British Council has commissioned artists to represent Britainat the Venice Biennale, celebrating the best of British art since 1938 and Deller is the 19th artist to be selected for a solo presentation. The British Council’s commission follows on from two key projects last year: Deller’s mid-career retrospective, Joy In People, which opened at the Hayward and is currently touring the US, and Sacrilege (2012), his life-size inflatable version of Stonehenge which toured around the UK during the summer.

“Wry, and very light on his feet, Deller has a great ability to draw together all sorts of people and communities and orchestrate them into unexpected patterns. He’s a sort of pied piper of popular culture.”Andrea Rose, Commissioner, British Pavilion.

Biography and selected exhibitions

Jeremy Deller (b. 1966, London; lives London) studied Art History at the Courtauld Institute and at SussexUniversity. After meeting Andy Warhol in 1986 he spent two weeks at the Factory in New York. He began making artworks in the early 1990s, often showing them outside of conventional galleries. In 1993, while his parents were on holiday, he secretly used the family home for an exhibition titled Open Bedroom.

Four years later he produced the musical performance Acid Brass with the Williams-Fairey Band, and began making art in collaboration with other people. Deller staged The Battle of Orgreave in 2001, commissioned by Artangel and Channel 4, directed by Mike Figgis, a re-enactment which brought together around 1000 veteran miners and members of historical societies to restage the 1984 clash between miners and police at Orgreave, Yorkshire. In 2004, Deller won the Turner Prize for Memory Bucket (2003), a documentary about Texas.

He has since made a number of documentaries on subjects ranging from exotic wrestler Adrian Street to die-hard international fans of the band Depeche Mode.

In 2009 Deller undertook a road trip across the US from New York to Los Angeles along with an Iraqi citizen and a US war veteran, towing a car destroyed in a bomb attack in Baghdad. The project, It Is What It Is, was presented at the New Museum, New York; the car is now part of the Imperial War Museum’s Collection. In the same year he staged Procession, inManchester, involving participants, commissioned floats, choreographed music and performances creating an odd and celebratory spectacle.

Deller has exhibited widely internationally and selected monographic exhibitions include: Unconvention (1999, Centre for Visual Arts, Cardiff), After the Goldrush (2002, Wattis Institute, San Francisco), Folk Archive with Alan Kane (2004, Centre Pompidou, Paris and Barbican Art Gallery, London), Jeremy Deller (2005, Kunstverein, Munich), From One Revolution to Another (2008, Palais de Tokyo, Paris), It Is What It Is: Conversations About Iraq (2009, New Museum, NY, Hammer Museum, Los Angeles, and Museum of Contemporary Art, Chicago), Processions (2009, Cornerhouse, Manchester) and Joy in People at the Hayward Gallery which is currently touring in the US. www.jeremydeller.org

Jeremy Deller is represented in the UK by The Modern Institute, Glasgow, Art: Concept,Parisand internationally by Gavin Brown’s enterprise,New York.