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Phil Collins (British, 1970)
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Phil Collins
cathy, torsten, jammy 2003
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Phil Collins
dünya dinlemîyor (detail) 2005
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Phil Collins
dünya dinlemîyor (detail) 2005
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Phil Collins
dünya dinlemîyor (detail) 2005
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Phil Collins
dünya dinlemîyor (detail) 2005
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Phil Collins
el mundo no escuchará (the world won’t listen) 2004
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Biography |
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1970 |
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Born Runcorn, UK |
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1990 - 1994 |
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University of Manchester, Manchester |
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1998 - 2000 |
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University of Ulster, School of Art & Design |
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Residences |
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2008 DAAD, Berlin |
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2006 Wexner Center for the Arts, Columbus, OH |
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2005 Platform Garanti Contemporary Art Center, Istanbul |
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2004 IASPIS, Stockholm |
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2004 Al-Ma’mal Foundation for Contemporary Art, Jerusalem |
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2001 P.S.1 Contemporary Art Center, New York, NY |
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Prizes and Awards |
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2005 The Art Newspaper & AXA Art Exhibition Catalogue Award |
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2003 Present Futures Illy Prize |
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2001 The Paul Hamlyn Foundation Award for Visual Arts |
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2001 Absolut Prize |
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Exhibitions |
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2008 |
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Aspen Art Museum, Aspen, Colorado (solo) |
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2008 |
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Cinema Effect: Illusion, Reality and Moving Image, Part II: Realisms, Hirshhorn Museum & Sculpture Garden, Washington DC |
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2008 |
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Be(com)ing Dutch, Van Abbemuseum, Eindhoven |
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2008 |
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Amateurs, CCA Wattis Institute for Contemporary Art, San Francisco |
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2008 |
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Art Sheffield 08: Yes, No & Other Options, Millenium Galleries, Sheffield |
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2008 |
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Double Agent, Mead Gallery, University of Warwick |
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2008 |
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Double Agent, Institute of Contemporary Arts, London |
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2007 |
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Time Present Time Past, Istanbul Museum of Modern Art, Istanbul |
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2007 |
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Out of Art, Centre PasquArt, Biel |
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2007 |
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the world won’t listen, Dallas Museum of Art, Dallas, TX (solo) |
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2007 |
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the return of the real, Victoria Miro Gallery, London (solo) |
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2007 |
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they shoot horses, National Gallery of Canada, Ottawa (solo) |
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2007 |
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Ausstellungshalle zeitgenössische Kunst, Münster (solo) |
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2007 |
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Forum 59: Phil Collins, Carnegie Museum of Art, Pittsburgh, PA (solo) |
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2007 |
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You Have Not Been Honest, Museo d’Arte Contemporanea Donna Regina, Naples |
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2007 |
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War and Discontent, Museum of Fine Arts, Boston, MA |
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2007 |
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Breaking Step: Displacement, Compassion and Humour in Recent Art from Great Britain, Museum of Contemporary Art, Belgrade |
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2007 |
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a forest and a tree, Kunsthalle Exnergasse, Vienna |
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2007 |
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Turbulence, 3rd Auckland Triennial, Auckland Art Gallery, Auckland |
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2007 |
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Raised By Wolves, Art Gallery of Western Australia, Perth |
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2007 |
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Exposing Cinema: Borderline Behaviour, 36th International Film Festival Rotterdam |
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2006 |
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Hearth: Concepts of Home, Irish Museum of Modern Art, Dublin |
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2006 |
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The Artists Cinema, 35mm Artists Film Commissions, Frieze Art Fair, London |
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2006 |
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New Work: Phil Collins, San Francisco Museum of Modern Art, San Francisco, CA (solo) |
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2006 |
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el mundo no escuchará, Or Gallery, Vancouver (solo) |
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2006 |
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the louder you scream, the faster we go, Vita Kuben, Norlands Operan, Umeå (solo) |
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2006 |
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erreala denaren itzulera / el retorno de lo real, sala rekalde, Bilbao (solo) |
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2006 |
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Neue Kunsthalle St. Gallen, St. Gallen (solo) |
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2006 |
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they shoot horses, Tate Britain, London (solo) |
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2006 |
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yeah…..you, baby you, Glynn Vivian Art Gallery, Swansea (solo) |
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2006 |
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Tanya Bonakdar Gallery, New York, NY (solo) |
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2006 |
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Stedelijk Museum voor Actuele Kunst, Gent (solo) |
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2006 |
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the return of the real / gercegin geri donusu, Nederlands Fotomuseum, Rotterdam (solo) |
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2006 |
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assume freedom, University Museum of Art, Long Beach, CA (solo) |
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2006 |
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Turner Prize 2006, Tate Britain, London |
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2006 |
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Try Again. Fail Again. Fail Better, Momentum – 4th Nordic Festival of Contemporary Art, Moss |
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2006 |
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British Art Show 6, Royal West of England Academy, Bristol |
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2006 |
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Deutsche Börse Photography Prize 2006, C/O The Cultural Forum for Photography, Berlin |
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2006 |
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The View From Here: Acquisitions Since 2000, Tate Modern, London |
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2006 |
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Good Vibrations, Palazzo delle Papesse Centro Arte Contemporanea, Siena |
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2006 |
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Painting Ruins, Afghan Foundation, Kabul |
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2006 |
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People: Contemporary Faces, Bodies And Signs, Museo d’Arte Contemporanea Donna Regina, Naples |
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2006 |
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British Art Show 6, Nottingham Castle, Nottingham |
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2006 |
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Universal Experience: Art, Life & the Tourist’s Eye, Museo d’Arte Moderna e Contemporanea di Trento a Rovereto |
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2006 |
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Music For People, Dundee Contemporary Arts, Dundee |
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2006 |
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Deutsche Börse Photography Prize 2006, The Photographers´ Gallery, London |
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2006 |
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British Art Show 6, Manchester Art Gallery, Manchester |
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2006 |
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Having Been Written In Words, Orchard, New York, NY |
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2006 |
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Low–Intensity Conflict, Swiss Institute, New York, NY |
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2006 |
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Do You Think I'm Disco? Longwood Art Center @ Hostos, Bronx, NY |
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2005 |
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assume freedom, Temple Gallery, Tyler School of Art, Philadelphia, PA (solo) |
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2005 |
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yeah…..you, baby you, firstsite, Colchester (solo) |
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2005 |
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el mundo no escuchará, Lora Reynolds Gallery, Austin, TX (solo) |
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2005 |
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phil collins: greatest hits 1 & 2, Cinematexas 10th International (solo) |
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2005 |
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Short Film Festival, Austin, TX (solo) |
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2005 |
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yeah…..you, baby you, National Gallery of Arts, Tirana (solo) |
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2005 |
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yeah…..you, baby you, Milton Keynes Gallery, Milton Keynes (solo) |
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2005 |
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phil collins: they shoot horses, Wexner Center for the Arts, Columbus, OH (solo) |
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2005 |
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What Now? C.R.A.C. Centre Rhenan D’Art Contemporain, Alsace |
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2005 |
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British Art Show 6, BALTIC The Centre for Contemporary Art, Gateshead |
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2005 |
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Universal Experience: Art, Life & the Tourist’s Eye, Hayward Gallery, London |
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2005 |
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Istanbul, 9th International Istanbul Biennial, Deniz Palas Apartments, Istanbul |
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2005 |
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Sweet Taboos, 3rd Tirana Biennial, Kompleks Goldi, Tirana |
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2005 |
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Kerlin Gallery, Dublin |
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2005 |
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Cork Caucus, National Sculpture Factory, Cork |
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2005 |
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Les Grands Spectacles: 120 Years of Art & Mass Culture, Museum der Moderne Salzburg Mönchsberg, Salzburg |
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2005 |
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Thinking of the Outside, various sites, Bristol |
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2005 |
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Leaps of Faith, various sites, Nicosia |
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2005 |
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Populism, Stedelijk Museum, Amsterdam; Frankfurter Kunstverein, Frankfurt; Contemporary Art Centre, Vilnius |
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2005 |
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a forest and a tree, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, NY |
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2005 |
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Belonging, 7th Sharjah International Art Biennial, Sharjah Art Museum & Expo Centre, Sharjah |
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2005 |
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Pass the Time of Day, Collective Gallery, Edinburgh; Castlefield, Manchester |
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2005 |
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Il Tempo, Lo Sbaglio, Lo Spazio, Fondazione Davide Halevim, Milan |
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2005 |
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Normalization, Platform Garanti Contemporary Art Center, Istanbul |
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2005 |
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Cinema a la Pedrera, Fundació Caixa Catalunya, Barcelona |
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2005 |
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Universal Experience: Art, Life & the Tourist’s Eye, Museum of Contemporary Art, Chicago, IL |
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2005 |
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Situated Self, Museum of Contemporary Art, Belgrade; Tennis Palace Art Museum, Helsinki |
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2004 |
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el mundo no escuchará, Espacio La Rebeca, Bogotá (solo) |
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2004 |
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they shoot horses, Kerlin Gallery, Dublin (solo) |
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2004 |
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Recall, Modern Art Oxford, Oxford |
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2004 |
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ev+a 2004 – Imagine Limerick, Halla Íde, Limerick |
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2004 |
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Normalization, Gallery Nova, Zagreb |
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2004 |
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Muslim Mulliqi Prize 2004, Kosova Art Gallery, Prishtina, Kosovo |
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2004 |
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All Moveable Wonders, IASPIS, Stockholm |
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2004 |
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Tír Na Nóg, Irish Museum of Modern Art, Dublin |
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2004 |
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Central Station, Le Maison Rouge – Fondation Antoine de Galbert, Paris |
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2004 |
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The Mythological Machine, Mead Gallery, Warwick Arts Centre, Coventry |
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2004 |
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Untitled (As Yet), 6th Yugoslav Biennial of Young Artists, various sites, Vrsac & Belgrade |
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2004 |
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Diaporama 04, Centre Civic de la Mina, Barcelona |
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2004 |
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Plug In, Futura, Prague |
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2004 |
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Trading Places, Pump House Gallery, London |
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2003 |
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Now What? Dreaming a better world in six parts, BAK basis voor actuele kunst, Utrecht |
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2003 |
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Now. Images of Present Time, Le Mois de la Photo 2003, L’Espace Vox, Montréal |
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2003 |
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24/7, Contemporary Art Centre, Vilnius |
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2003 |
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The 1st Transmanchurian Video Festival, Beijing |
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2003 |
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Art Now Lightbox 01, Tate Britain, London |
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2003 |
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Videozone #2, Centro de Arte Moderna, Lisbon |
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2003 |
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Into the Breach, Smart Project Space, Amsterdam |
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2003 |
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Vacant Community, Fondazione Adriano Olivetti, Rome |
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2003 |
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Undesire, apexart, New York, NY |
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2003 |
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Witness: Contemporary Artists Document Our Time, Barbican Centre, London |
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2003 |
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maccarone inc., New York, NY (solo) |
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2003 |
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real society, Ormeau Baths Gallery, Belfast (solo) |
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2003 |
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baghdad screentests, Meeting House Square, Dublin (solo) |
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2002 |
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sinisa & sanja, The Wrong Gallery, New York, NY (solo) |
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2002 |
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bad infinity #2, Locust Projects, Miami, FL (solo) |
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2002 |
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becoming more like us, Artopia, Milan (solo) |
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2002 |
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reproduction. time wasted. London Print Studio, London (solo) |
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2002 |
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Kappatos Gallery, Athens (solo) |
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2002 |
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bad infinity, Kerlin Gallery, Dublin (solo) |
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2002 |
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mislim ne znam / i mean i don’t know, Meeting House Square, Dublin (solo) |
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2002 |
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becoming more like us, Temple Bar Gallery and Studios, Dublin (solo) |
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2002 |
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Onufri, National Gallery of Arts, Tirana |
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2002 |
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Videozone, Centre for Contemporary Art, Tel Aviv |
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2002 |
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Reality Check: Recent Developments in British Photography & Video, British Council/The Photographers’ Gallery Touring Exhibition |
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2002 |
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Phil Collins, Daniela Rossell, Sharon Yaari, Anthony Wilkinson Gallery, London |
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2002 |
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Something Else: Contemporary Irish Art, Turku Art Museum, Turku; Amos Anderson Art Museum, Helsinki; Oulun City Art Museum, Oulu; Joensuu Art Museum, Joensuu |
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2002 |
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hi(story), Salzburger Kunstverein, Salzburg |
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2002 |
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Resident, Foxy Productions, Brooklyn, NY |
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2002 |
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Frontline Compilation, D.A.E. Donostiako Arte Ekinbideak, San Sebastián/Donostia |
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2002 |
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Listening To New Voices, P.S.1 Contemporary Art Center, New York, NY |
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2001 |
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Konverzacija, Museum of Contemporary Art, Belgrade |
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2001 |
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Multiples 6, Temple Bar Gallery and Studios, Dublin |
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2001 |
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1st Tirana Biennial, various sites, Tirana |
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2001 |
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Intentional Communities, Rooseum, Malmö |
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2001 |
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Uniform: Order and Disorder, P.S.1 Contemporary Art Center, New York, NY; Pitti Immagine, Florence |
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2001 |
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The International Language, Grassy Knoll Productions, Liberty Blue, Belfast |
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2001 |
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ev+a 2001, Limerick City Gallery of Art, Limerick |
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2001 |
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Pandaemonium, Lux Centre, London |
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2001 |
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face value, Context Gallery, Derry, Northern Ireland (solo) |
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2000 |
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Cartography of the City, Catalyst Arts, Belfast |
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2000 |
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You Are Here, Holden Gallery, MMU, Manchester |
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2000 |
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Better Society, Golden Thread Gallery, Belfast |
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2000 |
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Perspective 2000, Ormeau Baths Gallery, Belfast |
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2000 |
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Borderline Syndrome, Manifesta 3, Moderna galerija, Ljubljana |
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2000 |
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New Contemporaries, Milton Keynes Gallery, Milton Keynes; Cornerhouse, Manchester; Inverleith House, Edinburgh |
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Literature |
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2008 |
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Eliza Williams, “Phil Collins: Return of the Real”, Contemporary Magazine, Issue 95 |
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2008 |
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Roberta Smith, “An Alien Sighting on Planet Pittsbugh”, The New York Times, May 9 2008 |
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2008 |
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Ann-Marie Michel, “The sound of one hand slapping”, ARTNews, April 2008 |
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2008 |
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Melissa Gronlund, ‘’Double Agent’, Frieze, Issue 114, April 2008 |
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2008 |
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Charles Darwent, ‘Double Agent, ICA, London’, Independent, February 17, 2008 |
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2008 |
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Ana Finel Honigman, ‘Phil Collins at Victoria Miro’, Art in America, February 2008 |
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2008 |
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Helen Molesworth, ‘Man with a Movie Camera’, Artforum, January 2008 |
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2007 |
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Lamar Clarkson, ‘Keeping Up with the Smiths’, Art News, November 2007 |
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2007 |
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Freya Small, ‘How to get Video Art Right: Phil Collins, The Return of the Real’, www.contemporaryartwriting.wordpress.com, November 2007 |
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2007 |
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Alastair Sooke, ‘Turning the tables on reality TV’, The Daily Telegraph, October 31, 2007 |
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2007 |
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Eliza Williams, ‘Reality TV ruined my life’, www.creativereview.co.uk, October 17, 2007 |
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2007 |
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Helen Sumpter (interview), ‘In the Studio: Phil Collins’, October 10 – 16, 2007 |
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2007 |
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Mark Stephens, ‘’The Grim Reality’, October 14, 2007 |
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2007 |
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Franka Hummels, ‘De keiharde kunst van het manipuleren’, www.ad.nl, October 10, 2007 |
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2007 |
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Lena Corner (interview), ‘A nip/tuck nightmare’, The Independent on Sunday, October 7, 2007 |
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2007 |
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Jackie Wullschlager, ‘Critics Choice: the return of the real, Financial Times, October 6, 2007 |
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2007 |
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Ice Cream, Phaidon Press, London |
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2007 |
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You Have Not Been Honest: Contemporary Film and Video from the UK, British Council, London |
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2007 |
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Breaking Step: Displacement, Compassion and Humour in Recent Art from Great Britain, Museum of Contemporary Art, Belgrade |
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2007 |
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Public Time: A Symposium, Modern Art Oxford, Oxford |
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2007 |
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Turbulence: the 3rd Auckland Triennial, Auckland Art Gallery, Auckland |
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2007 |
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Raised By Wolves, Art Gallery of Western Australia, Perth |
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2007 |
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the world won’t listen, Yale University Press, New Haven (Bruce Hainley, Liz Kotz, Simon Reynolds, Suzanne Weaver) |
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2007 |
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gercegin geri donusu / the return of the real, sala rekalde, Bilbao (Maurizio Lazzarato, Edgar Schmitz, Leire Vergara) |
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2007 |
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Forum 59: Phil Collins, Carnegie Museum of Art, Pittsburgh, PA (Douglas Fogle) |
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2007 |
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Charlotte Higgins, ‘Manipulated: artist gives voice to daytime reality show guests’, October 5, 2007 |
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2007 |
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Edgar Schmitz, ‘Phil Collins: the return of the real’, Next Level, Edition 12 |
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2007 |
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Brian Dillon, ‘Another Fine Mess: Nine theses on slapstick’, Frieze, October 2007 |
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2007 |
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Cristina Odone, ‘It takes art, not TV to show us reality’, The Observer, September 30, 2007 |
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2007 |
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Justin Hopper, ‘Phil Collins’, Pittsburgh City Paper, June 21, 2007 |
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2007 |
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Katja Behrens, ‘Die Leiden der Anderen’, Die Tageszeitung, 11. 06. 2007 |
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2007 |
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Pernilla Holmes, ‘In Your Face’, Art News, June 2007, pp. 106-111 |
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2007 |
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Sarah Thornton, ‘Reality Art Show’, The New Yorker, March 19, 2007, pp. 74–81 |
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2007 |
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Anthony Byrt, ‘You’re Being Watched’, Listener, March 17, 2007, pp. 36–38 |
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2007 |
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Kurniawan Hari, ‘Linking Bogota, Istanbul & Jakarta’, The Jakarta Post, 06 January 2007, p. 24 |
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2006 |
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New Work: Phil Collins, San Francisco Museum of Modern Art, San Francisco, CA (Jill Dawsey) |
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2006 |
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Vitamin Ph: New Perspectives in Photography, Phaidon Press, London |
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2006 |
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Hearth: Concepts of Home, Irish Museum of Modern Art, Dublin |
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2006 |
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Turner Prize 2006, Tate Publishing, London |
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2006 |
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Try Again. Fail Again. Fail Better, Momentum, Moss |
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2006 |
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Good Vibrations, Pallazo delle Papesse Centro Arte Contemporanea, Siena |
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2006 |
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What Now? C.R.A.C. Centre Rhenan D’Art Contemporain, Alsace |
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2006 |
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Deutsche Börse Photography Prize 2006, The Photographers’ Gallery, London |
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2006 |
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William Hanley, ‘The AI Interview: Phil Collins’, www.artinfo.com, 14 December 2006 |
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2006 |
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Jack Mottram, ‘Full of regret for those 15 minutes’, The Herald, 24 November 2006, p. 20 |
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2006 |
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Nicholas Glass, ‘Reality Bites Back at the Turner Prize’, www.channel4.com, 23 November 2006 |
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2006 |
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Caroline Gray, ‘The reality behind reality TV?’, www.news.bbc.co.uk, 23 November 2006 |
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2006 |
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Arifa Akbar, ‘Real life behind reality TV in line for Turner Prize’, The Independent, 23 November 2006, p. 7 |
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2006 |
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Charlotte Higgins, ‘The tales of television betrayal the Turner nominee is transforming into art’, The Guardian, 23 November 2006, p. 9 |
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2006 |
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Alison Roberts. “How reality TV was turned into art’, Evening Standard, 23 November 2006, pp. 32-33 |
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2006 |
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Johnny Ray Houston, ‘The harsh truth – and lies – of the camera eye’, San Francisco Bay Guardian, 22 November 2006 |
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2006 |
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Charbel Ackermann, ‘El trauma de los realitas’, Arcadia, November 2006, pp. 22-23 |
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2006 |
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Barbara Cassavechia, ‘Next Turner Prize?’, Mousse Magazine, November 2006 |
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2006 |
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Sarah Milroy, ‘Diving head-first into Turner hurly-burly’, The Globe And Mail, 28 October 2006 |
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2006 |
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Lena Corner, ‘Making an exhibition of myself’, The Independent On Sunday, 22 October 2006, pp. 10-15 |
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2006 |
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Nina Möntmann, ‘Community Service’, Frieze, Issue 102, October 2006, pp. 37-40 |
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2006 |
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Iain Gale, ‘Facing a grim reality’, Scotland On Sunday, 8 October 2006, p. 9 |
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2006 |
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Adrian Searle, ‘Car batteries, clay nipples, reality TV and a glimpse of the future’, The Guardian, 03 October 2006, pp. 18-20 |
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2006 |
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Sarah Sorheim, ‘Katedralen i Kenya’, Memo, Nr. 22 2006, pp. 60-62 |
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2006 |
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Nagore Ferreira Zamalloa, ‘Tele–errealitatearen mugetan’, Deia – Ortazdar, 22.09.2006, pp. 8–9 |
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2006 |
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Ismael Manterola Ispizua, ‘Erreala denaren itzulera’, Berria, 16.09.2006, p. 48 |
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2006 |
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Ramón Esparaza, ‘Los otros mundos de Phil Collins’, El Mundo, 07.09.2006, p. 32 |
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2006 |
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Carles Guerra, ‘Lamentable pero divertido’, La Vanguardia Culturas, 6 septiembre 2006 |
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2006 |
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Alberto Martín, ‘Confesiones públicas’, El País, 2 septiembre 2006, p. 12 |
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2006 |
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Miren Jaio, ‘Sensación de vivir’, Gara – Mugalaria, 26.08.2006, p. 6 |
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2006 |
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Ben Luke, ‘The brutal truth about reality TV’, The Daily Telegraph, 22 August 2006, p. 22 |
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2006 |
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Mikel Lizarralde, ‘Gizarte errealari berea itzulera’, Berria, 16/07/2006, p. 34 |
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2006 |
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Gorka Larrumbide, ‘Reencuentro en la habitación’, El Diario Vasco, 16.07.2006, p. 83 |
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2006 |
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Tobias Rüther, ‘Phil Collins’ Belastungsproben’, Monopol Nr.3/2006 |
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2006 |
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Elizabeth Schambelan, ‘Phil Collins’, Artforum, May 2006, Vol. XLIV, No. 9, pp. 287-288 |
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2006 |
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Roberta Smith, ‘Phil Collins’, The New York Times, 07 April 2006 |
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2006 |
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Steven Stern, ‘Phil Collins’, Time Out New York, No. 549, 06 –12 April 2006, p. 95 |
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2006 |
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Claire Bishop, ‘The Social Turn: Collaboration and Its Discontents’, Artforum, February 2006, Vol. XLIV, No. 6, pp. 178-183 |
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2006 |
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Adrian Searle, ‘This is sacrilege’, The Guardian, 14 February 2006, pp. 18-20 |
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2006 |
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Sven Lütticken, ‘People’s Party’, Artforum, January 2006, Vol. XLIV, No. 5, pp. 61-62 |
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2005 |
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British Art Show 6, Hayward Gallery Publishing, London |
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2005 |
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Cinematexas 10th International Short Film Festival, Austin, TX |
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2005 |
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Istanbul: 9th International Istanbul Biennial, Istanbul Foundation for Culture and Arts, Istanbul |
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2005 |
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Sweet Taboos, 3rd Tirana Biennial, Tirana |
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2005 |
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Cork Caucus, National Sculpture Factory, Cork |
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2005 |
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Les Grands Spectacles: 120 Years of Art & Mass Culture, Hatje Cantz Verlag, Ostfildern |
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2005 |
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Thinking of the Outside, University of the West of England & Bristol Legible City in association with Arnolfini, Bristol |
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2005 |
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yeah…..you, baby you, Milton Keynes Gallery / Shady Lane Publications, Milton Keynes & Hove (Claire Bishop & Francesco Manacorda, Kate Bush, Todd Haynes, Bill Horrigan) |
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2005 |
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phil collins: they shoot horses, Wexner Center for the Arts, Columbus, OH (Bill Horrigan) |
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2005 |
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Populism, Lukas & Sternberg, New York |
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2005 |
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Belonging, 7th Sharjah International Art Biennial, Sharjah |
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2005 |
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Universal Experience: Art, Life and the Tourist’s Eye, Museum of Contemporary Art, Chicago, IL |
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2005 |
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Art Now Lightbox, Tate Publishing, London |
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2005 |
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Looking, Encountering, Staging, Anke Bagma (ed.), Piet Zwart Institute / Revolver Archiv für aktuelle Kunst, Rotterdam & Frankfurt am Main |
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2005 |
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Claire Bishop, ‘Parading the Invisible’, Pablo Internacional Magazine, Autumn/Winter 2005, pp. 6-14 |
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2005 |
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Anjali Gupta, ‘Phil Collins’, Art Papers, p. 55 |
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2005 |
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Jörg Heiser, ‘City Report: Istanbul’, Frieze, Issue 95, November 2005, pp. 122-127 |
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2005 |
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Iwona Blazwick, “Istanbul Biennial 9’, Art Monthly, No. 291, November 2005, pp. 18-19 |
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2005 |
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William Pym, ‘Critics’ Picks Philadelphia: Phil Collins’, www.artforum.com |
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2005 |
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Alex Farquharson, ‘Minority Report’, Frieze, Issue 94, October 2005, pp. 196-201 |
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2005 |
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Max Henry, ‘Leaps of Faith’, Bidoun, Issue 05, Fall 2005, p. 144 |
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2005 |
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Jessica Lack, ‘Phil Collins’, i-D, Vol. II/VIII No. 258, September 2005, p. 162 |
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2005 |
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Mahmut Hamsici, ‘Haytiimiz “reality show”’, Radikal, 29. Agustos 2005, p. 21 |
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2005 |
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Yesim Tabak, ‘Smiths hayranlari mikrofon basina!’, Radikal Cumartesi, 13 Agustos 2005, p. 5 |
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2005 |
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‘Bir Duygu Kartografyasi. Phil Collins Anlatiyor: Gençlik Saplantim The Smiths’, Roll, No. 100, Agustos-Ekim 2005, p. 56 |
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2005 |
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Lane Releya, ‘Universal Experience’, Artforum, Vol. XLIII No. 10, Summer 2005, p. 321 |
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2005 |
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Arjola Hekurani, ‘Phil Collins komunikon me artin e tij’, Republika, 25 qershor 2005, p. 17 |
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2005 |
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Petrika Grosi, ‘Emri dhe hija e këngëtarit më sjellin kudo ngatërresa’, Ballkan, 24 qershor 2005, p. 19 |
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2005 |
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Anila Çuli, ‘Artisti Collins, në Tiranë me instalacion’, Dita, 21 qershor 2005, p. 18 |
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2005 |
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Dustin Ericksen, ‘Sharjah Biennial 7’, Art Review, Vol. LVI, June 2005, p. 107 |
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2005 |
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Jörn Ebner, ‘Phil Collins: yeah…..you, baby you’, Springerin 2/05 |
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2005 |
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Cherry Smyth, ‘Phil Collins’, Art Monthly, No. 286, May 2005, pp. 33-34 |
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2005 |
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Jörn Schafaff, ‘Kunst unter der Scharia’, Die Tageszeitung, No. 7644, 20. 04. 2005, p. 15 |
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2005 |
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Antonia Carver, ‘Arts & Minds – Sharjah International Biennial 7’, Time Out Dubai, 15 April 2005, pp. 30-31 |
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2004 |
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Tír Na Nóg, Irish Museum of Modern Art, Dublin |
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2004 |
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Central Station, Le Maison Rouge – Fondation Antoine de Galbert, Paris |
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2004 |
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The Mythological Machine, Mead Gallery, Warwick Arts Centre, Coventry |
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2004 |
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Untitled (As Yet): 6th Yugoslav Biennial of Young Artists, Centre for Contemporary Art, Belgrade |
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2004 |
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Files, Octavio Zaya. (ed.), Museo de Arte Contemporáneo, Castilla Y Léon |
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2004 |
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Plug In, Futura, Prague |
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2004 |
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ev+a 2004 – Imagine Limerick, ev+a, Limerick |
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2004 |
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Mark Sladen, ‘Punch Drunk Love’, Art Review, Vol. LIV, October 2004, pp. 62-63 |
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2004 |
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Eva Kartcher, ‘i only want you to love me’, Sleek Magazine, No. 5, pp. 46-59 |
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2004 |
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Niklas Õstholm, ‘Elt Samtal Med: Phil Collins’, Xposeptember Stockholm Fotofestival, p. 8 |
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2004 |
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Sinisa Mitrovic, ‘Phil Collins’, Flash Art, Vol. XXXVII, No. 237, July–September 2004, pp. 119–120 |
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2004 |
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Niamh Ann Kelly, ‘ev+a 2004’, Art Monthly, No. 277, June 2004, pp. 28-29 |
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2004 |
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Cristin Leach, ‘they shoot horses’, The Sunday Times – Culture, May 23 2004, p. 38 |
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2004 |
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Graham Parker, ‘New York Round-Up’, Art Monthly, No. 273, February 2004, pp. 37-38 |
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2004 |
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Craig Houser, ‘Phil Collins’, Flash Art, Vol. XXXVII, No. 234, January-February 2004, p. 68 |
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2004 |
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Nico Israel, ‘Atelier In Samarra’, Artforum, Vol. XLII, No. 5, January 2004, pp. 35-36 |
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2003 |
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Vince Aletti, ‘Phil Collins’, Village Voice, November 12-18 2003, p. 83 |
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2003 |
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Now What? Dreaming a better world in six parts, BAK basis voor actuele kunst / Revolver Archiv für aktuelle Kunst, Utrecht & Frankfurt am Main |
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2003 |
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Now. Images of Present Time, Le Mois de la Photo 2003, Montréal |
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2003 |
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i only want you to love me, Brighton Photo Biennial / photoworks, Brighton (Caoimhín Mac Giolla Léith, Sinisa Mitrovic, Andrew Renton) |
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2003 |
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Jane Harris, ‘Phil Collins’, Time Out New York, No. 423, November 6-13 2003, p. 60 |
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2003 |
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Brian Shollis, ‘New York Critics’ Picks: Phil Collins’, www.artforum.com |
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2003 |
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Henry Lehman, ‘Stills of the Hurtling World’, The Gazette, Montréal, September 14, 2003 |
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2003 |
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Martin Bruhns, ‘No Real Society’, Source 35, Summer 2003, pp. 50-51 |
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2003 |
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Isabel Nolan, ‘Phil Collins’, SSI Newsletter, June-August 2003. pp. 25-26 |
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2003 |
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Gean Moreno, ‘Steady Interference: Phil Collins’ Charged Interventions’, Art Papers, May/June 2003, pp. 14-15 |
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2003 |
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Morgan Falconer, ‘Witness’, Frieze, No. 75, May 2003, pp. 88-89 |
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2003 |
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Niamh Ann Kelly, ‘Phil Collins: Personal and Political’, Art Monthly, No. 265, April 2003, pp. 20-21 |
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2003 |
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Aidan Dunne, ‘Sex, Lies, and Video Verité’, The Irish Times, 29 March 2003, pp. 6-7 |
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2003 |
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Ian White, ‘Director Action’, Art Review, Vol. LIII, March 2003, p. 6 |
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2003 |
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Julian Stallabrass, ‘Take a Reality Check’, Evening Standard, 4 March 2003, p. 41 |
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2003 |
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Michele Maccarone, ‘real society: discussion with Phil Collins’, Sherman No. 1, Winter 2002/03, pp. 32-37 |
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2003 |
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Michele Robecchi, ‘Phil Collins: Face Value’, Flash Art Italia, Vol. XXXVI, No. 237, December 2002 – January 2003, pp. 78-80 |
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2003 |
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Chiara Leoni, ‘Phil Collins’, Flash Art Italia, Vol. XXXVI, No. 237, December 2002 – January 2003, pp. 111-112 |
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2002 |
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Peio Aguirre & Leire Vergara, ‘Phil Collins: real society’, Zehar, Special Edition, Winter 2002, pp. 32-35 |
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2002 |
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Christy Papadopulou, ‘The documentary and the artistic’, Athens News, 11 October 2002 |
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2002 |
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Mark Sladen, ‘In Conversation with Phil Collins’, www.kultureflash.net |
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2002 |
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Andrew Renton, ‘Objects Beyond Price’, Evening Standard, 10 September 2002, p. 59 |
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2002 |
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Sinisa Mitrovic, ‘Merry Christmas Mr. Collins’, Artext, No. 78, Fall 2002, pp. 30-36 |
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2002 |
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Gonzalo García Chasco, ‘Gente corriente al desundo’, El Diario Vasco, 14 July 2002, p. 5 |
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2002 |
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Reality Check: Recent Developments in British Photography & Video, British Council, London |
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2002 |
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Something Else: Contemporary Irish Art, Turku Art Museum Publications, Turku |
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2002 |
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Frontline Compilation, D.A.E., San Sebastián/Donostia |
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2002 |
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Listening To New Voices, P.S.1 Contemporary Art Center, New York, NY |
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2002 |
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Caoimhín Mac Giolla Léith, Phil Collins’, Artforum, Vol. XL, No. 10, Summer 2002, pp. 188-89 |
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2002 |
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Conversation: On Phil Collins’ young serbs (English supplement), Prelom – A Journal for Contemporary Art and Theory, No. 2-3 Summer 2002, Centre for Contemporary Art, Belgrade |
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2002 |
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Maurizio Cattelan, ‘Phil Collins: Absolute Beginners’, Purple, No. 11, Spring 2002, pp. 78-79 |
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2002 |
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Billy Leahy, ‘Phil Collins’, In Dublin, Vol, 27, No.5, March 2002, p. 45 |
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2002 |
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Patrick Brennan, ‘Phil Collins’, The Irish Examiner, 22 February 2002 |
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2002 |
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Aidan Dunne, ‘Life’s Confusions and Contradictions’, The Irish Times, 21 February 2002 |
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2002 |
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Massimiliano Gioni & Michele Robecchi, ‘Phil Collins: Face Value’, Flash Art, Vol. XXXIV, No. 222, January-February 2002, pp. 84-86 |
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2001 |
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Branislav Dimitrijevic, ‘Ausgesetzte Adoleszenz: Drei “Belgrader” Photos von Phil Collins’, Springerin, Vol. VII, No. 3, October-December 2001, pp. 60-61 |
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2001 |
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Branislav Dimitrijevic, ‘Suspended Adolescence’, Source No. 28, Autumn 2001, pp. 38-40 |
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2001 |
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Konverzacija, Museum of Contemporary Art, Belgrade |
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2001 |
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1st Tirana Biennial, Tirana |
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2001 |
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Uniform: Order and Disorder, Pitti Immagine, Florence |
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2000 |
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Cartography of the City, Catalyst Arts, Belfast |
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2000 |
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Borderline Syndrome, Manifesta 3, Ljubljana |
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2000 |
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New Contemporaries, Bloomberg, London |
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2000 |
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Allan Hughes, ‘Belfast I’, Circa, No. 94, Winter 2000, pp. 54-55 |
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2000 |
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Peter Richards, ‘Belfast II’, Circa, No. 94, Winter 2000, pp. 56-57 |
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2000 |
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Graham Parker, ‘Manifesta 3’, Art Monthly, No. 238, September 2000, pp. 26-27 |
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2000 |
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Annie Fletcher, ‘Ljubljana: Manifesta 3’, Circa, No. 93, Autumn 2000, pp. 62-63 |
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2000 |
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Josephine Schmidt, ‘A roving show fixates on Europe’s border obsession’, The New York Times, July 27th 2000 |
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2000 |
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Sara Arrhenius, Harry Liivrand & Branislav Dimitrijevic, ‘Has the Title Stolen the Show? Three Views on Manifesta 3 from Three Different European Ports’, Nu: The Nordic Art Review, Vol. II, No. 5, May 2000, pp. 78-80 |
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