image caption (above): © Soraya Vasconcelos, untitled, digital c-print, 122×163 cm, 2007.

More of Soraya’s recent work can be seen here.

© Soraya Vasconcelos, ‘Of another history of representation’, 2019. Installation: wooden table and easels, backlit screen, LED spotlights and miscellaneous materials (clay, mdf, cardboard, wax dolls, artificial plants, cut paper, etc.). Installation view at BF18, image source.


Models of “territories” are constructed with organic matter and inorganic material: paint, pigments, varnishes, wax, plaster… There is a process of constructionIs it possible to formulate a general theory of artistic collaboration? And may artistic cooperation perhaps be linked to a genuine political stance or outlook?
One) if art comprises the many forms of critical work on/of representation that use the sensory as the prime medium, we can no longer restrict artistic collaboration to the sphere of so-called legitimate culture.
Two) artistic collaboration is often a hybrid or mixed affair. The actual cooperation not only involves different sorts of art makers, in the strict sense, but also theoreticians, critics, curators or programmers, technicians,… not to forget the public. And if we are broadminded,for instance because we are acquainted with the work of Bruno Latour, we may also include non-human collaborators such as laptops, props and lightning devices.
Three)artistic collaboration is everything but new.‘Works of art, from this point of view, are not the products of individual makers, “artists”, who possess a rare and special gift. They are, rather, joint products of all the people who cooperate via an art world’s characteristic conventions to bring works like that into existence’, thus sociologist Howard Becker rightly asserts in his sociological classic Art Worlds.
excerpt from ‘Artistic collaboration and the promises of commonalism’, by Rudi Laermans.

Models of “territories” are constructed with organic matter and inorganic material: paint, pigments, varnishes, wax, plaster… There is a process of construction followed by a process of deconstruction; of destroying, opening holes, poking underneath, of tearing, burning, slashing and splitting until there’s nothing left, except the board that served as a base and the marks of what took place before – remnants of paint and varnish and earth and mold and the inscriptions of the instruments used. All of the process is photographed; the images resulting from this mixture of color, rot and gesture.
text source:


© Soraya Vasconcelos, installation view @ Sopro, 2007.


© Soraya Vasconcelos, P1-01/02/03, digital c-prints, 90X90 cm, 2007.


Installation view @ Sopro, 2011. More here.

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