I0 Questions on Collaboration
- Whereas artistic collectives in the 1960s were often held together by a socio-political utopia, there is no „collective“ political intention or mission that collaborating artists would (seek to) represent nowadays. In fragile, temporary and fexible constellations, in which the heterogenity of those who are involved is not denied or ignored, unconventional collaborations are tested and are subject to negotiation. What are the (political) potentials and aporias of artistic work in groups without a fixed attribution of roles and without a subjugation of the individual under the common identity of a group? How to avoid both a hierarchical model and indifference resulting from an agreement that everyone does what he/she wants? Or in other words: How to allow a circulation of roles and a repartition of decision-makers in a process?
- How can collaborations enable a simultaneity of the different?How to work together in such a way that allows a singularisation of the involved (instead of an assimilation)? Which radius of operation emerges if a group goes beyond the scope of representation of similarities or common features?
What is it that connects a group beyond common profit or increased efficiency?
In what way can a commonality figure as a social reflexivity? It is first of all the performing arts in which the time of post-representational practices started up. In many projects the focus shifts from the work to the collaborative process. Do artistic collaborations contain the potential for proposing non-representative democratic modes of decision-taking and operating that may be relevant in a broader political and social context?
Which chances emerge if neither an ideological amalgamation is the premise of a collaboration, nor a common socio-political projection of a certain future unifies the involved participants?
What are the differences between collaboration, cooperation and collectivism?
Can open source-models inspire new modes of working together and of a collective ownership of the means of production?
- Collaborations are often driven by self-interest rather than solidarity. They are characterized by self-organisation and self-determination and often arise from a necessity or urgency in more or less precarious circumstances. How much do the current postfordistic working conditions call for collaborative and collective modes of working? Inhowfar are the immaterial production conditions in times of postfordism mirrored in the organisational structures of collaborations? And does – what we call postfordism in the arts – after all have any relation to general modes of production?
- The relational fields generated in and through collaboration are marked by contagion and contamination. Which other generative forces could be considered unique for collaborative undertakings?
- How do you begin and end a collaboration?