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Jeremy Deller The BatHe of Orgreave/ /2002 The British artist Jeremy Deller often collaborates with specific social constituencies to realize event-based projects. In 2001 he organized the reenactment of a key event from the English miners' strike of 1984, a violent clash between miners and police in the town of Orgreave. The event was undertaken with former participants in the strike and a number of historical reenactment societies. Documentation of Deller's work became the premise for Mike Figgis' political documentary The Battle of Orgreave (ChanneI 4/Artangel, 2001 J. On 18 June 1984 1 was watching the evening news and saw footage of a picket at the Orgreave coking plant in South Yorkshire in which thousands of men were chased up a field by mounted police. It seemed a civil war between the north and south of the country was taking place in all but name. The image of this pursuit up the hill stuck in my mind, and for years I have wanted to find out what exactly happened on that day with a view to reenacting or commemorating it in some way. When I started to do proper research, the consequences of that day tool, on a much larger historic perspective. After over a year of archive reading, listening and interviewing many of those involved - the reenactment finally did take place on, or as close to as possible, the original site, with over 800 participants. Many of these participants were former miners (and a few former policemen) who were reliving events from 1984 that they themselves took part in. The rest were members of Battle reenactment societies from all over the country. I wanted to involve members of these societies for mainly two reasons: first of all, they are well trained in recreating combat and in obeying orders. More importantly, I wanted the reenactment of The Battle of Orgreave to become part of the lineage of decisive battles in English history. I was also interested in the term 'living history' that is frequently used in relation to reenactments, and I thought it would be interesting for reenactors to work alongside veterans of a battle from recent history, who are a personification of the term. Also, as an artist I was interested in how far an idea could be taken, especially an idea that is on the face of it a contradiction in terms 'a recreation of something that was essentially chaos'. Of course I would never have undertaken the project if people locally felt it was unnecessary or in poor taste. As it was, we encountered a lot of support 146// ARTISTS' WRITINGS
from the outset because there seemed to be an instinctive understanding of what the reenactment was about. Jeremy Deller, The Battle of Or greave', inJames Lingwood, Michael Morris, eds, Off Limits: 40Artangel Projects, (London: Merrell Publishers Limited, 2002) 90-95. Dellerl/The Battle of Orgreave// 147
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Roland Barthesl I Joseph Beuysl/Nic
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Documents of Contemporary Art
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Documents of Contemporary Art In re
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THEORETICAL FRAMEWORKS Umberto Eco
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Claire Bishop Introduction/ /Viewer
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media in the form of reality televi
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culture by those subjugated to its
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onto solid ground: 3 For a detailed
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Umberto Bco The Poetics of the Open
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dialectics between the work of art
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Henri Pousseur cited by Umberto Eco
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the necessary and the univocal is a
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the more true of poetic works that
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same sense that a debate is 'open'.
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and sensation - in short, an empiri
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the objects which are actually perc
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fact, to use Einstein's words, pres
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to a continuous generation of inter
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'enjoyment' of a work of art repres
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e found in ordinary culture is tyra
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meaning (the 'message' of the Autho
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Peter Burger The Negation of the Au
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talents, though with the proviso th
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that would have consequences within
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false sublation of autonomous art.'
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Jean-Luc Nancy The Inoperative Comm
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the stumbling block to thinking of
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unknown to Lenin, Stalin and Trotsk
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irreparable) rupture in this commun
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us, community has never taken place
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have imagined their death reabsorbe
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peculiar gesture - the impossibilit
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This is why community cannot arise
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Georges BataHle, Oeuvres Completes,
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nomadism practised by populations t
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case its being surpassed, it tells
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is also the thought of what is rela
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Root identity - is founded in the d
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the possible 'far from the equilibr
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the planet is going through - such
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It is having to negotiate the relat
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a fantastical poetry made from the
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distance then replaces provocative
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throughout society.' Through this d
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in their own ways, the great fresco
Page 97 and 98: ARTISTS' WRITINGS Guy Debord Toward
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Page 119 and 120: Graciela Carnevale Project for the
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Page 125 and 126: Joseph Beuys and Dirk Schwarze, Rep
Page 127 and 128: Joseph l3euys I Am Searching for Fi
Page 129 and 130: Collective Actions Ten Appe(m:mces/
Page 131 and 132: around the names of the events depi
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Page 137 and 138: Group Materia! On Democracy// 1990
Page 139 and 140: people discussing their relation to
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Page 161 and 162: CRITICAL AND CURATORIAL POSITIONS N
Page 163 and 164: Once it had been elevated to the st
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Page 173 and 174: 8 Georges Bataille, 'L'Apprenti sor
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work was included in Global Concept
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d'art moderne de la Ville de Paris.
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1990. 157-8 (oJlective Actions, Kol
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Laddaga, ReinaJdo, Estetica de fa e
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Defert, Daniel 156 Deleuze, Gilles
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Ray, Charles 88 Reagan, Ronald 135
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'i/ildm J)/(isj.ano '(,:kii:8 :1'::
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