ABSTRACT
The 'participatory turn' in contemporary art seemed to garner little response from critical heritage studies, however. This chapter explores one such project that encouraged the use of participation and performance in exploring a historical trauma. It argues that the cultural and heritage events constituting the post-millennial remembering of Orgreave continue to resonate within the local community and have only increased in currency throughout recent anniversary campaigns to recognise the injustices of Orgreave 1984. The chapter also argues that Deller's Orgreave project continues to resonate both as an artwork and as a work of heritage. It considers a range of inherent contradictions within the work and a possible navigation through these inconsistencies by reading the project again through a lens of critical heritage studies and Affect Theory. In 2001, British artist Jeremy Deller arranged a re-enactment of the battle with a commission from the London-based art agency Artangel.
