THE HAPPY HYPOCRITE

Tolstoyevsky, Issue 10

Virginija Januškevičiūtė

‘Tolstoyevsky is not a Russian writer; it is a monster of sorts – a chimera, a composite of two and true to neither one nor a sum. It can make jokes (and threats) fly so fast they skip the funny parts. Here it lends its name to an issue that is about how humour is often not humour, or about how it sometimes doesn’t work, and how half our lives are filled with things that don’t work. Which probably means they work, right?’ – Virginija Januškevičiūtė, from the Outro. Theory/Writings The Happy Hypocrite – Tolstoyevsky is, ideally, like a room full of high-spirited people playing a game, trying to do or say some nonsense, folding embarrassment and losses in translation into part of the exchange. The main portion of the journal is made up of responses to an open call; submissions picked up on cues within two short stories: ‘Moles & Mice’ by Candice Lin, and ‘Tolstoyevksy’, written by Virginija Januškevičiūtė about a hospitable man with a house full of books who exclaimed ‘Oh I have read all your Tolstoyevskys!’ when asked what he had read. Contributions and new work by ateate, David Bernstein, Monika Kalinauskaitė, Zoe Kingsley, Erika Lastovskyte, Michael Lawton, Candice Lin, Elena Narbutaitė, Nick Norton, Kim Schoen, Isabel Waidner, and Jonas Žakaitis. Complemented by old work (images, illustrations) from Pierre Bonnard, Giovanni di Paolo, Félix Vallotton, and Édouard Vuillard. Virginija Januškevičiūtė is a curator, writer and producer based in Vilnius. the founding co-editor of The Baltic Notebooks of Anthony Blunt (www.blunt.cc) and curated the XII Baltic Triennial in 2015.

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IMAGINARY EXPLOSIONS

Caitlin Berrigan

Imaginary Explosions is an artist book rich with images, poetry, and topographical delineations. The work by artist Caitlin Berrigan has been a few years in the making—fitting for events that span generations. Its pages explore geological ruptures, the immense scale and deep time of sexual violence, and the ways traumas reverberate through bodies across multiple generations of relationships and families. It is an experiment in sequential, narrative poetry. Sparse, material language combines with synthetic landscapes based on the computational radar topography of the Eyjafjallajökull volcano in Iceland. Berrigan takes on the book as a time-based medium, creating a walk through the landscape of the volcano across the pages. It draws from storytelling and geological time and space through episodes of volcanology. Can we begin to grasp the scope and scales of both geological change and the deep time of patriarchy, by in fact becoming mineral ourselves?

Caitlin Berrigan works across performance, video, sculpture, and text to engage with the intimate and embodied dimensions of power, politics, and capitalism. Her work has shown at the Whitney Museum, the Poetry Project, Harvard Carpenter Center, Storefront for Art & Architecture, Hammer Museum, Anthology Film Archives, LACMA, Henry Art Gallery, UnionDocs, and the deCordova Museum, among others. Berrigan has received grants and residencies from the Humboldt Foundation, Skowhegan, Graham Foundation, PROGRAM for Art & Architecture Berlin, and Akademie Schloss Solitude.

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