Following my interest in continuing to address, through art, the only matter that should concern art — that is, art itself — I hereby announce the curatorial project that will occupy the next three years of my impracticable practice. All the performative works that I have devised and presented since 1999, specifically their conceptual operations, para-artistic formalisations, and documental ramifications, will be transferred to other artists under a regime of unconditional and irreversible donation. With them — but not from or about them — the new bearers will do as they please.

The new program seeks to develop — albeit through a detour — the material previously imploded in Retrospective (2023–26), while coinciding with a critical, post-disciplinary analysis of my artistic trajectory. In doing so, it risks both the reinvention of its history and, through its confrontation with a resigning dogma, the anticipation of the conditions for its future sustainment. Invoking the infinite unfolding of ontologies through the analysis of an anthology, Transmission (2026–28) configures a dismantling by intensification of agencies, authorships, and becomings, without offering any promise of resumption or reparation. What remains is a legacy that persists through its own deterioration. Were this truly about Rogério Nuno Costa, it would be titled Apostasy (2028–).