Bookworks, London

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HEAD
by Mo-Leeza Roberts

Mo-Leeza Roberts novel Head describes the desperate future that clusters around Head Gallery like cockroaches swarming over a pigs head. It is at once critical and complicit, and deluded and envious.

Jerry-rigging sacarine sci-fi, with a leavened mush of curatorial artspeak, artists, collectors, hanger-ons and other art world actors explode in ecstasy, pain, or self-induced eradication – all, according to the whims of the Head Gallery, which remains an anonymous and inviolate force, the overseer of events and a selfless accumulator of prestige and wealth. Familiar contemporary artists are reanimated for the future, giving the events described an unsettling familiarity. Any reader familiar with the art world should feel both seduced, and infected. It is like Dickens but with laughs induced by our approaching extinction, and like Salò, written, directed and starred in by Barbara Gladstone.

Head Gallery is based in New York and Shanghai. It advises collectors, appraises antiques, bankrupts sponsors, gives out MAs in curatorial practice, commissions spiritual tracts, does expert restoration where apoc-damage is concerned, plans corporate events and retreats, disappears interns, holds alcohol support group sessions, funds Scottish nationalists, and produces bestiality instruction videos. It is also dedicated to producing critical art texts and troll feeds that are split between a written textual element located on the website, expanded press releases, or exhibition description, and materialised elements installed in galleries. It operates in between a future set in 2078, and the present.

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Maria Fusco
Master Rock

Master Rock is a repertoire for a mountain.

Rough land, open palm. Bodies are machines that shake. Big boned faces, big hands, big claws, ah Jesus, well-used. Bore. Blast. Smash. Force on loan. Must be hard and clever to survive in this technological age. Granite knows the biological. Gods inside the mountain, just plain men outside.

Working through the cavernous space in Ben Cruachan, the largest peak on the west coast of Scotland, Maria Fusco exhumes three fictional voices from fact: Tunnel tigers, the Irish explosives experts who emptied out the mountain to build a power station; Elizabeth Falconer, the artist who produced a mural inside that only the site’s workers ever see; and Granite, the 450 million year-old rock of Cruachan itself as a main character.

Fusco uses original writing, archival materiality and topographical reportage as her tools to compress geology, mythology and technology: to write the inside of her mountain.

Maria Fusco is a Belfast-born writer and is the founder and editorial director of The Happy Hypocrite. Her work is published internationally and translated into eight languages. She is the author of With A Bao A Qu Reading When Attitudes Become Form (New Documents, 2013), The Mechanical Copula (Sternberg Press, 2010) and wrote the screenplay for GONDA, a film by Ursula Mayer, commissioned by Film London, and published as a ciné-roman (Sternberg, 2012). Fusco has been invited writer-in-residence at Lisbon Architecture Triennale, Kadist Art Foundation, Paris, and Whitechapel Gallery, London, and, has been awarded as a Jerwood Creative Catalyst. She is a Reader at Edinburgh College of Art, University of Edinburgh and was Director of Art Writing at Goldsmiths, University of London.

Master Rock is a commission by Artangel and BBC Radio 4, with the support of Creative Scotland and co-published by Artangel and Book Works, as part of Co-series, No. 11. Designed by A Practice for Everyday Life, edition of 1,250.

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THE HAPPY HYPOCRITE #8 – FRESH HELL
Sophia Al-Maria (Ed.)

‘What fresh hell is this? There’s an inferred question in the title of this issue. But it’s a rhetorical one. Because we know exactly what fresh hell this is. Fossil Fuel – that paralytic drug – has leeched into our collective bloodstream. It’s difficult to recognize the beasts that are eating us in this very moment.’ – Sophia Al-Maria, from the Editor’s note, The Happy Hypocrite 8

The Happy Hypocrite – 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. Guest editor Sophia Al-Maria’s archive acts a sort of proto-Tumblr composed of school notebooks, war games and oil industry pamphlets scattered as a series of identifying clues. All windows are open, all browsers are burning: The Happy Hypocrite asks what happens when reblogged information is translated into paper-based print.

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.

Sophia Al-Maria is a Qatari-American artist and writer based in London, UK. Her memoir, The Girl Who Fell to Earth (Harper
Collins, 2012), was published in Arabic by Bloomsbury Qatar in Summer 2015. In 2014, she had her first solo show, ‘Virgin with a Memory’, at Cornerhouse, Manchester, UK. She is the recipient of a 2015 Sundance Institute Fellowship and her work was included in the New Museum Triennial, New York, USA, 2015. In 2016, she will receive her first solo museum show in the USA with the premiere of a new series of videos at the Whitney.

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THE HAPPY HYPOCRITE #7 – HEAT ISLAND
Isla Leaver-Yap (Ed.)


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.

The Happy Hypocrite – Heat Island seeks to understand how our hands (as both digital and analogous devices) and our bodies physically traverse and negotiate knowledge. This issue comprises a temporary assembly of individuals who are acutely and intelligently aware that what we choose to do with our bodies, how we express it alone or with others, can provide valuable cultural openings and resistances to bodily regulation, whether self-imposed or via external legislation.

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, Charlotte Prodger, an interview concerning ‘adjustment’ between Anna McLauchlan and Gerry Kielty, and reprinted material by Paul Nash and Stow Print College, Glasgow.

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