This paper explores the development and impact of artist collectives in Europe and Australia, focusing on their strategies to create resilience against contemporary political, economic, and cultural challenges in the art world. Through a detailed examination of several thematic groups and their particular practices, the study highlights the potentialities of playtime as an artistic experience and the complex dynamics of collaborative creativity. The text addresses ambiguous power relations, questions of representation, difference, authorship, and commodification within collaborative settings. The historical overview traces the evolution of artist collectives, while case studies of notable collectives provide insights into their unique approaches to art-making and social engagement. Theoretical frameworks and methodologies for studying these collectives are also discussed, offering a comprehensive understanding of collective art practices and their relevance in today's art world. Keywords: Artist collectives, Collaborative art practices, Playtime in art, Power relations in art, Authorship and commodification. INTRODUCTION A series of art practices developed by artist collectives are explored in this text. A focus is placed on a few thematic groups of case studies and the particularities of the practices of these groups. Spotlighting artist collectives from Europe and Australia, the difference in development in two distinct geographical areas is outlined. Artist-led temporary spaces are discussed as resilience strategies against the current political, economic, and cultural environment in the art world. Playtime is investigated as an artistic experience gaining a new meaning and dimension in the hands of artists. The potentialities of the ludic capacity of the art experience are examined [1, 2]. Collaborative practices in a more general context are also reflected on, stressing a few questions that cross the text. A concern for the ambiguous power relations in collaborative settings is discussed. Questions about representation, difference, authorship, artistic merit, access to means, and commodification surfaces. A context for interpretation and viewing each of the practices is tendered. Discourse, references, manifestos, and the artists' ideals underpinning the case studies shared by each collective are also commented on. This text proposes to reflect on the affair of artist collectives through personal experiences with art practices located in the juncture between artist collectives and collective art practices. Considering the discourses produced by each collective, the relational artworks produced, and the location of these practices in the art world, wider theoretical and poetic questions arise. Another goal is to give an overview of artist collectives/collective practices and their particularities and relevance in the current art world [3, 4]. An individual and collective project, artist collectives, conceptual and practical possibilities, "the collective" as a utopic notion, avant-gardes and their failure are first addressed. The influences of these concepts on a few collective practices of a younger generation of contemporary artists are outlined. This younger generation is proposed to reacquaint with the artist collective due to what are perceived as renewed conditions for collective practices in the art world. The following chapter outlines an overview of collective art practices. A few thematic groups are focused on, emphasizing their particularities. Presenting historical examples and wider reflections on the affairs of each group are also contemplated [5].