Théâtre Porte Parole Fredy, vue de la performance performance view, Théâtre La Licorne, Montréal, 2016.
Photo : Maxime Côté, permission de Théâtre Porte Parole | courtesy of Théâtre Porte Parole

No One Gives a F**k About a Cop and Fredy: Conveying the Voices of the Collectivity

Edith Brunette
A consideration of collectivity in art naturally leads to modes of production and how they are used by artist collectives. Right away, though, this limits the scope of our thinking, as art does not begin or end with the will and action of artists: dismantling the myth of the “genius” also means considering creation as a process rooted in a common social fabric and the actions, ideas, and affects that circulate within it.

Recent movements of political affirmation — such as Idle No More and Black Lives Matter — have pushed art institutions to focus on more politically engaged practices in which the collective form is particularly relevant. For those with practices intentionally rooted in decidedly material living conditions (the practices themselves and the lives and themes that they represent), it is a matter no longer simply of finding ways of working with other artists, but of labouring within one or several communities, and sometimes with them. Therefore, it’s not enough to ask, “How and with whom do we work?” One must also add, “For whom do we work?” And today, “How can art convey the collective voice at a time of extreme (or simply more visible) polarization?”

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This article also appears in the issue 104 - Collectives

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