PUBLICATION 

“DIS-GCC : une « constellation réticulaire » sur la voûte céleste de l’art contemporain” 

Joan Grandjean 

Marges #37, “Art et Travail,” 
edited by Émeline Jaret (University of Rennes 2) 
 

Since the late 20th century, artists have been increasingly drawn towards collectives, joining forces through occasional collaborations and operating within a networking paradigm to fortify and advance the professional trajectories of their constituent individuals. This approach to collectives is conceptualized as a realm of possibilities, giving rise to what Séverine Marguin labels “artists-in-collectives,” operating within a “reticular constellation.” As per the sociologist's viewpoint, these collaborations and the establishment of circles of social engagement uphold artistic individualities while concurrently securing a position for emerging artists within the contemporary art realm, akin to a celestial “vault of heaven.” But what does this entail? How do these individuals shift from networks to collectives, and from collectives to individualities? What methods do they employ to rejuvenate working methodologies and the avenues for the dissemination and commercialization of their art? 
Drawing from a comprehensive examination of the DIS and GCC collectives, this article initially delves into the collaborations of the constituent artists preceding their formal “entry into the collective,” spanning across the United States and Gulf countries. Subsequently, it dissects the methodologies of both collectives by analyzing specific instances of artistic collaboration, illustrated through the description of works and collaborative events, this analysis elucidates their strategies for visibility, the social and political backdrop, career aspirations, as well as their mobility. Moreover, it explores the interconnections between the two collectives and their wider contextual relevance, bridging the realm of contemporary art with diverse cultural domains. 
 
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