:00:10. > :00:15.Jeremy Deller? A short bloke, from Dulwich, who went to public school
:00:15. > :00:23.and likes jumble sales. I am about twice the size of him in terms of
:00:23. > :00:28.mass. If you put me in a microwave, Jeremy Deller would come out.
:00:28. > :00:37.wouldn't think he was anything special. You wound say that is
:00:37. > :00:40.Jeremy Deller. Sometimes he looks like a camp tramp. He is my
:00:40. > :00:45.unconventional son. Jeremy Deller is the artist who more than anyone
:00:45. > :00:50.else in his generation has changed the way we think about art. I am
:00:50. > :00:55.not sure what his art is. Perhaps somebody can tell me. He doesn't
:00:55. > :01:05.make you know, arty objects and sticks them in a gallery. That is
:01:05. > :01:07.
:01:07. > :01:12.not what he does. He is a funny little guy on a bike. I am Jeremy
:01:12. > :01:21.Deller. The funny little guy on the bike. But I'm an artist, and behind
:01:21. > :01:31.me is the Hague Hague where I am going to have a really big show. --
:01:31. > :01:32.
:01:32. > :01:36.First bike I had would have had stabilisers, I was young, I wasn't
:01:36. > :01:40.a teenager or anything but it was like a kiddies' bike, with thick
:01:40. > :01:45.wheels and stabilisers. More or less I have cycled. Used to cycle
:01:45. > :01:55.the school and after that, I used, it was a convenient way of getting
:01:55. > :01:56.
:01:56. > :02:02.round London. Wow! You all right? am fine. What happened? It totally
:02:02. > :02:07.skidded. I have made work round cycling or bike, one is a series of
:02:07. > :02:11.photographs of signs saying you can't park your bike here or chain
:02:11. > :02:18.it to these railings. It is called the war on terror because the bike
:02:18. > :02:22.is a good thing and it should be allowed to be put anywhere I think.
:02:22. > :02:32.The best thing about cycling is you can go anywhere on a bike. You have
:02:32. > :02:32.
:02:32. > :02:38.an amazing freedom. You can even go to Texas!
:02:38. > :02:42.# My golden jet is airborne # Flight 50 scuts a path across the
:02:42. > :02:52.morning sky # And a voice comes on the speaker
:02:52. > :03:16.
:03:16. > :03:21.# Reassuring us flight 50 I am in west Texas, in the Hill
:03:21. > :03:25.Country, in the Frio caves waiting for an exodus of bats at sunset,
:03:25. > :03:30.when maybe up to 10 million bats are going to leave the cave. We
:03:30. > :03:35.will film them in 3-D and the film will be in the Hayward Gallery in
:03:35. > :03:42.the Hayward show, it will be the last room of the show. It will be a
:03:42. > :03:46.3-D viewing space. It will be the climax of the show. It nearly
:03:46. > :03:51.killed us because we nearly got struck by lightening, a huge
:03:51. > :04:01.electrical storm came. It was very close to us. It was quite scary I
:04:01. > :04:03.
:04:03. > :04:09.thought. Much more scary han the To witness it in the flesh, as it
:04:09. > :04:13.were, it is overwhelming, and awe inspiring. It is like a romantic
:04:13. > :04:18.painting. It is more romantic than gothic, but bats have a gothic
:04:18. > :04:25.image. But it fits in with romantic art, to be in awe of nature and
:04:25. > :04:29.slightly scared of it, and it being untameable. I am very interested in
:04:29. > :04:34.bats. I like the way they live together in large groups, the fact
:04:34. > :04:38.they are so resolved. They can fly, they can do things we can't as
:04:38. > :04:43.mammals, so I want to communicate some of that in the film so that is
:04:43. > :04:48.why 3-D seemed to work. That is an over the top way of filming, and
:04:48. > :04:51.the audio will be very important. So I have been recording them with
:04:51. > :05:00.a bat detector which tunes into the freak says that are using to
:05:00. > :05:10.communicate and to hunt. This looks good on a screen. How it would look
:05:10. > :05:11.
:05:11. > :05:16.in a pro jebg for I have no idea. It is incredibly dramatic. I just
:05:16. > :05:20.got kiss in my eye. Tonight, it could have been better, because it
:05:20. > :05:25.was quite dark and I just think it could, you know, in different
:05:25. > :05:30.lighting could have been even more dramatic. But I have the option to
:05:31. > :05:36.stay another night. They are talking to me really. They are
:05:36. > :05:46.saying "Stay here. It will be better tomorrow. "we will have a
:05:46. > :05:56.
:05:56. > :06:00.I couldn't get the camera quite high enough yesterday, to film the
:06:00. > :06:04.bats, so I am improvising today, with a new invention, which is
:06:04. > :06:08.going to be a platform on one tripod and we will put another
:06:08. > :06:13.tripod on the platform so it's a double-tripod effect. I think
:06:13. > :06:18.artists do often end up having to improvise a lot. I don't think that
:06:18. > :06:25.is uncrucial. -- unusual. This is par for the course for a lot of
:06:25. > :06:31.people. Usually they are better at it than I am. Most artists are very
:06:31. > :06:41.gifted technically, and can do amazing things. With their hands
:06:41. > :06:54.
:06:54. > :07:00.and so on. I have never been that This is the stressful bit as you
:07:00. > :07:10.wait. Just like before you go on stage. Your 20 minute call or 15
:07:10. > :07:34.
:07:34. > :07:39.Some of my earliest memories are of watching nature documentaries. When
:07:39. > :07:43.they good they are almost like works of art. So, you know, you can
:07:43. > :07:50.look at any Sir David Attenborough film, he is on the verge of being
:07:50. > :07:54.an artist, I would say. The skill is in making the expense of the
:07:54. > :07:58.film as intense as the experience I've had, coming here. Because you
:07:58. > :08:05.will be in a dark room, which is almost like being in a cavement
:08:05. > :08:15.watching this thing happen to you. Basically happening at you. It is
:08:15. > :08:15.
:08:15. > :08:19.an amazing experience. It is fantastic. I am an artist but not
:08:19. > :08:23.in a conventional way. I don't draw or paint or sculpt or make a mess
:08:23. > :08:28.in a way a lot of artists do I am not very good at technical things
:08:28. > :08:32.either. So I have to keep to my strengths and what I am good at is
:08:32. > :08:36.collaborating with people and organising events and working with
:08:36. > :08:40.musician and groups of people. These are things that usually
:08:40. > :08:46.happen outside Art Gallery, so the idea o of a retrospective in a
:08:46. > :08:52.gallery is odd, if you think about it. Especially as I had an um
:08:52. > :08:57.promising start to my art career. He never was annal artist.
:08:57. > :09:02.Although during his school life he did make the odd model. There was a
:09:02. > :09:08.locust. For science. It was a superb model but a locust is about
:09:08. > :09:13.six inch, this thing was about 18 inches. It had to go carefully on
:09:13. > :09:20.the back of his bike to school. got kicked, I didn't get kicked out,
:09:20. > :09:26.I got moved out of an art class early on at the age of 12 or 13.
:09:26. > :09:31.And sent to the pottery class, which was the remedial class basic
:09:31. > :09:35.obey si sickly. I think I made a Womble. I think he was banned from
:09:35. > :09:38.the art room. The art master who was very nice, he said you have no
:09:38. > :09:48.talent in this direction at draw organise whatever. Try something
:09:48. > :09:52.
:09:52. > :09:56.else. Because I wasn't allowed to do art I thought art history was
:09:56. > :10:01.the closest thing. I taught Jeremy in a little class, about four or
:10:01. > :10:10.five boys and I think he liked being out of the way as far as the
:10:10. > :10:13.school went. To do this was heaven, really. Because you were wandering
:10:13. > :10:17.round an Art Gallery talking about paintings. So that made me think I
:10:17. > :10:21.would like to do this and see what happens. That is why I went to the
:10:21. > :10:28.Courtauld. In the first year, at the end of the first year, it was
:10:28. > :10:33.where I met Andy Warhol. That was an important moment. Andy Warhol.
:10:33. > :10:37.Andy Warhol. The reason I am telling this story is because it
:10:37. > :10:44.had an influence on me. It wasn't just boasting, even though it is
:10:44. > :10:48.boastful. He had a show in London, at the Anthony d'Offay gallery I
:10:48. > :10:52.thought I'm going go to that and try and meet him and get my picture
:10:52. > :10:58.taken with him. I turned up at the opening quite early, dressed almost
:10:58. > :11:04.as a schoolboy, and he arrived. And he sat behind a big table. Even ran
:11:04. > :11:10.to the table. He got a pen out and started signing stuff. After that I
:11:10. > :11:15.was standing round, and one of his guys came up to me, and started
:11:15. > :11:19.chatting to me saying "You should come and see us, come over to the
:11:19. > :11:23.hotel." And I thought is this dodgy or not? I can't work it out. But
:11:23. > :11:28.I'm going to do it. He said they were staying at the Ritz. I took a
:11:28. > :11:31.friend Chris, I thought I needed back up. I don't know what I'm
:11:31. > :11:34.letting myself in for with this situation. We got to the Ritz, we
:11:34. > :11:39.stood outside the door and we were thinking what is on the other side
:11:39. > :11:43.of that door? What are we letting ourselves in for? I think we got
:11:43. > :11:48.the giggles, so we knocked. The door opened and there, there is
:11:48. > :11:52.Warhol with like four or five other guy, sitting round. Watching the
:11:52. > :12:02.Benny Hill Show, with the sound down and listening to Roxy Music
:12:02. > :12:13.
:12:13. > :12:16.And we just spent a couple of hours there, we just, he started taking
:12:16. > :12:23.pictures of us. We had hats and stuff in our bag. We started
:12:23. > :12:29.putting the hats on. And just, mucking about. It was innocent fun.
:12:29. > :12:36.Quite incredibly. Apart from one point he kind of groped me. I just
:12:36. > :12:41.thought "Oh God, that's amazing. Thank you." Then he invited us to
:12:41. > :12:45.New York to go to the Factory to, hang round there. That summer. He
:12:45. > :12:49.worked with musicians, made film, did publishing, did performances
:12:49. > :12:54.and you think this is what it is like. This is what it should be
:12:54. > :13:01.like to be an artist. You can do whatever you want. He did what he
:13:01. > :13:07.wanted to do. I just felt, this is what I want to do. I was living at
:13:07. > :13:11.home with my parents. I just started making things. You will
:13:11. > :13:17.walk in and find yourself in Jeremy Deller's bedroom. The place he live
:13:17. > :13:21.until he was about 31. Where he had his first public art exhibition.
:13:21. > :13:31.was too old to be living at school. His parents went on holiday he
:13:31. > :13:32.
:13:32. > :13:37.decide rad ther than have a party, he would have an exhibition. The
:13:37. > :13:42.first thing you would have seen was a series of photographs of Bez,
:13:42. > :13:46.frame grabs from the Step On video, of him looking at the camera and
:13:46. > :13:51.just doing something like this, some movement. He looked like he
:13:51. > :13:56.was flying. That was up the wall. This is where the graffiti from the
:13:56. > :14:01.British Library toilets was. We used to visit the British Library.
:14:01. > :14:06.You could read the graffiti in the toilets that was amazing. Some of
:14:06. > :14:13.the funniest things I have read. I wrote it on to A4 sheets and tacked
:14:13. > :14:19.it up in the toilet. I made paint information the bedroom about the
:14:19. > :14:24.life of Keith Moon. It went from his birth, really, childhood to his
:14:24. > :14:28.resurrection effectively, including his death. That was the core of the
:14:28. > :14:38.show. That was the first paintings I did properly. To be honest about
:14:38. > :14:40.
:14:40. > :14:45.the last ones I did as well. Then, in the living room, this is, these
:14:45. > :14:52.are my parents, they weren't in the living room. Where the mirror s
:14:52. > :14:59.there was a photograph of taken at a party of a young lady. No nudity!
:14:59. > :15:03.Promise. Then on the mantelpiece, there were lots of little calling
:15:03. > :15:07.cards I had made. They were invitations from football hooligan
:15:07. > :15:15.crews to go to a match and have a fight. They were worded in a
:15:15. > :15:20.Tatleresque way on lovely cards I didn't invite me people because I
:15:20. > :15:25.didn't know what would happen if they came. Trash the house but of
:15:26. > :15:29.We had an opening on a Sunday afternoon and served gin-and-tonic
:15:29. > :15:33.in the dining room which is now the kitchen. Crisps and stuff. We just
:15:33. > :15:38.let them roam around the house. It was all very sedate, very pleasant.
:15:38. > :15:48.You would have liked it. You should have been there. Had we known about
:15:48. > :15:52.it, yes. You found out in your own Open Bedroom maybe proved I wasn't
:15:52. > :15:55.going to make as a painter but that didn't really bother me because I
:15:55. > :15:58.was interested in other things at that time. I was just mucking about
:15:58. > :16:01.really. Mucking about in culture. Making mischief, if you like. I
:16:01. > :16:05.also didn't have a career to speak of. I wasn't really thinking of one.
:16:05. > :16:08.I was working in a clothes shop so I made some T-shirts and bumper
:16:08. > :16:11.stickers to sell there, fake posters, notices on notice boards.
:16:11. > :16:17.Things like that. Things that were very cheap and easy to make. What I
:16:18. > :16:22.loved about all of this is you lost control of it. In the end, this was
:16:23. > :16:25.around the time of the whole YBA seen. The whole YBA thing was
:16:25. > :16:30.really based around a traditional form, even if the work itself
:16:30. > :16:35.wasn't that additional. The forms themselves were very traditional.
:16:35. > :16:42.Paintings and sculpture. And I think myself and some other friends
:16:42. > :16:45.we saw that very quickly. We wanted to do something that cannot be
:16:46. > :16:55.bought or sold easily or put over a mantelpiece. So we looked elsewhere
:16:56. > :17:00.
:17:01. > :17:04.Perhaps the first resolved thing I think we did, was a show we did
:17:04. > :17:08.with Peter Stringfellow, which was really good fun. I had a friend who
:17:08. > :17:11.was working for Peter and we were there at an event and it occurred
:17:11. > :17:15.to us that it would be really great if we made a three-man
:17:15. > :17:18.collaborative work with Peter. explained to him about contemporary
:17:19. > :17:21.art and what it meant to us. Art was not just about painting, but
:17:21. > :17:24.performance, installation. It was about creating an environment and
:17:24. > :17:28.he totally got it, because he saw his life as a 45-year performance,
:17:28. > :17:32.basically, with women thrown in. So we spent a day with him. We had our
:17:32. > :17:37.pictures taken with him in different scenarios. I thought we
:17:37. > :17:42.were going to go in the club and take the usual photographs. Oh no,
:17:42. > :17:48.we went into Hyde Park, the Serpentine. Like this? Yeah. We
:17:48. > :17:51.will have photographs there? On a boat. A boat? By now, I'm having a
:17:51. > :17:56.ball. It's hilarious. They're taking photographs. And what's
:17:56. > :18:05.happening now? No, this is it. This is it. What we're doing is art.
:18:05. > :18:11.It's fabulous. Here we go. I'm art. I wanted to feed the ducks and they
:18:11. > :18:15.said, what a good idea. We had no bread. We started looking through a
:18:15. > :18:25.bin. This is great art, he says. Us looking through a bin to feed the
:18:25. > :18:35.
:18:35. > :18:39.We had an opening which was quite chaotic because it seemed that
:18:39. > :18:42.everyone in the art world came because at last they had a reason
:18:42. > :18:45.or an excuse to go to Stringfellows. Whether they saw the work or not
:18:45. > :18:55.didn't matter. The work was behind velvet curtains hung up on the
:18:55. > :18:58.
:18:58. > :19:01.On the evening itself, we made some chat-up lines that you could give
:19:01. > :19:04.out. You got a free chat-up line with a bottle of beer. You would
:19:04. > :19:08.give those out to people rather than embarrass yourself saying
:19:08. > :19:12.awkward lines. You can give someone a card that said things like,
:19:12. > :19:15."Didn't I used to go out with you?" Or "Could you buy me a drink?"
:19:15. > :19:25.which was Jeremy's favourite line. We did our own Becks beer bottle.
:19:25. > :19:33.
:19:33. > :19:35.They worked with artists at the I think most people were slightly
:19:35. > :19:38.miffed we weren't more judgmental and slightly more pointedly
:19:38. > :19:41.undermining Peter in some way. In fact, we were sort of celebrating.
:19:41. > :19:43.I did eventually grasp what he meant by creating art. Not drawing
:19:44. > :19:51.it, not making it, not doing sculptures, but actually creating
:19:51. > :19:56.an event. This is art. Bang. Working with Peter Stringfellow
:19:56. > :20:00.gave me confidence to work with other people or groups of people.
:20:00. > :20:04.It made me realise that the public, members of the public, were up for
:20:04. > :20:08.working with artists and were interested in artists. So the next
:20:08. > :20:18.person I had to ring up and ask to work with me was the manager of a
:20:18. > :20:19.
:20:19. > :20:25.The idea came about through a conversation in a pub with a bunch
:20:25. > :20:32.of mates. And the words were put together and I just thought, that
:20:32. > :20:35.actually can work. You can actually do that. I knew nothing at all
:20:35. > :20:42.about acid house music before I met Jeremy. I never even knew what it
:20:42. > :20:46.was. So he sent me these tapes of acid house music and my first
:20:46. > :20:54.reaction was, "Oh dear, this is not going to work at all in a brass
:20:54. > :21:01.band." Anyway, I persevered with it and listen to more tracks. And I
:21:01. > :21:04.found, in fact, one or two things did work. For instance, in a piece
:21:04. > :21:07.like 808 State's Pacific 202, I found that the opening chords
:21:07. > :21:17.worked very well on the tenor horns, the baritone tenor horns, and the
:21:17. > :21:22.
:21:22. > :21:32.You see, it sounds rather nice, doesn't it? Then there was a lovely
:21:32. > :21:34.
:21:34. > :21:44.lyrical solo line which worked And there were some very busy riffs
:21:44. > :21:50.
:21:50. > :21:54.in the bass which worked I just thought this could work as
:21:54. > :21:57.an idea but also as a musical project. It wasn't just funny. I
:21:57. > :22:01.mean, there's humour in it, obviously. There is meant to be
:22:01. > :22:04.humour and absurdity like in a lot of things I do. But there is
:22:04. > :22:10.totally something about it that resonated beyond it just being a
:22:10. > :22:16.music project. Good, OK. Make sure, Martin, you
:22:16. > :22:26.get that. That's the old rap. "Let me ask you a question. What time is
:22:26. > :22:28.
:22:28. > :22:38.As soon as the words were put together, the flow chart came into
:22:38. > :23:08.
:23:08. > :23:13.my mind. My brain just went like I was actually trying to prove a
:23:13. > :23:23.point beyond music. Maybe about music's relationship to history and
:23:23. > :23:27.
:23:27. > :23:32.The first time we played it, we really didn't think it was any good,
:23:32. > :23:42.did we? No. Rubbish. It was a bit repetitive. Once they saw the
:23:42. > :23:42.
:23:42. > :23:48.audience reaction, then they It's the atmosphere that makes
:23:48. > :23:54.these gigs. People are dancing. But one of the big points about it all
:23:54. > :23:57.is that we remain as a brass band. The tradition of brass band. We sit
:23:57. > :24:00.where we should sit, we wear what we should wear, play instruments we
:24:00. > :24:04.should play and you can see people are like, "What's going on?" And
:24:04. > :24:09.then when we played these acid house anthems people really love it.
:24:09. > :24:13.They tune into it like that. They were all up dancing at these
:24:13. > :24:18.barriers at the front of the stage, it was crazy. Bjork was there. She
:24:18. > :24:23.was dancing in the aisles. Women had to be moved off the stage.
:24:23. > :24:27.dancers dancing around. It was just hilarious. The more concerts we did,
:24:27. > :24:37.that is what made it. The free ale at the end made it for me. I was
:24:37. > :24:40.
:24:40. > :24:43.It was a liberation. It wasn't even a turning point. It opened
:24:43. > :24:47.everything up to me and since then, the projects I'm best known for
:24:47. > :24:51.have been ones like Acid Brass, in the sense that you're working with
:24:51. > :24:58.groups of people. Or doing something live as opposed to
:24:58. > :25:02.something which can exist in a In fact, the project I'm best known
:25:02. > :25:05.for was the next one I did after Acid Brass. And it took that idea
:25:05. > :25:08.of collaboration to a much bigger level. There were about 1,000
:25:08. > :25:18.people involved and this time it had a much more confrontational
:25:18. > :25:18.
:25:18. > :25:21.We're on Highfield Lane near Sheffield. But most people know
:25:21. > :25:24.this area, a lot of people know this area as Orgreave, the site of
:25:24. > :25:32.a massive confrontation between striking miners and the police in
:25:32. > :25:42.NEWSREADER: When the first convoy was spotted at around 9 o'clock,
:25:42. > :25:44.
:25:44. > :25:54.the trouble began. The pickets As a teenager, I'd seen on the news
:25:54. > :25:56.
:25:56. > :25:59.on TV this battle. I saw miners being pursued up the hill by
:25:59. > :26:02.mounted policeman. And it look like something out of a medieval battle
:26:02. > :26:06.to me. And it disturbed me, as a young person. So I wanted to
:26:06. > :26:12.research into it later on in my life. And in 2001, I made a re-
:26:12. > :26:14.enactment of that confrontation. And the re-enactment used people of
:26:14. > :26:19.re-enactment societies around Britain and also 200 former miners
:26:19. > :26:29.took part in it and played themselves effectively. It was
:26:29. > :26:40.
:26:40. > :26:44.really a piece of performance art, What did you think when you heard
:26:44. > :26:47.that I, or someone, was going to re-enact that battle in the place
:26:47. > :26:51.where it happened more or less with 1,000 people? At first we thought
:26:51. > :26:55.it was a bit odd because it only just happened. Having a re-
:26:55. > :26:59.enactment of something so recent. But then it was a major turning
:26:59. > :27:02.point, a major struggle. It wasn't meant to be forensic. It's like
:27:02. > :27:06.when a crime is reconstructed for the public to jog their memories.
:27:06. > :27:09.It was like a re-enactment of a huge crime scene. That's how I saw
:27:09. > :27:15.it. Almost doing a post-mortem and digging up this body that had been
:27:15. > :27:19.left. And just digging around in it. People said was about healing
:27:19. > :27:25.wounds but it was the opposite. I wanted to make people more angry. I
:27:25. > :27:29.didn't want to heal any wounds really. We didn't either. People
:27:29. > :27:32.said it was a way of building bridges but I'm not sure. The most
:27:32. > :27:35.important bridge for us was that one down there which is where they
:27:35. > :27:40.chased us across the bridge. wanted those people who do re-
:27:41. > :27:44.enactments to understand history doesn't end at 1945. It carries on
:27:44. > :27:51.and great battles happen in Britain and they're not all to do with what
:27:51. > :27:55.you would call conventional wars. The modern historians would like to
:27:55. > :27:59.forget that there were ever miners and there was a battle of Orgreave.
:27:59. > :28:02.Or there was a great miners' strike. They want to get on with a new
:28:02. > :28:06.modern, streamlined world and look where it left us. We put all our
:28:06. > :28:11.eggs in a basket of the bankers, closed down all the coal mines and
:28:11. > :28:15.steelworks, and then the bankers take-off. And now they want to tax
:28:15. > :28:20.us for the problems they created. It all comes back to this field in
:28:20. > :28:23.Orgreave. All of that, because there was a clear division in
:28:23. > :28:28.society. There were two roads you could go down. Thatcher's road and
:28:28. > :28:38.monetarism, or social responsibility and community. And
:28:38. > :28:55.
:28:55. > :28:59.I'm a visual artist. I did the project with an art organisation, I
:28:59. > :29:02.told people I was an artist. Do you think that had any bearing on it
:29:02. > :29:05.for you or for the other people who took part? No, because we are
:29:05. > :29:09.pretty conventional people and art, to us, is like somebody painting on
:29:09. > :29:12.a canvas with a little beard and that. And making pots or something.
:29:12. > :29:15.I think the miners and their families saw it as an opportunity
:29:15. > :29:23.to tell a story that needed telling. And to record for posterity a
:29:23. > :29:28.little bit from our point of view. The reconstruction was a really
:29:28. > :29:32.worthy endeavour, I thought and all credit to you. Thank you. It's been
:29:32. > :29:38.lovely seeing you, Derek. You haven't changed a bit. Oh, thank
:29:38. > :29:41.you. Your hair is a bit longer. There's a gap though. The miners,
:29:41. > :29:49.united, will will never be defeated. The miners will never be defeated.
:29:49. > :29:53.Til next time, anyway! It's a whole notion of making art that can be
:29:53. > :30:01.given away. It's free. It's for everybody. Everybody is part of
:30:01. > :30:05.making the artwork. It is an idea that is inconsistent with what you
:30:05. > :30:15.are supposed to do as an artist in this day and age. And that's really
:30:15. > :30:15.
:30:15. > :30:22.nice. I think that's a really I suspect he makes less money than
:30:22. > :30:26.people think he does. His work is not saleable. You have artists, go
:30:26. > :30:36.into auction, they become expensive, iconic, it is not, that is not a
:30:36. > :30:37.
:30:37. > :30:41.bad thing, it is another way of doing it. Jeremy is Jeremy's are
:30:41. > :30:45.cultural things. Jeremy is almost egoless. I think, you know this is
:30:45. > :30:50.the secret of why he is o open to working with other people and to
:30:50. > :30:57.getting excited about what they are doing, drawing things out of them,
:30:57. > :31:01.rather than it being about what he is authors himself. We know there
:31:01. > :31:09.are artists in this country that like to be photographed doing
:31:09. > :31:15.things, and they opinions they like to foist on to people. I hope I'm
:31:15. > :31:19.not one of those people. Here I am having a TV show made about myself.
:31:19. > :31:23.Sitting with a television on my lap. So there is a contradiction there
:31:23. > :31:33.for beginner, at least I am aware of it. Some artists don't know how
:31:33. > :31:35.
:31:35. > :31:42.annoying they are. So after Orgreave I left Britain for almost
:31:42. > :31:46.two years, I was travelling round America.. I didn't know what the
:31:46. > :31:56.reion -- reception for the Orgreave project would be. So I ended up in
:31:56. > :32:01.
:32:01. > :32:05.America where I made a film about the state of mind of Texas. I am
:32:05. > :32:09.glad I went. Within the past hour the win over the Turner Prize has
:32:09. > :32:14.been announced. It has gone to a man who admits he can't paint oar
:32:14. > :32:20.draw. Jeremy Deller was told he wasn't good enough to take an O-
:32:20. > :32:23.level in art but he has picked up one of the art world's most
:32:23. > :32:27.prestigious awards. Beforehand my mother said we are proud of you and
:32:27. > :32:33.if you don't win it is fine. There was about five seconds celebs, and
:32:33. > :32:38.she said if you do win, it will be amazing. We became parents of a
:32:38. > :32:45.Turner Prize winner, so people suddenly said, I didn't know your
:32:45. > :32:50.son was an artist. It casted legitimacy on what you are doing.
:32:50. > :32:54.If you are an artist like Jeremy, it can help. It was a short cut to
:32:54. > :32:57.getting something done. There is no argument. Is he good or not, it
:32:57. > :33:02.doesn't matter, he has won a prize. That is good. So he is a good
:33:02. > :33:06.person, and he is a good artist. One of the best things about
:33:06. > :33:11.winning the Turner Prize is you don't have to go and find work, it
:33:11. > :33:16.tend to find you, so offers of work and commissions started to come in
:33:17. > :33:22.and the Depeche Mode film was one such commission. So this photograph,
:33:22. > :33:25.is of Depeche Mode fans in Red Square in about 1991 or 92. All
:33:25. > :33:32.trying to dress like the band with their mum's clothes and stuff. It's
:33:32. > :33:36.a good look. It is a good strong look.
:33:36. > :33:40.# In your room # Time stands still. #
:33:40. > :33:45.Nick Abrahams and I were commissioned to make a film for
:33:45. > :33:50.Mute Records, about Depeche Mode. We suggested we would make a film
:33:50. > :33:59.where the band didn't appeared. If you saw them it was only fleeting.
:33:59. > :34:03.The fans were maybe more interesting than the band. I like
:34:03. > :34:11.it when people are enthusiastic about things, have a child like
:34:11. > :34:18.enthusiasm. We met a German family called the Granszows who like to
:34:18. > :34:23.dress up as people who are in Depeche Mode videos. One of the
:34:23. > :34:26.parents say our hob wri is Depeche Mode. Some people like sport. Our
:34:26. > :34:34.hobby is Depeche Mode. It's a rational way of looking at it. You
:34:34. > :34:39.don't think people who love sport are crazy. Best stories really from
:34:39. > :34:45.Russia and eastern Europe, because the band there were as big as The
:34:45. > :34:55.Beatles were in the 60s. They were the biggest thing ever. They were
:34:55. > :35:03.
:35:03. > :35:06.seen as soundtracking the end of We got met at the airport, by about
:35:06. > :35:14.40 Depeche Mode fan, all carrying these banner, going long live
:35:14. > :35:18.Depeche Mode. The interesting thing about Russian fans was they had
:35:18. > :35:22.nothing until recently. They might have had a cassette and a
:35:22. > :35:30.photograph and try and work out what these people were like. It was
:35:30. > :35:37.through having very little that made them creative, and bigger fans
:35:37. > :35:41.really. When Jeremy went back to Russia to do this film, people were
:35:41. > :35:47."Welcome back Jeremy" banners, which I suspect he must have
:35:47. > :35:57.photographs O I was a bit jealous. Now, whenever I travel I expect, I
:35:57. > :36:01.
:36:01. > :36:08.asked for this to have 30 people with banners whenever I arrive any
:36:08. > :36:12.where. # I just can't get enough #
:36:12. > :36:16.It shows you what music does. That is the beauty of Jeremy. He does
:36:16. > :36:20.things in a very simple way. Straightforward, not complicated.
:36:21. > :36:25.People feel part of it. They don't feel alienated by it and they feel
:36:25. > :36:30.they can get into it, but it is not dumb. It is very intelligent.
:36:30. > :36:35.Because I didn't go to art college, I never felt I had to be obscure
:36:35. > :36:43.and slightly tricky and arty. I think if you go to art college,
:36:43. > :36:48.they expect that, and they want to see difficulty and strangeness, and
:36:48. > :36:53.obtuseness. Neither Alan nor I went to art college. We are direct in
:36:53. > :37:03.what we do, if not simple. We are simple people, making simple art,
:37:03. > :37:04.
:37:04. > :37:08.for other simple people basically. That is the way I look at it. We
:37:09. > :37:17.were talking about what we suspected would be on show in the
:37:17. > :37:21.Millennium Dome, the kind of corporate version of Britain and
:37:21. > :37:26.British creativity. And we just knew that it wouldn't represent the
:37:26. > :37:32.Britain that intrigued us, the things we liked when we were going
:37:32. > :37:36.about, so we decided we would maybe make an exhibition that would be in
:37:36. > :37:40.response to Millennium Dome. Most of the things we bumped into, which
:37:40. > :37:45.is often the best way to find stuff, when you think you are looking for
:37:45. > :37:51.one thing and you find something else. The underlying sensation,
:37:51. > :37:58.that we got, and we wanted to translate was the energy, you know,
:37:58. > :38:05.everyone is at something creative, and it is just absolutely
:38:05. > :38:10.torrential. This is art made by builders or people working. The
:38:10. > :38:20.Clown museum, with all the clown faces that are panted on. Painted
:38:20. > :38:21.
:38:21. > :38:25.signage, this is my favourite one actually. Piazza Rut. We came
:38:25. > :38:32.across a mechanical elephant we used in the show. Made by a man
:38:32. > :38:36.called Peter Claire. When he met us he was scared. We called him a
:38:36. > :38:41.genius within about 30 seconds of meeting him. We were begging him to
:38:41. > :38:45.lend it to us, so that was a very good day, we got an elephant in
:38:45. > :38:49.that hunt. The only real rule we had was they were things that were
:38:49. > :38:54.made by people who wouldn't consider themselves artists. In a
:38:54. > :38:59.way we were challenging the art world to a fight, an aesthetic
:38:59. > :39:03.fight, saying I think artists can think they are the only creative
:39:03. > :39:07.people round, which is not the case. So we were sort of pointing a
:39:07. > :39:14.finger at other things, saying you think you are good, look at what
:39:14. > :39:17.this guy has done, look at this performance, just to ground people,
:39:17. > :39:24.saying there is other stuff going on that isn't going on in
:39:24. > :39:31.Shoreditch. My Lords, ladies and gentleman. We are gathered here
:39:31. > :39:33.today to play the ancient game of Haxey. So the Haxey hunt is like a
:39:33. > :39:39.giant rugby scrum that happens in the village of Haxey once a year.
:39:39. > :39:44.It has been going on for 700 year, they have characters called the
:39:44. > :39:50.Fall and the Lord and 11 bog bs who dress in red. They sing songs in
:39:50. > :39:55.the four pubs, and then even goes up the field with a hood which is
:39:55. > :40:00.like a leather baton and that is thrown in. Even tries to push or
:40:00. > :40:05.sway it into one of the four pubs. If it crosses the threshold that
:40:05. > :40:10.pub keeps it until the next year, which is a big thing. This could be
:40:10. > :40:14.the most important thing in your life or the most ridiculous. Like
:40:14. > :40:24.art you try to wonder what the point is, and it is lost in the
:40:24. > :40:31.
:40:31. > :40:36.mist of time what is the point of It is a public spectacle and human
:40:36. > :40:46.beings are interested in what other humans are up to, and human
:40:46. > :41:10.
:41:10. > :41:20.When you think of performance art and what that entails, when you see
:41:20. > :41:57.
:41:57. > :42:01.this, it is like a performance en Folk Archive was as much about the
:42:01. > :42:11.people that made the work as the work itself. One of those people
:42:11. > :42:21.was Ed Hall who makes banners. Ed and I have been working together
:42:21. > :42:23.
:42:23. > :42:28.for about 12 years and he is a key part of this show at the Hayward.
:42:28. > :42:33.Banners are a visual representation of people's aspirations. They are
:42:33. > :42:38.quite grand really, in their aim, and they are a visual thing, so
:42:38. > :42:43.they, the whole of it, you know in a eight foot by six foot square,
:42:43. > :42:47.they are showing the hopes and fears of a group of people. I think
:42:47. > :42:52.the reason we have collaborated so long is the subject matter of what
:42:52. > :42:59.I do. Jeremy's interested in social history and contemporary life, and
:42:59. > :43:04.I am making things that directly relate to it. He is interested in
:43:04. > :43:14.the human condition, when people combine together, what they can
:43:14. > :43:14.
:43:14. > :43:18.achieve. That is part of his method of working. What you doing here? We
:43:18. > :43:24.showed some of Ed's banners at Tate Britain if 2000. We did a
:43:24. > :43:30.retrospective of the banners which went to Paris, about 60 or so, that
:43:30. > :43:37.was fantastic. From there, I bothered Ed for the last 12 years
:43:37. > :43:41.to do things we many and work on projects. I think what is
:43:42. > :43:45.interesting about banners, when you hold a banner or march behind one
:43:45. > :43:52.you are telling people what you believe in. It is good to see that
:43:52. > :43:57.in public. Ed makes politics look good and he brings beauty to these
:43:57. > :44:02.causes and hope, through that Bute ty. All those ideas, all very ideal
:44:02. > :44:07.lis tick and of course, you can laugh at them and so on, but if you
:44:07. > :44:12.bring hope through art or beauty and comfort, through these banner,
:44:12. > :44:18.that is a great achievement Ed is doing banner force the exhibition.
:44:18. > :44:23.One is based on those signs you see outside church hauls that have an
:44:23. > :44:26.art exhibition for a day or weekend, and you go this with high hopes and
:44:26. > :44:31.you leave deflated. Which terrible because people are going to go in
:44:31. > :44:36.with low hopes to my show and come out inflated. And then inside,
:44:36. > :44:40.there is a banner entitled My Failures, which is a section of the
:44:40. > :44:43.show. Which I find hard to understand that one. There we gro.
:44:43. > :44:49.It will all be explained. These are things that are failures because I
:44:49. > :44:55.never got to do them I thought they would be good. Which all artists
:44:55. > :45:00.have those, so, that is what I tried to do. It is a massive
:45:00. > :45:09.section of the show. It is 90% of the show! You should carry on with
:45:09. > :45:19.your work. I don't know why you are The biggest collaboration I have
:45:19. > :45:23.
:45:24. > :45:29.done with Ed was for a procession I was asked to do something for a
:45:29. > :45:33.public event and I thought I would make a procession about the town.
:45:33. > :45:39.As a way of showing the town to itself, really. And elements of the
:45:39. > :45:43.town I thought was interesting and I liked. Ed made all the banners to
:45:43. > :45:51.introduce each section, and the banners were almost like titling.
:45:51. > :45:58.They were like inter-titles on something. Emos, goths, kids. Guys
:45:58. > :46:05.with modified cars. Big Issue sellers. And then you have carnival
:46:05. > :46:09.queens. A lot of traditional things but also unusual things. So, in a
:46:09. > :46:19.way, it was about the public life of the town shown again in public
:46:19. > :46:23.
:46:23. > :46:26.We took a tea bar from Bury and put it in the possession on a float. It
:46:26. > :46:30.must have been quite difficult when he walks up to a tea bar in Bury
:46:30. > :46:34.and says, "Oh, by the way, I want to make a facsimile of your bar and
:46:34. > :46:37.take it on a float." It's connecting with people in a way
:46:37. > :46:40.that they are actually enjoying it and entertained. And there's all
:46:40. > :46:44.these other things going on as well. He's making all these amazing kind
:46:44. > :46:49.of cultural connections. I always believed that the last float in any
:46:49. > :46:59.possession should be a steel band. And, for my procession, I wanted
:46:59. > :47:01.
:47:01. > :47:11.one playing music made in # "Love Will Tear Us Apart" by Joy
:47:11. > :47:27.
:47:27. > :47:35.Andy was contacted to do this arrangement but also to get the
:47:36. > :47:42.I remember very clearly meeting him and giving him this assignment,
:47:42. > :47:46.effectively. And then coming back about three weeks later and walking
:47:46. > :47:50.up the stairs and they had a small band playing music and I couldn't
:47:50. > :47:53.believe it. I thought it was amazing. I had this idea and
:47:53. > :47:57.someone to help me realise it like that, literally, a tears your eyes
:47:57. > :48:01.moment when they were playing their songs together for the first time.
:48:01. > :48:06.It was kind of a worry, as well, because you told me what songs you
:48:06. > :48:09.wanted and that. But to get my take on it and not destroy them too much,
:48:09. > :48:19.that was my big worry, that you would come back and think, "Oh,
:48:19. > :48:34.
:48:34. > :48:38.wow." When you said you liked it, I We've never really played this type
:48:38. > :48:41.of music before. We've always done Caribbean stuff. It's certainly
:48:41. > :48:45.different what we normally do but it's in keeping with the fact we
:48:45. > :48:50.try to be as versatile as possible, anyway. I've never played rock
:48:50. > :48:57.before but it was a nice change. I like it, the vibe, have a little
:48:57. > :49:07.dance. I get into anything with music. If I don't dance, I just
:49:07. > :49:11.
:49:11. > :49:14.rock my head. I like music. I wanted to work with a steel band
:49:14. > :49:17.for years and years. It's a sort of mini dream come true, really. And
:49:17. > :49:23.that's the great thing about being an artist. You can have an idea,
:49:23. > :49:30.and somebody might actually do it for you. I'm over the moon where
:49:30. > :49:40.Jeremy is concerned. Having us within his work. He's lovely. We
:49:40. > :49:52.
:49:52. > :49:59.like Jeremy. Very down-to-earth. He For me, art has always been a
:49:59. > :50:02.series of opportunities that I can try and exploit, really. And so
:50:02. > :50:06.this exhibition is about a series of opportunities I have been given
:50:06. > :50:12.or I have given myself throughout the years. And I think I saw that
:50:12. > :50:15.when I went to the factory when I was 20. When I saw how it worked.
:50:15. > :50:20.And realised that he just made the most of his opportunities and he
:50:20. > :50:23.created his own world around that. In this show there is film work.
:50:23. > :50:27.There is very small work, Then there is work which is
:50:27. > :50:32.collaborative involving lots of people. So, there's all different
:50:32. > :50:38.kinds of work here. Which maybe show the breadth of what I'm
:50:38. > :50:42.capable of. Or incapable of, probably more to the point. It's
:50:42. > :50:52.not just old work in the show. There's quite a lot of new work and
:50:52. > :50:54.
:50:54. > :50:57.one of which is a film about the I could be a tulip. I could be a
:50:58. > :51:01.man. The only way of knowing is to catch me if you can. You may
:51:01. > :51:05.suppose what you want to suppose but I'm a sweet transvestite with a
:51:05. > :51:08.broken nose. I was made aware of Adrian Street
:51:08. > :51:14.quite recently through a quite shocking photograph of him and his
:51:14. > :51:19.father. I thought that photograph summed up so much about post-war
:51:19. > :51:22.Britain. And as soon as I saw that photograph I thought, I wonder if
:51:22. > :51:26.that person is still around. It would be amazing to meet and talk
:51:26. > :51:36.about the picture itself and get a clearer idea of who he was and what
:51:36. > :51:55.
:51:55. > :51:59.He just had this almost Dickensian life in terms of growing up in a
:51:59. > :52:04.very tough part of South Wales in the valleys. Becoming a miner,
:52:04. > :52:09.because he had to, basically. Running away from home to London at
:52:09. > :52:19.the age of 16. Becoming a body builder, a pin-up. Then he became a
:52:19. > :52:30.
:52:30. > :52:34.And so, that photograph was revenge. It's him, Adrian, going back to the
:52:34. > :52:37.pit where he worked and had been bullied and teased and laughed at,
:52:37. > :52:42.to show his father and the other guys in the pit, the ones behind
:52:42. > :52:46.his father, what he had made of himself. And how proud he was of
:52:46. > :52:51.how he looked. He's looking amazing and he knows he looks amazing. And
:52:51. > :52:55.these guys are just covered in coal dust and crap, you know. They look
:52:55. > :52:59.like from another world, from the Middle Ages. Here he is like
:52:59. > :53:02.someone from the future, coming to show them what the future could be
:53:02. > :53:05.like. It's fantastic. And he did it because he hated them which makes
:53:05. > :53:14.it even better. It wasn't cos he liked these people. He absolutely
:53:14. > :53:20.despised them and he wanted to show He's an incredible guy. I don't
:53:20. > :53:25.even think he knows how incredible he is, in a way. He thinks he's
:53:25. > :53:28.amazing and he is. But he's amazing for other reasons, as well. The
:53:28. > :53:35.journey he took, the route he took in his life, it's incredibly
:53:35. > :53:38.important. And symbolic of the route Britain was trying to take at
:53:38. > :53:40.the same time to go from a country which relied on industry to one
:53:40. > :53:47.which essentially relied on entertainment and services. And
:53:47. > :53:54.basically he was a trailblazer for that route. All I do with this now
:53:54. > :54:03.is that, that, and that. And pop it over the way there for my wife,
:54:03. > :54:07.A lot of people could say about what's in my exhibition and things
:54:07. > :54:11.I do, "That's not art because it's a nature film. It's not art because
:54:11. > :54:15.it's a documentary. This that and the other. It's a piece of music."
:54:15. > :54:18.But I think you should look at it in a different way and say music
:54:18. > :54:21.can be an art work, good documentary is an art work. And
:54:21. > :54:28.definitely nature films are artworks. So I'm reflecting maybe
:54:28. > :54:31.on my view of that. So maybe they are not art. It doesn't matter.
:54:31. > :54:34.It's still there and you can still appreciate it. Don't get worried
:54:34. > :54:37.about terms of what is and isn't art. It's a terrible cul-de-sac,
:54:37. > :54:45.basically. A dead end you find yourself in and there's no way out
:54:45. > :54:48.of it. So the thing to do is just enjoy it for what it is.
:54:49. > :54:54.So the last piece of work in the exhibition is the film of the bats.
:54:54. > :55:00.That's the newest piece of work. But before I show it at the Hayward,
:55:00. > :55:04.I want to show it at my primary school. Earlier on this year they
:55:04. > :55:08.named a house after me in the primary school with my full name
:55:08. > :55:11.which is quite funny. So these poor kids have been branded by me, so I
:55:11. > :55:21.thought I might show them the film, to say thanks for the branding
:55:21. > :55:23.
:55:23. > :55:27.You know, I came here about a year ago, wasn't it? Were you here then?
:55:27. > :55:30.We talked about bats and you all seemed very excited about that so I
:55:31. > :55:34.thought what I would do today is come back with a film I've made and
:55:34. > :55:38.show it to you first before I show it to anyone else. And when you
:55:38. > :55:41.come and see it at the Hayward Gallery, you can see it in 3D. You
:55:42. > :55:45.have got a question. Why do you love bats so much? I love bats
:55:45. > :55:52.because they are the only mammals that can fly. They look amazing and
:55:52. > :55:59.they have the ability to see in the dark. They are very, very clever.
:55:59. > :56:04.What do they eat? Spiders. Moths. They like mosquitoes, little flies.
:56:04. > :56:09.This young man with the glasses? the cave, were there mountains of
:56:09. > :56:14.poo and stuff and cockroaches? know what, in the cave, there are
:56:14. > :56:21.mountains of poo like this. And on the poo, there are little maggots
:56:21. > :56:25.and beetles. And they are all moving around. And if a bat falls
:56:25. > :56:30.off, he gets killed by the maggots and beetles. They eat it. It's
:56:30. > :56:35.really grim. So, this is the world premiere of