Jeremy Deller - Edited Rushes
The Modern Institute, Glasgow, until Sat 28 Oct
What has Jeremy Deller been up to? It’s two years since he won the Turner Prize, so what exactly has the artist-curator-director got to show for himself since this aforementioned institutional stamp of success? With four new artworks on display, the offering here seems a meagre contribution - something rather incredible when considering the gargantuan scale of his previous projects such as Folk Archive, an ongoing account of the low-brow community arts in Britain, and Memory Bucket, a large documentary-style installation that meandered through Texan tales of Waco locals and George W Bush’s personal hamburger chef.
The centrepiece of Deller’s latest works revisits the familiar figure of Nick Fenton - film editor of Deller’s notorious re-enactment of the violent miners’ strike, The Battle of Orgreave. For his reels of ‘Edited Rushes 1998-2001 with Extras’, Deller divides work into ‘Night’ and ‘Day’, asking Fenton to wade through over 100 hours of footage he has shot over the three-year period, and construct the material in any way Fenton sees fit. The effect is that of two rather haphazardly shot, often dull, but beautifully edited video blogs. Kickboxing matches, aeroplanes, insects, Cat Power gigs - Deller’s eye is not a selective one, but inclusive to the point of tediousness. Moments of respite are given with snippets of the personal: filming a brass band’s rehearsals for their interpretations of acid house, or Deller wandering Dandy-like in a sea of gallery openings.
This show appears to have caught the artist, never a fan of a short-term projects, at filler-stage - most likely working on some other collaboration that appears to be far more worthy of his time, and consequently our time, than this.