Gender Hierarchy: On Critiquing Verticality and Looking Towards Diversified Geometry

Join us at 5 PM on September 13th at LASALLE's McNally campus for a talk by Patricia Reed and Amy Ireland, moderated by InYoung Yeo. The lectures will be followed by a panel discussion with Patricia Reed, Amy Ireland, InYoung Yeo, Tania Roy and Clare Veal.

Examining the normalisation of segregation and gendered expectations in major cities in Asia, the talk Gender Hierarchy: On Critiquing Verticality and Looking Towards Diversified Geometry addresses the geometric linear verticality of the gender gap in Asian cities that hold on to their traditional structures and gender roles. The talk looks at the future of feminism with Amy Ireland's "Feminism between Fish and Future AI: A Geotraumatic Critique of Posture" examining Western feminist linearity and its Eastern counterargument exploring the nature/culture binary, and Patricia Reed's "Feminism’s Horizonless Future" arguing for the construction of new geometric orientations following delineation.

13 September 2018, 5-7 PM

LASALLE College of the Arts Block F, Level 2, Room F201
1 McNally Street Singapore 187940

*Limited capacity, registration required*

This event is part of Gender Hierarchy, a project by Space One (Seoul) and Grey Projects (Singapore).
In Partnership With the Goethe-Institut Singapore


Feminism between Fish and Future AI: A Geotraumatic Critique of Posture

Amy Ireland

For a long time in the West, the horizontal has been championed by feminist critics of philosophical rationality as the exemplary mode of non-patriarchal, discursive and sensory styles of counter-subjectivation. This critique often takes the form of an indictment of the auto-reflexive, solipsistic, and self-sufficient ‘neo-liberal subjectivity’ (to borrow a term from Adriana Cavarero’s Inclinations) inherent to the vertical construction of what has been posited as a properly ‘human’ way of founding autonomy. But has it also fallen into a set of traps that see its committed horizontalism recapitulating the very form of the arguments it nominally understands itself to be fighting against?

Part performance, part theory, this talk seeks to complicate this basic, biaxial political geometry in two ways. First, by interrogating the distinctions it implicitly makes between the vertical and the horizontal in order to show how traditional forms of biopolitical and social critique threaten to repress a more complex, feminist understanding of biological and material thought. And secondly, via a theory-fictional performance work that combines contemporary digital art practice and additive manufacturing technology to communicate with a deeper substrate of simultaneously archaic and futuristic artificial intelligence.

Feminism’s Horizonless Future

Patricia Reed

The difficulty in speaking of the future without evoking a horizon, points to the ubiquity this particular concept holds over our imaginaries that grapple with the unknown and the anticipatory. The persistence of this notion, in both spatial and metaphorical uses, however, highlights the general impact that geometric conceptions possess in undergirding our (inter-)relations to and in the world, guiding our mobility within it. While the title of this talk may sound dismal, it points rather to the inadequacy of the ‘horizon’ in providing orientation, arguing for an update of our geometric concepts, and the subsequent perspectives that emerge from them. As a representational trope mimicking human optics, in linear perspective the horizon indexes not only our bio-sensory limitations, but also emphasizes vantage points emanating from individual, ‘proper’ positions, obfuscating a reality that lays beyond our immediate reach (presentism), as well as modes of representing collective, pluri-situated orientation. The meshing of the horizon with futurity as such, in this regard, is an entirely anthropocentric metaphor, bound less to reality’s complexity, but only a narrow representation of it. If, as Donna Haraway insisted, feminism must demand better accounts of reality, so too must we insist on better representational, metaphorical and speculative accounts of it as well. At a historical moment of heightened complexity, systemic interdependencies, and planetary-scale computation where humans can no longer be situated as centrifugal agents, new geometric figurations require articulation. If feminism is to have a stake in our planetary condition it must construct modes of orientation within it, this future doesn’t require horizons, but an alienation from them.

About the Speakers and Panelists

Amy Ireland is a writer, theorist and artist based in Melbourne, Australia. Her research focuses on questions of agency and technology in modernity, and she is a member of the techno-materialist trans-feminist collective, Laboria Cuboniks. Amy’s work transects disciplinary and formal boundaries, crossing into philosophy, fiction, code, occultism, performance, poetry, and sound. Selected recent art and writing can be found in ‘3049’ Tenderpixel Gallery, London; Carousel: Hybrid Literature for Mutant Readers, Issue 39; Art + Australia 53:2; e-flux #80; Aesthetics After Finitude (Melbourne: re.press, 2016); forthcoming in Unsound / Undead (Falmouth: Urbanomic) and Dark Glamor: Accelerationism and the Occult, (Brooklyn: Punctum Books, 2019).

Patricia Reed is an artist, writer and designer based in Berlin. As an artist, selected exhibitions include: The One and The Many, CUAG, Ottawa; The Museum of Capitalism, Oakland; Homeworks 7, Beirut; Witte de With, Rotterdam; HKW, Berlin; and Württembergischer Kunstverein, Stuttgart. Recent writings have been published in Para-Platforms (Sternberg, forthcoming); Post-Meme (Punctum Books, forthcoming); e-flux Architecture; Xeno-Architecture (Sternberg Press, forthcoming); _AH Journal; Cold War Cold World (Urbanomic); Distributed (Open Editions); Moneylab #2 (Inst. of Networked Cultures) and The Neurotic Turn (Repeater Books). With Victoria Ivanova, she co-curated the 1948 Unbound: Tokens session with the House of World Cultures team, Berlin (2017), and was a theory researcher for Public Art Munich 2018. Reed is also part of the Laboria Cuboniks (techno-material feminist) working group who published the Xenofeminist Manifesto (2015), reissued by Verso books in autumn 2018.

Tania Roy's research interests are in the areas of Global Anglophonic literature, Postcolonial Studies, and Critical Theory (especially the Frankfurt School). Her current research engages T.W. Adorno’s aesthetics for a revisionary account of the traditions of literary and artistic modernism in India. In a book-length study, Adorno and the Architects of Late Style in India: Rabindranath Tagore, Mulk Raj Anand, Vikram Seth and Dayanita Singh (Ashgate: Farnham, Uk, forthcoming), she attempts to read Adorno and the modernism of the decolonizing nation together – athwart the time-zones of ‘backward’ and ‘advanced’ societies -- as integral aspects of a shared modernity. In an on-going parallel interest published in journal articles and book chapters, she discusses the work of preeminent contemporary visual artists in India in the context of internecine violence and its historical memory, considered in the wake of market-liberalization. Across these lines of research, she explores how aesthetic formations of the previous century might persist -- as reflections of the emancipatory promise of the decolonizing nation, or, indeed, of its historical failures -- within our current 'globalist' conjuncture.

Clare Veal is an art historian and curator who undertakes research on Southeast Asian photography, art and visual culture, with a particular focus on Thailand. She received her PhD from the Department of Art History and Film Studies at the University of Sydney for her thesis entitled Thainess Framed: Photography and Thai Identity, 1946-2010. Clare has research and teaching experience from institutions in Australia, Thailand and Singapore. From 2015 to 2016, she was a participating scholar in the Power Institute’s ‘Ambitious Alignments: New Histories of Southeast Asian Art’ research programme. She is the editor for the Asian Art section of the Routledge Encyclopedia of Modernism (2016) and has contributed papers to a number of edited volumes, journals and exhibition catalogues. In addition to her work as a consultant for a survey of the Chang Tang collection in Bangkok, Clare has co-curated exhibitions including, Storytellers of the Town: Works by Araya Rasdjarmrearnsook (2014) and Retold-Untold Stories: Phaptawan Suwannakudt (2016).


Grey Projects is a non-profit art space based in Singapore. We produce publications, and generate curatorial and exchange activities. This usually means we hold exhibitions, talks, residencies, reading groups, and workshops. We have a library, a residency apartment, a studio, and two galleries. We are interested in new design practices, writing, curatorial research, and art propositions.

Space One is an independent, artist-run space committed to supporting emerging and established artists to exhibit experimental contemporary works of art in multiple disciplines. Space One is also part of a network of International artists and art spaces creating projects and opportunities for exchange and collaboration.

  • The event description was updated. Diff#369565 2018-09-11 17:49:28
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Thu Sep 13, 2018
5:00 PM - 7:00 PM SGT
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1 McNally Street Singapore
Grey Projects

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