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We is a look at new and ongoing developments in contemporary collaborative practices. Interactive performance, self-run publishing, art objects and curatorial practices are all staked within this manner of working: they are differences that define the groups, while also variously included in their practices to define an earnest instability.

A central idea binding the groups is that of engagement: amongst the group, between themselves and other artists, and the world. OJO seeks out direct engagements, blurring the line between performer and participant in musical performances that re-imagine audience as tribal body. The Journal of Aesthetics and Protest are similarly motivated in their “happenings”, while also publishing the Journal as a document of a moment in cultural and political time. PROW does engagement as readdress: of the “throwaway” idea unfulfilled in their individual practices, to be fulfilled; and of the relationship between the contemporary artist and their outsourced production team, within which dialogue is finally established.

Guestroom and Cecilia Szalkowicz, Gastón Pérsico, and Mariano Mayer take an expansive approach to narrative, drawing out stories from those around them to create environments humming with bits and pieces of life. The expansive is also a concern of Nüans, whose series of overlapping collaborations imagine production as group participation across cultural and geographical lines, conflating the institution and the individual. As quasi-institution, Dexter Sinister plays the role of the host through publications, bookstore, and organized events that celebrate connection-making between cultural circles, while Public-Holiday Projects curates exhibitions with unexpected and fluid themes, re-envisioning the curatorial as a conversation between artists.

with assitance from the