n.e.w.s. is a collective online platform for the analysis and development of art-related activity, drawing upon contributions from around the globe, bringing together different voices, accents and outlooks from the North, East, West and South. | Read more..

Renaming Remaining

constantinople

Now it's Istanbul, not Constantinople Been a long time gone, Constantinople Why did Constantinople get the works? That's nobody's business but the Turks - Lyrics from They Might Be Giants, "Istanbul Not Constantinople"

 

International Street Style Photography

4sjveleko

I'd like to respond to Mustafa Maluka's last blog about the South African photographer, by showing two photo's that I recently saw at the exhibition 'Snap Judgments - New positions in Contemporary African Photography', made by Okwui Enwezor, made by the photographer Nontsikelelo "Lolo" Veleko. Her photo's remind me of the ever more famous so-called Streetstyle blogs. (Blogs with photo's about normal people dressed hip, who are increasingly influencing the fashion industry. For instance www.facehunter.blogspot.com and www.playlust.net. It interesting to see how much this kind of street style photography is really a world wide phenomenon.

 

 

Artistic research in a globalized world

cao-fei-1

On the request of Lee Weng Choy to all of us to have shorter blog entries, I've cut an earlier entry in two.

My first intuitive response to the discussion about artistic positions in a global art world, issues like geography, territory and mobility, (i.e. the definition of 'territorial, extra-territorial and world artists') is to throw in some practice and maybe discuss some recent exhibition models (7th Gwangju Biennial by Okwui Enwezor, Shanghai Biennial 2008 by Zhang Qing, Julian Heyn and Henk Slager), that respond to this issues.

 

Be for Real: the Usership Challenge to Expert Culture

One of the questions I struggle with most regarding art is whether or not to continue using the word at all. On the one hand, it designates an amorphous set of symbolic configurations and activities by and large so at odds with what I refer to when I use the term, I wonder if I would not be well advised to look for a different word. Yet on the other hand, I am loath to yield the monopoly on the use of that term to those whose usage I find so uncongenial. Admittedly, the word’s usage has shifted considerably over the past 30,000 years, but at present the balance of power is so squarely in the hands of the molar worldart artworld (institutional market, museum-based production and other such normalising institutions of expert culture) that molecular (or minority) practices seeking to bring some heterogeneity to bear are condemned to marginality. Indeed they are relegated to parasitical status; uninvited guests at the table of the host whose values they abhor. So I am torn by a reasoned and almost visceral desire for exodus and a no less heartfelt and stubborn desire to hold my ground. Can anyone help?

 

Greetings from the moderator

When I met Renée and Sannetje, and they introduced me to n.e.w.s., I was drawn to participate in large part because I saw the website as a potential tool for greatly facilitating collaborative projects which involve regional networks.

I’ve been asked to be the moderator for this first phase of n.e.w.s., and I’d like to offer some reflections on what’s been happening so far on the website.

 

Punishment in public sphere

Note: The following text is part of an on going research entitled "Pelurinho; on contemporary forms of Discipline and Punishment, after Michel Foucault".