by Jeremy Deller quickly runs through the English painting room of the National Gallery, past the aristocratic portraits of Thomas Gainsborough and Sir Joshua Reynolds before settling in front of a William Hogarth set called A-la-Mode (1743-45), which the up and down a badly matted couple. It is all drunkenness, party sequences, sunken syphilitic society figures, sick faces, the buttocks of an adulterous man who flees out of a window, a guilted woman who reduces Laudanum. “This,” says Deller and points to the other paintings, “as we want to be seen, but Hogarth paints people the way they really are.”
Deller whispers about it: “Greed, vanity, lust … all these things that Hogarth have portrayed … We are happy to believe that we have changed since then, but we didn’t do it.”
His next goal is Nicolas Poussin’s The Triumph of Pan with his forest bacchanal, Deller was amazed at gender, drinking, violence, “physicality, the solemn feeling and the atmosphere of devotion”.
And with this little tour through these wild and true works of art we arrive why Deller is here. This is that the gymnast winner marks a huge free party at the Trafalgar Square on the Trafalgar Square on the Trafalgar Square this Saturday. The title “The Triumph of Art” is a public celebration that begins at 11 a.m. with a parade along Whitehall to the square, where a carnival of appearances, music and General Mayhem will take place. It is the highlight of a nationwide series of events by Deller and the national, which have teamed up with local culture, folklore and politics such as one in Derry, Northern Ireland, with local culture, folklore and politics that showed the bands that played there during the difficulties. This last London is simply not to be overlooked.
“It will be as if Bruegel would hit the Simpsons,” he says, and in the new member lounge lounge in the gallery, a Deadpan figure with a quicksilver charisma. He explains that the idea is to create a dialogue between the actors and the public through 25 different experiences, with a lack of stages: “No hierarchies, so that no people are called on stage with a damn microphone”.
Expect strong men and women who carry out strength papers. With his artistic partner Cat Phillipps, the political artist Peter Kennard will carry out a workshop with T-shirt and Fabric Painting. An inflatable Beryl Cook figure will destroy in a fountain. Mini parties are powered by free tea and cakes.
Artist Jeremy Deller am Trafalgar Square wears a willow head. Promotion for the triumph of art, the final celebration of NG200 (photo: The National Gallery, London)
“Londoners don’t hang on the Trafalgar Square, right?” He says. “An attempt is made to make the place a bit more humane and more user -friendly and looks different than it will ever look before.”
“One thing we have is a Hogarthian,” he says, constantly remembering other elements. “It is a dance piece of students from London Contemporary Dance School, inspired by Hogarth, the epitome of London’s London artist.
Ah yes, rave. Deller is often with Raves-the variety of the acid house, with its culture in his art and his documentary, everyone in the place: an incomplete history of the 1984-1992. The triumph of art nods this with folk masks of smiley faces and bucket hats. However, it is not a rave that has made Deller one of the most important modern British artists. It is all this work in public appearances that free art from its framework to let go on the street.
Deller grew up in East Dulwich and says when he was young, he was a “boring person, reserved. I liked museums and galleries”. His two were closest to the Imperial War Museum and the Horniman Museum, the latter of which he was particularly interested in, whereby his cornucopia gathered on objects from different cultures around the world.
“I was really into the masks and the ritual and the anthropology of the places. It was only fascinating for a child. This was the old Horniman before it was renovated when they had a wall from masks, all lit very dramatically. I think it is now more respectful, with the stories behind the communities, but I remember very visually exciting.”
He did not train in art; He studied art history at the Court Dilde Institute to simply be close to it, and thought that as an artist was something impossible. He actually managed to meet Warhol during his studies and spent a summer in New York in the factory. His circumstances to become an artist themselves were instinctive and came in unpleasant new forms as if they were on vacation in the open bedroom from 1993.
The Rave culture was obvious when a place for new expressions with a strong visual emphasis and, as you can feel, to be an appealing feeling of belonging. “People now understand the meaning of rave now,” he says, “but at the time it was only released and slandered by most media. Not only because of the drug matter, but because people did not take it seriously because there were no texts, or the texts seemed banal and repeating.
He says he is not part of the early great illegal raves. “I missed it all. I went to agree later, but I wasn’t like a mega participant that I went to the country to these 10,000-part Raves. I just had no friends to do that.”
Jeremy Deller (Elliott Morgan)
Nevertheless, he said: “I was very fascinated. It was clearly a social shift, a cultural change. The 21st century had come in this music early – technology and the use of digital culture and communication and all the things we live now … but it was like the prediction of the future.”
Finally, Rave helped enable the big breakthrough to discover his own unique artistic mode -operandi, who turned to make things happen.
“It happened when I worked with a brass band in 1997,” he says, referring to Acid Brass, where he performed the Williams Fairey Brass Band in Liverpool with Acid House Music. “This frees me from the attempt to traditionally be an artist. Instead, I realized that I could work with the public and let things happen.”
He would think the battle of Orgreave, a collision between the police and striking miners in Yorkshire. Reimagine Stonehenge as bouncy castles in Sacrilege (2012); And remind you of the battle of the Somme by recruiting 1,000 young men to dress old military equipment and appear in places across the country.
Part of the attraction of this type of work is not to know what will happen. Although it is also the source of stress. “Loss of control is really interesting in public interaction,” he says. “It’s great and also nerve -wracking. But it is nice to create something that is open and insecure. The object or the painting is so much art and it is completely different.”
He says his performance work was surprising because it is easy to involve people as they absolutely want to work with him: “It is fun to be a social situation to be in a small adventure.” You believe that this “calm, boring child” has found some personal answers here. He emphasizes that all of this is a large -scale attempt to combine one thing. “I don’t ask people to fool themselves and do something outrageous and ridiculous. Overall, it’s just a little journey, a little change from the norm in somewhere, as an experiment.”
Part of the pleasure in the triumph of art was the opportunity to learn from other people, even the strong men and women. “It’s not my world, but it is really fascinating. You can do something that I can’t do, and that is impressive. It is almost an evolutionary thing to be impressed by someone who makes strength pairs. It is fascinating to see how bodies work.”
He is particularly enthusiastic that these strong people will pull the swimmers along the procession in Whitehall, “the most politically sensitive street in Great Britain, on which the entire power in this country focuses. These strong people will do their thing in front of all these civil offices.”
While his procession and carnival are not political, there is a kind of Hogarthian request to show life as it is really-no idea of the doctrine or a node of the economy or the data flower head that is harvested, but the life full of intelligent people, whose impulses are a form of defiance in the direction of Pan-Ish Bacchanals. Show the willingness to drop the normal rules of conduct if someone gives him the license to do this.
“The ability I could have is to speak to people,” says Deller. “I enjoy being with people and talking to them and getting them together to work together to achieve something, do you know?”
In it he could be the ultimate artist without ego, a Warhol without a wig, a moderator without a factory, at a point where pop art, street art and performance combine.
What is the ultimate triumph of art?
“I assume that it is about changing reality for a time. Even if it is only for a fraction of the second. Art can be a transformative experience for people. With what happens here, you will counteract very contradictory and unusual things in the same space. I hope it can change your perception.”
The triumph of art is a free party that takes place on July 26 from 11 a.m. to 4 p.m. at the Trafalgar Square. nationalegallery.org.uk
