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Assignment 1 – Part B Assignment 1 – Part B Deller’s Battle of Orgreave – an unfinished history My aim in this essay is to interpret Jeremy Deller’s The Battle of Orgreave (2001), a re-enactment and associated archive installation (commissioned by Artangel) and reflect on the importance of time and place in this work. I will also consider why this English conceptual artist (born 1966) chose the subject and format. The Battle of Orgreave, together with its archived content, includes a filmed re- enactment of the brutal 1984 confrontation between police and picketing miners at the British Steel coking plant in Orgreave, South Yorkshire, plus related installation pieces, including a denim jacket, original newspapers, riot shield and graffiti featuring former miners’ union leader Arthur Scargill. Deller’s epic restaging of the clash involved 800 members of historical re-enactment societies and 200 former miners and police officers, many of whom had been part of the actual conflict (some original roles were reversed). The film, directed by Mike Figgis for Artangel Media and Channel 4, weaves in commentary from representatives of the police and National Union of Mineworkers, support groups, politicians and others. My initial response to the hour-long film was that it resembled a historical battle re- enactment with police instead of soldiers charging with riot shields and truncheons against defenceless citizens. The installation pieces can be likened to a museum display of battlefield relics but instead of medieval shields and chain mail, we have the plastic riot shield and union badge-covered denim jacket. As a young person Deller had seen TV footage of the striking miners being chased by police in full riot gear and he describes it on his website as ‘having the quality of a war scene rather than a labour dispute’. This memory and his desire to understand more about what actually happened is behind his decision to creatively explore the conflict through re-enactment. My second immediate response to the film was that acting out this highly volatile confrontation with original participants was risky, dangerous even. This is reflected in the film by the cautionary warnings from those directing the cast of characters that they must take care to re-enact not relive the event. Frieze magazine writer Alex Farquharson described the re-enactment in his September 2001 article as more like flashback: ‘…knowing this made the missiles, 1 the mounted police charges, the beatings, routs and arrests much more than Page Sara Waterer 511909 | Creative Arts 1 | Contemporary Art | Assignment one | Part B | 1 August 2016 spectacle; it was easy to forget the police’s truncheons were plastic, the miners’ rocks just foam, and that the blood running down some faces was fake.’ The film suggests the miners were set up by a military style police operation that vastly outnumbered them and brutally trampled over their rights to peaceful protest. It alludes to an act of civil war against what Prime Minister Margaret Thatcher called ‘The Enemy Within’ (a reference to the National Union of Mineworkers). The neutrality of the media was questioned by Labour politician Tony Benn who recounts how the BBC edited TV footage to present the miners throwing stones before the police charged, when in fact it was the other way round. How differently history can read if the sequence of events is distorted. Time and place are critical to this artwork. The original confrontation took place on 18 June 1984 and the re-enactment was staged on 17 June 2001 marking a 17 year anniversary. In the film Deller says it’s not about healing wounds but about looking at it again and not being ashamed. This is a reference to how, if we let it, the passage and detachment of time enables a different picture of history to emerge. Deller’s unusual re-enactment of an event within living memory with original participants takes this interpretation beyond the partisan news coverage, and official accounts of the time. Deller describes it on his website as ‘…digging up a corpse and giving it a proper post-mortem, or as a thousand-person crime re-enactment.’ This work is a form of historical record and as such it is inextricably connected with time. Writing for the Guardian newspaper in 2001, Jonathan Jones reveals that Deller has an MA in the History of Art from The Courtauld Institute. Jones concludes that elements of the re-enactment including ‘that slow and devastating cavalry charge’ have ‘all have the sombre dignity of a baroque history painting’. Places become known or notorious by the events that take place in them. Orgreave is associated with a divided society and social injustice. It became caught up in an ideological battle between capitalism and socialism and witnessed the brutal crushing of trades union and workers’ rights, sanctioned by the Thatcher government of the 1980s. This association continues today. It is no coincidence that Labour leadership challenger Owen Smith set out his political priorities in a speech on 27 July this year delivered on the site of the old Orgreave coking works. He added another voice to the call for a full public inquiry into the events of 18 June 1984. Turning his attention to the United States, Deller again shone a light on politically charged events with his film Memory Bucket 2003, which focused on the Branch Davidian siege in Waco and President Bush’s home town of Crawford, Texas. In this 2004 Turner Prize winning video, archive news footage is juxtaposed with official 2 reports and personal narratives. Page Sara Waterer 511909 | Creative Arts 1 | Contemporary Art | Assignment one | Part B | 1 August 2016 In this article I’ve discussed how Deller’s motivation for the The Battle of Orgreave, stems from a childhood memory of TV footage of a brutal clash between police and picketing miners. I’ve drawn parallels with medieval battle re-enactments and museum displays, and explored how time and place are key elements in a risky and controversial work which records an event in history but reinterprets and challenges the accounts of the time. I’ve noted that Orgreave remains a place that is symbolic of social injustice and a divided society. I conclude that the Battle of Orgreave is a political work which tells a further instalment of the events of 18 June 1984 and that, as with all history, the story is unfinished. [995 words] Bibliography Jeremy Deller’s website: http://www.jeremydeller.org/TheBattleOfOrgreave/TheBattleOfOrgreave.php (accessed 25/07/16) Artangel website: https://www.artangel.org.uk/project/the-battle-of-orgreave/ (accessed 25/07/16) Tate website: Battle of Orgreave: http://www.tate.org.uk/art/artworks/deller-the-battle-of-orgreave-archive-an-injury-to- one-is-an-injury-to-all-t12185/text-summary (accessed 25/07/16) You Tube, The Battle of Orgreave film: https://www.youtube.com/watch?v=3ncrWxnxLjg (accessed 25/07/16) Frieze Magazine, Farquason, A, The Battle of Orgreave, 9 September 2001: https://frieze.com/article/jeremy-deller (accessed 01/08/2016) The Guardian newspaper, Jones, J, Missiles fly, truncheons swing, police chase minors as cars burn. It’s all very exciting. But why is it art?, June 19, 2001: https://www.theguardian.com/culture/2001/jun/19/artsfeatures (accessed 1 August 2016) ITV News item 27 July 2016, Owen Smith calls for a Full Inquiry into the Battle of Orgreave http://www.itv.com/news/calendar/2016-07-27/owen-smith-calls-for-full-inquiry-into- battle-of-orgreave/ (accessed 01/08/2016) Tate website, Turner Prize 2004 artists: Jeremy Deller http://www.tate.org.uk/whats-on/tate-britain/exhibition/turner-prize-2004/turner-prize- 2004-artists-jeremy-deller 3 Page Sara Waterer 511909 | Creative Arts 1 | Contemporary Art | Assignment one | Part B | 1 August 2016 .
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