The ninth issue, guest-edited by Hannah Sawtell, themed #ACCUMULATOR_PLUS. Thinking about use of the word plus (e.g. in Job Centre Plus) in official attempts to instil (false) optimism in people, The Happy Hypocrite 9 imagines what it would mean to see the ‘plus’ reclaimed. The first issue to solicit sound-based contributions, opening the journal to music, and exploring radio as a radical method of distribution. Contributions and new work by Morehshin Allahyari, Jennifer Lucy Allan, Franco Berardi, John Cussans, Maria Fusco, Jlin, John Lawrence, Kieron Livingstone, Angela McClanahan, Louis Moreno, Emily Pope & Ruth Angel Edwards, Hannah Sawtell, Anthony ‘Shake’ Shakir, Tai Shani, and Jonathan P. Watts.
The eighth issue, guest edited by Sophia Al-Maria, themed Fresh Hell. treats in different ways the subject of oil. Adopting an exploded methodology for intake, image and text contributions, this issue takes a hoarding, brutally accelerative approach and considers reading, too, as an unsustainable activity. With contributions and new work by Abdullah Al-Mutairi, Monira Al Qadiri, Stephanie Bailey, Alex Borkowski, Judy Darragh, William Gibson, Navine G. Khan-Dossos, Malak Helmy, Raja’a Khalid, Omar Kholeif, McKenzie Wark, Simon Sellars, Francesco Pedraglio and Lena Tutanjian.
The seventh issue, guest edited by Isla Leaver-Yap, themed Heat Island. Always subject to change, invasion, adaptation, and enhancement, the body is our most essential material, our primary limit. Touch, meanwhile, is the body’s only unmediated form of acquiring embodied knowledge, constantly experiencing the texture of the present tense. With contributions and new work by Park McArthur, Duncan Marquiss, Dena Yago, Elaine Cameron-Weir, Giuseppe Mistretta, Francis Sanzaro, Allison Gibbs, Will Holder, Mary Simpson and Charlotte Prodger, an interview concerning 'adjustment' between Anna McLauchlan and Gerry Kielty, and reprinted material by Paul Nash and Stow Print College, Glasgow.
Cooper Gallery at Duncan of Jordanstone College of Art & Design and Edinburgh College of Art
An online anthology of new texts discussing what it is to be contemporary within art and culture in Scotland today.
The sixth issue, guest edited by Lynne Tillman, themed Freedom. Challenging the restraining notions found in art and writing about who and what can and cannot speak. What can and cannot be said or thought. In part a response to Kafka - to that which we don’t know has damaged us – freedom is presented as an important and urgent concept, and a complicated word, in which and beside which hypocrisy also resides. (Hypocrisy can be construed as a freedom). Contributors include: Gregg Bordowitz, Paul Chan, Gabriel Coxhead, Lydia Davis, Yasmine El Rashidi, Chloé Cooper Jones, James Jennings, Allison Katz, Robin Coste Lewis, the late Craig Owens, Sarah Resnick, Ranbir Singh Sidhu, Abdellah Taïa, an interview between Lynne Tillman and Thomas Keenan, a cover by Susan Hiller, and archival material from 'Paranoids Anonymous Newsletter'.
I'm happy to be on the board for a number of excellent international journals and publishers.
‘He blew tentatively and stopped suddenly, startled and yet pleased at the note he had elicited. It had a quality of infinite distance in it, and, soft as it was, he somehow felt it must be audible for miles round. It was a sound, too, that seemed to have the power (which many scents possess) of forming pictures in the brain.'
What Am I?
The fifth issue, edited by Maria Fusco, themed What Am I? Garbed in a sequence of paradigmatic structures such as the joke, the notebook, the novel and the script, this issue's range of contributions defy the innate obsolescence of classification through their embrace of poetic analysis. Contributors include: Shumon Basar, Kate Briggs, George Clark, Ruth Ewan, Beatrice Gibson, Antonia Hirsch, Chris Kraus, Hanne Lippard, The Plebs, Seth Price, Laure Prouvost, Stephen Sutcliffe and Sarah Tripp.
A Rather Large Weapon
The fourth issue, edited by Maria Fusco, themed A Rather Large Weapon. A blackboard, an interview, surveillance photographs, heroes, and a blasted copy of the Canadian Indian Act of 1867. Contributors include: Bernadette Buckley, Jeff Derksen, Candice Hopkins, Anthony Iles, Daniel Kane, Yve Lomax, Robert Longo, Sean Lynch, Laura Oldfield Ford, Luke Pendrell, Rachelle Sawatsky, Mark von Schlegell, Natasha Soobramanien and Nick Thurston.
Courses by Adam Chodzko, Ruth Ewan, Maria Fusco, Babak Ghazi, Beatrice Gibson, Nathaniel Mellors, Francesco Pedraglio and Gail Pickering.
'Does the angle between two walls have a happy ending?' J.G. Ballard
Volatile Dispersal: Speed and Reading
The third issue, edited by Maria Fusco, themed Volatile Dispersal: Speed and Reading. A reprint in entirety of ‘A Great Book Primer: Essays on Liberal Education, the Uses of Reading and the Rules of Reading’, published by the Great Books Foundation, Chicago (1955).
'What would it be like if you behaved with absolute power?' Paul Thek
Hunting and Gathering
The second issue, edited by Maria Fusco, themed Hunting and Gathering. Techniques of collage & bricolage, found text and image, interspersed with appropriated and parodic writing. Contributors include: ArtstrA/Barbara Reise Archives, Steve Beard, Susanne Clausen, Marie Darrieussecq, Brian Dillon, Andrew Dodds, Thomas Hirschhorn, Gabriel Lester, Jo Melvin, Rashanna Rashied-Walker, Lisa Robertson, Andrew Shelley, Nick Thurston and Lynne Tillman.
The first issue, edited by Maria Fusco, themed Linguistic Hardcore. An interview, a translation, a short story, notes on time, some possible captions, Bananas and an index. Contributors include: Cosey Fanni Tutti, Douglas Coupland, Stewart Home, Andrea Mason, Clunie Reid, Gerard Byrne, Paolo Arao, Lisa Robertson, Farhad Ahrarnia, Nick Thurston, Giles Eldridge, and Alexandre Singh.
Transdisciplinary Practice in Action
Exploring through action and exchange amongst the writers, the notions and tensions within transdisciplinary practice. Contributors include: Clare Cumberlidge, Craig Martin, Jane Rendell, Kathy Slade and Andrew Dodds.
Emerging from conversations and realisations of artists and scientists working together collaboratively to present visions of the future as they may be in five, ten or thirty years time.
Discussing independent publishing and publishing by artists, focusing on books where the makers keep control of every aspect of production through to distribution.