Are artist collectives collaborative?
Collaboration has become a buzzword among contemporary art’s cultural bureaucrats and market operatives.
Collaboration has become a buzzword among contemporary art’s cultural bureaucrats and market operatives. This officialdom appears out of step with the non-institutional forms of collaboration suggested by the term “collectivity.” And yet artist collectives, as closed-loop systems, are antithetical to the collaborative wellness mantra we are used to hearing in the global high-end culture industry. In this world, “collectives” of cultural, corporate, and market partners collaborate with artist collectives — often awkwardly, as seen at documenta fifteen, curated by Indonesian-based ruangrupa. Without centralised curatorial power, the mega-exhibition’s bureaucratic structures were not prepared for democracy in practice, despite their virtue signalling.
Exclusive to the Magazine
Are artist collectives collaborative? by Lévi McLean is featured in full in Issue 2 of Memo magazine.
Get your hands on the print edition through our online shop or save up to 20% and get free domestic shipping with a subscription.
Related

Derek Jarman’s Blue (1993) is a film without images—just a luminous ultramarine field and an evocative soundtrack. Made as he was dying of AIDS-related illness, Blue resists spectacle, embracing abstraction, memory, and loss. Thirty years on, it continues to evolve, expanding across artists, mediums, and generations.

Archie Moore’s minimalism plays a formalist trick on a settler audience that sees only an Aboriginal flag, never the painting itself.

Bridging memory work and the uncanny, Tieu’s exhibition confronts Germany’s buried xenophobia through slippery visual and sonic signifiers that elude any stable index.
