Douglas Gordon and Philippe Parreno collaborated on Zidane: A 21st century portrait. The following text is comprised of the individual biographies for each artist. Douglas Gordon was born in 1966 in Glasgow. He attended the Glasgow School of Art from 1984 to 1988 and the Slade School of Fine Art in London from 1988 to 1990. Gordon has often reused older film footage in his photographs and videos; in 24 Hour Psycho (1993), for example, he slowed down the Alfred Hitchcock film Psycho (1960) to two frames per second, lengthening its duration and altering the experience. Tattoo, a series of photographs from 1994, features the phrase “Trust Me” tattooed on the artist’s arm. A later photograph, Tattoo (for Reflection) (1997), shows the reflection of a man’s back tattooed that reads “GUILTY” when reflected in a mirror. In through a looking glass (1999), Gordon created a double-projection work around the climactic scene in Martin Scorsese’s film Taxi Driver (1976), in which the main character addresses the camera; the screens are arranged so that the character seems to be addressing himself. The video installation Play Dead; Real Time (2003) chronicles Gordon’s introduction of a live elephant into Gagosian Gallery in New York in 2002. Gordon recently directed, along with Philippe Parreno, the ninety-minute film Zidane: A Twenty-First-Century Portrait (2005), which, through imagery of the French soccer star, investigates and augments the history of the moving body as a subject of fascination in art. For his ongoing project List of Names, begun in 1990, Gordon installs an ever-expanding inventory of names of people he can remember having encountered onto the gallery wall. Since his first solo exhibition, at the Musée d’Art Moderne de la Ville de Paris in 1993, Gordon has shown at the Centre Georges Pompidou in Paris (1995), the Tate in London (1996), Dia Center for the Arts in New York (1999), Museum of Contemporary Art in Los Angeles (2001), National Galleries of Scotland in Edinburgh (2002), Fundació Joan Miró in Barcelona (2006), Museum of Modern Art in New York (2006), National Gallery in Edinburgh (2006) Museum of Modern and Contemporary Art in Trento (2006), and Kunstmuseum Wolfsburg (2007). In 2005, he curated Douglas Gordon’s The Vanity of Allegory at the Deutsche Guggenheim in Berlin. He has also exhibited widely in group shows, including Skulptur. Projekte in Münster (1997), Biennale d’Art Contemporain de Lyon (1997), Venice Biennale (1999, 2003, and 2005), Moving Pictures at the Solomon R. Guggenheim Museum and Guggenheim Museum Bilbao (2002 and 2003), and theanyspacewhatever at the Solomon R. Guggenheim Museum in New York (2008). He won the Turner Prize in 1996, the Premio 2000 at the Venice Biennale in 1997, and the Guggenheim Museum’s Hugo Boss Prize in 1998. He lives and works in Glasgow and New York. Philippe Parreno was born in 1964 in Oran, Algeria. Throughout his career, he has worked collaboratively with other artists in all manner of mediums. His collaboration Sibéria (1988), a mix of television images, photographs by Pierre Joseph, and paintings by Bernard Joisten. He worked again with Joseph and Joisten, as well as with Dominique Gonzalez-Foerster, on Ozone (1990), which features a series of images stitched together from disparate sources. In No More Reality (1991–93), Parreno gave “video conference” lectures incorporating footage from television shows such as Alf and Twin Peaks, and movies such as Tim Burton’s Batman (1989). In his film La Nuit des héros (1994), an art historian played by television star Yves Lecoq goes mad, and in L’Ordre du discours (1994), Lecoq reads a speech for the inauguration of the Galeries Contemporaines des Musées de Marseilles. Parreno continued to work with the idea of Lecoq as a public figure in projects such as Un Homme public (1994–95), in which a little girl plays the role of a sort of counter-personality to Lecoq; positioned as the viewer on the receiving end of television feed, she speaks of the “revenge” she is taking on network television itself. The film Vicinato (1995) was a collaboration with Carsten Höller and Rirkrit Tiravanija, based on a conversation between the three artists. The speaking roles have been juggled in the film version and actors portray the artists to confuse attribution of authorship. In 1996, Parreno collaborated with Pierre Huyghe on L’Histoire d’un sentiment, a deliberately unfinished film script. In 1997, they produced one issue of a faux magazine titled Anna Sanders. Speech Bubbles (1997), also from this period, is a sculptural installation featuring a number of cartoonlike speech bubbles suspended from a gallery ceiling. In 1999, Parreno and Huyghe devised No Ghost Just a Shell, in which the rights to the character Annlee, a Japanese manga cartoon character , were purchased and licensed by the artists, “shared” with other artists (who did their own projects based upon her), and then ultimately given to the character herself. Other projects by Parreno include Untitled (2002), a sculptural undertaking with Jorge Pardo, and Sodium Dreams (2003), with Gonzalez-Foerster, Huyghe, and a number of other artists. Parreno also collaborated with Douglas Gordon to produce the ninety-minute film Zidane: A Twenty-First-Century Portrait (2006). In 2008, Parreno affixed a giant, brightly lit marquee to the Fifth Avenue entrance of the Solomon R. Guggenheim Museum in New York. Parreno has had solo exhibitions at the Kunstverein in Hamburg (1995), Musée d’Art Moderne de la Ville de Paris (1998 and 2002), Moderna Museet in Stockholm (2001), Kunstverein in Munich (2004), and Centre Georges Pompidou in Paris (2009), among other venues. His work has also appeared in the Venice Biennale (1993, 1995, 2003, 2007, and 2009), Lyon Biennale (1997, 2003, and 2005), Let’s Entertain at the Walker Art Center in Minneapolis (2000), Istanbul Bienali (2001), The Big Nothing at the Institute of Contemporary Art at the University of Pennsylvania in Philadelphia (2004), and theanyspacewhatever at the Solomon R. Guggenheim Museum in New York (2008). He lives and works in Paris.