英国文化协会当代艺术珍藏展部份参展艺术家介绍——杰里米•戴勒和艾伦凯恩

Folk Archive民间档案

　　杰里米·戴勒(Jeremy Deller) (2004年获得“透纳奖”)

　　生于 1966年

　　英国概念艺术家。他的选择作品涉及宽泛的流行和传统文化主题，他对民间文化的描绘特意表现得缺乏教养、反城市，并具有轻浮娱乐的特点。他经常与别人共同协作，1996年的作品《酸铜(Acid Brass)》既有现场表演也有CD，发起了一次不协调的将一系列酸屋圣歌转录为传统铜管乐队音乐的变化。 传统铜管乐队和现代舞曲乐队的奇特并列迫使观众意识到新旧事物之间的关系，同时暗示这两个音乐团体代表的不同文化之间不仅有可能发生碰撞，而且有可能相互作用。这种方法在展览“识字的作用(The Uses of Literacey)”(Norwich, Gal., 1997)中得到了继续使用，戴勒为这次展览选择并展出了摇滚乐团Manic Street Preachers乐迷提供的材料，此后又以图书的形式出版，书名再次借用了理查德·霍加德(London, 1957)对流行文化的经典分析著作。在1999年与阿兰·卡恩(b. 1961)共同创作的《民间档案(Fold Archive)》项目中，戴勒继续采用了这种积累的放任的策略。这两位艺术家把这个作品描述成为“对主观性的赞美”，并强调了存档物品和文件的真实性。《民间档案导言(An Introduction to the Folk Archive)》(2000)则精选了他们选自不同来源的材料，包括莫利斯舞、咆哮比赛和政治游行等，这个作品被收入展览“智慧：新英国艺术(Intelligence: New British Art)”(伦敦，泰特美术馆，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).