Jeremy Deller's British pavilion at the Venice Biennale - in pictures

Jeremy Deller walks towards the entrance of the British Pavilion, where his installation English Magic is on show Photograph: David Levene for the Guardian

Jeremy Deller being interviewed in the British Pavilion. On the wall behind is: A Good Day for Cyclists, painted by Sarah Tynan, and to the left: Moss Side, Down Ampney & Beckenham Photograph: David Levene for the Guardian

I Want to be Invisible, St Helier, Jersey, UK in the British pavilion's first room
Photograph: David Levene for the Guardian

A visitor print of A Good Day for Cyclists. Visitors can create their own prints using a giant rubber stamp Photograph: David Levene for the Guardian

Detail from A Good Day for Cyclists, painted by Sarah Tynan, which shows a Hen Harrier making off with a Range Rover Photograph: David Levene for the Guardian

Ooh-oo-hoo ah-ha ha yeah and the film English Magic, which visitors can watch on a bench reconstituted from a scrap-heap car Photograph: David Levene for the Guardian

We Sit Starving Amidst Our Gold, painted by Stuart Sam Hughes, shows William Morris preparing to dunk Roman Abramovich's superyacht, Luna Photograph: David Levene for the Guardian

Closeup of Moss Side, Down Ampney & Beckenham Photograph: David Levene for the Guardian

Room four is set aside solely for visitors to have a Tea Break Photograph: David Levene for the Guardian

You Have the Watches, We Have the Time is a collection of drawings made by prisoners in the UK. In the foreground is a prisoner portrait of Alistair Campbell. Other portraits of Tony Blair and David Kelly were handpicked by Deller Photograph: David Levene for the Guardian

A Neolithic polished flint axe (4000 BC) and a Palaeolithic flint hand-axe (250-400,000 BC) from the Museum of London are displayed on a trolley. Visitors are invited to pick them up to feel the weight of history Photograph: David Levene for the Guardian

A visitor cups the Palaeolithic flint hand-axe (250-400,000 BCE) Photograph: David Levene for the Guardian