Related
Marching for Justice in the Fields
In 1966, farmworkers marched 300 miles from Delano to Sacramento to protest low wages, unsafe working conditions, and the denial of union rights. Their action drew national support, pressured growers and officials, and helped secure the first farmworker union contract.
Ausfegen (Sweeping Up)
On May 1, 1972, Joseph Beuys and two students swept Karl-Marx-Platz in West Berlin, collecting rubbish from Labor Day demonstrations. The act highlighted social inequalities, embodied his idea of art as social transformation, and reflected his political activism.
Related
Marching for Justice in the Fields
In 1966, farmworkers marched 300 miles from Delano to Sacramento to protest low wages, unsafe working conditions, and the denial of union rights. Their action drew national support, pressured growers and officials, and helped secure the first farmworker union contract.
Ausfegen (Sweeping Up)
On May 1, 1972, Joseph Beuys and two students swept Karl-Marx-Platz in West Berlin, collecting rubbish from Labor Day demonstrations. The act highlighted social inequalities, embodied his idea of art as social transformation, and reflected his political activism.
In 1984, the National Union of Mineworkers went on strike. The dispute lasted for over a year and was the most bitterly fought since the general strike of 1926, marking a turning point in the struggle between the government and the trade union movement. The Orgreave coking plant became the site of one of the strike’s most violent confrontations. Seventeen years later, Jeremy Deller’s The Battle of Orgreave staged a spectacular re-enactment of the events that unfolded on that day (Artangel.org.uk).
Reflecting on the project, Deller explained: “In 1998 I saw an advert for an open commission for Artangel. For years I had had this idea to re-enact this confrontation that I had witnessed as a young person on TV, of striking miners being chased up a hill and pursued through a village. It has since become an iconic image of the 1984 strike – having the quality of a war scene rather than a labour dispute. I received the commission, which I couldn’t believe, because I actually didn’t think it was possible to do this. After two years’ research, the re-enactment finally happened, with about eight-hundred historical re-enactors and two-hundred former miners who had been part of the original conflict. Basically, I was asking the re-enactors to participate in the staging of a battle that occurred within living memory, alongside veterans of the campaign. I’ve always described it as digging up a corpse and giving it a proper post-mortem, or as a thousand-person crime re-enactment.” (Jeremy Deller, 2001)
Credits
Commissioned by Artangel.

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