Passages Through Genocide

Anita Di Bianco’s ongoing project, Corrections and Clarifications, is a newspaper without headlines, a cyclical reverse-chronology of daily revisions, retractions, re-wordings, distinctions and apologies to print and online news, printed in numerous languages, locations, and formats since September 2001. An intermittent catalog of lapses in naming and classification, of tangled catchphrases, obstinate patterns of mis-speech and inflection, connotation and enumeration. The twentieth anniversary hardbound edition of the publication, entitled The Error is Regretted, was published in 2021 by The Green Box in Berlin.

This 2024 iteration, in a xeroxed edition of 100, collects corrections to news items back to 1981 — with its focus on the Eastern Mediterranean region, on patterns of mis-telling and misrepresentation through the persistent misuse of the passive voice, the omission of widely observable and verifiable facts and events, the euphemizing and toning down of deliberate actions, erasures through shifts in terminologies, through bold mistakes and tentative corrections.

Anita Di Bianco’s works in film, video, and print take up, modify and re-work existing and re-imagined patterns and characterization. Her work involves the imitative act, a taste for the possession and expulsion of narratives, the appropriation and accumulation of familiar texts and writing styles. Anita uses widely varying sources: from theatrical and historical texts to oft-quoted cinematic clips and thematic references. She lives in Frankfurt am Main.

An inscription of time at the coast, singing crows, albatrosses and seagulls. STOP. Extracted from the earth a whole alphabet. The waves uplifted countries and washed mountains until the storm came undone. The plantation of tobacco was maintained among the meadows and cafes flourished as the core of erudition, the power was theirs - you could see it in cinema- the actors spoke feverishly with enthusiasm, rather than breathless, meticulous and austere. The scars healed on mysterious skin that came out of the shadow to cross the day.

Regions surface often in this issue—across arts, tales, and gatherings of individuals and meanings—as a possibility to bypass the borders of nation-states and the meta-geographies of colonial modernity.

Slavs and Tatars; Hera Chan on Stephanie Comilang; Stephanie Bailey on Ho Tzu Nyen; Drifting into the Atmospheric by Sohrab Mohebbi; Lauren Cook contributes nine newly commissioned note-like fiction pieces; Asad Raza on Édouard Glissant; Mira Dayal in conversation with Shanzhai Lyric, TJ Shin, and jina valentine; Temporary Communities, Four Points on Radically Public Institutions by Elvira Dyangani Ose; A Signature Truer Than the Name by Dani Blanga Gubbay; tidbits: Ruoru Mou by Amy Jones; Virginia Ariu by Brit Barton; Bagus Pandega by Harry Burke; Ceidra Moon Murphy by Alex Bennett; Oshay Green by Ikechúkwú Onyewuenyi; Shafei Xia in conversation with Danielle Shang; books by Christian Rattemeyer; Guest Design: Lamm & Kirch.

This issue comes with different covers, randomly distributed.

Mousse is a bimonthly contemporary art magazine. Established in 2006, Mousse contains interviews, conversations, and essays by some of the most important figures in international criticism, visual arts, and curating today, alternated with a series of distinctive articles in a unique tabloid format.

How to Sleep Faster 2 is the second of our biannually published journals that form the backbone of Arcadia Missa’ critical collaborative discourse on participation, post-digital visual-production and institutional subjectivity.This issue explores moments of collapse, shift and potential in a cultural moment framed by economic, political and societal disturbance.

Arcadia Missa Publication; eds Rozsa Farkas, Tom Clark et al.

What are our politics of refusal? Sleep? Catatonia? Hedonism? Transgression even? #hustle? 

[Can refusal can be performed as resistance and not operate as preemptively fucked. . .]

Arcadia Missa Publications; Rózsa Farkas, Holly Childs, Leila Kozma, Tom Clark (eds)

The platform, free speech and contempt

The Forgive Us Our Trespasses Reader explores radical and emancipatory significations and fabulations of trespassing, turning towards practices that transgress and reshape the boundaries of, among other dimensions, currency, governance, religion, spirituality, language, and artificial intelligence.

Complementing the thematic concerns of the exhibition of the same name, this collection of essays, poems, artistic contributions, and a sermon, conceptually maps the distance between the English word "trespasses"—with its double meaning of to sin or to physically tread—and the German word "Schuld"—referring to sin and guilt but with etymological proximities to debt (Schulden). Deviating from the line of prayer that lends the project its name, the contributors do not ask for forgiveness for the various trespasses they elucidate—be they religious, social, class-related, national, sexual, or disciplinary in nature—but rather assert them as modes of transgression, as forms of rebellion, and as possibilities for transcendence.

Published on the occasion of the eponymous exhibition at Haus der Kulturen der Welt, Berlin, in 2024.

Contributions by Victoria Adukwei Bulley, Egidija Čiricaitė, Yásnaya Elena Aguilar Gil, Toussaint M. Kafarhire, Mansour Ciss Kanakassy, Chao Tayiana Maina, Bonaventure Soh Bejeng Ndikung, Tavia Nyong’o, Mary Louise Pratt, Josefine Rauch, Deborah A. Thomas, Senthuran Varatharajah, Yuanwen Zhong.

In 2019 SOTA finished the first Fair Arts Almanac. The content of the book was generated during a week long summer camp in 2018 with about 70 contributors. The result was a bundling of tips & tricks, statements & demands, visions & ideas, dates & data, testimonies & voices, addresses & announcements on fairness within the complex relationships between the artistic, political and economic sphere. The compilation of various contributions in this first edition was deliberately associative and open for debate, full of contradictions, loose ends and inconsistencies.