Interview: Jeremy Deller

Turner award -winning artist politics, music and film Everyone on the ground: British’s missing date 1984-1992shows now Vinil Factory: echo exhibition.

Jeremy Deller has questioned and framed the art, music and politics with his producer, publisher, filmmaker, collaborator and archivist for the last thirty years. Turner award -winning conceptual artist, born in London, investigated everything from rice bands (Acid rice) and Depeche mode (Our Hobby Depeche Mode) To the strike of the miners (Orgreave Warand Iraq War (This is: Speeches about Iraq).

The Vinil Factory has a long history of cooperation to create a large number of music and art projects from Deller’s Deller’s Deller, published and recorded together in 260, published in 260 by VF in 2016, produced and saved in Abbey Road of VF. British magicHis cover ‘Vudu ray‘and cooperation Adrian Sherwood And Cecelia Bengolea.

Vinil Factory: echo The exhibition exhibits many artistic collaborations with the artists we regularly work for, including Deller. In the exhibition installation, Everyone on the ground: British’s missing date 1984-1992Deller dives into the world of music once again; This time, he examines the socio-political history of the second article of love ‘. A conference film, which is delivered to a class of A -level policy students, combines the rare archive images with home music that follows a verbal history from Chicago and Detroit origins to the political presence in Miners Strike Britain.

We talk to Deller about the importance of the history of praise, the response of the students and the relationship between art and popular music.

This interview was released initially Vinyl factory

How did the lesson occur?

I spent a speech at a school at North London state – just a regular artist speech and I paid a little attention. I never talked to a group of young people, but I got a great feeling from him. Funny when you make speeches, you know if your audience is against you or against you or engaged. These young people were engaged and asked funny questions. It was a smile.

When I was asked to make a documentary about the music of the 80s, “Okay, I will go back to that school because I liked to be with those young people. In the 1980s, I will make a film about my music and community view and changed the society and changed society.”

How did the students react?

Many of them were political students, but this does not mean that they have studied contemporary history. Also, for most of the students in the film, their parents were not born in the UK, so their parents had no growth experience in the UK in the 80s and 90s, and Britain had no public or familial memory at that time. These students were looking at these images and some of these ideas for the first time.

The reactions are very visceral and the strike of miners, the traveling movement, or even images of praise. They attracted their attention by something and stunned and in a sense I was trying to show them a version of England, because not only because they were not aware of history, but also the complexity and amazing nature of certain aspects of the British society and youth movements.

What was your approach to research for the course?

When researching something like this, you read some of the memories and books. I was online and I found a clip that I didn’t have before I thought about making the film. He was a group of dancers dancing to Kraftwerk in Detroit, one of the most cheerful images you can see for me.

A very explanatory image. People dressed as if they were going to a wedding or something else, dancing their hearts to Kraftwerk. This is the most incredible thing. I knew I wanted to use it – no matter what, I used to use that clip. Then, of course, you look at other clips and go online and look at things, and something leads to another.

When you see the students who run and try the music equipment you brought, did he remind the experimental roots of the music you are talking about?

He felt like a reflection of the new generation. There is a moment when young people play in equipment used in some seminar home music recordings. I wanted to have a little fun like a rupture session, because even if you play with something on a screen or computer, there is no such thing as getting your hands into a physical object and getting sounds from it.

I thought this was a cute and important part of the film. Currently, in most secondary schools, there are very few judgments to make music, it sounded like the right thing to give young people the opportunity to play and make a sound.

You can do something quite good and easily and easily and a rhythm goes and starts playing on it. Great.

There is a great political issue throughout the course. Do you think contemporary dance music is linked to politics as in the past?

Now I don’t know much about what happened. I know a little, but I think the big difference between music and now that many dance music has very strong lyrical content, most of the 80s and 90s were mostly repetitive lyrics.

What was political was that it was actually in a field or in a place you don’t have to be. The context was very politicized, even if it wasn’t for the lyrics. The fact that you will do something in a place where you should not be collective or not collected collectively may seem like a big party, even if it does not seem like itself.

What happened was the deterioration of the order and what was expected of you. After the strike of the miner, which ended in 1985, any mass movement was seen from the lens of being a problem. Only collecting corpses was seen as a problem by the government.

Maybe he reminded them of striking miners trying to get a pile or a pit or something like that. What happened before had this strange echo, and it gave him a political advantage. Of course, since the parties were not regulated, it was initially illegal, which meant that the law had to change.

How important is that the young Ravers now know the history that comes before them?

It is always interesting to know the history, not just for dance music. It gives you context and perspective. This movie is really about perspective. The fact that there was a series of interviews with middle -aged men sitting in a recording studio or in front of the registration collection did not speak to parties and how surprising it was to the drugs and reminiscent drugs. It is not a emotional film that is in this respect or nostalgic.

Returning a few steps, and at that time, you know how the greater painting and dance music changed the country and pushed the history forward.

A French philosopher has an excerpt – “Music is prophecy” – and in a way home music and acid house was a prophecy of what could be the technology of the future and how people could be related to each other. He showed us the future and I think we got some good and bad aspects.

This is really a film about how music changes society and intervenes in history and progresses to history.

Give me information about the Stonehenge diagram and images of your installation.

The diagram I made when I was 19. In 1996, I first drew a project where a rice band played acid house music. Acid rice. In a way it sounds like a joke, and it needs to be a ridiculous diagram that draws the relationship between these two musical movements. In a sense, the diagram tells a story about England in the 20th century to industrial after industrial culture. If you look at the diagram, you can see the links – both media hysteria and civil restlessness meet the miners’ strikes and trade unions and rice tapes.

This is called the history of the world, because for some people, this is their world. Strangely, it serves as the script of the film I made 20 years later. As soon as home music took place in the UK, I was looking at it from a distance, I knew it was something important in the country.

Another image in the room is a negative appearance of Stonehenge, which was shot in a fashion shot I made there. And today’s solstice day or part of this evening will be the day. Stonehenge is included in the film and all other documentaries about Britain. Stonehenge is always present in a sense. It is always available in our lives. There is something we always think about there. It represents us. I thought it was appropriate for Stonehenge to be in the room by watching us.

Do you think it is important to exhibit popular and dance music in art -oriented areas?

Of course, I am an artist, but this work is probably the least artistic -looking work in the exhibition. I claim that this is a very traditional documentary, but you can still see it as a work of art.

For me, what is important for shows like this – and something I believe in my job – an art form of music. Popular music and dance music should be taken seriously. It wasn’t for a long time and was humiliated. Especially home music was condemned as meaningless in the media.

Obviously, it is full of meaning especially for people who love him. This was their life, that’s our life. Pop music and pop culture should be examined and examined by artists. This doesn’t have to become serious, because it’s a very fun exhibition, but it’s an important issue because it’s very special and full of meaning for people.

Music documents change in society and change societies. The art form that makes more than anything else. It changes attitudes, but can especially change dates and social backgrounds.

To buy tickets To Vinil Factory: Now echo in 180 studio.

180 studio
180 Strand, London, WC2R 1EA
22 May 2024 – 2 March 2025

10:00 – 19:00, Wednesday – Sunday

Watch watch: Patch Notes: Atomized Listening