{"word_count": 1643, "character_count": 13687}
ArgumentaireLa collaboration s&#8217;est affirm&#233;e comme un ressort privil&#233;gi&#233; dans les pratiques r&#233;centes, les photographes portant un int&#233;r&#234;t croissant aux dynamiques et au potentiel politique du travail collaboratif. L&#8217;essor puis l&#8217;omnipr&#233;sence de la photographie num&#233;rique ont sans aucun doute favoris&#233; ce regain d&#8217;int&#233;r&#234;t pour les pratiques photographiques collaboratives[1]. Dans le m&#234;me temps, c&#8217;est une orientation souvent requise par les institutions et financeurs des projets, qui cherchent &#224; toucher de nouveaux publics et raisonnent en termes de participation.Le mode collaboratif a aussi &#233;t&#233; l&#8217;objet d&#8217;un int&#233;r&#234;t soutenu de la part des sph&#232;res acad&#233;miques et institutionnelles de la photographie. L&#8217;articulation entre collaboration et photographie a &#233;t&#233; explor&#233;e lors de multiples conf&#233;rences et expositions ces quinze derni&#232;res ann&#233;es (Fremantle Arts Centre, 1+1=3, Collaboration in Recent British portraiture 2006; Aperture et Magnum, Collaborative Images: New Models of Authorship and Aggregation, 2014, Ryerson Image Centre &#224; Toronto, Collaboration, A Potential History of Photography 2018). La recherche universitaire &#233;tudie r&#233;guli&#232;rement les implications du mode collaboratif sur la pratique photographique, consid&#233;rant celui-ci, &#224; l&#8217;instar de Daniel Palmer[1], comme inh&#233;rent &#224; la production des images, ou comme une forme de &#171;&#160;contrat civil&#160;&#187; selon Ariella Azoulay[1],ou encore comme un geste politique, d&#8217;apr&#232;s Steve Edwards[1]. Est-ce &#224; dire que la collaboration est devenue un mode de production incontournable en photographie, le signe m&#234;me d&#8217;une &#233;volution des pratiques artistiques vers une &#171;&#160;esth&#233;tique relationnelle&#160;&#187; selon l&#8217;expression de Nicolas Bourriaud[1]&#160;?Ces th&#233;matiques sont aussi au c&#339;ur de formations universitaires (MA Photography and Collaboration &#224; Coventry ; MA Art and Social Engagement &#224; Bordeaux-Montaigne, MA Art and Social Practice &#224; l&#8217;universit&#233; de Middlesex). Celles-ci consid&#232;rent que les pratiques photographiques collaboratives s&#8217;inscrivent dans des proc&#233;d&#233;s et des strat&#233;gies de changement social et qu&#8217;elles sont des &#171;&#160;outils pour le d&#233;veloppement local&#160;&#187; comme l&#8217;a montr&#233; Tiffany Fairey[1]&#160;: autant de principes qui inspirent de plus en plus les pratiques contemporaines.L&#8217;histoire des collectifs de photographes, celle des initiatives collectives pour la publication et la diffusion d&#8217;images, ou celle des projets &#233;ducatifs ou de d&#233;veloppement local qui ont fait appel &#224; la photographie, sont d&#233;sormais des champs de recherche reconnus. En effet, la question de l&#8217;h&#233;ritage des pratiques pass&#233;es est cruciale. La re-d&#233;couverte de ces histoires, gr&#226;ce &#224; la num&#233;risation des archives, par exemple, ou lors de leur transfert vers des institutions publiques, est fondamentale. Que r&#233;v&#232;lent ces archives sur la collaboration dans la cr&#233;ation photographique&#160;? Quel dialogue font-elles entrevoir entre les pratiques du pass&#233; et les pratiques contemporaines&#160;? On pourra donc s&#8217;int&#233;resser aux pratiques collaboratives dans la photographie contemporaine sous l&#8217;angle de l&#8217;h&#233;ritage et de la m&#233;moire mais aussi de l&#8217;&#233;volution ou de la rupture qu&#8217;elles repr&#233;sentent par rapport aux pratiques pr&#233;c&#233;dentes. Comment ces questions irriguent-elles les pratiques contemporaines&#160;? Quelles sont aujourd&#8217;hui les conditions pratiques de la collaboration, quels sont les modes d&#8217;organisation et de travail collectifs&#160;?On a pu pr&#233;tendre que les conditions de production, de r&#233;ception et de distribution des photographies ont chang&#233; si radicalement que tout rapprochement entre pratiques pr&#233;sentes et pass&#233;es serait vain, en particulier s&#8217;agissant des pratiques photographiques collectives ind&#233;pendantes et contestataires&#160;: chercher de tels rapprochement rel&#232;verait de la nostalgie.[1] N&#233;anmoins, nous proposons de montrer que les notions de collaboration, de communaut&#233;, de collectif sous-tendent bon nombre de pratiques contemporaines, que cela soit en r&#233;f&#233;rence consciente ou non aux pratiques ant&#233;rieures.L&#8217;objectif de ce colloque sera donc de rassembler des &#233;tudes de cas et de pratiques qui illustrent la multiplicit&#233; des interventions dans la cr&#233;ation d&#8217;une image, qui se donnent pour principe l&#8217;engagement collectif dans le processus cr&#233;atif, ou qui sont consacr&#233;s &#224; l&#8217;exploration collective des politiques de repr&#233;sentation.Nous proposons d&#8217;&#233;tudier le collectif au sens large, aussi bien comme une modalit&#233; pratique que comme un cadre politique et &#233;thique pour les photographes professionnels. Les contributions pourront porter sur des collectifs en tant qu&#8217;organisations dot&#233;es d&#8217;objectifs et de m&#233;thodes communes, sur des publications collectives ou encore sur le recours de plus en plus fr&#233;quent au financement participatif pour la publication de livres de photographie.Les propositions pourront concerner les points suivants, sans y &#234;tre limit&#233;es&#160;:Les collectifs de photographes hier et aujourd&#8217;huiLes agences de photographieParticipation ou collaboration&#160;?Les projets photographiques de d&#233;veloppement local/ Community photographyLes associations de photographie ouvri&#232;reLes enjeux curatoriaux et archivistiques des productions collectivesLes formes collectives de publicationLe financement participatif&#160;: une forme de collaboration&#160;?La photographie dans la sph&#232;re publique&#160;: quels enjeux&#160;?Les r&#233;seaux sociaux, et la transformation de la diffusion des images&#160;: est-ce que partager c&#8217;est collaborer&#160;? (Daniel Palmer)La formation en photographie et le d&#233;fi de la collaborationModalit&#233;s de soumissionLes propositions d&#8217;environ 300 mots, accompagn&#233;es d&#8217;une courte biographie, sont attenduespour le 15 novembre 2019et devront &#234;tre envoy&#233;es aux deux organisatrices&#160;: Karine Chambefort-Kay (Universit&#233; Paris-Est Cr&#233;teil) chambefort@u-pec.fr et Mathilde Bertrand (Universit&#233; Bordeaux-Montaigne) mbertrand@u-bordeaux-montaigne.frL&#8217;avis du comit&#233; scientifique sera communiqu&#233; aux participants fin novembre 2019.Membres du comit&#233; scientifiqueLaurent Chatel, Universit&#233; Lille IIITaous Dahmani, Universit&#233; Panth&#233;on SorbonneMark Durden, Centre for European Documentary Research, University of South WalesSteve Edwards, Birkbeck College, University of LondonCharlotte Gould, Universit&#233; Sorbonne NouvelleB&#233;atrice Laurent, Universit&#233; Bordeaux MontaigneCarla Mitchell, Four Corners Gallery, LondonCorinne Nativel, Universit&#233; Paris Est Cr&#233;teilArgumentCollaboration is increasingly recognized as one of the main drivers in contemporary practice, and today&#8217;s practitioners demonstrate an attention to the dynamics and politics of collaborative work. The rise and ubiquitous development of digital photography has certainly allowed new ways of envisioning collaborative photographic practices.[i] At the same time, funding streams require projects to develop outreach and think in terms of participation from the public.Collaboration is an enduring focus in institutional and academic perspectives on photography. The articulation between photography and collaboration has been the central theme of conferences and exhibitions in the last 15 years (Fremantle Arts Centre, 1+1=3, Collaboration in Recent British portraiture 2006; Aperture and Magnum, Collaborative Images: New Models of Authorship and Aggregation, 2014, Ryerson Image Centre in Toronto, Collaboration, A Potential History of Photography 2018). Academic research is consistently mining the implications of collaboration for photographic practice, considering it, like Daniel Palmer, as inherent to the production of photographic images[ii], as a form of &#8220;civil contract&#8221; according to Ariella Azoulay,[iii] or as a political stance as shown by Steve Edwards.[iv] Can we envision collaboration as an inescapable mode of production for photography, evidencing the evolution of artistic practices towards a &#8220;relational aesthetics&#8221; in the words of Nicolas Bourriaud?[v] Such issues drive postgraduate courses (MA Photography and Collaboration at Coventry; MA Art and Social Engagement in Bordeaux-Montaigne, MA Art and Social Practice at Middlesex University). Collaborative photographic practices are envisioned as part of processes of and strategies for social change or &#8220;tools for community development&#8221; as studied by Tiffany Fairey[vi], and such principles feed into contemporary practice.The history of photography collectives, of collaborative initiatives in publishing and circulating images, in photographic education contexts and community photography projects, are deservedly given increasing recognition. The question of the legacy of past practices is crucial. Recovering these histories, thanks for example to the digitization of archives and/or their transfer to public institutions, is fundamental. What do these archives reveal about collaboration in photographic creation? What dialogues can emerge between past and present practices?The idea is to both provide a focus on collaborative practice in contemporary photography, while exploring questions of legacies and memories of, but also evolutions and departures from earlier practices. How do these questions feed into practices in the present? What are the conditions of practice today for collaboration, and for collective organization and working methods? It has been argued that conditions of production, reception, distribution of photography have radically changed and that there can be no bridge between past and present practice, particularly when it comes to independent, oppositional, collective forms of photographic practice. That any attempt to do so would be nostalgic.[vii]Nevertheless, we want to suggest that the notions of collaboration, the common, the collective, feed into contemporary photography, whether or not this is done in conscious relation to past practice.The object of the conference is to explore case studies of practice which acknowledge the multiple interventions involved in image-making, which invite collective engagement as a defining framework in the creative process, and show a commitment to exploring and addressing the politics of representation. We also want to study the collective, in broad terms, as a pragmatic but also political and ethical framework of practice for professional photographers. We seek contributions on collectives as structures more or less guided by common objectives and working methods, on collective publications, and studies highlighting the growing role of crowd-funding in publishing photography books.Proposals could address, but are not limited to, the following issues:Photography collectives then and nowPhotographic agenciesParticipation or collaboration?Community photographyWorkers&#8217; photography leaguesArchival and curatorial issues raised by collective practicesCollective forms of publishingCrowdfunding: a form of collaboration?Photography, public art and public displaySocial media, digital networks transforming the distribution of images: is sharing collaborating? (Daniel Palmer).Photography education and the challenge of collaborationSubmission guidelinesProposals of approximately 300 words with a short biographical note should be sentby November 15th 2019to Karine Chambefort-Kay (Universit&#233; Paris-Est Cr&#233;teil) at chambefort@u-pec.fr and Mathilde Bertrand (Universit&#233; Bordeaux-Montaigne) at mbertrand@u-bordeaux-montaigne.frWe will notify participants of the decision of the scientific committee by the end of November.Members of the scientific committeeLaurent Chatel, Universit&#233; Lille IIITaous Dahmani, Universit&#233; Panth&#233;on SorbonneMark Durden, Centre for European Documentary Research, University of South WalesSteve Edwards, Birkbeck College, University of LondonCharlotte Gould, Universit&#233; Sorbonne NouvelleB&#233;atrice Laurent, Universit&#233; Bordeaux MontaigneCarla Mitchell, Four Corners Gallery, LondonCorinne Nativel, Universit&#233; Paris Est Cr&#233;teilNotes[i] Andr&#233; Gunthert, L&#8217;image partag&#233;e, La photographie num&#233;rique. Paris, Textuel, 2015.[ii] Daniel Palmer, Photography and Collaboration: From Conceptual Art to Crowdsourcing, London, Bloomsbury Publishing, 2017.[iii] Ariella Azoulay, The Civil Contract of Photography, New York, Zone Books, 2008.[iv] Steve Edwards, 'The Fire Last Time: Documentary and Politics in 1970s Britain', 5 Blogposts for Fotomuseum Wintherthur, 7 September &#8211; 5 November, 2017.[v] Nicolas Bourriaud, Esth&#233;tique relationnelle, Paris, Presses du r&#233;el, 1998.[vi] Tiffaney Fairey, &#8220;These Photos Were My Life: understanding the impact of participatory photography projects&#8221;, Community Development Journal, Volume 53, Issue 4, October 2018, Pages 618&#8211;636.[vii] Andrew Dewdney, &#8220;This was then, this is now; the legacy of Ten 8&#8221;, Photographies, Vol. 4, N&#176;2, Sept 2011, p. 264.