Autocorrect, 2013, installation view, Josée Bienvenu Gallery, New York

Autocorrect, 2013, installation view, Josée Bienvenu Gallery, New York

Autocorrect, 2013, installation view, Josée Bienvenu Gallery, New York

Autocorrect, 2013, installation view, Josée Bienvenu Gallery, New York

Autocorrect, 2013, installation view, Josée Bienvenu Gallery, New York

Autocorrect, 2013, installation view, Josée Bienvenu Gallery, New York

Autocorrect, 2013, installation view, Fidel Sclavo and Marco Godinho, Josée Bienvenu Gallery, New York

Autocorrect, 2013, Marco Godinho and Fidel Sclavo, installation detail, Josée Bienvenu Gallery, New York

Autocorrect, 2013, installation view, Celeste Fichter and Marco Godinho, Josée Bienvenu Gallery, New York

Autocorrect, 2013, installation view, Ken Solomon and Carl Ostendarp, Josée Bienvenu Gallery, New York

Autocorrect, 2013, installation view, Stefana McClure, Josée Bienvenu Gallery, New York

Autocorrect, 2013, installation view, Tom Friedman and Ana Bidart, Josée Bienvenu Gallery, New York

Andre Cadere, Untitled (sketch for a round bar of wood), ca 1971, pen on paper, 11.75 x 8.25 inches

Andre Cadere, Untitled (sketch for a Round bar of wood), 1971 ca, detail, pen on paper, 11.75 x 8.25 inches

Tom Friedman, Untitled (verisimilitude), 2012, graphite on paper, 15.3 x 12.4 inches

Tom Friedman, Untitled (verisimilitude), 2012, detail, graphite on paper, 15.3 x 12.4 inches

Ana Bidart, Paper on Ink, 2013, inkwell, ink, wood, paper, light, dimensions variable

Ana Bidart, Paper on Ink, 2013, detail, inkwell, ink, wood, paper, light, dimensions variable

Molly Springfield, Contrary il se, 2013, graphite on Rives BFK, diptych, 34 x 72 inches

Molly Springfield, Contrary il se, 2013, detail, graphite on Rives BFK, diptych, 34 x 72 inches

Francois Morellet, Washington crossing the Delaware, E. G. Leutze, 1851, transfigure par Morellet, 1988 (projet dessin no. 3), 1988, graphite on paper, 12.4 x 21. 7 inches

Francois Morellet, Washington crossing the Delaware, E. G. Leutze, 1851, transfigure par Morellet, 1988 (projet dessin no. 3), 1988, detail, graphite on paper, 12.4 x 21. 7 inches

Francois Morellet, Washington crossing the Delaware, E. G. Leutze, 1851, transfigure par Morellet, 1988 (projet collage no. 3), 1988, collage on paper, 12.4 x 21. 7 inches

Francois Morellet, Washington crossing the Delaware, E. G. Leutze, 1851, transfigure par Morellet, 1988 (projet collage no. 3), 1988, detail, collage on paper, 12.4 x 21. 7 inches

Marco Maggi, Hardware vs. Software, 2013, cuts and fold on fanfold cardstock, diptych, 120 x 8 inches each

Marco Maggi, Hardware vs. Software, 2013, detail, cuts and fold on fanfold cardstock, diptych, 120 x 8 inches each

Marco Maggi, Hardware vs. Software, 2013, detail, cuts and fold on fanfold cardstock, diptych, 120 x 8 inches each

Beth Campbell, My Potential Future Based on Present Circumstances (7/8/13), 2013, pencil on paper, 27 x 32.5 inches

Beth Campbell, My Potential Future Based on Present Circumstances (7/8/13), 2013, pencil on paper, 27 x 32.5 inches

Celeste Fichter, He'll, 2012, vinyl, 84 x 32 inches, edition 1 of 5

Marti Cormand, Formalizing their concept: Lawrence Weiner's "TO SEE AND BE SEEN", 1972, 2013, graphite on paper and oil on paper (tape),
diptych, 13 x 33 inches overall, 13 x 15 inches each

Marti Cormand, Formalizing their concept: Lawrence Weiner's "TO SEE AND BE SEEN", 1972, 2013, detail, graphite on paper and oil on paper (tape),
diptych, 13 x 33 inches overall, 13 x 15 inches each

Ken Solomon, Group Show, 2013, watercolor on paperboard, 14 x 10 inches

Ken Solomon, Group Show I, 2013, detail, watercolor on paperboard, 14 x 10 inches

Ken Solomon, Group Show II, 2013, watercolor on paperboard, 14 x 10 inches

Ken Solomon, Group Show II, 2013, detail, watercolor on paperboard, 14 x 10 inches

Carl Ostendarp, Etc..., 2013, acrylic on canvas, 26 x 37.5 inches

Carl Ostendarp, Etc..., 2013, detail, acrylic on canvas, 26 x 37.5 inches

Fidel Sclavo, 2012, installation view, Josée Bienvenu Gallery, New York, NY

Fidel Sclavo, 2012, installation detail, Josée Bienvenu Gallery, New York, NY

Fidel Sclavo, Corrected Mapamundi 1, 2012, cut paper, 10 x 14 inches

Fidel Sclavo, Corrected Mapamundi 1, 2012, detail, cut paper, 10 x 14 inches

Fidel Sclavo, Corrected Mapamundi 3, 2012, cut paper, 10 x 14 inches

Fidel Sclavo, Corrected Mapamundi 3, 2012, detail, cut paper, 10 x 14 inches

Fidel Sclavo, Corrected Mapamundi 7, 2012, graphite and cut paper, 10 x 14 inches

Fidel Sclavo, Corrected Mapamundi 7, 2012, detail, graphite and cut paper, 10 x 14 inches

Fidel Sclavo, Corrected Mapamundi 10, 2012, cut paper, 10 x 14 inches

Fidel Sclavo, Corrected Mapamundi 10, 2012, detail, cut paper, 10 x 14 inches

Fidel Sclavo, Corrected Mapamundi 13, 2012, cut paper, 10 x 14 inches

Fidel Sclavo, Corrected Mapamundi 13, 2012, detail, cut paper, 10 x 14 inches

Fidel Sclavo, Corrected Landscape, 2012, pencil and colored pencil on paper, 11 x 15 inches

Fidel Sclavo, Corrected Landscape, 2012, detail, pencil and colored pencil on paper, 11 x 15 inches

Fidel Sclavo, Paradise Lost, 2012, pencil on paper, 11 x 15 inches

Fidel Sclavo, Paradise Lost, 2012, detail, pencil on paper, 11 x 15 inches

Stefana McClure, Colorblind (Bill), 2013, cut paper, 24 x 24 inches

Stefana McClure, Colorblind (Bill), 2013, detail, cut paper, 24 x 24 inches

Stefana McClure, Colorblind Shopper, 2013, installation view, cuts on paper

Stefana McClure, Colorblind Shopper, 2013, installation detail, cuts on paper

Stefana McClure, Colorblind Shopper (Herb ox Bouillon, chicken & beef), 2013, cuts on paper, set of two: 3.24 x 3.1 x 1.6 inches each

Stefana McClure, Colorblind Shopper (Twinings, English Breakfast Tea and Irish Breakfast Tea), 2013, cuts on paper, set of two: 3.25 x 5 x 2.75 inches each

Stefana McClure, Colorblind Shopper (Swiss Muesli), 2013, cuts on paper, set of two: 8.5 x 4.2 x 1.8 inches each

Stefana McClure, Colorblind Shopper (Swiss Muesli), 2013, detail, cuts on paper, set of two: 8.5 x 4.2 x 1.8 inches each

Stefana McClure, Colorblind Shopper (Tabasco Pepper Sauce, original & green jalapeno), 2013, cuts on paper, set of two: 5.5 x 1.6 x 1.6 inches each

Marco Godinho, Du temps perdu à la recherche du temps #1, 2009, complete edition of À la recherche du temps perdu by Marcel Proust (amended), transparent blue bags with crumpled book pages, shelving unit with 7 levels

Marco Godinho, Du temps perdu à la recherche du temps #1, 2009, detail, complete edition of À la recherche du temps perdu by Marcel Proust (amended), transparent blue bags with crumpled book pages, shelving unit with 7 levels

Marco Godinho, Du temps perdu à la recherche du temps #1, 2009, detail, complete edition of À la recherche du temps perdu by Marcel Proust (amended), transparent blue bags with crumpled book pages, shelving unit with 7 levels

Marco Godinho, Du temps perdu à la recherche du temps #1, 2009, detail, complete edition of À la recherche du temps perdu by Marcel Proust (amended), transparent blue bags with crumpled book pages, shelving unit with 7 levels

Autocorrect, 2013, Marco Godinho and Fidel Sclavo, installation detail, Josée Bienvenu Gallery, New York

Marco Godinho, Related Stories #2, 2011, book, hand-blown glass, recycled stool

Marco Godinho, Related Stories #2, 2011, detail, book, hand-blown glass, recycled stool

Autocorrect

July 25 – September 14, 2013

Opening Reception: July 25, 6 to 8pm

Ana Bidart
Andre Cadere
Beth Campbell
Marti Cormand
Celeste Fichter
Tom Friedman
Marco Godinho
Marco Maggi
Stefana McClure
Francois Morellet
Carl Ostendarp
Fidel Sclavo
Ken Solomon
Molly Springfield

We used to be responsible for our own typographical mistakes. Now, in a general trend to outsource our mental function to a global prosthetic brain, advanced predictive text software has taken over. "geocentric” becomes “egocentric”, “he'll” turns to “hell”, "I'll" to "ill" and “id” to “I’d”, turning any communication into a Freudian slip at the slightest touch or click. People blame Autocorrect for mangling their intentions and for failing to un-mangle them.

Autocorrect gets overwhelmed by vocabulary. Every mutation is a persistent or acknowledged mistake and exceptions make language evolve. When the suggested change revolutions the original meaning, the automatic correction allows us to see reality from another angle, funnier usually, embarrassing sometimes, tragic, or even poetic. It allows us to think again.

A similar process takes place for an artist in front of his work: an artwork is a major correction. Any creative process involves risks, disruptions or surprises that cancel each other, erase or integrate new meaning. An author corrects his mistakes, autocorrects them and incorporates them into a new reality. The exhibition is an invitation to meaningful mistakes, to disrupt the expected and the established. Every artwork is a spelling mistake.