Laura Bates Waterstone’s Glasgow | ‘Girl Up’ Review 

If you’re on Twitter, @EverydaySexism is an account you should be familiar with. With an accompanying hashtag, nearing one quarter of a million subscribers, an eponymous publication with endorsements from an array of feminist celebrities (hello, Emma Watson), Laura Bates is the face behind what is now a globally renowned campaign fighting gender inequality. 

For those who are unfamiliar, the Everyday Sexism Project aims to shed light on the microcosmic battles being fought against sexism on a daily basis. The account retweets experiences from thousands of users across the globe, most of which are shockingly familiar. Most women, myself included, know what it’s like to be cat-called on the street, or groped in a busy bar or nightclub. It’s this level of sexism, the kind women are taught is “normal”, Laura Bates set out to tackle with the Everyday Sexism Project. 

Stood in the Waterstones Sauchiehall Street bookstore, Bates shared her journey. From what was anticipated to be a small project with very little response, had instead turned into an overnight success leading to active campaigning within schools, to book deals, to signings in bookstores across the country. 

Bates shared with the crowd some tidbits from ‘Girl Up’: a list of useful and humourous responses to give in response to a dick pic, and a colour-by-numbers picture of genitalia. She also shared with attendees tales of how she entered schools to teach gender equality and healthy sex and relationship education only to be met with wolf-whistling from a group of young boys. Stories were shared of young women who wrote to Bates from across the globe about the expectations laid upon them in their local communities. Girls had wrote to Bates about how peers would rank them out of 10 in the classroom, and how even teachers would be complacent in the ridiculing of young girls. 

Stories were told of young girls who would state, matter-of-fact, ‘my uncle says girls can’t do maths because we make too many mistakes’. Bates recounted how one group of young girls had invited her to their school, and she had met them, arms linked, wearing T-shirts they had designed just for her.

And it’s this group of young girls that ‘Girl Up’ is really a testament to. It’s a book I wish I had when I was ‘a moody teenager’, and one I could have really used for the times I shut my mouth or dimmed my own light for fear of being too bold. It’s a book I think any parent should read: lighthearted, funny, it gives an honest insight into what it’s like  growing up female in the 21st Century, dick-pics and all. 

Unfortunately, the book is not without its limitations. One chapter discusses the unrealistic portrayal of women’s bodies only to use the same white, skinny, and abled body within an illustration. Although chosen at random, a thoughtfully chosen and intersectional illustration would have been more appropriate given the content of the chapter. 

In the same chapter Bates also tells readers that bodies are healthiest if ‘we eat sensibly and do a good amount of exercise’: a statement which risks alienating less- or disabled youths reading the book, as well as the financially disadvantaged who perhaps cannot afford a change of diet. The book also has a tendency to fall back on the same binaried thinking it sets out to quash: its colour by number vulva and talk of menstruation and masturbation may put off intersex, transgender and/or asexual readers. One paragraph discussing safe methods to masturbate using electric shavers and vegetables may seem ill-advised to some.

However, with its own Sexist Klaxon, the book is one that seems aware of its limitations. And when asked, Bates told attendees that there were so many things she wishes she could add to the book but simply could not, joking that “a whole load about anal fisting had to come out”. 

So if you’re looking for a book with intense feminist discourse, this isn’t the book for you. What the book offers instead, is an alternative. It’s a book about feminism without the inaccessible and pretentious language. It’s funny, familiar and a bit rude (who doesn’t want a book emblazoned with dancing vaginas? ). It empowers young girls by giving them resources and ideas about how to tackle the every day sexism they encounter, and for that, you can’t really fault it. 

So whether you’re looking to learn about feminism, have a teenage girl in your life, or are the teenage girl in your life: this book is definitely one for you.

British Art Show 8 @ Talbot Rice Gallery, Edinburgh 

Network of monitors displayjying Melanie Gilligan’s ‘The Common Sense’ (2015)


I am not quite sure how or why British Art Show 1 through 7 have managed to slip my radar, however, I somehow stumbled into one of the sites of British Art Show 8 sheltering wandering the Old Town of Edinburgh. Currently spread across 3 locations in the city, the show displays a variety of contemporary art installations.

The Talbot Rice Gallery hosts many stand-out installations, including that of Benedict Drew. If you like conch shells wnd nauesating flashing images, Drew’s Sequencer (2015) should not (and dare I say, cannot) be missed. Intended as a critique of our technological encroachment upon nature, Drew combines the two realms through his projections of natural landscapes that are disrupted by flashes of neon lights, surreal imagery and script that appear on screen like code. The juxtaposition of conch shell versus digital projection, neoclassic interior versus screens and tin-foil further embodies the uncomfortable reality of the opposing forces.

Other stand-out installations include Ryan Gander’s Fieldwork (2015) which displays objects on a conveyor belt. Perhaps a critique of the ever-growing consumerist nature of society and the growing preference for the convenient, the piece encourages viewers to speculate on the significance of the objects displayed using an inventory with included analysis as context.

British Art Show 8 also hosts Eileen Simpson and Ben White’s Open Music Archive, a collaborative piece using 8 suspended turntables that play music extracted from vinyl records, all chart hits from 1962, not coincidentally the last year commercial recordings can be retrieved for public use. Surrounded by technicolor hues, the listener can enjoy the sounds resonate above them in the dome structure of the installation’s location. Over 50,000 sounds have been used in the installation, the inventory of which can be accessed online at

Suspended turntables for ‘Open Music Archive’ by Eilieen Simpson & Ben White


Since leaving the exhibition, the installation I have talked about the most has been Megan Gilligan’s video work The Common Sense (2014).  The piece imagines a dystopian future in which communication has been reduced to convenience: emotions, sensations and feelings are transmitted communally through use of ‘The Patch’. In a world in which people can update their ‘feelings’ on Facebook, the piece is very resonant. Gilligan’s work presents itself as a television drama, with characters exploring how ‘The Patch’ affects their daily lives. In this imagined future, corporations can own your feelings, employers can sense your productivity and expression through art is left redundant. The scenario imagines the extremities by which a capitalist society turns humans and their emotions into mere commodities, a sentiment not unfamiliar to average millennial whose worth has become only as much as their production value. This is summarised in the line of one character who states ‘you do a better job than your neighbour, or you do not have a job’.

The Common Sense is available for online viewing at

The British Art Show 8 is currently split between Inverleith House, Scottish National Gallery of Modern Art and the Talbot Rice Gallery. Admission is free and the exhibition runs from the 13th of February to the 8th of May 2016. More information is available at

‘WOMANHOOD’: exhibition by XCollective

Entrance to Whitespace , 25 Howe St

A friend of mine got in touch not so long ago to let me know about this up-and-coming exhibition, focused on the topic of ‘Womanhood’. Relevant to my interests as not only a woman, but moreover a feminist, I decided it was something I had to check out at my earliest convenience. Intrigued about how this group of artists would interpret and discuss the topic of ‘womanhood’, I couldn’t help but wonder – what is a woman? 

Upon entry to the gallery, viewers are immediately struck by Olivia Robert’s sculptural piece ‘Formation of a Woman’. The 3 dimensional piece uses photography to evoke the image of a cut-and-paste woman, with a paper bag covering the face. The sculpture, inspired by Pablo Picasso and David Hackney (and perhaps Shia LeBeouf?) usurps the male gaze in its anonymity. With the face left blank and the almost pixelated image of the female body, the viewer is turned into the voyeur – self aware of their objectification. Although the image evoked is a woman, she is but a collection of images, nameless. The piece discusses objectification in the digital age as the image of the woman has become nothing more than a prop and mirror. 

The topic of objectification is also touched upon in the works of Croatian photographer and artist Marina Joncic (whose work can be seen on the artist’s tumblr: The featured work focuses mainly on the topic of  forniphilia (‘the human furniture fetish’). The work uses the female body as a prop in household furniture, a technique that both utilises and critiques the female body being used as an agent in advertisement. 

Photography Series by Marina Joncic


The exhibition also features work by Irina  Baltazar entitled ‘Woman: Assembly Instructions’, the title of which presents the idea of woman, incomplete by nature. The piece focuses on the ritualistic behaviours expected and performed by women in order to ‘be’: featuring a freshly waxed leg, the used Bioré strip, a tampon rendered useless via glitter and gold.  The make-up laden hands show the process of these rituals, often left invisible in society. The series of photographs force the viewer to ask – is a woman more than the rituals she performs to her body? Can a woman be if she does not adhere? 

Woman: Assembly Instructions by Irina Baltazar


Other work includes that of Madelayne Hajek whose work discusses the relationships between food and sex, body and beauty products, and blackness and appropriation. Entitled ‘Permanence’, Hajek provides an intersectional take on the womanhood question.  Other participators include Emidio Battipaglia, Kat Dlugozc and poet Nikki Kilburn whose poem ‘She’ prefaces the entire exhibit. 


Womanhood at Whitespace Gallery, Edinburgh

Admission is free and the exhibition itself runs from the 9th to the 14th of April at the Whitespace gallery Edinburgh, 25 Howe Street. It is a must see for anyone interested in up-and-coming female artists and their work, and definitely worth a visit if not only to answer the question ‘what is a woman?’ on the flip board provided. 

I answered with the only truth I know. I am.