CORRECTIONS AND CLARIFICATIONS 

presentation by Anita Di Bianco

Corrections and Clarifications is an ongoing publication, launched in response to the glut of news reporting following 11 September 2001 — an annual edited compilation of daily revisions, retractions, re-wordings, distinctions and apologies to print, online, and radio news. Each issue is a reverse-chronological catalogue of lapses in naming and classification, of tangled catchphrases, patterns of mis-speech and inflection, connotation and enumeration, a distillation of predictive patterns and algorithmic amplifications spanning from the initial deployments of the term “fake news” to the current reckoning with the attention economy. The Error is Regretted / Wir entschuldigen uns für diesen Fehler, the 20-year anniversary edition of Di Bianco's publication project, containing text contributions by Anna Bromley, Francesco Gagliardi and Florian Wüst, will also be presented.

Previous volumes of Corrections and Clarifications have been produced, exhibited, and distributed in numerous cities and languages since 2001, including KW Berlin, Kunsthaus Zürich, Kunsthalle Nürnberg, STUK, Springerin Magazin, Extra City, collectorspace Istanbul, and the Museum of Contemporary Art Chicago. Distributed by Printed Matter, New York; held in the archival collection of Sammlung KIOSK Kunstbibliothek Staatliche Museen zu Berlin and the Museum of Modern Art in New York.

Anita Di Bianco's works in film, video, and print have been shown internationally since 2001. Born and raised in New York, she has lived in Germany since 2007, after postgraduate study at Rijksakademie van beeldende kunsten in Amsterdam and an initial year-long residency at the Künstlerhaus Bethanien in Berlin. She lives in Frankfurt am Main. Texts and film clips at www.anitadi.net

RETRACE RESCORE 

performance by Alena Alexandrova, working with and from the Corrections

Retrace Rescore is a part of ongoing series of reading performances by Alena Alexandrova, which metabolize a constellation of text fragments by reading them in an open sequence. The act of re-reading activates something dormant in the seemingly simple Corrections, a micro-monumental list of major and minor facts, whose correction present their reader with fragments spilling into the space of literature, and fallling between the conceptual meshes of history and archives. Perhaps Corrections is not a collection, but rather a mechanism that can be set in motion; in its silent murmur, one would encounter an unexpected grain of one’s own thought. The reading engages with this mechanism and performs alongside of it, using the allure of formal constraints, lists, disappearances, doublings, multiplications, accumulations, and a group of characters always discretely present in the background – the observers.

Alena Alexandrova is a writer, theorist and educator based in Amsterdam. She teaches at the Fine Arts and Photography departments, Gerrit Rietveld Academy, Amsterdam and is a Guest Professor at the Academy of Fine Arts, Nuremberg. She has published numerous texts in academic and artistic contexts, and regularly contributes to art publications and catalogues. Her writing practice probes the modulation of theory into speculative forms and fiction, and has an ongoing series of reading performances. She is the author of Breaking Resemblance (Fordham University Press, 2017) and the co-editor of a volume on the work of Jean-Luc Nancy. She curated exhibitions and symposia in Amsterdam and Paris. She holds a PhD from the University of Amsterdam. https://alenaalexandrova.com/