b. 1972 Dublin, Ireland; lives and works in Glasgow, Scotland.

Duncan Campbell's artistic practice is rooted in meticulous archival research, delving into a diverse array of subjects that span the spectrum of human experience. From exploring the life of Northern Irish politician Bernadette Devlin to delving into the enigmatic DeLorean car manufacturing project and examining the contributions of German economist Hans Tietmeyer, Campbell's films navigate complex historical narratives and their enduring relevance in contemporary society. His body of work probes the intricate interplay between past and present, questioning the construction and dissemination of social, political, and personal narratives over time. Campbell skilfully challenges the boundaries between documentary and fiction, while also critically examining the authority and integrity of cultural records. Weaving together archival elements, personal interpretations, self-constructed imagery, and found footage, he creates compelling films that present alternate narratives to the dominant or accepted versions and canons. With cinematic craftsmanship and intellectual rigour, his works invite us to reconsider established truths and broaden our perspectives on history, memory, and the complex forces that shape our world.

Duncan Campbell was the recipient of the 2014 Turner Prize. Recent projects include Michael Clark: Cosmic Dancer, V&A Dundee, Dundee (2022); Ψυχοσάββατο - Μέρος ΙΙ All Souls Day II - Part II, Rodeo Piraeus, Piraeus (2019); The Welfare of Tomás Ó Hallissy, Western Front, Vancouver (2017); Positions #3, Van Abbemuseum, Eindhoven (2016); Arbeit, Kunsthall Oslo, Oslo (2015); Scotland and Venice, Scottish pavilion, Venice Biennale (2013); and Duncan Campbell, Carnegie Museum of Art, Pittsburgh (2012).

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