Institute for Collaborative Practice

Under the Institute for Collaborative Practice we will continue to produce, publish and facilitate research on collaboration and multidisciplinary arts practice.

How does collective practice function as an artistic strategy: by Deborah Weber 

https://open.uct.ac.za/handle/11427/31776; click here to download the full paper

Abstract

This research interrogates the different strategies and methodologies employed by collectives (with a focus on South African collectives in the past two decades) to raise fundamental questions about art; the nature of artistic work, forms of production, authorship, autonomy and collaboration as an artistic strategy. The research sets out to explore collaboration as a field of art practice. The criteria for selection of the collectives in the research was each collective needed to comprise of three or more artists who have produced and authored work together under an umbrella name, they also needed to use multi-disciplinary practices. The selection included: Galerie Puta (2003), Avant Car Guard (2004), Doing it for Daddy (2006), Gugulective (2006), Centre for Historical Enactments (2010), Burning Museum (2013) and iQhiya (2015), Guerilla Girls (1985), Laboratoire Agit’Art (1975), Raqs Media Collective (1992), Ubulungiswa/Justice and Karoo Disclosure (2014). The idea of shared authorship is the central tenet around which all collective practice revolves. This thesis looks at the collective authorial voice as a strategic artistic practice in contemporary art that enables reappraisals of artistic production. Furthermore it interrogates the decentralization of authorship, as an artistic strategy to shift paradigms of thinking in relation to power structures, be it institutional, political or ideological.

Readings:

1. Bishop, Claire. 2006. ‘The Social Turn: Collaboration and Its Discontents.‘ Artforum,

2.https://www.researchgate.net/publication/274117571_Artificial_Hells_A_Conversation_with_Claire_Bishop

3. Kester, G. 2004. ‘Conversation Pieces: Community and Communication in Modern Art, A critical framework for dialogical practice‘ University of California Press, second edition 2013

4. Mbaso, Nkule. 2016. ‘In this Context: Collaborations and Biennales‘. On Curating 32 (October). http://www.on-curating.org/issue-32.html#.WoPzZyN94nU/

5. Macêdo, Silvana. 1999, ‘Collaboration in Art: Sharing the Space of One‘. Masters dissertation, University of Northumbria.

6. Roberts, J & Wright, S. 2004. ‘Art and collaboration,‘ Third Text 18(6).