We are delighted to announce that issue 9 is guest edited by Hannah Sawtell.
#ACCUMULATOR_PLUS will be published by Book Works in September 2016 and broadcast online as a radio show. The Happy Hypocrite is now looking for submissions for this forthcoming issue.
This new issues asks how sound and writing interact, and how, in keeping with Sawtell’s own work, we might relate sound to text, and text to sound.
Sawtell offers up a stream of her hashtags, to invite a repsonse, a call for submissions for this forthcoming issue, in the form of new writing or sounds that respond to the hashtags below.
#IMAGEOBJECTSKIN #NASCENTSURPLUS #DECELERATEDAFFECT #DIALECTICADDICTION #EXTREMEWORKPLEASURE
#ACCUMULATOR_PLUS will be the first Happy Hypocrite to accept sound submissions for translation into image/text by Hannah Sawtell and/or to be played as part of a live broadcast that will complete the editorial process.
#ACCUMULATOR_PLUS sees Sawtell welcoming new contributors into her practice, where the artwork is often circulated in different versions that span multiple platforms simultaneously. It follows the publication of concrete texts in the broadsheet editions and online performance presented in the context of HANNAH SAWTELL: ACCUMULATOR (New Museum, New York, 2014). Examples include: SAWBAUM, a free-to-use online collaging application developed in 2014 by the artist and programmer Avi Flombaum as part of Rhizome’s 7X7 series (2014); REPETITIONER, – Broadsheet Number 4 (Foundling Court, 2013) where Sawtell asked writers, musicians and artists to respond to the theme of ‘repetitionism’, and to jointly shape content within the time frame of daily news print production; the production of broadsheet inserts printed and distributed with Business Week magazine during Sawtell’s solo show OSCULATOR (ICA, 2012); and MAYDAY: THE BOOTH - a live radio broadcast for The Island on ARTonAIR.org which was presented during ‘lunch-hour’ on 1 May 2012 from the Clocktower Gallery in Downtown Manhattan. MAYDAY: THE BOOTH was created from recordings, collaborations and contributions from workers who responded aurally to the idea of ‘May Day’ (International Worker’s Day) and what it means to them today. It was broadcast live against the backdrop of immigration law demonstrations in the U.S. and the May Day/Occupy solidarity rally at Union Square, Manhattan.
SUBMISSION DEADLINE 1 FEBRUARY 2016
Please send submissions to:
The Happy Hypocrite, Submissions
c/o Book Works,
19 Holywell Row,
Hard copy or electronic submissions are accepted for text, image and sound work. All submissions should be sent with a cover page detailing the artist/writer’s name, address, telephone number and email address and a short CV (no more than one side A4 please) and a completed equal opportunity form, downloadable on this page. Text submissions should be no more than 2,000 words, 12 point, with a double line space. Image or text/image submissions should be no more than 6 pages, 12 point, with a double line space. Images can be sent in TIFF, GIF, JPEG format. Max size per attachment is 2 MB. Sound should be sent as a Soundcloud link or equivalent.
The Happy Hypocrite will return work if a stamped, self-addressed envelope is included. We will only contact you if we want to publish your submission.
The Happy Hypocrite is a biannual journal led by artists’ writings. Informed by a lineage of modern experimental and avant-garde magazines, it aspires to unpack the methodology of such key journals, whilst providing a brand new approach to art writing and a testing ground for new writing and research-based projects, somewhere for artists, writers and theorists to express experimental ideas that might not otherwise be realised or published
The Happy Hypocritewas founded in 2008 by Maria Fusco, who edited the first five issues. Since 2013 The Happy Hypocrite has appeared annually, each with a new guest editor: The Happy Hypocrite – Freedom, edited by Lynne Tillman (2013), The Happy Hypocrite – Heat Island edited by Isla Leaver Yapp (2014), and The Happy Hypocrite – Fresh Hell, edited by Sophia Al-Maria (2015).
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