| 杰里米?戴勒（Jeremy Deller）
(2004年獲得“透納獎”)
生于 1966年
英國概念藝術家。他的選擇作品涉及寬泛的流行和傳統(tǒng)文化主題，他對民間文化的描繪特意表現(xiàn)得缺乏教養(yǎng)、反城市，并具有輕浮娛樂的特點。他經常與別人共同協(xié)作，1996年的作品《酸銅（Acid Brass）》既有現(xiàn)場表演也有CD，發(fā)起了一次不協(xié)調的將一系列酸屋圣歌轉錄為傳統(tǒng)銅管樂隊音樂的變化。 傳統(tǒng)銅管樂隊和現(xiàn)代舞曲樂隊的奇特并列迫使觀眾意識到新舊事物之間的關系，同時暗示這兩個音樂團體代表的不同文化之間不僅有可能發(fā)生碰撞，而且有可能相互作用。這種方法在展覽“識字的作用（The Uses of Literacey）”（Norwich, Gal., 1997）中得到了繼續(xù)使用，戴勒為這次展覽選擇并展出了搖滾樂團Manic Street Preachers樂迷提供的材料，此后又以圖書的形式出版，書名再次借用了理查德?霍加德(London, 1957)對流行文化的經典分析著作。在1999年與阿蘭?卡恩(b. 1961)共同創(chuàng)作的《民間檔案（Fold Archive）》項目中，戴勒繼續(xù)采用了這種積累的放任的策略。這兩位藝術家把這個作品描述成為“對主觀性的贊美”，并強調了存檔物品和文件的真實性。《民間檔案導言（An Introduction to the Folk Archive）》（2000）則精選了他們選自不同來源的材料，包括莫利斯舞、咆哮比賽和政治游行等，這個作品被收入展覽“智慧：新英國藝術（Intelligence: New British Art）”（倫敦，泰特美術館，2000）。
Jeremy Deller
(won the Turner Prize in 2004)
born 1966
English conceptual artist. His eclectic work engages on a broad level with popular and traditional culture; his forays into folk art are deliberately low-brow, anti-urban and characterised by an entertaining lightness of touch. He often works collaboratively; for the 1996 work Acid Brass, presented live and on CD, he instigated the incongruous transcription of a number of acid house anthems for a traditional brass band. The strange juxtaposition of traditional brass band and contemporary dance music forced a revealing relationship between the old and the new and suggested the possibility not just of a collision but of an interaction between the cultures represented by these distinct musical forms. This approach was continued in the exhibition The Uses of Literacy (Norwich, Gal., 1997) for which Deller solicited and displayed material from fans of the rock group Manic Street Preachers; this was later published in book form again using a title borrowed from a classic analysis of popular culture by Richard Hoggart (London, 1957). Deller continued this accumulative, laissez-faire strategy in the Folk Archive project, begun in 1999 with Alan Kane (b. 1961). The artists described this work as a ‘celebration of subjectivity', and underlined the authenticity of the archived objects and documents. An Introduction to the Folk Archive (2000), a selective display of their findings from diverse sources such as morris dancing, gurning competitions and political demonstrations, was included at the exhibition Intelligence: New British Art (London, Tate, 2000). |
