Film / video package 5

Jeremy Deller

La Centrale, Wednesday, October 1 to Sunday, October 5, 2025 / 1:00-6:00 PM

For three months, a program of films and videos offers a journey through half a century of moving images, exploring some of the possible articulations between sound, music and image. Through a series of thematic "bouquets" or ones centered on a particular filmmaker or video artist, the program presents the work of emblematic or little-known artists, video art pioneers or film thurifers.

In a dialogue between projected works (room 1) and works on cathode-ray monitors (room 2), between formal, ethnographic and political approaches to sound, the program highlights the uses and practices of the musician's portrait, performance and soundscapes.

Each week, the films and videos disseminate discreet touches, apparitions and motifs, connections between bouquets and nods to the Biennial program: Paganini, a Sony Walkman, Jean-Luc Godard revisited by John Zorn, salt deserts, the Bachmann / Ceresole couple, brass bands and more.

A proposal by Maxime Guitton.

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Room 1

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English Magic

2013, 14'23'', video, color, sound
Collection du Fonds d'art contemporain de la Ville de Genève (FMAC)

A multicultural orchestra of metal percussion(Melodians Steel Orchestra) in the Abbey Road studios, farmed birds of prey soaring over an English landscape, a junkyard where a Land Rover is compressed, a pack of children - and parents - invading an inflatable Stonehenge (Jeremy Deller's work), a carnival and corporatist parade in Manchester (the Procession organized by the artist in 2009)... The video English Magic, elements of which were featured in the English Pavilion at the Venice Biennale in 2013, is a critical celebration of England, lulled by the tunes of Vaughan Williams, David Bowie(The Man Who Sold The World) and A Guy Called Gerald(Voodoo Ray).

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Jeremy Deller

Born 1966 (UK)
Based in London

In 1997, for Acid Brass, Jeremy Deller had a brass band perform acid house, blending two popular musics linked to movements of struggle and autonomy. Since then, far from producing classic art objects, he has taken on the simplest modes of production and representation, from T-shirts to posters, stickers to fanzines, not to mention installations, demonstrations and videos, collaborating with a variety of communities: musicians, gardeners, local residents and fans of historical re-enactments. He questions the conditions of contemporary art by giving space to those who are more or less excluded from it.