Gathering academic and practice-led contributions, the book explores photographic practices which actively engage in the politics of collaboration, across the fields of image-making, curating, archiving, teaching, community development and activism. Collaborative practices constitute a rich yet generally overlooked part of the history of photography. Indeed, mainstream art institutions still tend to favour monographic exhibitions rather than collective projects, even though practices challenging the romantic figure of the lone photographer have long existed and found new momentum in the past decade. This book offers to explore a spectrum of photographic practices from the contemporary period that have envisioned the medium as ontologically and ethically collaborative: the contributions from practitioners, scholars, and curators consider photography as taking place within plural, intersubjective, dialogical relationships. By looking specifically into the contexts where collaborative projects are produced and shown, and into the relation to the people they engage with –in hospitals, in prisons, in working-class neighbourhoods, with indigenous people, refugees, women, homeless persons, young people– the case studies and commented portfolios show participatory practices to create the conditions for building new subjectivities, or making visible a multiplicity of identities, thus opening up a new politics of visibility. Therefore, this book specifically addresses the political, counter-cultural dimension of collaborative projects, but also their subversiveness in relation to dominant practices within the field of photography: this includes a reinvention of the position of the photographer –in turns facilitator or project leader– of curating and exhibition models, of archiving methodologies, of photographic education and of market practices.weiterlesen