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..



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.


Second Life

Talking about overcoming geographical boundaries. In the Chinese pavilion at the 52nd Venice Biennale Cao Fei introduced her documentary iMirror, “filmed” entirely in Second Life and directed by her SL avatar China Tracy.

see YouTube: http://blogs.walkerart.org/offcenter/2007/07/16/cao-feis-imirror/
See the blog of her avatar China Tracy: http://www.alternativearchive.com/chinatracy/


Hard politics with a Sugar Sweet Coating

I got a message in my mail today that the Serpentine Gallery is going to launch the project RMB City by Cao Fei.

Beijing-based artist Cao Fei (born 1978) is fusing fantasy with the contemporary Chinese city in her construction of RMB City, an experimental art community in the internet-based virtual world of Second Life.



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.


What everybody knows: protocols of rumour

Exhibitions are all right for those of us who like that sort of thing, but like other artworldly activities, they’re pretty harmless. As art seems to have exhausted much of its potential, why not turn our art-critically honed tools to more corrosive phenomena – the kind that suit no one’s purpose, like that all-pervasive, horizontal network of open-source speech-acts of confident uncertainty known as rumour? If only because rumour can wreak more havoc in the public sphere in half an hour than art can in a century, is it not worth at least considering as a possible role model for an unauthored, viewer-free art that escapes itself?


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.


Autonomous Spaces of Deregulation and Critique, Is a Cooperation with Neoliberal Art Institutions Possible?

Cooperation with Neoliberal Cultural Institutions in Serbia


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.



Art and Its Own Power



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.


Globalization of the Art System


One of the latest books that i bought was 'World Art Studies: Exploring Concepts and Approaches'.


Exit Strategies: Challenging Productivism in Contemporary Capitalism and Art

When you hear “exit strategies” what do you think of first? Iraq and environs? The neo-liberal mindset, its wanton growth-cures-all productivism? Or maybe, depending on the extent of your Napoleon complex, exodus from the intellectual bankruptcy of the mainstream artworld? This project seeks to imagine gangplanks out of contemporary warfare, capitalism, and art, not necessarily in that order.

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.


How should we try to define 'cultural diversity'?

* each contributor should write a definition
* visitors to the site can be given access to the 'book on cultural diversity' to add their definition


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.