The question to ourselves at CREATurE and the artists that are joining CREATurE 2016 is about the tensions that arise in the collaboration of two artists, about the power struggles they have to surmount in order to produce a work that is satisfactory to both members of the duo, how they go about the authorship and what drives them to continue collaboration.

While music, film and theater are collaborative art forms by their nature – when one sees an orchestra, one knows it has a variety of roles and one will never be able to master all instruments, – fine arts is usually a much more solitary place to be. Despite group exhibitions, workshop-kind-of-events, punctual collaborative exchange, painting, printmaking, photography and others remain work done, oftentimes and mostly, solo. Performance art – although many collaborations are taking place, including big travel parties, such as La Pocha Nostra and influential international collectives having multiple members over multiple years, such as Black Market International – is also, especially nowadays (as opposed to the dadaism and fluxus movement periods), oftentimes, or mostly, a one-person venture.

Collaboration in performance art, in a live art form happening right in front of the spectator, might be considered as many things, but it is firstly a TEST of the relation between the parties involved. The parties need to be able to surmount or put aside the ego and the fear and let the other in.

It is always a great RISK for each of the collaborators : the creative process opens up much of the inner-most matters: the material and immaterial one works with in order to produce art, both of which might be very much personal, as art making is a very personal matter. Then surely there are questions about the authorship, and the BELONGING of the piece, as well as issues of COMPENSATION and CREDIT. In order to make the collaboration work in a most fruitful way, these are the issues that have to be dealt openly, and this requires the humility and loving approach from the parties collaborating.

Probably same goes for the intriguing and difficult relationship between the person documenting the performance, and the person in front of the camera. Photographing a live art event and making it work in the future time as a piece of art still lively and readable, needs this same approach, based on mutual TRUST, RESPECT, EFFORT and the will to find the entry points to build up a fluid CONVERSATION.

In exploring the ways a collaboration might work, CREATurE Live Art 2016 is presenting a program consisting of performances created and performed by international creative duos, some of which have a long history of collaboration, some of which are also romantic partners, others – duos initiated freshly and build specially for CLA 2016, yet others presenting a collaboration between a man and a machine.

In the pursuit of accessible education in and about the performance art, CLA 2016 will host workshops. One of them, led by Alastair Maclennan and Sandra Johnston, will be a full-day workshop for performance practitioners and art students interested in collaboration in performance. Soon the open call for participation will be launched. The second one will be led by performance and live art photographer, artist Manuel Vason, on working with performance and live art documentation. More information and an open call to be found here.

CREATurE Live Art is a living organism.
CREATurE is what you make it.

yoU aRe CREATurE.