I worked in the Scottish presentation at the 2013 Venice Biennale. I was working with three other people. We were relaxed, got on well, ate together, drank socially. We also met the people working for the British pavilion at the Venice Biennale. The people working for the British pavilion were over-worked, argued amongst themselves and drank heavily. One of the main stressors for the British team was the preparation of free tea, a cute, quintessentially british touch, by Jeremy himself, that loveable scamp. The most strenuous task faced by team Scotland was helping aged Venetian locals down the stairs.
My friend and less apathetic associate Joseph B. Harvey attended the student protests of 2011. Deller used images from these protests in his work. Joseph B. Harvey, who attended the protest, making a gruelling bus journey down from Edinburgh, was neatly covered up in one of these images, obscured by the cute banner stating ‘Joy In People’. This image will later become the cover of a catalogue for Deller’s show at the Hayward Gallery.
Jeremy Deller’s work is Jeremy Deller’s work. Art provides a safe arena in which radical politics can be enacted, in which radicality devolves in radness, a kind of stylistic poke at bad boys in suits. Karl Marx is cool, anarchism is too, as long as it remains only cool, never useful. Deller, in particular, keeps up with the labour market’s most current trend, the use of free labour, of voluntary work. The clearest evidence I’ve seen for Deller’s continuing villainy is epitomised in an overqualified 20 something year old softly weeping into her overpriced coffee as she walked sadly down the Viale Giuseppe Garibaldi.
Trying to speak to an underwear expert
DEAD BADGER ON SHARP CORNER
Dancer and Ninja
IDEOLOGICAL PAINTING #5
DEAD RABBIT WITH SUNSHINE
DOG FAECES ON HEATHER
DOG FAECES AND SAD FACES
ICONIC SCENE WITH ROADKILL