[A summary of ideas from the book The Third Hand - Collaboration in Art from Conceptualism to Postmodernism].
The book focusses on a period of western art history during the 1960's and 1970's which the author identifies as the beginnings of artist collaboration, a conscious movement away from individual lone artists making work in a conventional studio. He describes and classifies three kinds of collaborative artist teams. What most interested me in the discussion of the meanings and motivations behind various types of collaboration, was the issue of identity.
Through collaboration the voice of the artist is muted or dispersed, it is a break away from a singular artistic identity. The author introduces the idea of a 'third hand,' or ghost artist which is an elusive other or combined identity created in collaborative works. This third independent existence is in itself 'uncanny' because such a constructed ghost identity 'blurs the distinction between the real and phantasmic.'
The author's discussion of the uncanny helped me better understand my previous collaborative project Tobari No Akari 2. Using dolls, dream-like doubles and shadow doubles the images we created are surreal and uncomfortable, bringing forth memories from childhood but in a disconcerting way. We could also say that creating ghost doubles in the installation references the joint artistic will of the collaboration and work itself.
The video shown below is an attempt to document the collaborative process where we arranged and re-arranged the installation over several hours. It highlights the importance of collaboration as a method of creating more avenues of future work; as well as the potential for it to be a work of art in terms of performance.
The author also talks about artists that use collaboration as a means to escape personal limits and language, to travel beyond conventional authorship and representations of identity, or a 'relativisation and reformation of self.' I felt this was especially relevant to the motivation behind my collaborative projects; however I hesitate to deconstruct or over-explain the experience for fear of losing sense of its meaning and to some extent, its mystery.