In a former vineyard property in the Beaujolais region of France, eight photographers have formed a unique collective centered around a location that has become their workshop, laboratory, and open-air exhibition space. The group, known as Collective 867, represents an innovative approach to collaborative artistic creation in the French countryside.

Michel Paccalin, the founder of the project, explains that the collective was born from the location itself. "It was there long before the collective was born! It's my house in Beaujolais: a former vineyard property in the heart of the vineyards, 867 meters from the center of Saint-Étienne-des-Oullières," Paccalin said. The specific distance from the town center gave the collective its distinctive name.

Paccalin's journey to creating this artistic space began with his return to photography after a long hiatus. After studying at the Fine Arts school, he practiced photography until 1984 before changing his life direction entirely. He returned to image-making 4-5 years ago and re-equipped his house with a laboratory and studio. Following his participation in a workshop in Lyon led by photographer Sarah Mulot, he felt inspired to continue the collaborative experience. "At the end, I wanted to continue. Since I had space to accommodate a few people, I decided to create a place where we could meet up. That's how 867 was born," he explained.

The formation of the collective happened organically through various encounters and meetings. Paccalin discovered that Denis Laveur had been his neighbor for years, but they had never met until they encountered each other in Arles, the famous photography festival city. Laveur subsequently brought Gilles Pautigny into the group. At one of Sarah Mulot's exhibitions, Paccalin had conversations with Nadine Lecoeur, while during professional meetings in Arles, he met Estelle Rebour and Marie-Jo Magnière. "We didn't know each other well, but we learned to know each other through our creative time together," Paccalin noted.

The formalization of the collective took shape during their first meeting, where they established clear artistic and logistical frameworks. Paccalin's initial concept was to utilize the four hectares surrounding the house as exhibition space. The group agreed to work on two main themes: "the field of possibilities" and "the wound," with a structured schedule of seven meetings per year. These gatherings serve multiple purposes: getting to know each other, sharing images, working together, and preparing for annual public presentations of their work.

The collective's public presentations have taken various innovative forms, utilizing different mediums connected to photography. Their work spans from collodion processes to performance art and writing. Each member works and exhibits in their own distinctive way while contributing to the collective vision. Their first exhibition was titled "Le passage des sarments" (The Passage of Vine Shoots), which created a pathway between different spaces on the property. The following year, they continued occupying the field by expanding the exhibition space, and this year, an eighth person joined to work on writing alongside Paccalin for their new exhibition called "Champs libres" (Free Fields).

Beyond their main exhibitions, the collective has expanded their reach through various projects. They organized an evening event in Arles for "La Nuit de la Roquette" and published a zine to document their work. The group started a new season in October, coming off a productive work weekend focused on photographic techniques, particularly exploring lumen printing and laboratory work. Much of their current work relates to the field itself—its nature, composition, and evolution over time, with experimentation in analog photographic techniques.

A significant development for the collective is their upcoming venture beyond their home base. Their next presentation will not take place at the 867 property but will move to Lyon at l'Orangerie at the end of summer 2026, marking an important expansion of their presence in the regional art scene.

When the collective is not engaged in group creation, the space continues to serve the broader artistic community. Paccalin, who lives on the property full-time, welcomes other artists and has embraced this role. "I'm on site, I have time, and I love it. It's a bit of a return to my experimental years," he said. The collective is in discussions with a gallery in Marseille to make the space available for coherent projects, particularly those exploring connections between writing and photography, or painting and photography.

Several collective members have already organized workshops at the location, including Gilles Pautigny, Denis Laveur, and Estelle Rebour. While the rural location presents some logistical challenges in bringing people to the site, Paccalin notes that once visitors arrive, "it's perfect for working." The collective continues to develop both as an artistic collaboration and as a unique creative destination in the French countryside, offering a model for how contemporary artists can transform rural spaces into vibrant centers of photographic experimentation and exhibition.