dünya dinlemiyor, 2005
Still: Courtesy Tanya Bonakdar Gallery, New York & Los Angeles | Shady Lane Productions, Berlin
Still: Courtesy Tanya Bonakdar Gallery, New York & Los Angeles | Shady Lane Productions, Berlin
Still: Courtesy Tanya Bonakdar Gallery, New York & Los Angeles | Shady Lane Productions, Berlin
Still: Courtesy Tanya Bonakdar Gallery, New York & Los Angeles | Shady Lane Productions, Berlin
Still: Courtesy Tanya Bonakdar Gallery, New York & Los Angeles | Shady Lane Productions, Berlin
Collection
Single-channel video installation, color, sound
58 min
Overall dimensions variable
In his decades-long practice, Phil Collins has tirelessly examined cultural understanding through the lens of his camera. His view is tender and humorous, local and global, a series of studies on the mediation and strength of popular cultures that exist without borders. Collaborations between Collins and communities are fundamental to his work. First presented as part of the 9th International Istanbul Biennale, his hour-long video, dünya dinlemiyor (The World Won’t Listen), is set in a studio somewhere in Istanbul. In front of a miscellany of kitschy backdrops, including dewy forests, snow-capped mountains, palmed beaches, and spring flowers in bloom, disaffected youths sing along to karaoke versions of songs from The Smiths’ album “The World Won’t Listen.” Swaggering and awkward, innocent and undaunted – the youth’s demeanor and appearance could be reflected in any culture across the globe – and indeed, Collins has recreated the projected on three continents. In dünya dinlemiyor Collins deftly reveals the universal connection of solitary moments shared through the politics of music and media. – Alicia Reuter
*1970 in Runcorn, United Kingdom | Living and working in Berlin and Cologne, Germany
58 min
Overall dimensions variable
In his decades-long practice, Phil Collins has tirelessly examined cultural understanding through the lens of his camera. His view is tender and humorous, local and global, a series of studies on the mediation and strength of popular cultures that exist without borders. Collaborations between Collins and communities are fundamental to his work. First presented as part of the 9th International Istanbul Biennale, his hour-long video, dünya dinlemiyor (The World Won’t Listen), is set in a studio somewhere in Istanbul. In front of a miscellany of kitschy backdrops, including dewy forests, snow-capped mountains, palmed beaches, and spring flowers in bloom, disaffected youths sing along to karaoke versions of songs from The Smiths’ album “The World Won’t Listen.” Swaggering and awkward, innocent and undaunted – the youth’s demeanor and appearance could be reflected in any culture across the globe – and indeed, Collins has recreated the projected on three continents. In dünya dinlemiyor Collins deftly reveals the universal connection of solitary moments shared through the politics of music and media. – Alicia Reuter
*1970 in Runcorn, United Kingdom | Living and working in Berlin and Cologne, Germany
Phil Collins was picked in 2000 as one of the New Contemporaries and in the same year won the Absolute Prize. In 2001 he won a Paul Hamlyn Award for visual arts. In 2006 he was nominated for the Turner Prize for solo shows at Milton Keynes Gallery, Tanya Bonakdar Gallery, New York, and also for his work in the British Art Show 6.
This biography is from Wikipedia under an Attribution-ShareAlike Creative Commons License.
This biography is from Wikipedia under an Attribution-ShareAlike Creative Commons License.