slider

Phil Collins
my heart's in my hand, and my hand is pierced, and my hand's in the bag, and the bag is shut, and my heart is caught
2013
Sound installation and collaborative project with GULLIVER survival station for the homeless Cologne. Ten 7" vinyls, listening booths, turntables, amplifiers, speakers; dimensions variable.
Installation view, In Every Dream Home a Heartache, Museum Ludwig, Cologne, 2013.

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Phil Collins
my heart's in my hand, and my hand is pierced, and my hand's in the bag, and the bag is shut, and my heart is caught
2013
One of ten 7" vinyls. Left: Damon & Naomi "I Never Knew I Always Knew" (4:52) / Right: "Conversation #214" (4:22).

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Phil Collins
my heart's in my hand, and my hand is pierced, and my hand's in the bag, and the bag is shut, and my heart is caught
2013
One of ten 7" vinyls. Left: Demdike Stare "Relativity" (4:48) / Right: David Sylvian "Do You Know Me Know?" (4:23). 

slider

Phil Collins
my heart's in my hand, and my hand is pierced, and my hand's in the bag, and the bag is shut, and my heart is caught
2013
Sound installation and collaborative project with GULLIVER survival station for the homeless Cologne. Ten 7" vinyls, listening booths, turntables, amplifiers, speakers; dimensions variable.
Installation view, In Every Dream Home a Heartache, Museum Ludwig, Cologne, 2013.

slider

Phil Collins
my heart's in my hand, and my hand is pierced, and my hand's in the bag, and the bag is shut, and my heart is caught
2013
Sound installation and collaborative project with GULLIVER survival station for the homeless Cologne. Ten 7" vinyls, listening booths, turntables, amplifiers, speakers; dimensions variable.
Installation view, In Every Dream Home a Heartache, Museum Ludwig, Cologne, 2013.
Photo: Achim Kukulies, Düsseldorf.

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Phil Collins
This Unfortunate Thing Between Us
2011
Video installation in two caravans; colour, sound; 2 x 60 min. Lightbox, 438 x 1770 cm.
Installation view, Artes Mundi 5, Chapter Art Centre, Cardiff, 2012.

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Phil Collins
This Unfortunate Thing Between Us
2011
Video installation in two caravans on rotating platforms; colour, sound; 2 x 60 min.
Installation view, In Every Dream Home a Heartache, Museum Ludwig, Cologne, 2013.
Photo: Achim Kukulies, Düsseldorf.

slider

Phil Collins
This Unfortunate Thing Between Us
2011
Video installation in two caravans on rotating platforms; colour, sound; 2 x 60 min.
Installation view, In Every Dream Home a Heartache, Museum Ludwig, Cologne, 2013.
Photo: Achim Kukulies, Düsseldorf.

slider

Phil Collins
This Unfortunate Thing Between Us
2011
Installation view, Artes Mundi 5, Chapter Art Centre, Cardiff, 2012.

slider

Phil Collins
This Unfortunate Thing Between Us
2011
Still from a live TV broadcast, 60 min.
Niels Bormann.

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Phil Collins
This Unfortunate Thing Between Us
2011
Still from a live TV broadcast, 60 min.
Sharon Smith and Susanne Sachsse.

slider

Phil Collins
This Unfortunate Thing Between Us
2011
Performance in two parts broadcast live on German public television.15 & 16 September 2011, Hebbel am Ufer, Berlin/ZDFkultur.
Production still. 

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Phil Collins
This Unfortunate Thing Between Us
2011
Performance in two parts broadcast live on German public television.15 & 16 September 2011, Hebbel am Ufer, Berlin/ZDFkultur.
Production still. 

slider

Phil Collins
This Unfortunate Thing Between Us
2011
Performance in two parts broadcast live on German public television.15 & 16 September 2011, Hebbel am Ufer, Berlin/ZDFkultur.
Production still. 

slider

Phil Collins
Rude Boy, Kek Lok Si #4
2011
Lightjet print
10 1/4 x 10 1/4 inches; 26 x 26 cm (unframed)
17 3/4 x 17 3/4 inches; 45 x 45 cm (framed)

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Phil Collins
Rude Boy, Kek Lok Si #2
2011
Lightjet print
10 1/4 x 10 1/4 inches; 26 x 26 cm (unframed)
17 3/4 x 17 3/4 inches; 45 x 45 cm (framed)

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Phil Collins
Rude Boys, Leith Street #1 & #2
2011
Dyptich, Lightjet prints
27 1/2 x 27 1/2 inches; 70 x 70 cm each (unframed)
35 x 35 inches; 89 x 89 cm each (framed)

slider

Phil Collins
the meaning of style
2011
16mm film transferred to HD video; colour, sound; 4 min. 50 sec.

slider

Phil Collins
the meaning of style
2011
16mm film transferred to HD video; colour, sound; 4 min. 50 sec.

slider

Phil Collins
free fotolab (berlin)
2010
52 Lightjet prints of various sizes, framed; overall dimensions 240 x 480 x 5 cm.

slider

Phil Collins
marxism today (prologue)
2010
Installation view, Phil Collins: marxism today, British Film Institute, London, 2011.

slider

Phil Collins
marxism today (prologue)
2010
Installation view, Everything Falls Apart, Part I, Artspace, Sydney, 2012.
Photo: silversalt photography.

slider

Phil Collins
marxism today (prologue)
2010
HD video; colour and black-and-white, sound; 35 min.

slider

Phil Collins
marxism today (prologue)
2010
HD video; colour and black-and-white, sound; 35 min.

slider

Phil Collins
marxism today (prologue)
2010
HD video; colour and black-and-white, sound; 35 min.

slider

Phil Collins
marxism today (prologue)
2010
HD video; colour and black-and-white, sound; 35 min.

slider

Phil Collins
use! value! exchange!
2010
Installation view, Phil Collins: marxism today, British Film Institute, London, 2011

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Phil Collins
use! value! exchange!
2010
HD video; colour, sound; 21 min.

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Auto-Kino!, 2010
Programmed by Phil Collins & Siniša Mitrović. Installation view Temporäre Kunsthalle Berlin.
Pictured film: Želimir Žilnik, Inventur - Metzstrasse 11, 1975.
Photo: Jens Ziehe.

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Auto-Kino!, 2010
Programmed by Phil Collins & Siniša Mitrović. Installation view Temporäre Kunsthalle Berlin.
Pictured film: Bruce LaBruce, The Raspberry Reich, 2004.
Photo: Jens Ziehe.

slider

Phil Collins
free fotolab
2009
Installation view, The Residue of Memory, Aspen Art Museum, 2012.
Photo: Jason Dewey.

slider

Phil Collins
free fotolab
2009
35mm slide projection; 9 min. 20 sec.

slider

Phil Collins
free fotolab
2009
35mm slide projection; 9 min. 20 sec.

slider

Phil Collins
free fotolab
2009
35mm slide projection; 9 min. 20 sec.

slider

Phil Collins
soy mi madre
2008
16 mm film transferred to video; colour, sound; 28 min.
Production still, Mexico City, 2008.

slider

Phil Collins
soy mi madre
2008
16 mm film transferred to video; colour, sound; 28 min.
Production still, Mexico City, 2008.

slider

 

Phil Collins
soy mi madre
2008
16 mm film transferred to video; colour, sound; 28 min.
Production still, Mexico City, 2008.

slider

Phil Collins
zašto ne govorim srpski (na srpskom) [why I don't speak Serbian (in Serbian)]
2008
Installation view, Life on Mars: 55th Carnegie International, Carnegie Museum of Art, Pittsburgh, 2008.
Photo: Tom Little.

slider

Phil Collins
zašto ne govorim srpski (na srpskom) [why I don't speak Serbian (in Serbian)]
2008
16mm film transferred to video; black-and-white and colour, sound; 35 min.

slider

Phil Collins
zašto ne govorim srpski (na srpskom) [why I don't speak Serbian (in Serbian)]
2008
16mm film transferred to video; black-and-white and colour, sound; 35 min.

slider

Phil Collins
shady lane productions
2006
Production company and research office.
Installation view, Turner Prize 2006, Tate Britain, London.
Photo: Sam Drake and Mark Heathcote.

slider

Phil Collins
shady lane productions
2006
Production company and research office.
Installation view, Turner Prize 2006, Tate Britain, London.
Photo: Sam Drake and Mark Heathcote.

slider

Phil Collins
the world won't listen, 2004-07
Installation view, Marabouparken, Sunbyberg, Sweden, 2011. Photo: Jean-Baptiste Béranger. 

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Phil Collins
the world won't listen
2004-07
Three-channel synchronized video installation; colour, sound; 56 min.
Part three dunia tak akan mendengar. Production still, Jakarta and Bandung, 2007. 

slider

Phil Collins
the world won't listen
2004-07
Three-channel synchronized video installation; colour, sound; 56 min.
Part three dunia tak akan mendengar. Production still, Jakarta and Bandung, 2007. 

slider

Phil Collins
the world won't listen
2004-07
Three-channel synchronized video installation; colour, sound; 56 min.
Part three dunia tak akan mendengar. Production still, Jakarta and Bandung, 2007. 

slider

Phil Collins
they shoot horses
2004
Installation view, yeah…..you, baby you, Neue Kunsthalle St. Gallen, 2006. 

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Phil Collins
they shoot horses
2004
Two-channel synchronised video projection; colour, sound; 420 min

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Phil Collins
they shoot horses
2004
Two-channel synchronised video projection; colour, sound; 420 min.

slider

Phil Collins
real society #18
2002
Lightjet print reverse mounted on Diasec
96.5 x 119.5cm

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Phil Collins
baghdad screentests
2002
Video; colour, silent; 47 min.

slider

Phil Collins
baghdad screentests
2002
Video; colour, silent; 47 min.

slider

Phil Collins
britney #5
2001
Lightjet print reverse mounted on Diasec
183 x 122 cm.

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Phil Collins
britney #1, britney #2, britney #4
2001
Installation view, yeah…..you, baby you, Neue Kunsthalle St. Gallen, 2006.

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Phil Collins
how to make a refugee
1999
Video; colour, sound; 12 min.

slider

Phil Collins
my heart's in my hand, and my hand is pierced, and my hand's in the bag, and the bag is shut, and my heart is caught
2013
Sound installation and collaborative project with GULLIVER survival station for the homeless Cologne. Ten 7" vinyls, listening booths, turntables, amplifiers, speakers; dimensions variable.
Installation view, In Every Dream Home a Heartache, Museum Ludwig, Cologne, 2013.

slider

Phil Collins
my heart's in my hand, and my hand is pierced, and my hand's in the bag, and the bag is shut, and my heart is caught
2013
One of ten 7" vinyls. Left: Damon & Naomi "I Never Knew I Always Knew" (4:52) / Right: "Conversation #214" (4:22).

slider

Phil Collins
my heart's in my hand, and my hand is pierced, and my hand's in the bag, and the bag is shut, and my heart is caught
2013
One of ten 7" vinyls. Left: Demdike Stare "Relativity" (4:48) / Right: David Sylvian "Do You Know Me Know?" (4:23). 

slider

Phil Collins
my heart's in my hand, and my hand is pierced, and my hand's in the bag, and the bag is shut, and my heart is caught
2013
Sound installation and collaborative project with GULLIVER survival station for the homeless Cologne. Ten 7" vinyls, listening booths, turntables, amplifiers, speakers; dimensions variable.
Installation view, In Every Dream Home a Heartache, Museum Ludwig, Cologne, 2013.

slider

Phil Collins
my heart's in my hand, and my hand is pierced, and my hand's in the bag, and the bag is shut, and my heart is caught
2013
Sound installation and collaborative project with GULLIVER survival station for the homeless Cologne. Ten 7" vinyls, listening booths, turntables, amplifiers, speakers; dimensions variable.
Installation view, In Every Dream Home a Heartache, Museum Ludwig, Cologne, 2013.
Photo: Achim Kukulies, Düsseldorf.

slider

Phil Collins
This Unfortunate Thing Between Us
2011
Video installation in two caravans; colour, sound; 2 x 60 min. Lightbox, 438 x 1770 cm.
Installation view, Artes Mundi 5, Chapter Art Centre, Cardiff, 2012.

slider

Phil Collins
This Unfortunate Thing Between Us
2011
Video installation in two caravans on rotating platforms; colour, sound; 2 x 60 min.
Installation view, In Every Dream Home a Heartache, Museum Ludwig, Cologne, 2013.
Photo: Achim Kukulies, Düsseldorf.

slider

Phil Collins
This Unfortunate Thing Between Us
2011
Video installation in two caravans on rotating platforms; colour, sound; 2 x 60 min.
Installation view, In Every Dream Home a Heartache, Museum Ludwig, Cologne, 2013.
Photo: Achim Kukulies, Düsseldorf.

slider

Phil Collins
This Unfortunate Thing Between Us
2011
Installation view, Artes Mundi 5, Chapter Art Centre, Cardiff, 2012.

slider

Phil Collins
This Unfortunate Thing Between Us
2011
Still from a live TV broadcast, 60 min.
Niels Bormann.

slider

Phil Collins
This Unfortunate Thing Between Us
2011
Still from a live TV broadcast, 60 min.
Sharon Smith and Susanne Sachsse.

slider

Phil Collins
This Unfortunate Thing Between Us
2011
Performance in two parts broadcast live on German public television.15 & 16 September 2011, Hebbel am Ufer, Berlin/ZDFkultur.
Production still. 

slider

Phil Collins
This Unfortunate Thing Between Us
2011
Performance in two parts broadcast live on German public television.15 & 16 September 2011, Hebbel am Ufer, Berlin/ZDFkultur.
Production still. 

slider

Phil Collins
This Unfortunate Thing Between Us
2011
Performance in two parts broadcast live on German public television.15 & 16 September 2011, Hebbel am Ufer, Berlin/ZDFkultur.
Production still. 

slider

Phil Collins
Rude Boy, Kek Lok Si #4
2011
Lightjet print
10 1/4 x 10 1/4 inches; 26 x 26 cm (unframed)
17 3/4 x 17 3/4 inches; 45 x 45 cm (framed)

slider

Phil Collins
Rude Boy, Kek Lok Si #2
2011
Lightjet print
10 1/4 x 10 1/4 inches; 26 x 26 cm (unframed)
17 3/4 x 17 3/4 inches; 45 x 45 cm (framed)

slider

Phil Collins
Rude Boys, Leith Street #1 & #2
2011
Dyptich, Lightjet prints
27 1/2 x 27 1/2 inches; 70 x 70 cm each (unframed)
35 x 35 inches; 89 x 89 cm each (framed)

slider

Phil Collins
the meaning of style
2011
16mm film transferred to HD video; colour, sound; 4 min. 50 sec.

slider

Phil Collins
the meaning of style
2011
16mm film transferred to HD video; colour, sound; 4 min. 50 sec.

slider

Phil Collins
free fotolab (berlin)
2010
52 Lightjet prints of various sizes, framed; overall dimensions 240 x 480 x 5 cm.

slider

Phil Collins
marxism today (prologue)
2010
Installation view, Phil Collins: marxism today, British Film Institute, London, 2011.

slider

Phil Collins
marxism today (prologue)
2010
Installation view, Everything Falls Apart, Part I, Artspace, Sydney, 2012.
Photo: silversalt photography.

slider

Phil Collins
marxism today (prologue)
2010
HD video; colour and black-and-white, sound; 35 min.

slider

Phil Collins
marxism today (prologue)
2010
HD video; colour and black-and-white, sound; 35 min.

slider

Phil Collins
marxism today (prologue)
2010
HD video; colour and black-and-white, sound; 35 min.

slider

Phil Collins
marxism today (prologue)
2010
HD video; colour and black-and-white, sound; 35 min.

slider

Phil Collins
use! value! exchange!
2010
Installation view, Phil Collins: marxism today, British Film Institute, London, 2011

slider

Phil Collins
use! value! exchange!
2010
HD video; colour, sound; 21 min.

slider

Auto-Kino!, 2010
Programmed by Phil Collins & Siniša Mitrović. Installation view Temporäre Kunsthalle Berlin.
Pictured film: Želimir Žilnik, Inventur - Metzstrasse 11, 1975.
Photo: Jens Ziehe.

slider

Auto-Kino!, 2010
Programmed by Phil Collins & Siniša Mitrović. Installation view Temporäre Kunsthalle Berlin.
Pictured film: Bruce LaBruce, The Raspberry Reich, 2004.
Photo: Jens Ziehe.

slider

Phil Collins
free fotolab
2009
Installation view, The Residue of Memory, Aspen Art Museum, 2012.
Photo: Jason Dewey.

slider

Phil Collins
free fotolab
2009
35mm slide projection; 9 min. 20 sec.

slider

Phil Collins
free fotolab
2009
35mm slide projection; 9 min. 20 sec.

slider

Phil Collins
free fotolab
2009
35mm slide projection; 9 min. 20 sec.

slider

Phil Collins
soy mi madre
2008
16 mm film transferred to video; colour, sound; 28 min.
Production still, Mexico City, 2008.

slider

Phil Collins
soy mi madre
2008
16 mm film transferred to video; colour, sound; 28 min.
Production still, Mexico City, 2008.

slider

 

Phil Collins
soy mi madre
2008
16 mm film transferred to video; colour, sound; 28 min.
Production still, Mexico City, 2008.

slider

Phil Collins
zašto ne govorim srpski (na srpskom) [why I don't speak Serbian (in Serbian)]
2008
Installation view, Life on Mars: 55th Carnegie International, Carnegie Museum of Art, Pittsburgh, 2008.
Photo: Tom Little.

slider

Phil Collins
zašto ne govorim srpski (na srpskom) [why I don't speak Serbian (in Serbian)]
2008
16mm film transferred to video; black-and-white and colour, sound; 35 min.

slider

Phil Collins
zašto ne govorim srpski (na srpskom) [why I don't speak Serbian (in Serbian)]
2008
16mm film transferred to video; black-and-white and colour, sound; 35 min.

slider

Phil Collins
shady lane productions
2006
Production company and research office.
Installation view, Turner Prize 2006, Tate Britain, London.
Photo: Sam Drake and Mark Heathcote.

slider

Phil Collins
shady lane productions
2006
Production company and research office.
Installation view, Turner Prize 2006, Tate Britain, London.
Photo: Sam Drake and Mark Heathcote.

slider

Phil Collins
the world won't listen, 2004-07
Installation view, Marabouparken, Sunbyberg, Sweden, 2011. Photo: Jean-Baptiste Béranger. 

slider

Phil Collins
the world won't listen
2004-07
Three-channel synchronized video installation; colour, sound; 56 min.
Part three dunia tak akan mendengar. Production still, Jakarta and Bandung, 2007. 

slider

Phil Collins
the world won't listen
2004-07
Three-channel synchronized video installation; colour, sound; 56 min.
Part three dunia tak akan mendengar. Production still, Jakarta and Bandung, 2007. 

slider

Phil Collins
the world won't listen
2004-07
Three-channel synchronized video installation; colour, sound; 56 min.
Part three dunia tak akan mendengar. Production still, Jakarta and Bandung, 2007. 

slider

Phil Collins
they shoot horses
2004
Installation view, yeah…..you, baby you, Neue Kunsthalle St. Gallen, 2006. 

slider

Phil Collins
they shoot horses
2004
Two-channel synchronised video projection; colour, sound; 420 min

slider

Phil Collins
they shoot horses
2004
Two-channel synchronised video projection; colour, sound; 420 min.

slider

Phil Collins
real society #18
2002
Lightjet print reverse mounted on Diasec
96.5 x 119.5cm

slider

Phil Collins
baghdad screentests
2002
Video; colour, silent; 47 min.

slider

Phil Collins
baghdad screentests
2002
Video; colour, silent; 47 min.

slider

Phil Collins
britney #5
2001
Lightjet print reverse mounted on Diasec
183 x 122 cm.

slider

Phil Collins
britney #1, britney #2, britney #4
2001
Installation view, yeah…..you, baby you, Neue Kunsthalle St. Gallen, 2006.

slider

Phil Collins
how to make a refugee
1999
Video; colour, sound; 12 min.

Biography

Since the late 1990s, Phil Collins’ diverse practice has addressed the act of image-making, examining how we participate in and understand culture through the camera’s lens. Characteristic of the artist’s approach is a close engagement with place and communities, which over the years have included disco-dancing Palestinians, fans of The Smiths across three continents, Kosovan-Albanian refugees, the youth of Baghdad, anti-fascist skinheads in Malaysia, and teachers of Marxism-Leninism from the former German Democratic Republic. Rather than static portraits, the installations, videos and photographs resulting from these encounters articulate the nuances of relations embedded in the aesthetic regimes and economies that define everyday existence, from news and politics to entertainment and shopping. Throughout, Collins’ work upholds his commitment to myriad forms of experience across the social spectrum, and an interest in the contradictory impulses of intimacy and desire within the public sphere. 

 

Born in 1970, Collins grew up in the North of England. He studied at the University of Manchester, from which he graduated in 1994 (BA English Literature and BA Drama), and University of Ulster in Belfast, from which he graduated in 1999 (MA Fine Art). During this time he worked different jobs, including a cloakroom boy and pint-puller at the Hacienda nightclub, a bingo caller, a lecturer in performance and film theory, a high-street photo lab assistant, and a secretary at the Big Issue magazine for the homeless. Throughout the second half of the 1990s he was a member of London-based performance group Max Factory whose live art projects reached all corners of the UK and beyond.

 

Collins received Paul Hamlyn Award for Visual Arts in 2001, and was nominated for Artes Mundi Prize in 2012 and Turner Prize in 2006. He has completed a number of international residencies, including DAAD Berliner Künstlerprogramm in Berlin, Al-Ma’mal Foundation for Contemporary Art in Jerusalem, and PS1 Contemporary Art Center in New York. marxism today (prologue), Collins’ 2010 film, was awarded 3sat-Förderpreis at the 57th International Short Film Festival Oberhausen. His recent project This Unfortunate Thing Between Us from 2011 was broadcast live on German national television.

Solo exhibitions of Collins’ work have been presented in venues around the world, including Metropolitan Museum of Art, New York (2016); Museum of Contemporary Art, Chicago, IL (2016); Carpenter Center for the Visual Arts, Cambridge, MA (2016); Gallery of Modern Art, Glasgow (2015); Hebbel am Ufer, Berlin (2014); Museum Ludwig,  Cologne (2013); British Film Institute, London (2011); Tramway, Glasgow (2009); Aspen Art Museum, Colorado (2008); Dallas Museum of Art, Dallas; Carnegie Museum of Art, Pittsburgh and National Gallery of Canada, Ottawa (all 2007); San Francisco Museum of Modern Art, San Franisco and Tate Britain, London (both 2006); and Wexner Center for the Arts, Columbus, OH (2005).
 

Collins' work has also been included in numerous group exhibitions at institutions such as Museum of Modern Art and MoMA PS1, New York; Museum of Contemporary Art, Chicago; Van Abbemuseum, Eindhoven; New Museum, New York; Beirut Art Center, Bayrut; Walker Art Center, Minneapolis; Museum of Contemporary Art, Tokyo; Institute of Contemporary Art, Boston; Stedelijk Museum, Amsterdam; Hayward Gallery, London; and Museum moderner Kunst Stiftung Ludwig, Vienna.


His works are represented in the collections of Solomon R. Guggenheim Museum in New York; Tate Gallery, London; National Gallery of Canada, Ottawa; Museum of Fine Arts, Boston; Museum of Modern Art, New York; Moderna Museet, Stockholm; Museum of Contemporary Art, Chicago; Irish Museum of Modern Art, Dublin; and Walker Art Center, Minneapolis, and The Metropolitan Museum of Art, New York, among others.


Collins currently lives in Berlin and Cologne, where he is Professor of Video Art at the Academy of Media Arts.

Exhibitions
image
November 2 — December 16, 2017
image
The Metropolitan Museum of Art, New York
December 11, 2015 - November 6, 2016
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Museum of Contemporary Art Chicago
January 30 - August 21, 2016
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Work From the 1990s
12 June - 1 August 2014
Publications