Phil Collins: The World Won't Listen
Mar 19, 2011 - May 29, 2011
Marabouparken is pleased to present an exhibition by internationally renowned British artist Phil Collins. He often works in socially and politically contested regions, employing elements of popular culture, low-budget television and reportage-style documentary to articulate a form of critical proximity to contemporary media 鈥� both a fascination with and wariness of the ways in which they structure the lived experience itself.
For the exhibition at Marabouparken, Collins will present his acclaimed three-part video installation the world won鈥檛 listen. Filmed in Colombia, Turkey and Indonesia, the trilogy features fans of the influential indie-rock band The Smiths performing karaoke versions of tracks from their 1987 compilation album of the same name. Collins first began work on the world won鈥檛 listen in 2004 in Bogot谩. The second part took place in Istanbul in 2005 and was included in the 9th International Istanbul Biennial while the third part was filmed in 2007 in Jakarta and Bandung. Out of hundreds of takes from each country, Collins re- assembled the world won鈥檛 listen in its original running order, thus creating a collection of 鈥榲ideo-albums.鈥� A tender, humorous, and occasionally heartbreaking portrait of humanity, the work is a study on the mediation and strength of popular culture鈥檚 global reach. the world won鈥檛 listen is in many ways representative of both the rigour and sensitivity that characterise Collins鈥� artistic method, it offers a poignant look at one鈥檚 desires and struggle for individual expression or, as the artist has said, at 鈥榯he sweet agony of self-fulfilment and self- limitation.鈥�
Amongst other work included in the exhibition are britney from 2001, a series of large-scale prints of defaced Britney Spears posters which Collins photographed in the New York subway and a suite of screen prints produced in 2006 based on letters that a young Morrissey, himself an obsessive fan and at the time an aspiring music writer, wrote to the London music weeklies in the late 鈥�70s and early 鈥�80s. Collins brings back to light a selection of these passionate and sharp-tongued contributions, which only rarely made it into the reviews proper. Both works expand on one of the central aspects of the world won鈥檛 listen, namely the issue of fandom and cultural fascination, and throw a personal light on mechanisms of carefully constructed self-image and the idea of self-mythologisation.
On show is also the work he who laughs last laughs longest from 2006. Created to mark the 80th anniversary of the birth of television, Collins staged a 鈥渓aughing contest鈥� and filmed the proceedings as a group of people laugh as hard as they can as long as they can in the desperate hope of being named the winner. The questions is what are they laughing at, and why?
On Phil Collins
Born in 1970 in Runcorn, England, Phil Collins lives and works in Berlin. Collins鈥� recent projects include they shoot horses from 2004 鈥� a disco-dance marathon organised in Ramallah on the West Bank, and the telenovela soy mi madre produced in Mexico City in 2008. In marxism today (prologue), Collins depicts the human consequences of a disintegrating world view through interviews with former East German Marxist-Leninist teachers, some of whom he invited to the UK to give courses in Marxism, which he documents in the sequel use! value! exchange!
Recent solo exhibition includes Jarla Partilager, Stockholm (2011), Cornerhouse, Manchester and daadgalerie, Berlin (both 2010), Tramway, Glasgow (2009), Aspen Art Museum, Colorado (2008), Dallas Museum of Art, Texas and Carnegie Museum of Art, Pittsburgh (both 2007), San Francisco Museum of Modern Art and Tate Britain, London (both 2006). Collins was shortlisted for the 2006 Turner Prize.
For the exhibition at Marabouparken, Collins will present his acclaimed three-part video installation the world won鈥檛 listen. Filmed in Colombia, Turkey and Indonesia, the trilogy features fans of the influential indie-rock band The Smiths performing karaoke versions of tracks from their 1987 compilation album of the same name. Collins first began work on the world won鈥檛 listen in 2004 in Bogot谩. The second part took place in Istanbul in 2005 and was included in the 9th International Istanbul Biennial while the third part was filmed in 2007 in Jakarta and Bandung. Out of hundreds of takes from each country, Collins re- assembled the world won鈥檛 listen in its original running order, thus creating a collection of 鈥榲ideo-albums.鈥� A tender, humorous, and occasionally heartbreaking portrait of humanity, the work is a study on the mediation and strength of popular culture鈥檚 global reach. the world won鈥檛 listen is in many ways representative of both the rigour and sensitivity that characterise Collins鈥� artistic method, it offers a poignant look at one鈥檚 desires and struggle for individual expression or, as the artist has said, at 鈥榯he sweet agony of self-fulfilment and self- limitation.鈥�
Amongst other work included in the exhibition are britney from 2001, a series of large-scale prints of defaced Britney Spears posters which Collins photographed in the New York subway and a suite of screen prints produced in 2006 based on letters that a young Morrissey, himself an obsessive fan and at the time an aspiring music writer, wrote to the London music weeklies in the late 鈥�70s and early 鈥�80s. Collins brings back to light a selection of these passionate and sharp-tongued contributions, which only rarely made it into the reviews proper. Both works expand on one of the central aspects of the world won鈥檛 listen, namely the issue of fandom and cultural fascination, and throw a personal light on mechanisms of carefully constructed self-image and the idea of self-mythologisation.
On show is also the work he who laughs last laughs longest from 2006. Created to mark the 80th anniversary of the birth of television, Collins staged a 鈥渓aughing contest鈥� and filmed the proceedings as a group of people laugh as hard as they can as long as they can in the desperate hope of being named the winner. The questions is what are they laughing at, and why?
On Phil Collins
Born in 1970 in Runcorn, England, Phil Collins lives and works in Berlin. Collins鈥� recent projects include they shoot horses from 2004 鈥� a disco-dance marathon organised in Ramallah on the West Bank, and the telenovela soy mi madre produced in Mexico City in 2008. In marxism today (prologue), Collins depicts the human consequences of a disintegrating world view through interviews with former East German Marxist-Leninist teachers, some of whom he invited to the UK to give courses in Marxism, which he documents in the sequel use! value! exchange!
Recent solo exhibition includes Jarla Partilager, Stockholm (2011), Cornerhouse, Manchester and daadgalerie, Berlin (both 2010), Tramway, Glasgow (2009), Aspen Art Museum, Colorado (2008), Dallas Museum of Art, Texas and Carnegie Museum of Art, Pittsburgh (both 2007), San Francisco Museum of Modern Art and Tate Britain, London (both 2006). Collins was shortlisted for the 2006 Turner Prize.
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Marabouparken is pleased to present an exhibition by internationally renowned British artist Phil Collins. He often works in socially and politically contested regions, employing elements of popular culture, low-budget television and reportage-style documentary to articulate a form of critical proximity to contemporary media 鈥� both a fascination with and wariness of the ways in which they structure the lived experience itself.
For the exhibition at Marabouparken, Collins will present his acclaimed three-part video installation the world won鈥檛 listen. Filmed in Colombia, Turkey and Indonesia, the trilogy features fans of the influential indie-rock band The Smiths performing karaoke versions of tracks from their 1987 compilation album of the same name. Collins first began work on the world won鈥檛 listen in 2004 in Bogot谩. The second part took place in Istanbul in 2005 and was included in the 9th International Istanbul Biennial while the third part was filmed in 2007 in Jakarta and Bandung. Out of hundreds of takes from each country, Collins re- assembled the world won鈥檛 listen in its original running order, thus creating a collection of 鈥榲ideo-albums.鈥� A tender, humorous, and occasionally heartbreaking portrait of humanity, the work is a study on the mediation and strength of popular culture鈥檚 global reach. the world won鈥檛 listen is in many ways representative of both the rigour and sensitivity that characterise Collins鈥� artistic method, it offers a poignant look at one鈥檚 desires and struggle for individual expression or, as the artist has said, at 鈥榯he sweet agony of self-fulfilment and self- limitation.鈥�
Amongst other work included in the exhibition are britney from 2001, a series of large-scale prints of defaced Britney Spears posters which Collins photographed in the New York subway and a suite of screen prints produced in 2006 based on letters that a young Morrissey, himself an obsessive fan and at the time an aspiring music writer, wrote to the London music weeklies in the late 鈥�70s and early 鈥�80s. Collins brings back to light a selection of these passionate and sharp-tongued contributions, which only rarely made it into the reviews proper. Both works expand on one of the central aspects of the world won鈥檛 listen, namely the issue of fandom and cultural fascination, and throw a personal light on mechanisms of carefully constructed self-image and the idea of self-mythologisation.
On show is also the work he who laughs last laughs longest from 2006. Created to mark the 80th anniversary of the birth of television, Collins staged a 鈥渓aughing contest鈥� and filmed the proceedings as a group of people laugh as hard as they can as long as they can in the desperate hope of being named the winner. The questions is what are they laughing at, and why?
On Phil Collins
Born in 1970 in Runcorn, England, Phil Collins lives and works in Berlin. Collins鈥� recent projects include they shoot horses from 2004 鈥� a disco-dance marathon organised in Ramallah on the West Bank, and the telenovela soy mi madre produced in Mexico City in 2008. In marxism today (prologue), Collins depicts the human consequences of a disintegrating world view through interviews with former East German Marxist-Leninist teachers, some of whom he invited to the UK to give courses in Marxism, which he documents in the sequel use! value! exchange!
Recent solo exhibition includes Jarla Partilager, Stockholm (2011), Cornerhouse, Manchester and daadgalerie, Berlin (both 2010), Tramway, Glasgow (2009), Aspen Art Museum, Colorado (2008), Dallas Museum of Art, Texas and Carnegie Museum of Art, Pittsburgh (both 2007), San Francisco Museum of Modern Art and Tate Britain, London (both 2006). Collins was shortlisted for the 2006 Turner Prize.
For the exhibition at Marabouparken, Collins will present his acclaimed three-part video installation the world won鈥檛 listen. Filmed in Colombia, Turkey and Indonesia, the trilogy features fans of the influential indie-rock band The Smiths performing karaoke versions of tracks from their 1987 compilation album of the same name. Collins first began work on the world won鈥檛 listen in 2004 in Bogot谩. The second part took place in Istanbul in 2005 and was included in the 9th International Istanbul Biennial while the third part was filmed in 2007 in Jakarta and Bandung. Out of hundreds of takes from each country, Collins re- assembled the world won鈥檛 listen in its original running order, thus creating a collection of 鈥榲ideo-albums.鈥� A tender, humorous, and occasionally heartbreaking portrait of humanity, the work is a study on the mediation and strength of popular culture鈥檚 global reach. the world won鈥檛 listen is in many ways representative of both the rigour and sensitivity that characterise Collins鈥� artistic method, it offers a poignant look at one鈥檚 desires and struggle for individual expression or, as the artist has said, at 鈥榯he sweet agony of self-fulfilment and self- limitation.鈥�
Amongst other work included in the exhibition are britney from 2001, a series of large-scale prints of defaced Britney Spears posters which Collins photographed in the New York subway and a suite of screen prints produced in 2006 based on letters that a young Morrissey, himself an obsessive fan and at the time an aspiring music writer, wrote to the London music weeklies in the late 鈥�70s and early 鈥�80s. Collins brings back to light a selection of these passionate and sharp-tongued contributions, which only rarely made it into the reviews proper. Both works expand on one of the central aspects of the world won鈥檛 listen, namely the issue of fandom and cultural fascination, and throw a personal light on mechanisms of carefully constructed self-image and the idea of self-mythologisation.
On show is also the work he who laughs last laughs longest from 2006. Created to mark the 80th anniversary of the birth of television, Collins staged a 鈥渓aughing contest鈥� and filmed the proceedings as a group of people laugh as hard as they can as long as they can in the desperate hope of being named the winner. The questions is what are they laughing at, and why?
On Phil Collins
Born in 1970 in Runcorn, England, Phil Collins lives and works in Berlin. Collins鈥� recent projects include they shoot horses from 2004 鈥� a disco-dance marathon organised in Ramallah on the West Bank, and the telenovela soy mi madre produced in Mexico City in 2008. In marxism today (prologue), Collins depicts the human consequences of a disintegrating world view through interviews with former East German Marxist-Leninist teachers, some of whom he invited to the UK to give courses in Marxism, which he documents in the sequel use! value! exchange!
Recent solo exhibition includes Jarla Partilager, Stockholm (2011), Cornerhouse, Manchester and daadgalerie, Berlin (both 2010), Tramway, Glasgow (2009), Aspen Art Museum, Colorado (2008), Dallas Museum of Art, Texas and Carnegie Museum of Art, Pittsburgh (both 2007), San Francisco Museum of Modern Art and Tate Britain, London (both 2006). Collins was shortlisted for the 2006 Turner Prize.
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