Anita Di Bianco     Projects | News | Writings | Contact | Films

Corrections and Clarifications

Featured on
Creative Time Reports, New York
BAS Collection / collectorspace presents Corrections and Clarifications
Correcting and Clarifying by Duygu Demir, review in Open Systems Journal, Vienna

Editions (Download PDF)
2012, in English
2014, in Turkish
2015, in English
2015, in English and German
2018, in English and German

Corrections and Clarifications

Corrections and Clarifications is an ongoing newsprint project, an edited compilation of daily revisions, re-wordings, distinctions and apologies to print news from September 2001 to the present. It is an intermittent interrogation into the detection, acknowledgment, and retraction of errors organized into a reverse chronology, that is, correcting each day what has been printed the day, week, or month before. Previous editions have examined the printed news media in the US, UK (as well as other international press printed in English), the German-language press in Germany, Austria, and Switzerland. Several issues have been dedicated to the press of the former Yugoslav republics of Bosnia, Serbia, Croatia, and Slovenia, and the 2014 edition looks at the Turkish press. The material always appears only in the language of the source newspaper or newswire.

Following are the introductory statements, printed in slightly varied form in each edition:

Purely editorial credit to those who have provided the material for this publication by having seen fit to correct themselves, or having seen themselves fit to correct others; who have sought in some public way to offer apologies or clarifications – to redeem, reveal, revise, retract, or shift, to simultaneously claim, deny, and re-attribute blame and responsibility. Credit is due for these well-documented efforts to apologize for what is being done and for what has already been done, for continuing attempts to un-say what is said, un-mean what is meant.

Credit at a variety of levels to those seekers, processors, middle managers, and ultimate regulators of public information who take it upon themselves (or impose it upon others) to re-name, re-classify, disguise, de-fuse or be de-briefed; who find clever metaphors to obfuscate, euphemize and mystify; who disseminate information according to political structures coincident with particular economic interests, who consent to use language to dismiss, excuse, cushion, cover and obscure the consequences of actions and the submerged structures behind events. And ultimately who, regardless of stated intentions, occasionally reveal something, piece by piece, through slips in language and naming systems.

Perhaps what is conveyed unintentionally, and by repetitious mistakes, is significantly more revealing, more historically identifiable, and substantially less conciliatory than it is meant to be. This is both fortunate and inevitable. With further acknowledgement, appreciation, and gratitude to readers who regard these revisions and retractions with the same skepticism they have the originals.

Corrections and Clarifications
varying dimensions, varying edition sizes, 2001-present

2022 - for IMPAKT The Curse of Smooth Operations. In Dutch and English; 20 pages
2021 - 20th anniversary issue, half of edition bound into book The Error is Regretted. In German and English; 96 pages
2019 - for VOLUMES, Kunsthalle Zürich. In English; 8 pages
2018 - for Friends with Books, Berlin. Printed in Berlin, in English and German; 8 pages
2016 - for Friends with Books, Berlin. Printed in Berlin, in English; 4 pages
2015 - for the exhibition In an Absolut World True Taste Comes Naturally at Camberwell Spece, London. Printed in London, in English; 16 pages
2014 - for Friends with Books, Berlin. Printed in Berlin, in English and German; 8 pages
2014 - in conjunction with the exhibition Corrections and Clarifications, collectorspace, Istanbul. printed in Istanbul, in Turkish; 18 pages
2012 - for MISS READ, Berlin. Printed in Berlin, in English; 12 pages
2011 - for the exhibition Seeing is Believing at Kunstwerke, Berlin. Printed in Berlin, in German and English; 24 pages
2011 - for the exhibition All That Fits: the Aesthetics of Journalism at QUAD, UK. Printed in London, in English; 8 pages
2010 – for the project Give and Take in the exhibition Mathilde ter Heijne: Any Day Now at the Kunsthalle Nürnberg. Printed in Berlin, in English; 8 pages
2010 – for the exhibition On gaps and silent documents at STUK, Leuven, Belgium. Printed in Leuven, in English; 20 pages
2009 – produced for the 28th Biennial of Graphic Arts, Ljubljana. Printed in Ljubljana, in Slovenian and English; 24 pages
2008 – for the exhibition SpaPort in Banja Luka, Bosnia. Printed in Bosnia, in Bosnian, Serbian, Croatian, English, German; 20 pages
2007 – for distribution in Springerin magazine. Printed in Berlin, in German and English; 24 pages
2005 – for the exhibition Information/Transformation at Extra City, Antwerp. Printed in Antwerp, in English; 20 pages
2005 – for the conference Klartext! The Status of the Political in Contemporary Art and Culture, Berlin. Printed in New York, in English; 20 pages
2004 - as an insert into the Williamsburg Observer, New York
2004 - as part of the artists’ publication Teufel, New York
2002 – for the exhibition Public Affairs at the Kunsthaus Zürich. Printed in Berlin, in English); 24 pages
2001 - produced in conjunction with the Rijksakademie van Beeldende Kunsten, Amsterdam. Printed in Amsterdam, in English

Distributed by Printed Matter, New York

Held in the collection of the Museum of Modern Art, New York

© anita di bianco 2024