Jeremy Deller (born 1966) is an English conceptual, video and installation artist. Much of Deller's work is collaborative; it has a strong political aspect, in the subjects dealt with and also the devaluation of artistic ego through the involvement of other people in the creative process. He won the Turner Prize in 2004, and in 2010 was awarded the Albert Medal of the Royal Society for the encouragement of Arts, Manufactures & Commerce (RSA). Deller is known for his Battle of Orgreave (2001),[1] a reenactment of the actual Battle of Orgreave which occurred during the UK miners' strike in 1984, and for 2016's We’re Here Because We’re Here. From 2007 to 2011, Deller served as a Trustee of the Tate Gallery.

Deller traces his broad interests in art and culture, in part, to childhood visits to museums like the Horniman Museum, in South London. After meeting Andy Warhol in 1986, Deller spent two weeks at The Factory in New York. He began making artworks in the early 1990s, often showing them outside of conventional galleries. In 1993, while his parents were on holiday (he was 27, still living at home),[3] he secretly used the family home for an exhibition titled Open Bedroom.[4]

In 1997, Deller embarked on Acid Brass, a musical collaboration with the Williams Fairey Brass Band from Stockport. The project was based on fusing the music of a traditional brass band with acid house and Detroit techno.

Much of Deller's work is collaborative. His work has a strong political aspect, in the subjects dealt with and also the devaluation of artistic ego through the involvement of other people in the creative process. Folk Archive is a tour of "people's art" and has been exhibited throughout the UK including at Barbican Centre and most recently (2013) at The Public, West Bromwich, outside of the contemporary art institution. Much of his work is ephemeral in nature and avoids commodification.

Deller staged The Battle of Orgreave in 2001, bringing together almost 1,000 people in a public re-enactment of a violent confrontation from the 1984 Miners’ Strike.[4] The re-enactment was filmed by director Mike Figgis for Artangel Media and Channel 4.[5] In 2004, for the opening of Manifesta 5, the roving European Biennial of Contemporary art, Deller organised a Social Parade through the streets of the city of Donostia-San Sebastian, drafting in cadres of local alternative societies and support groups to participate.[6]

In 2006, he was involved in a touring exhibit of contemporary British folk art, in collaboration with Alan Kane. In late 2006, he instigated The Bat House Project, an architectural competition open to the public for a bat house on the outskirts of London.

The following year, 'The Posters Came from the Walls', a documentary co-directed with Nick Abrahams about Depeche Mode fans around the world was premiered at the London Film Festival, and followed by festival screenings around the world.

In 2009, Deller created Procession,[7] a free and uniquely Mancunian parade through the centre of Manchester along Deansgate, a co-commission by Manchester International Festival and Cornerhouse. Procession worked with diverse groups of people drawn from the 10 boroughs of Manchester and took place on Sunday 5 July at 1400 hrs.

Commissioned in 2009 as part of The Three M Project (a group composed of the New Museum, New York; the Hammer Museum, LA; and the Museum of Contemporary Art, Chicago, to exhibit and commission new works of art), Deller created It Is What It Is: Conversations About Iraq.[8] The project was designed to foster public discussion by having guest experts engage museum visitors in a free-form, unscripted dialogue about issues concerning Iraq.[9]

On 1 July 2016, his We're Here Because We're Here, commemorating the 100th anniversary of the Battle of the Somme, took place in public spaces across the United Kingdom.[10]