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..


The Escapologist. Rasheed Araeen and the transformative potential of art beyond art


Rasheed Araeen's Art Beyond Art belongs to that select category of artists' writings that includes Allan Kaprow's Essays on the Blurring of Art and Life, Martha Rosler's Decoys and Disruptions, Robert Smithson's Collected Writings, or Jimmie Durham's A Certain Lack of Coherence, which at once stake out irreversible art-historical positions and exemplify the full heuristic power of theory when pursued as a full-fledged practice. The practice of theory, of course, has never been a sideline pursuit for Araeen, the founding editor of Third Text -- a journal whose purpose and accomplishment it was to eke out a space of possibility for practices that actually existed but had no oversight on their conditions of visibility. Third Text's controlled coefficient of specific visibility as a collective, conceptual artwork situated it in the "art-beyond-art" category -- that is, of practices whose self-understanding is as art, but which manage to avoid being performed as art, somehow foiling the powerful apparatus of performative capture within what Araeen calls "the legitimising prisonhouse" of bourgeois aesthetics. Though Third Text, as we know, has since been captured by those very forces it had set out to challenge, Rasheed Araeen, we can be sure, eludes capture.

Saturday, 09. June 2012 | 23:00 (tz: Europe/Amsterdam)

Sub specie artis


Collaboration, if it is to be fruitful, must be founded on an initial diversity. Though it may feel more natural to collaborate with individuals or groups with whom we have much in common, collaboration itself has little to gain from that commonality – for neither party really has much to offer the other and collaborating soon appears unnecessary.

Saturday, 29. August 2009 | 11:30 (tz: Europe/Amsterdam)

n.e.w.s. at ISEA 2009

N.e.w.s. celebrates one-year! with an invitation to present at ISEA 2009 (International Symposium on Electronic Art) on the island of Ireland. N.e.w.s. will deliver the powerpoint presentation ‘Ruminations on Remuneration’ on Saturday, August 29, 2009 in Belfast at 12:30, University of Ulster. In this presentation (n.e.w.s.) addresses the relationship between rethinking the social and economic conditions of art and the artistic context of an emergent participatory community investing in creative production on the Internet.


Diggers All! Copyright is for losers

The gentrye are all round, on each side they are found,

Theire wisdom’s so profound, to cheat us of our ground

Stand up now, Diggers all.
The Diggers Song
, Gerrard Winstanley & Leon Rosselson

This post follows up on an exchange initiated on n.e.w.s. a few months back by Branka Curcic under the heading of “The New Economy of Enclosure,” dealing with the pitfalls of the web 2.0 model and mindset, which she nicely summed up as the “private appropriation of community-created value.” http://www.northeastwestsouth.net/node/166#comment-37
This issue has gained some currency these past weeks as the French National Assembly has debated a bill entitled “Creation and Internet” – or Hadopi, the name of the proposed governmental organisation which it creates. The intent of the law (which will inevitably pass, despite some left parliamentarians jumping out of the woodwork at the last minute to defeat a second reading) is to severely crack down on the online exchange of audiovisual files, which it defines as “pirating,” by a three-strikes-you’re-off-the-net approach to internet accounts using peer-to-peer platforms to download or upload copyrighted content. Internet becomes a privilege for those who respect private property. Though probably unenforceable, this particularly iniquitous law was drafted by supposedly left-of-centre businessman and author Denis Olivennes, in a book entitled La Gratuité c’est le vol (Free is theft), a revealingly cynical echo of Joseph Proudon’s La Propriété c’est le vol (Property is theft). With any luck, history will look back on this law as the anachronistic convulsion of a senile music and film industry desperately lobbying to create artificial scarcity in the face of unstoppable profusion, using a business model from another century. But what are the intellectual underpinnings for even talking about “intellectual property”? And what kind of historical opposition has been mustered against it over the years?


n.e.w.s. at Basekamp, summary


On Tuesday 16 September, n.e.w.s. was presented at Basekamp. Joing us from various places in the world on Skype audio: Aharon from Brighton, Prayas from India, Magda from Brighton, Stephen from Paris, and Mia from London via IM. Scott, Mary, Garrett and I were in Philadelphia. It was great to have everybody online, even in the wee hours of the morning for some. We were able to facilitate a two-hour conversation about n.e.w.s., the goings-on so far and some of the problems that need improving as well as supporting its experimental and discursive nature. In this blog entry I will try to rehash some of the keys issues and explain how we structured the conversation. There will also be a soundfile and Skype chat on the site if you want to listen to and/or read the conversation.

16/09/2008 - 16/09/2008 (tz: Europe/Amsterdam)

n.e.w.s. at Basekamp

n.e.w.s. has been invited to make a presentation at Basekamp. This evening the general n.e.w.s. website will be addressed: the launch, how we go further, what's needed, what needs to be deleted, etc. (see http://www.basekamp.com)

Dilettantism and extradisciplinary artistic collaboration


Both Ingrid Commandeur has already alluded to something like what I'm about to talk about, and so has Stephen Wright. Though here I've divested it of its locational/global factor, it still relates somewhat to territory. In this post, I'll describe some practices I'm attracted to in relation to this discussion.


Web 2.0 – “New Economy” of Enclosure


Web 2.0 is often referred as type of social networking providing “power to a user and democracy for everyone (...), as incubator of innovative forms of media and free cooperation” among its users. But, what if another point of view is added to this innocent image? We simply have to be able to comment, discuss and criticize something that is loudly (and successfully) represented as a new form of “information superhighway” bringing everyone “equal rights” to create and distribute content.


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.


Television as a Symbol of Lost Public Space, The exhibition “TV Gallery”


The exhibition “TV Gallery” has been conceived in order to contextualize and represent specific television production (“TV Gallery”) that was created at Belgrade Television and broadcasted on the Yugoslav TV network from 1984 – 1991. The exhibition is dealing with cultural policy, conditions of art and cultural production, public television and production and broadcasting of video art in territory of former Yugoslavia.


PUBLIC NETBASE: NON STOP FUTURE, New practices in Art and Media


PUBLIC NETBASE: NON STOP FUTURE, New practices in Art and Media - New book about Public Netbase t0, edited by New Media Center_kuda.org and published by Revolver.



Toward an extraterritorial reciprocity: beyond worldart and vernacular culture

One of the leitmotivs of n.e.w.s., I take it, is precisely the idea of shifting, displacing, moving with an eye to all the cardinal points of the compass. Though real “geographic diversity” is mentioned in the project presentation, geography - like the sort of conceptual mobility also foregrounded in the write-up - provides a metaphor for understanding the condition of art today and its blithe refusals to acknowledge its disorientation and recalibrate its sextant.

Monday, 28. July 2008 | 12:00 (tz: Europe/Amsterdam)

Launch of n.e.w.s. at ISEA 2008

n.e.w.s. was launched on July 28th, as part of ISEA 2008 (International Symposium for Electronic Arts) from 19:00 to 22:00 @The Substation, 45 Armenian Street, Singapore. Join the Discussion.


About n.e.w.s.

n.e.w.s (http://northeastwestsouth.net) was launched at ISEA 2008 in Singapore at The Substation. 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. n.e.w.s. reflects geographic diversity and facilitates a framework for collaboration, content and visions of change from outside the normal parameters of established art world networks. n.e.w.s. offers space for a potential series of global dialogues, transactions and collaborations concerning art and its discourse. Content is curatorially determined: images, texts, podcasts, livestream and sound archives provide documentation of discussions, works or new media. Contributors change during the course of the year depending on interests and time. n.e.w.s. structures these contributions in the form of a blog/archive (images and text), regular online forums on diverse subjects ranging from Asian Biennials, an Internet for introverts to the paradoxes of slackerdom, on error and errorism and remuneration for usership. Building upon shared knowledge and past references, contributors engage with others’ practices. Multilingual translation, tagging and commentary contextualise the contributions and open up new possibilities; collaboration in the form of future projects such as our forthcoming publication and the Shadow Search Project.