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..

Flavio de Carvalho, Experiencia 3, 1956


During a warm summer day of 1956, Flavio de Carvalho, an engineer and avant-garde artist from São Paulo, walked from home to his workplace wearing a self made suit he had given the name of “New Look: summer fashion for a new man”.


n.e.w.s. as Gesamtkunstwerk?


Contemporary Art: 'Now' or 'Never'?


A few months ago, I was asked to respond to a questionnaire on 'What is Contemporary Art' by C-Arts magazine (http://www.c-artsmag.com). A brief report of the questionnaire was published in C-Arts #2 (March/April 2008). The discussion is still ongoing, and I feel multiple platforms should address these issues. N.E.W.S. is one of these platforms, and hence I would like to challenge the contributors to consider the issue of 'Contemporary Art: 'Now' or 'Never'?

Below is a copy of my full (unedited) answers to the questions posed by C-Arts.

More n.e.w.s. on this to come from others, I hope...



Troca-trocas is a curatorial platform aimed at researching artistic practices, aspects of vernacular culture and both legal and activist agendas that work with the construction of gender and sexuality within the context of the politics of representation and social participation of homosexuals, bisexuals and transgenders in Rio de Janeiro.

Through public and private encounters, workshops, exhibitions and publications, troca-trocas will facilitate ‘exchanges of knowledge’ (troca-trocas de conhecimento) with local artists, cultural agents, scholars, politicians and activists.


Extra/Ordinary Cities





Pipeline is a research tool commissioned by me and Anna Colin at Gasworks with Electronest, stemming from the project Disclosures (a longer post about the context of Disclosures will follow soon).


Central Asian Art-Traffic


When I am visiting the next symposium about contemporary art issues, organized by some famous international biennale or any other international forum, I am sure that this or that issue relating to the geopolitical identity in contemporary art will be raised. Presenters speak about ‘Eastern’ art and I am sure that they mean the so-called Far East: China, Korea, Indonesia, Vietnam, or maybe India… And when European art is presented, then it’s about Central and Western Europe, or Eastern Europe and Russia. Central Asian art is situated somewhere in-between these fundamental poles.


Whose finger points at the (open source) moon?

One of the most notable and essential aspects of open-source cultural values (as informed by FLOSS) is the variety of authorship positions offered in place of the singular author figure that supports the formulation of classical intellectual property discourse. Here I’m speaking particularly in reference to the adoption of open source values and methodologies by the cultural realm; from critical media to contemporary art practice and their dissemination.