Art Collectives

In the latest iteration of the event, the organizers of and participants in Haiti's Fourth Ghetto Biennale have attempted to identify, address and rectify some of the major issues at stake, including concerns related to cross-cultural artistic agency, themes of disaster and crisis, the tourist "gaze", and Haitian art history. By examining four of the arts projects executed during the two-week event in downtown Port-au-Prince, this article analyses the shifts and adjustments between the Second Ghetto Biennale in 2011 and the fourth in 2015, and how the biennale's artists and curators have attempted to address and account for points of contestation.

SPACE PLAN began in November 1968 with a manifesto, and the members produced work that took on styles of Minimalism. While showing work at civic halls and galleries, the members also actively attempted to organize outdoor exhibitions in and around Tottori City, for example, the Aoshima Island, an islet in the Koyama pond, or the front garden of Jinpukaku, a French Renaissance style residence that dates back to the Meiji era. Noteworthy is the Second Exhibition, which showcased Minimalist works on a grand scale in the Tottori Sand Dunes. Although the group garnered local media attention at the time, their activities were restricted to the Tottori region and therefore never became nationally famous.
How did their style, which stemmed from a modern art movement like Minimalism, evolve in the latter half of the 1960s in the local region of Tottori? This paper examined the group’s activities while tracing the circumstances surrounding the culture of Tottori during the 1960s and the 1970s, and within various historical contexts—the age of youth rebellion, Gutai’s outdoor exhibitions, the open-air sculpture exhibitions of Ube (Yamaguchi) and Suma (Kobe), Fukushima Noriyasu and the Kitashirakawa Art Village in Kyoto, and the development from Minimalism to Post Minimalism.

The Free Art & Technology Lab art collective, who had been championing a free and participative culture through their support of open source software,  announced their closure and ‘total defeat’ in 2015 in the face of a loss of a stake in the future of the Internet. In the face of the simulacrum’s logic, Baudrillard took a similar approach through his ‘fatal’ strategy. Is there possibility for the digital technology, the Internet, and the realm of representation to still serve as avenues towards political subversion within what Baudrillard terms ‘the hyperreal’? Has the political sphere, the social, the logic of fact and the order of reason, truly disappeared, or is Baudrillard’s own theory simulational in its creation of a ‘media theology’? Does democracy still have something to offer or does its functionality lay precisely in its failures? Have we truly lost all alternatives, are we stuck in a simulacrum, or does Baudrillard underestimate the subject’s own powers of mediation and agency? Did F.A.T. Lab’s hacktivist tactics wield the media’s own logic against itself, or reinforce the simulational logic of the system they were attempting to topple? F.A.T. Lab and Baudrillard’s strategies of total defeat are the only effective strategies in combating the simulacrum and the Internet as a structure of power. It is in the total defeat that we acknowledge the failure of democracy and capitalism, rather than petitioning to its moral framework which serves to shroud its functional dysfunctionality. As we face of an increasingly absurd sociopolitical reality, perhaps we must also take a stance of ‘total defeat’ and, as per Slavoj Žižek and Jean Baudrillard, find new ‘Master-Signifiers’.

Sanatın tüm sınırlarını yok etmeyi amaçlayan performans sanatı, bedenin sınırlarını da zorlayacak uç noktalara ulaşmış ve mesaj kaygısını farklı biçimlerde vermeye çalışmıştır.Sanatçılar tarafından yeniden keşfedilecek bir coğrafya olarak tekrar gündeme gelen beden, performans sanatında eylemin ön planda olduğu deneyim temalarıyla ele alınmıştır. İzleyicinin resim, heykel, tiyatro gibi geleneksel “karşıdan bakmak ve anlamak” yönündeki temsil biçimini, “içine girmek, dahil olmak ve var olmak” şeklindeki düşünce biçimine bırakmıştır.
Tracey Warr ve Amelia Jones’un “Artist’s Body” adlı kitaplarından elde edilen başlıklar altında bedenin sınıflandırılması; “Tuval Beden, Eylemci Beden, Ritüalistik ve Aşkıncı Beden, Sınırları Aşan Beden, Kimliği Sahneleyen Beden, Yok Beden ve Teknolojik Beden” olarak belirtilmiş ve bedenin işlevleri, sınırları ve olasılıkları araştırılmıştır. Yapılan araştırmalar sonucunda kolektif performans sanatçılarının örnekleri özelinden genel hatlarıyla sanatsal, sosyal, siyasi, spiritüel, felsefik, teknolojik ve sadomazoşist gibi keskin uçlardaki kavramsal boyutlarla tanımlanabilecek temalarda incelenmiştir.

Unlike post-communist Europe that underwent a similar process of economic reform, the emergence of independent and alternative art spaces in post-dol moi Vietnam, as well as the development of contemporary art in general, had a gradual rather than explosive character.

The past twenty years have seen a new generation of artists working together in small groups and large collectives to explore new avenues of art, design, performance, and communication. With in-depth interviews and a rich array of imagery, Come Together explores the processes and motivations behind forty of the most distinctive of these groups. From large, globe-spanning collectives to highly-focused duos, each collective is not just creating distinctive work but also influencing wider aspects of our culture, from music and political protest to fashion and food, ushering in a new way of thinking about what it means to create, conceive, and make art together.

Artists featured:
AAS, Abäke, Andrea Crews, Assume Vivid Astro Focus, Center for Tactical Magic, Chto Delat, Club Real, DAS INSTITUT, Dearraindrop, DIS, Discoteca Flaming Star, Etcétera..., Eva and Franco Mattes, Fallen Fruit, Friends With You, hobbypopMUSEUM, The Icelandic Love Corporation, Improv Everywhere, Instant Coffee, LuckyPDF, Metahaven, Paper Rad, Project Projects, The Propeller Group, PSJM, Public Movement, R A K E T A, Reactor, Ruangrupa, SIMPARCH, Slanguage, Slavs and Tatars, Société Réaliste, Space Hijackers, SUPERFLEX, Temporary Services, This is a magazine, Tokyo Picnic Club, What, How and for Whom/WHW, The Yes Men.

This article analyses the role of collectivization and participation and their configuration under the concept Cultural Guerrilla that implied a socio-political commitment of the artist in the 1960’s. It discusses how the Cultural Guerrilla was understood by the artists and in which way it participated in the destabilisation of the social (and political) system and in the confrontation to the imperialist policies of the US. It, firstly, focuses on the development processes of a collective and participative action during that decade and its role for confronting the aesthetic model that was fostered by the U.S. within their Cold War cultural politics. Secondly, the text approaches the exchanges of French based artists and intellectuals with the revolutionary government of Cuba in 1967 during the organization of the Salón de Mayo in Havana discussing, thirdly, their impact on the artists’ participation during the events of May ’68 in Paris.

A presente Tese de Doutorado investiga algumas das relações entre arte, política e movimentos sociais que permeiam nosso presente, partindo de uma constelação insurgente composta por exposições, ações, trabalhos de arte e de ativismo ocorridos no Rio de Janeiro, São Paulo e Pernambuco, circunscritos no período entre 2004 e 2018. Em uma abordagem transversal de arte e política, cada um dos seis capítulos coloca um determinado elemento estético em cena: duas ações do coletivo Frente Três de Fevereiro (1) e uma do Política do Impossível (2); o coletivismo artístico em torno da ocupação Prestes Maia (3) e seu desdobramento na exposição Zona de Poesia Árida e no suporte instalativo Poética do Dissenso (4); duas performances de Elilson (5); dois trabalhos de Bárbara Wagner em colaboração com grupos de evangélicos neopentecostais (6). Partindo desta constelação, discutimos problemas como a poética da política, uma educação pelo silêncio, a crítica institucional e a institucionalidade crítica, uma política do luto e da memória, além de questões relativas a coletivos, minorias, alteridades, identidades e lugares de fala. Nos baseamos especialmente no pensamento de Jacques Rancière, amparado por autores como Bruno Latour, Walter Benjamin, Roland Barthes, Michel Foucault, Judith Butler e Suely Rolnik. Assumimos uma abordagem fragmentária, que tangencia o método cartográfico de Suely Rolnik; as constelações benjaminianas; as cenas rancierianas; os traços barthesianos; e o composicionismo de Bruno Latour. Esta estratégia absorve certos modos de inteligibilidade comuns aos procedimentos de curadoria ou de montagem, em que a reunião de uma série de imagens singulares pode agenciar múltiplas possibilidades de sentido. Na presente Tese, ela permite a emergência de um presente composto enquanto um campo irresoluto de vibração dissensual.

A presente Tese de Doutorado investiga algumas das relações entre arte, política e movimentos sociais que permeiam nosso presente, partindo de uma constelação insurgente composta por exposições, ações, trabalhos de arte e de ativismo ocorridos no Rio de Janeiro, São Paulo e Pernambuco, circunscritos no período entre 2004 e 2018. Em uma abordagem transversal de arte e política, cada um dos seis capítulos coloca um determinado elemento estético em cena: duas ações do coletivo Frente Três de Fevereiro (1) e uma do Política do Impossível (2); o coletivismo artístico em torno da ocupação Prestes Maia (3) e seu desdobramento na exposição Zona de Poesia Árida e no suporte instalativo Poética do Dissenso (4); duas performances de Elilson (5); dois trabalhos de Bárbara Wagner em colaboração com grupos de evangélicos neopentecostais (6). Partindo desta constelação, discutimos problemas como a poética da política, uma educação pelo silêncio, a crítica institucional e a institucionalidade crítica, uma política do luto e da memória, além de questões relativas a coletivos, minorias, alteridades, identidades e lugares de fala. Nos baseamos especialmente no pensamento de Jacques Rancière, amparado por autores como Bruno Latour, Walter Benjamin, Roland Barthes, Michel Foucault, Judith Butler e Suely Rolnik. Assumimos uma abordagem fragmentária, que tangencia o método cartográfico de Suely Rolnik; as constelações benjaminianas; as cenas rancierianas; os traços barthesianos; e o composicionismo de Bruno Latour. Esta estratégia absorve certos modos de inteligibilidade comuns aos procedimentos de curadoria ou de montagem, em que a reunião de uma série de imagens singulares pode agenciar múltiplas possibilidades de sentido. Na presente Tese, ela permite a emergência de um presente composto enquanto um campo irresoluto de vibração dissensual.

Although eluding, the rawness of Serbia, as an effect of uncertain existence, within the contradictory territory, is implied. To point to these unrefined factors of Serbia means to manage to spot, capture and present through photographic means what cannot be subdued otherwise. Establishing a coherent and developmental photographic thread that transforms rawness into something sublime, in the climate of cheapened and relativized life's meaning, is a venture worth the attention. The self-organized collective Belgrade Raw is transforming into the Serbia Raw phenomenon: its core members, who have cooperated continually since 2009 through a series of workshops have, over time, connected people from different Serbian cities. The original ideas about an alternative visual and social re-examination of the urban tissue of Belgrade, as the country's capital, have expanded to the activation, re-examination and presentation of scenes from and in fourteen cities.1 Multiple interrelating Due to an organic way of joining, Belgrade Raw is both a social and photographic collective, and it is the complex and mutually intertwined relationships that their art is read in. The archaic organizational principle of recognition, which characterises this tribe, has been established due to the insufficiency of institutions. Belgrade Raw has evolved through dynamic interrelating of research, marking and connecting of urban scenes, owing to the possibilities created by the Flickr Internet platform2. Sociability developed on Flickr, was later transferred to and dispersed through Facebook and Instagram, which, in addition to sharing files and likes, allows shared discussion and distribution. The comfort of social interaction, exchange and 1 Bor, Novi Pazar,

The use of expressive, aesthetically stunning art to protest extraction, pipelines, mining, land-grabbing, and exploitation of indigenous homelands in a time of rapid climate and environmental change, creates powerful, emotional forms of resistance. What is known as "artivism" can showcase the emancipatory potential of art that challenges state/corporate infrastructure developments that impact local environmental and social practices. I am interested in how indigenous art collectives share traditional knowledge and illustrate indigenous resilience by creating and sharing art in many parts of the world. I see my role as an ally, a non-indigenous scholar, writer and teacher, sharing and exploring the ways in which alliances are formed for environmental and social justice. This Blog post examines (artivist) collective known as Suohpanterror that protest extraction and settler-colonialism in Sámi areas, and also looks at the Amapolay, (a name distilled from "autonomous manufacturers") a graphic arts collective founded by Fernando Castro and Carol Fernandez-Tinoco, based in Lima, Peru.

O presente artigo analisa as ações anti-racismo “Monumento Horizontal” (2004), intervenção urbana realizada na cidade de São Paulo, e “Bandeiras” (2005), série de bandeiras abertas em diversas partidas de futebol. Ambas foram realizadas pelo coletivo Frente Três de Fevereiro, grupo paulistano de arte e ativismo surgido com o intuito de combater o racismo estrutural. Partindo de entrevistas realizadas com o grupo, procuramos compreender o “caráter poético” atribuído ao ativismo do coletivo, sublinhando de que modo ele emerge a contrapelo de concepções políticas baseadas na comunicação. Para tal, mobilizamos os subsídios teóricos de Jacques Rancière, amparados por autores como Jean-Luc Nancy, Silvio Almeida e Judith Butler. Assim, tomamos a “poética” como via de acesso para compreender, no âmbito das estratégias políticas do coletivo, o entrelaçamento entre a noção de dissenso e a ideia de acontecimento, tal como pensada por Jacques Rancière e Michel Foucault. Por fim, justapomos as expectativas de eficácia política, subjacentes às ações do coletivo, àquilo que Jacques Rancière chamou de “modelos de eficácia da arte” em seu regime estético.

Resumen La construcción de la identidad del artista viene íntimamente ligada a la idea de práctica artística. En el estudio que presentamos a continuación, pretendemos identificar, dar visibilidad y cuestionar los discursos patriarcales (y neoliberales) que hoy en día siguen vigentes en las prácticas artísticas contemporáneas y que de manera indisociable repercuten en la construcción de nuestra subjetividad. Como agentes y participantes de esta investigación, se han analizado como caso de estudio las dinámicas organizativas y los obstáculos encontrados en el funcionamiento del colectivo Cràter, al que pertenecemos las autoras del texto y que fue fundado con la idea de construir un espacio protegido de reflexión y acción totalmente independiente de las dinámicas institucionales de la academia y las exigencias del tardocapitalismo. Cràter no solo es, sino que también se define, como un colectivo de mujeres, feministas, con vocación y formación artística, que busca nuevos modos de entender y hacer en arte, su investigación y su enseñanza.

היצירה 'מתבן 1 ' מורכבת מ- 70 בדי ציור, שבהם מופיעות חבילות קש מצוירות, שנוצרו על ידי
72 )מ(ציירים ו)מ(ציירות על פי הזמנתה של האמנית, ולפי הוראות ביצוע מדויקות שמסרה להם.
למכלול ציורי זה הוסיפה האמנית אלמנטים אישיים וטקסיים משלה. באורח דומה לזה שערימת
חבילות תֶּבֶּן מייצרת מַתְבֵּן, מהציורים האישיים של 'אנסמבל' המשתתפים נוצר ציור מונומנטלי,
השואל בתורו על הציור כמעשה דימוי קולקטיבי ואישי, מוחשי ואשלייתי, אגבי ואיקוני בעת -
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