In which we glimpse the world through the eyes of our self-imagined betters.

The year began with news that living in Glasgow is now to be considered a work of art, according to Ellie Harrison, a taxpayer-funded artist who, coincidentally, lives in Glasgow. We also witnessed the talents of Sandrine Schaeffer, who teaches the subtleties of performance art to those less gifted than herself, and who unveiled “a series of research based actions in public spaces” – i.e., walking repeatedly past automatic doors. Gorged on art, our attention then turned to academic matters and the ruminations of Dr Riyad A Shahjahan, an exponent of “social justice theory” and “pedagogies of dissent.” Dr Shahjahan wished to impress on us that “the norms of neoliberal higher education” – specifically, expectations of punctuality and academic competence – are both racist and oppressive.

February saw a multi-million-dollar experiment in progressive crime prevention – a project that was as bold as it was unsuccessful – namely, bribing known criminals to not commit further crimes. And Ms Celia Edell, a “24-year-old feminist philosopher interested in social justice,” explored the thorny conundrum of whether feminism is compatible with the eating of bacon sandwiches.

In March, we beheld the artistic work of Sandrine Schaeffer’s students – feats that included drooling, doomed horticulture and masochistic thigh-scarring. And feminist “creative” Katherine Garcia attempted to justify her sub-optimal life choices. Ms Garcia, who describes herself as a “multi-dimensional creature” doing “enlightening work,” was shocked to discover that getting heavily into debt to pursue a grad school degree in Women and Gender Studies isn’t a sure-fire path to status and prosperity.

April was enlivened by the highly-wound students at Edinburgh University, whose meetings forbid expressions and gestures that “denote disagreement,” and where even quietly shaking one’s head is a scandalous transgression. In the pages of Everyday Feminism, Ms Kai Cheng Tom bemoaned the fact that “disorders like violent psychopathy” are “generally considered unlikeable,” and that “compassion for psychopaths, pathological liars, or narcissists” – people such as herself – is hard to come by. And over at the Guardian, Grayson Perry, a part-time transvestite and maker of unattractive pottery, disdained masculinity as “useless” and “counter-productive,” a mere “hangover” from more primitive, less Guardian-friendly times.

In May, the “social justice” juggernaut Hari Ziyad railed against conformism and idle stereotypes, while denouncing the “white supremacist cisheteropatriarchal capitalistic gaze,” and exhorting us to spend more time fretting about “gender non-conforming Indigenous people with disabilities.” And the no less non-conformist Laurie Penny announced that she “leans towards anarcho-communism,” which, rather conveniently, means that your money actually belongs to her.

Frozen soap bubbles by ZALUSKArt. 

As is the custom here, posting will be intermittent over the holidays and readers are advised to subscribe to the blog feed, which will alert you to anything new as and when it materialises. Thanks for well over a million visits this year and thousands of comments, many of which prompted discussions that are much more interesting than the actual posts. And particular thanks to all those who’ve made PayPal donations to keep this rickety barge above water. Ditto those who’ve done shopping via the Amazon UK widget, top right, or via this Amazon US link, which results in a small fee for your host at no extra cost to you. It’s what keeps this place here and is much appreciated.

Curious newcomers and those with nothing better to do are welcome to rummage through the reheated series in search of entertainment. Or you could rehearse this little party piece for any impending social gathering.

To you and yours, a very good one. 

In the Sydney Morning Herald, proud feminist and former educator Polly Dunning shares her experience of motherhood:

I’ve always been a feminist. I’m lucky. My mother, Jane Caro, is a feminist, as is my grandmother, and both always have been. It’s something I’ve never questioned and always felt confident and strident about. Just ask me about it at a dinner party (if you dare…)

Setting aside the prospect of some horrendous dinner parties, note Ms Dunning’s satisfaction with a set of assumptions that are stridently voiced and “never questioned.”

Motherhood has been quite a confronting experience for my feminism so far, and I'm sure it will continue to be. Ever since discovering I was pregnant it’s been a process of adjusting and reconciling my biology with my ideology, particularly when I discovered that my baby, my most-beloved Alfred, would be a boy.

That little red light is a warning sign.

I had never wanted a son. In fact, I had decidedly not wanted one. I wanted daughters, probably because I am one of two daughters and six granddaughters, no sons or grandsons. This seemed altogether to fit in with my feminism better… There were dark moments in the middle of the night (when all those dark thoughts come), when I felt sick at the thought of something male growing inside me.

Yes, I know. The little red light is flashing now. Best cover it with a towel.

In this patriarchal world, this world where even the best men (and women, for that matter) engage in casual and ingrained sexism, how will I raise a son who respects me the way a daughter would?

Oh sweet naïveté. But thank goodness that Ms Dunning, who “felt sick” at even the thought of “something male” growing inside her, is totally opposed to all that “casual and ingrained sexism.”

Annette Messager’s show À mon seul désir has a relaxed, unfussed immediacy that screams veracity.

Yes, we’re visiting the art world, the pages of Hyperallergic – “a forum for serious, playful, and radical thinking about art in the world today.”

The white walls of the space are copiously hung, salon style, with a mélange of disquieting drawings and small, black, figurative sculptures.

Oh dear. Never go full mélange.

[T]he artist really delivered the feminist mayhem she is known for, presenting a series of fresh and topical works that may just as well have come from the mind and hand of an artist half her (73) years.

Or even, as we’ll see, some fraction smaller than that. Readers curious as to what form this “feminist mayhem” takes will be thrilled to hear that Ms Messager has “created an eccentric menagerie of mythologies suggestive of the complexity of the female body, therein exploring concepts of the feminine.” Specifically,

Messager takes as subject free-flowing breasts, uteruses, and menstruation, pushing her ongoing artistic probe of the female body from outside and within… Perhaps the strongest works here are the loosely-drawn, menstruation-based pieces. “Mon Ketchup” (“My Ketchup”) focuses on the red menstrual flow of a seated woman with her panties around her ankles. 

Behold, ye mortals, and tremble.

This, then, is the high point of the exhibition. Or put another way, it’s all downhill from here. And so we arrive at an artistic feat titled “Mon utérus à mon désir” (“My Uterus to My Desire”) and which, we’re told, “depicts an anthropomorphised, left-handed uterus, flipping the bird.”

Again, feast thine eyes. 

The reviewer, an artist and author named Joseph Nechvatal, is rendered breathless by this endeavour. For him, it “sums up the intensity of the show… female flesh enacting insolence.” Well, the disdain is hard to miss. Though, given the hackneyed themes and general incompetence, which we’re expected to find both sufficient and compelling, perhaps while rubbing our chins, I can’t help wondering at whom said disdain is actually being aimed. 

Menfolk, avert your eyes:

“How long, on average, do you go without washing your bra?” 

I, for one, have learned something today.