Phil Collins (born 1970) is an English artist, and Turner prize nominee.
Collins was born in Runcorn, England. He lived and worked in Belfast, until moving to Belgrade. He now lives in Glasgow.
He was nominated for the 2006 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. The Tate Gallery describes his work as "engaging photographic and video installations involving diverse social groups. Acting as a catalyst, he encourages people to reveal their individuality, making the personal public with sensitivity and generosity."
For the 2006 Frieze Show in London, a £33-million art fair, Collins created a fully-functioning 'Shady Lane Productions' office and did 9am-5pm office work in it for the duration of the show, with the room open to passing visitors. The office workers are said to be making Return Of The Real, a documentary about people whose lives have been ruined by reality TV. Turner Prize judge Andrew Renton said, "To call Phil Collins a prankster would be to underestimate the seriousness of his work. His work is clearly political and connected to social engagement." 
Still from They Shoot Horses video by Phil Collins (2004)
His best-known works are video art, often featuring teenagers. In 2002 he travelled to Saddam Hussein's Baghdad, before the start of the Iraq war, and filmed Iraqis sitting silently for screen tests for a non-existent Hollywood movie (Baghdad Screen Tests, 2002). His best known work is They Shoot Horses (2004) consisting of two videos each lasting seven hours and shown at the same time on different walls. This is a record of a disco dance marathon staged by the artist with nine Palestinians in Ramallah. Music from the last three decades is played and the young people are captured in a single camera take, as they dance or, at times, stand round or slump to the floor. Another similar work was The World Won't Listen (2005), which features young people in Turkey, Colombia, and Indonesia performing karaoke versions of Smiths songs
Phil Collins’s art investigates our ambivalent relationship with the camera as both an instrument of attraction and manipulation, of revelation and shame. He often operates within forms of low-budget television and reportage-style documentary to address the discrepancy between reality and its representations. In his projects, Collins creates unpredictable situations and his irreverent and intimate engagement with his subjects – a process he describes as ‘a cycle of no redemption’ – is as important for his practice as the final presentation in the gallery.