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..

On the invisible-yet-undeniable: walking political


One of the things we at n.e.w.s. are most attentive to is the agency of the invisible-yet-undeniable, that is, the imperceptible yet sometimes incontrovertibly active presence of what, for lack of better words, we are prone to call angels, spirits or ghosts. Understandably, we’re not sure how to measure this agency, though we are convinced it is somehow graspable and that in many cases its conditions of possibility are linked to developments in art. We’re not even sure how to detect it, or what to do with it if we did. Radar and sonar were developed during World War Two in order to thwart the lethal agency of the invisible yet undeniable submarines and long-range bombers. But whatever the interest of radar aesthetics, the radar metaphor has played itself out and we now find ourselves seeking entities and energies so stealthy as to elude even radar detection. Our methodology for detecting and measuring their agency is cobbled together from a variety of sources: counter-espionage manuals, angelology, lie-detection technique, natural-language search engines, conceptual litmus testing and just basic walking around sniffing in the shadows. We call that “research” in our grant applications, presumably to give them some semblance of seriousness. The real comedy in all this is the extent to which things can be mistaken for what they actually are… In this realm, more clearly than in others, error is our guide – and in the following instance, our very example.


Arbitrating Attention: reinvesting attention surplus in plausible artworlds

Arbitrating Attention: reinvesting attention surplus in plausible artworlds

The post-industrial world has given birth to what some describe as an “information economy,” which is but one part of a broader “attention economy.” But does this information glut produce an artificial scarcity of (social) attention or do our apparently foreshortened attention spans cast shadows where new forms of sensory and cognitive experiences can quietly deploy?

The rise of the attention economy – that is, the economy inherent to the “society of the spectacle,” of which the mainstream contemporary artworld is both the proving ground and the emblematic outcome, shows every sign of continuing into the future at the same inexorable pace it gathered in the twentieth century. At the outset, this might have applied to the 15 minutes of fame as art’s ulterior motivation. Increasingly, however, the attention economy has come to be defined by the relationship of capital to visual culture, more specifically to how artists and the artworld as a whole function in a sector increasingly nurtured by hedge-fund management tactics and poached upon by the prosumer strategies of the entertainment industry. Art is ostensibly still their perfect partner, for the ideology of these forces is not domination, but freedom. The challenge is to avoid passive consumption, while using the resources and freedom generated by the attention economy to fund the darker more poly-vocal initiatives at its edges.


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?

17/04/2009 - 17/04/2009 (tz: Europe/Amsterdam)

Experimental Economy Camp

At the Centre for Internet and Society (CIS) Cunningham Road, Bangalore Recently, n.e.w.s. won the ‘Competition of Ideas’ for authoring a book proposal entitled “Arbitrating Attention”, which would explore new economic and social contexts for art. This 100-page text will be published at the beginning of next year. One of things n.e.w.s.

09/03/2009 - 15/03/2009 (tz: Europe/Amsterdam)



Networks, how they work and function. Geert Lovink from INC asked us at the beginning of Wintercamp 'why organise networks- what does it mean to organise networks?' And 'what does it mean to invent new constitutional forms?'

My Creativity

n.e.w.s. was invited by Bas van Heur to take part in MyCreativity, which was started-up in 2006. Contributors Prayas Abhinav, Branka Curcic and I were able to attend the camp. Finding the PDF I was curious to quickly catch-up on the discourse produced so far. Much quoted and inherent to the discussion is Richard Florida's book: The Rise of the Creative Class, Cities and the Creative Class, and The Flight of the Creative Class. What these ‘city reporters’ agreed on was that Richard Florida’s ‘creative class’ is – if anything – ‘a parasitic simulacrum of social creativity’ (Matteo Pasquinelli). The question then becomes how one actually determines real or authentic social creativity, if it does exist at all. Transformation of the structural conditions of production in such a way that ‘creativity’ (the reference here is to ‘individual creativity, skill and talent’) can be channeled into regimes of property. However, as Ned Rossiter stresses, in order to address the political dimension of (Sebastian Olma) 'If, on the one hand, post-autonomous thought represents a systematic attempt at grasping creativity while, on the other hand, the creative industries are a method of exploiting creativity, then the former should offer a potentially rich perspective for the exploration of the latter. Thus, before returning to an explicit discussion of the creative industries issue, a brief look at some post-autonomist approaches to creativity in contemporary capitalism is on order.


Asian Biennales Forum ... DISCUSSION

A response to Joselina: Joselina cites an essay of mine, (“Biennale Demand”, Jan 2008, http://www.aaa.org.hk/newsletter_list.aspx?newslettertype=archive), where I contrast the notion of “convention” with that of “tradition”. She summarises me as saying that “biennales have conventions, but not tradition”. And then she goes on to say: “This may be true to an extent, but following his definition of tradition, biennales, either through the foundations or offices that run them, or through the curators chosen, are hardly oblivious to past biennales that occur around the world. The derivative models from Venice’s formula are a reaction to the original biennale’s framework. The exhibition concepts, thematics, ideas are never realized while the curator is unaware of what’s been done elsewhere. Curators and directors are hardly, never reflexive. Most are. And the biennales they come up with are products of these. Are these then not the creation of a tradition?”


Asian Biennales Forum ... OPENING REMARKS by PANELISTS


Art from Asia is on the rise — or so it must seem. From Sydney to Shanghai, Busan to Berlin, Asian artists are all over the place. The year 2008 was a banner year for biennales in this part of the world. September alone saw several biennales and triennials opening, including Gwangju, Busan, Shanghai, Guangzhou, Singapore, Taipei and Yokohoma. However, research and analysis of contemporary art from the region have not kept pace with the spectacle of exhibition. And it’s arguable that this underdeveloped state of discourse is an urgent concern. What we need, perhaps, is less chatter, and more reflection. Hopefully, in this forum here, we’ll be able to serve up some of the latter along with some of the former. The Asian Biennales Forum, Part II, is a follow-up from the forum which took place in November 2008.


Broken webs: imagining an Internet for introverts

Introverts are people who do not generally demonstrate an enthusiastic social appetite. Most Internet interfaces and applications assume a voluntary and natural tendency for social bonding and seem to reward behaviour that fits these assumptions. What is our understanding of people who would broadly identify themselves as introverts? Can this inquiry inform our design efforts and guide us in reconceptualizing ways of working?


Cutting Slack: paradoxes of slackerdom

Hello! I see that some slackers have been more than punctual in taking the initiative and getting this forum under way. Whereas some others, ahem, have waited for the sun to warm the earth before sallying forth. This is just as it should be, for it places us straightaway at the heart of the issues we are to address: the paradoxes of slackerdom.

Three questions are of supreme interest to me with respect to what I take to be our common concern in performing the everlasting Sunday:

- Why is authentic slacking different than mere laziness (if it is)? I choose that phrasing deliberately to underscore the ticklish distinction between the two: I feel it is somehow slacker-incompatible to identify an “authentic” as opposed to an inauthentic mode of slacking, just as it is absurd to suggest that describing laziness as “mere” does anything but upgrade it to some more interestingly corrosive status. Still, it strikes me as useful, even necessary to attempt to conceptualize slacking off as a specific way of being in the world – as opposed to indolence or idleness (and other agreeable states) on the one hand, and languor or what Christians call slothfulness on the other.

- This ontological speculation on slacking’s core definition begs the second question: slacking’s political ontology. By both slacking off from the imperative to work and, symmetrically, deliberately abstaining from leisure and other modes of consumerism, slackers embody a fascinating – and for the productivist majority, infuriating – performative double bind, akin to the famous “I am a liar” that had the Greeks stumped. Slackers don’t “just” slack off; they go at it full-tilt. Clearly, the studied and ostentatious practice of doing not much at all is all-consuming. But is it subversive? Does it have seditious potential within a regime of productivism? Can it obstruct the reifying logic of “creativity” and “artistic research projects” we hear so much about?

- To answer these questions in the affirmative is to imagine that slackers could come to constitute something of a political community, however slack. But, as Randall Szott has asked, are communities formed by slack not bound by slack, that is, entropic collapse under the weight of their own logic? Or can they, martial arts-style, lackadasically harness the surplus force of the productivist adversary? Are slackers, like hackers, more inclined to untie than to unite, as Ken Wark has argued? And if so, what is at the end of the slack line?


Competition of Ideas

We are very delighted to announce that n.e.w.s. has won the 'Competition of Ideas', with our text Reinvesting attention surplus in plausible artworlds.

02/01/2009 - 15/02/2009 (tz: Europe/Amsterdam)

Cutting Slack extended until February 15th

By both slacking off from the imperative to work and, symmetrically, deliberately abstaining from leisure, slackers embody a fascinating – and for the productivist majority, infuriating – performative paradox. Slackers don’t “just” slack off; they go at it full-tilt. Performing laziness – that is, the studied and ostentatious practice of doing not much – is all-consuming. But is it subversive? Does it have seditious potential within a regime of productivism? Can it be decreative, obstructing the reifying thrust of the “creative” industry and class with their “artistic research projects”?


Asian Biennials Forum


Asian Biennales: Nationalism in a post-colonial world Internationalism versus Nationalism

Currently, one third of the world’s biennales take place in Asia, with the first being the Tokyo Biennale in 1952. Yet, the international art biennale started with the Venice Biennale which was founded in 1895, a year before the Olympic games, at a time when world’s fairs and international exhibitions started growing in popularity with the idea that nations can showcase the best of their talents. However, this type of showcasing of national pride often leads to nationalism and sometimes to conflict.


Positions of Art Criticism: art as commodity and/or political propaganda


Rotterdam Dialogues The Critics

I'd like to respond to Thomas Berghuis' latest entry 'Time will Tell', in which he asks 'Do we need art critics to establish a dialogue about contemporary art? -- The recent forum at de Witte de With in Rotterdam may provide some answers (see: http://www.wdw.nl/project.php?id=183). I am hoping to hear/read more.'


time will tell

Finally I got some time to respond, including my initial thoughts on from Renee's and Stephen's recent postings on 'time' and 'commodification'. At the same time I am watching the news unfold on the latest burst of the world economy (at one point I imagined I was imagining looking instead at Tatsuo Miyajima 'Counting' installations).

I cannot help thinking on whether the next bubble to burst - in similar fashion to the dot com and housing market bubble - will indeed be the art market (give and take a few monts or years from now)

24/09/2008 - 24/09/2008 (tz: Europe/Amsterdam)

n.e.w.s. on FBI Radio


On 24 September n.e.w.s was introduced in an interview with FBI Radio, FBi 94.5FM, an independent, community-based radio station in Sydney, Australia. The interview was part of FBI's Artscape program, and introduced n.e.w.s. to their listeners of Sydney - many of whom are hopefully joining us online. Please visit FBI radio online at: http://www.fbi.org.au/ My thanks go out to Alex and Toby at FBI, as well as to the listeners of Artscape for showing support and interest in n.e.w.s.


I want time that is NOT money


As I try to seize the moment after reading Stephen's post: ‘The Fate of Public Time: toward a time without qualities’, I cannot separate myself from my recent trip to the U.S., the place where I was born and raised but do not reside.

The last two weeks of the global economic crisis might be termed as the end of the era of borrowed time. Beginning with deregulation during the 1980's Reaganomics and exascerbated by greed, borrowed money -‘leverage’ has lead to the crash on Wall Street. Central to the bailouts and interrelationship of a networked world are these ‘credit default swaps’ (coined 'weapons of mass destruction' by Warren Buffet). A kind of insurance sold by financial institutions, they insure against a possible default by an issuer of debt. Privately written, in unknown terms, the financial entities are now expecting to cash in. Culminating in the government bail out of the national mortgage company, insurance company, Wall Street firms (not all), the 700 billion dollar bill that doesn’t state the ‘value’ of these assets (though includes an option for a stock injection plan! with preferred stock) was finally passed by the congress. The US government has never been so directly involved in the financial market since the Great Depression. Has America gone social? I doubt it. But look at how time has changed the financial world: the investments of 'long-term' securities, savings and pension plans aren’t secure, contrasted by the banning of short-selling, making a quick buck, futures. Gambling was somehow deemed legal - outside of the casinos, certain Native American reservations and the state of Nevada. Deregulation on Wall Street had reinvented the art of speculation - borrowing shares and betting on the fact that their value will go down in order to pocket the difference, accounting for potentially the largest purchase of nothingness (devalued stock- assets without price) in history. What happened to the coined ‘treadmill of progress’ in the 'United States of Capital?'

Returning to Boym, briefly, one value of reflective nostalgia is its defense of idleness and of recapturing leisure time. ‘Time is money,’ she says, ‘but we want time that is not money.’


Competition of Ideas: "rethinking the social and economic conditions of art"

A Paris-based organization is hosting a "competition of ideas," the object of which is to rethink the social and economic conditions of art, explicitly breaking with twentieth-century conventions. The winner gets 10 000 euros -- not bad; both the winner and the runner-up get the expanded (100 page) version of their initial three-page proposal published. Bear in mind that this is how a hitherto unknown proto-blogger by the name of Jean-Jacques Rousseau got started (winning a competition for his Discourse on the Arts and Sciences)... For funding reasons, it's open only to residents of the European Union. But as n.e.w.s. is registered in Europe, and collectively authored proposals are encouraged, I figured that we might take a multi-handed stab at rethinking the material conditions of art. Wouldn't it be a boost for our collective energies if we won? And even if somehow we didn't, we would at least have cured our twentieth-century hangover and gone some way to creating a twenty-first century We. Beyond that, I would encourage everyone using and reading n.e.w.s. to take part. Deadline: 15 November 2008.


Data's Demon

I’m very much of two minds about the whole issue of “data-mining,” as Lev Manovich puts it – or “data-recovery” as others might say inasmuch as we have all contributed to that ever-expanding mother-lode – with which Renée Ridgway has invited us to engage in her recent, thought-igniting post. The sheer magnitude of data accumulation is positively diabolical – or at least demonic, to use a more genteel term for the hellish little fellow. Indeed, in a fascinating if somewhat sibylline passage in his deliciously premonitory novel, The Crying of Lot 49, written in the early 1960s, Thomas Pynchon imagines an ambivalent character whom I see as Data’s Demon.


The Fate of Public Time: toward a time without qualities

For some time now, I’ve been meaning to respond to Lee Weng Choy’s thoughtful posting on the need for “slowing things down.” There is something intuitively urgent about that appeal for calm, which I felt needed to be fleshed out. Has something happened to time, I found myself wondering, or is it just our overwrought egos and zealous scheduling that need to be put on depressants? Then, during the Basekamp discussion, I heard myself improvising something about the becoming-we of n.e.w.s.; arguing somewhat self-evidently that our collective assemblage of enunciation is bound to “change over time.” That it is, but what does it mean to change “over time”? What is “over” time? When is that? The preposition bears reflection, but even if one were to say “in” time, the assertion would still beg the question: can anything change “out” of time? To change and to shift presuppose time; they are time-laden verbs – which, unless I’m mistaken, makes our collective voice an eminently time-fraught phenomenon. Which brought me back to Weng’s insight that if all of us are struggling with finding time, something may have happened to time itself, even as we continue to think of it as a smoothly flowing through phenomenal space and against which changes and shifts could be measured. What about cracks in time? What about a “third time,” a fuzzy, slothful or vacant time, recalcitrant to the tyranny of real time? It’s speculative, but such speculation appears less frivolous when one considers the frictional interfaces between competing experiences of time in our contemporary societies.


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.

14/11/2008 - 26/11/2008 (tz: Europe/Amsterdam)

Asian Biennials


Pelurinho: Edwin Sánchez


Continuing with the ongoing research of "Pelurinho; on contemporary forms of Discipline and Punishment, after Michel Foucault". I would like to share with you guys the work of a very interesting artist based in Bogotá:

'The Street...............the only valid field of experience' André Breton


Cultural analytics


After the launch of n.e.w.s. at ISEA2008 in Singapore I did get attend Lev Manovich's lecture, author of the seminal work, The Language of New Media, (2001) MIT Press, Cambridge Mass, USA, where he pitched his 'cultural analytics' research project, as an ad for data-mining and fancy animations in academia, soon to takeover the world.

Manovich began his lecture by delving into the background of data, terming it a 'data revolution'. As we all realize during the last few years there has been an exponential explosion in the amounts of data, for example in 2011 the digital will be 10 times bigger than in 2006, a 60% growth increase. While people in dozens of areas of science and other fields such as business, banking, retail, etc. are using data-mining and interactive visualization; one area is lagging behind... culture. Manovich is into visualizing the cultural in digital form.

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)

Plausible (Art) Worlds

One has to be pretty mean-spirited to find much wrong with dreaming. But what I like best about dreams is that they put the lie to the increasingly prevalent idea that we all live in the same world - the very quintessence of contemporary ideology. Clad in the decidedly dad-reminiscent rhetorical garments of “common sense,” the one-world argument is regularly trotted out by our neoliberal realists to encourage us to fall into line, wake up to reality, singular, and give up our insistence on alternatives to the merely existent. In the name of the efficient governance of the existent order, they trivialise the fictionalising imagination – that is, the imagination that splinters and multiplies the real – as utopian dreaming, claiming that the real is one. But in making such a claim, they let the cat out of the bag – if only because everyone has that extraordinary and yet perfectly ordinary experience of dreaming.


After the launch, part 2: lessons from ISEA & what’s next

For many contributors, it’s been the summer holidays, and we’ve taken a break since the build up to the launch. But now it’s a good time to get working again on n.e.w.s.

We got good feedback about the website platform during ISEA — both in small discussions with the contributors in Singapore (Ingrid, Mustafa, Rich, Renée and myself), as well as during the launch itself, and in small groups again, after the event. It’s important to acknowledge the achievement of putting the website together — of all the contributions and discussions: for many of us, the issue of cultural diversity was recurring topic; Inti, Rich and Yuliya talked about their specific regions or specific projects; Mia and Stephen, the outside and inside of the artworld; Ade, Inti and Stephen, about traffic; Branka and Mia, about web 2.0 and immaterial labour; Ingrid, Thomas, Mustafa and Stephen, about “world art” ... and so on.


After the launch in Singapore, part 1: slow n.e.w.s.


It’s been a few weeks since the launch of n.e.w.s. in Singapore at the end of last July, and I’ve been meaning to write a short report to n.e.w.s. contributors and readers about some of the discussions those of us in Singapore had following the launch. But, as it often happens, after the one thing, there are the next several things, and you get very busy, and before you know it, weeks have passed by, and you’re still trying to follow-up ...


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.


A few images from the launch of n.e.w.s. at The Substation, in conjunction with ISEA2008


Here are a few images from the launch event last Monday. More soon ...


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.


Renaming Remaining


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


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


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".


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