All collaborations between artists in the independent cross-arts scene seek for a consensus that is either economical, ethical, artistic, structural, ideological, or a combination of all these. Artists often use adjectives like groups, collectives, teams, couples, synergies, schemes to name their collaboration and thus to justify the agreement behind their alliance. By identifying the needs and creating a basic structure formula of an artist collective, I aim to make the preliminary step in creating a consensus among the participating artists. Further more: I plan to expand on issues regarding sharing future profits, administrative work, initiating projects, membership issues. Moreover, I will give a detailed description of what members could gain by participating in a collaborative scheme and juxtapose it to the possible obligations they might have to each collaborating artist.
Within this paper, I aim to establish the foundations of an agreement that could serve as a preliminary arrangement for such artistic collaborations. Using as an example Medea Electronique Collective I will support that in order to build a solid foundation, an art collective needs to be both an art organization and a media production company. Although the ultimate purpose may not be to seek for the ultimate profit, money is needed for accomplishing its projects. Having in mind that most of these efforts start up with no legal entity and no start up funding or shares, issues of ownership and administration of work always emerge. Τhe purpose of this paper is to answer these questions and it is made of material gathered from various discussions and meetings held by members of Medea Electronique Collective. These became the bases for the formation of a methodology and structure of a contemporary collective as described in the following document.