No One Gives a F**k About a Cop and Fredy: Conveying the Voices of the Collectivity

Recent movements of political affirmation — such as Idle No More and Black Lives Matter — have pushed art institutions to focus on more politically engaged practices in which the collective form is particularly relevant. For those with practices intentionally rooted in decidedly material living conditions (the practices themselves and the lives and themes that they represent), it is a matter no longer simply of finding ways of working with other artists, but of labouring within one or several communities, and sometimes with them. Therefore, it’s not enough to ask, “How and with whom do we work?” One must also add, “For whom do we work?” And today, “How can art convey the collective voice at a time of extreme (or simply more visible) polarization?”