Phil Collins: A Learning Site

Phil Collins, <i>the meaning of style</i>, 2011
Installation view, Carpenter Center for the Visual Arts, 2016
Installation view, Carpenter Center for the Visual Arts, 2016
Open Seminar: Phil Collins in Context (Part 1)
Open Seminar: Phil Collins in Context (Part 1)
Phil Collins, <i>the louder you scream, the faster we go</i>, 2005
Phil Collins, <i>they shoot horses</i>, 2004.
Open Seminar: Phil Collins in Context (Part 1)
Phil Collins, <i>the world won’t listen</i>, 2004-07
Open Seminar: Phil Collins in Context (Part 1)
“Class Pick.” Students in Harvard University course VES 105 identify publications in
Phil Collins, <i>This Unfortunate Thing Between Us</i>, 2011
Intermission for screening, Phil Collins, <i>This Unfortunate Thing Between Us</i>, 2011.
Screening, Phil Collins, <i>This Unfortunate Thing Between Us</i>, 2011.
Bookmark publication produced with quotes pulled from readings
Phil Collins, <i>Tomorrow Is Always Too Long</i>, 2014
Screening and Talk, Phil Collins, <i>Tomorrow Is Always Too Long</i>, 2014
Screening and Talk, Phil Collins, <i>Tomorrow Is Always Too Long</i>, 2014
Screening and Talk, Phil Collins, <i>Tomorrow Is Always Too Long</i>, 2014
Screening and Talk, Phil Collins, <i>Tomorrow Is Always Too Long</i>, 2014
Screening and Talk, Phil Collins, <i>Tomorrow Is Always Too Long</i>, 2014
Phil Collins, Harvard University course VES 105
Phil Collins, <i>I Fought The Law, L.A. Protests</i>, 2000
Phil Collins, Sert Practitioner Residency
Phil Collins, Sert Practitioner Residency
Open Seminar: Phil Collins in Context (Part 2)
Open Seminar: Phil Collins in Context (Part 2)
Open Seminar: Phil Collins in Context (Part 2)
Open Seminar: Phil Collins in Context (Part 2)
Open Seminar: Phil Collins in Context (Part 2)
Phil Collins, <i>marxism today (prologue)</i>, 2010
Open Seminar: Phil Collins in Context (Part 2)
Open Seminar: Phil Collins in Context (Part 2)
Open Seminar: Phil Collins in Context (Part 2)
Phil Collins, <i>how to make a refugee</i>, 1999 (still)

Phil Collins, the meaning of style, 2011

16mm film transferred to HD digital video; color, sound; 4 min. 50 sec.

Courtesy Shady Lane Productions, Berlin and Tanya Bonakdar Gallery, New York

Installation view, Carpenter Center for the Visual Arts, 2016

Phil Collins, the meaning of style, 2011

Installation view, Carpenter Center for the Visual Arts, 2016

Phil Collins, the meaning of style, 2011

Open Seminar: Phil Collins in Context (Part 1)

Carpenter Center for the Visual Arts, Sert Gallery, Mar 24, 2016

Open Seminar: Phil Collins in Context (Part 1)

Carpenter Center for the Visual Arts, Sert Gallery, Mar 24, 2016

Phil Collins, the louder you scream, the faster we go, 2005 (still)

Phil Collins, the louder you scream, the faster we go, 2005

Video; color, sound; 10 min.

Phil Collins, they shoot horses, 2004.

Two-channel synchronized video projection; color, sound; 420 min.

Open Seminar: Phil Collins in Context (Part 1)

Carpenter Center for the Visual Arts, Sert Gallery, Mar 24, 2016.

Phil Collins, the world won’t listen, 2004-07

Synchronized three-channel video installation; color, sound; 56 min.

Courtesy Shady Lane Productions, Berlin and Tanya Bonakdar Gallery, New York

Open Seminar: Phil Collins in Context (Part 1)

Carpenter Center for the Visual Arts, Sert Gallery, Mar 24, 2016

“Class Pick.” Students in Harvard University course VES 105 identify publications in

CRC/bookshop relevant to study of work by Phil Collins

Phil Collins, This Unfortunate Thing Between Us, 2011

Performance in two parts broadcast live on German public television; each 60 min.

Courtesy Shady Lane Productions, Berlin and Tanya Bonakdar Gallery, New York

Intermission for screening, Phil Collins, This Unfortunate Thing Between Us, 2011.

Carpenter Center Lecture Hall, Mar 31, 2016

Screening, Phil Collins, This Unfortunate Thing Between Us, 2011.

Carpenter Center Lecture Hall, Mar 31, 2016

Bookmark publication produced with quotes pulled from readings

in the Harvard University course VES 105.

Phil Collins, Tomorrow Is Always Too Long, 2014

HD digital video, Hi8 and VHS; color, sound; 82 min.

Courtesy Shady Lane Productions, Berlin and Tanya Bonakdar Gallery, New York

Screening and Talk, Phil Collins, Tomorrow Is Always Too Long, 2014

Carpenter Center Lecture Hall, Apr 7, 2016

Screening and Talk, Phil Collins, Tomorrow Is Always Too Long, 2014

Carpenter Center Lecture Hall, Apr 7, 2016

Screening and Talk, Phil Collins, Tomorrow Is Always Too Long, 2014

Carpenter Center Lecture Hall, Apr 7, 2016

Screening and Talk, Phil Collins, Tomorrow Is Always Too Long, 2014

Carpenter Center Lecture Hall, Apr 7, 2016

Screening and Talk, Phil Collins, Tomorrow Is Always Too Long, 2014

Carpenter Center Lecture Hall, Apr 7, 2016

Phil Collins, Harvard University course VES 105

Carpenter Center for the Visual Arts, Level 4, Apr 4–8, 2016

Phil Collins, I Fought The Law, L.A. Protests, 2000

Courtesy Shady Lane Productions

Phil Collins, Sert Practitioner Residency

Radio Broadcast, WHRB 93.5 FM, Apr 4–8, 2016

Phil Collins, Sert Practitioner Residency

Radio Broadcast, WHRB 93.5 FM, Apr 4–8, 2016

Open Seminar: Phil Collins in Context (Part 2)

Carpenter Center for the Visual Arts, Sert Gallery, Apr 21, 2016

Open Seminar: Phil Collins in Context (Part 2)

Carpenter Center for the Visual Arts, Sert Gallery, Apr 21, 2016

Open Seminar: Phil Collins in Context (Part 2)

Carpenter Center for the Visual Arts, Sert Gallery, Apr 21, 2016

Open Seminar: Phil Collins in Context (Part 2)

Carpenter Center for the Visual Arts, Sert Gallery, Apr 21, 2016

Open Seminar: Phil Collins in Context (Part 2)

Carpenter Center for the Visual Arts, Sert Gallery, Apr 21, 2016

Phil Collins, marxism today (prologue), 2010

HD video; color, sound; 35 min.

Courtesy Shady Lane Productions, Berlin and Tanya Bonakdar Gallery, New York

Open Seminar: Phil Collins in Context (Part 2)

Carpenter Center for the Visual Arts, Sert Gallery, Apr 21, 2016

Phil Collins, marxism today (prologue), 2010 (still)

Open Seminar: Phil Collins in Context (Part 2)

Carpenter Center for the Visual Arts, Sert Gallery, Apr 21, 2016

Open Seminar: Phil Collins in Context (Part 2)

Carpenter Center for the Visual Arts, Sert Gallery, Apr 21, 2016

Phil Collins, how to make a refugee, 1999 (still)

Phil Collins, how to make a refugee, 1999 (still)

Courtesy Shady Lane Productions, Berlin and Tanya Bonakdar Gallery, New York

Phil Collins, <i>the meaning of style</i>, 2011 thumbnail
Installation view, Carpenter Center for the Visual Arts, 2016 thumbnail
Installation view, Carpenter Center for the Visual Arts, 2016 thumbnail
Open Seminar: Phil Collins in Context (Part 1) thumbnail
Open Seminar: Phil Collins in Context (Part 1) thumbnail
Phil Collins, <i>the louder you scream, the faster we go</i>, 2005 thumbnail
Phil Collins, <i>they shoot horses</i>, 2004.  thumbnail
Open Seminar: Phil Collins in Context (Part 1) thumbnail
Phil Collins, <i>the world won’t listen</i>, 2004-07 thumbnail
Open Seminar: Phil Collins in Context (Part 1) thumbnail
“Class Pick.” Students in Harvard University course VES 105 identify publications in  thumbnail
Phil Collins, <i>This Unfortunate Thing Between Us</i>, 2011 thumbnail
Intermission for screening, Phil Collins, <i>This Unfortunate Thing Between Us</i>, 2011. thumbnail
Screening, Phil Collins, <i>This Unfortunate Thing Between Us</i>, 2011. thumbnail
Bookmark publication produced with quotes pulled from readings thumbnail
Phil Collins, <i>Tomorrow Is Always Too Long</i>, 2014 thumbnail
Screening and Talk, Phil Collins, <i>Tomorrow Is Always Too Long</i>, 2014 thumbnail
Screening and Talk, Phil Collins, <i>Tomorrow Is Always Too Long</i>, 2014 thumbnail
Screening and Talk, Phil Collins, <i>Tomorrow Is Always Too Long</i>, 2014 thumbnail
Screening and Talk, Phil Collins, <i>Tomorrow Is Always Too Long</i>, 2014 thumbnail
Screening and Talk, Phil Collins, <i>Tomorrow Is Always Too Long</i>, 2014 thumbnail
Phil Collins, Harvard University course VES 105 thumbnail
Phil Collins, <i>I Fought The Law, L.A. Protests</i>, 2000 thumbnail
Phil Collins, Sert Practitioner Residency thumbnail
Phil Collins, Sert Practitioner Residency thumbnail
Open Seminar: Phil Collins in Context (Part 2) thumbnail
Open Seminar: Phil Collins in Context (Part 2) thumbnail
Open Seminar: Phil Collins in Context (Part 2) thumbnail
Open Seminar: Phil Collins in Context (Part 2) thumbnail
Open Seminar: Phil Collins in Context (Part 2) thumbnail
Phil Collins, <i>marxism today (prologue)</i>, 2010 thumbnail
Open Seminar: Phil Collins in Context (Part 2) thumbnail
Open Seminar: Phil Collins in Context (Part 2) thumbnail
Open Seminar: Phil Collins in Context (Part 2) thumbnail
Phil Collins, <i>how to make a refugee</i>, 1999 (still) thumbnail
 thumbnail

The multilayered practice of British artist Phil Collins is the focus of a constellation of curatorial and academic activities over three months dedicated to exhibiting, experiencing, studying, and analyzing the work of one of contemporary art’s most engaging voices.

Collins has consistently pushed the boundaries of art and documentary filmmaking from filming teenagers in Bogotá, Jakarta, and Istanbul singing an entire album of songs by The Smiths; to working with young anti-fascist skinheads in Malaysia; to employing a cast of actors, porn workers, and musicians to host an alternative shopping channel broadcast live on German television; to making a cinematic love letter to the city of Glasgow. He thoughtfully conceives frameworks or situations that weave our shared realities and everyday life together with fiction and uncertainty. Viewers are reminded of the persuasive force of popular culture on seemingly disparate peoples and places, while questioning global dispersion of Western images, fashion, music, media, and advertising.

Phil Collins: A Learning Site feature a series of public seminars, screenings, and a video installation, and concludes with a weeklong residency and public talk by the artist. Organized in conjunction with a course in Visual and Environmental Studies at Harvard taught by James Voorhies, the John R. and Barbara Robinson Director of the Carpenter Center, Phil Collins: A Learning Site merges the public sphere of the exhibition model with the intimacy, intellectual rigor, social engagement, and critical reflection of an academic seminar. The aim is to focus on and think through as a community the impact of this singular artist within the context of recent art history and contemporary culture.

Organized by James Voorhies, John R. and Barbara Robinson Family Director

Learning Site Modules

Video Installation
March 2–April 21: the meaning of style (2011). 4 min. 50 sec.

2 Open Seminars
March 24, 7–8:30 p.m.
March 21, 6–7:30 p.m.

2 Screenings
March 24, 5:30 p.m.: the world won’t listen (2004–07). 56 min.
March 31, 6 p.m.: This Unfortunate Thing Between Us (2011). 120 min.

Screening + Artist Talk
Arpil 7, 6 p.m.: Tomorrow Is Always Too Long (2014). 82 min.

Sert Practitioner Residency
April 3–9, 2016

How to Rule Others: Phil Collins & Siniša Mitrović Select
at the Harvard Film Archive

April 8, 7 p.m.
Power (Vlatko Gilić, 1974) 34 min.
Tito Among the Serbs For the Second Time (Želimir Žilnik, 1993) 45 min.

April 8, 9 p.m.
The Psychic Parrot (Derek Lamb, 1977) 20 min.
Television: The Enchanted Mirror (Julene Bair, George Csicsery, 1981) 28 min.
The War Game (Peter Watkins, 1966) 49 min.
Evidence (Godfrey Reggio, 1995) 8 min.

Phil Collins
Phil Collins is a British-born filmmaker, visual artist, cultural organizer, and educator based in Berlin and Wuppertal. His diverse practice is characterized by close engagements with place and communities, which over the years have included, amongst others, disco-dancing Palestinians, fans of The Smiths across three continents, Kosovan-Albanian refugees, the youth of Baghdad, anti-fascist skinheads in Malaysia, the homeless population of Cologne, and teachers of Marxism-Leninism from the former German Democratic Republic. Rather than static portraits, the works resulting from these collaborations 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 upholds a 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.

Collins’s works are represented in collections such as those of Museum of Modern Art and Metropolitan Museum of Art in New York; Tate Gallery, London; and Museum of Fine Arts, Boston.

Since 2011 Collins is Professor of Video Art and Performance at the Academy of Media Arts in Cologne.

Support
Phil Collins: A Learning Site is supported in part  by the Film Study Center at Harvard University, Harvard Film Archive, and the Provostial Fund for the Arts and Humanities.

Curator

James Voorhies

Institution

March 2–April 21, 2016

Carpenter Center for the Visual Arts
Harvard University
24 Quincy Street
Cambridge, MA

Made possible with funding and staff of Harvard University's Carpenter Center for the Visual Arts