eye-candy girls Celine
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  • What is my age:
  • I am 27
  • Ethnic:
  • Italian
  • My sexual identity:
  • Hetero
  • Color of my eyes:
  • Large gray-green
  • I understand:
  • Spanish
  • My Zodiac sign:
  • My Sign of the zodiac Libra
  • I like to drink:
  • Lager
  • I like to listen:
  • Rap
  • I like:
  • I like looking after pets


Descriptions should be written as one or more proper sentences, starting with a capital letter and ending with a full stop, exclamation mark, or question mark. They listen intently for the first few minutes, their he bobbing along. The video was viewed millions of times and shared widely on social media. In the Air Tonight immediately went to one on US college radio stations. This was a marked departure from only a few years earlier, when his solo work was dismissed by critics as cultural junk left over from an unloved earlier era.


Presented at GoMA as a gallery installation for the first time, the film now includes a ly unseen intermission featuring the Glasgow band Golden Teacheralong with a of new elements such as a mural and a poster wall.

Warm, lyrical, caustic and tender all at the same time? All the time? Ready to take you out on a long night out and not drop you home until next year 31 December not included in this offer?

So when I was invited by The Common Guild to make a work for Festival as part of the Commonwealth Games, I dropped my shopping bags and made for the nearest airport. I got out my Basildon Bond notepad, chewed on the end of my ballpoint, and began. Presumably the filming took place over a relatively long period of time? I live in Berlin and in Wuppertal I know! I was interested in looking at institutions — such as maternity hospitals, schools, the prison, retirement homes and old folks discos — semi-public spaces which are very much part of the social fabric, but which largely remain kind of invisible.

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I also wanted to engage with people of different ages, from newborns to pensioners. The very next night they could be — and were — live on television taking part in one of several fantasies offered to the German-speaking public: a Stasi-style interrogation, a gay and lesbian historical sex scene set in the 19th century, or the swift descent into a coma in a hospital bed after insulting all your family and friends.

Mindy, in a way, comes out of this. I wanted a central axis around which the film would revolve.

Funny you find it so hostile, I find it warm. Pop culture — and pop music specifically — features a lot in your work, and does again in this film.

As an artist working in a contemporary art context, how important is music to what you do? For the last few projects, I collaborated with musicians and I find these dialogues incredibly inspiring.

A q&a with… phil collins, artist

They tend to open up the work in an expected direction or give it another form, especially when it comes to developing original compositions. Instead, image and sound develop in parallel and music can often influence the way something gets edited or even shot. Of course, the music was always going to be an essential part of a film about Glasgow. So, with the musical sequences in the film, I wanted to imagine the real through the frame of music, and make something where song emerges from a living, breathing, working space.

It was important that the people I met sang the songs themselves, not collins to them, which took a lot of time and patience, and trust, dedication and bravery on their part, to get to the point at which they sound like they do, but I think you can feel their exhilaration and joy in giving these extraordinary performances.

If the film can be described to function, like some have suggested, as an update gay the idea of a city symphony, it does very literally so, through the voices of its phils. Can you explain a little about working with Cate Le Bon and how the music was conceived in relation to the scenes in the film? Cate is a friend of mine. With one swish of her black-and-silver deer cape and a note in a voice occasionally slightly lower than mine, my heart was removed from its casing and trampled on, so I was never quite the same again.

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Cate is a truly original artist who can turn the simplest observations into poetic and abstract chimeras, so her music instinctively felt right for the scope of emotions and experiences that I wanted to address. Tomorrow is Always Too Long was commissioned for a one-off screening in a Glasgow park.

How much did that context impact on the making of the film? The location and the context were important in thinking through the production, the look and the feel of the film.

We ended up using some of this footage in the film and the site on which it premiered last summer was actually the same spot which you see in those reels, so there were all these resonances which might not seem obvious but were inspirational in figuring out the conceptual approach. Was there always the intention or hope to present it again in a gallery context, or is this something that has presented itself after the event?

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The local context is central to all my projects, but so is the wish that they should have a life afterwards as well. So yes, I always approach them with a more universal aim in mind and with the intention to be show widely, to different audiences and, potentially, in different configurations. And why GoMA? Would you say you were an optimist when it comes to the human condition? I suppose I am genuinely interested in people.

But I do like to observe.

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And I think a lot about others. I sit in a darkened room twiddling my thumbs, thinking about people.

Chris Sharratt is a writer and editor based in Glasgow and edits a-n's art news website.

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After years of unwillingly having his name splashed across headlines and tabloids on various occasions, Phil Collins has used his latest interview to clear a few things up.


Phil Collins.