Monday, 20 February 2017

World Press Photo and the Taste of Photography




I buy newspapers every day. When I look at the pictures in a newspaper I want to be informed, moved, entertained, shocked and thrilled. I want to see pictures that sell newspapers which might sound crass but it's the case that pictures are emotional things, pretend as we might that they are not. On the whole, I don't want to see banal photographs (because they are banal. Which is a step away from boring), or photographs about in-between-places or data or algorthims. I don't want to see pages of conceptual landscape photography or typologies or trawls through the archive. They are not, as I sit on the 6:57 Bath-Cardiff train what I want from images. I want pictures that are direct, obvious, illustrative and part of a bigger wider world.



They are one of the things I want from photography. And it's not the same as what I want if I buy a photobook or go to an exhibition or visit a website. If I buy a photobook I don't want to see the same kind of pictures that I see in a newspaper. The same as when I go to an exhibition.

It's the same with books. I might be perfectly happy to read Primo Levi or Doestyevsky or whoever in the peace of my home when my brain is strong and muscular, but it's not what I want at the crack of dawn when my brain is weak and limp-neuroned. In the same way that I don't want to read English news on a Greek beach, I'd much rather have Patricia Highsmith or Raymond Chandler.

There are different kinds of writing for different situations and for different moods, locations and mental states. And there are different kinds of photography that fit for different occasions in other words. They serve different functions, different needs, different people...

Press photography is one of those kinds. But you can tick them off; fashion, advertising, documentary, wildlife, wedding, commercial, pornography, forensic, crime, medical, dental, passport, identification and on it goes.

There are many forms of writing, or film, or music. And we categorise these forms and we judge them. But sometimes we should be aware of our judging. We get a bit partisan about it and we can get snobby, especially when you enter the joyless discourse of sobriety that marks off much of the critical photography world. You have to talk with a certain tone. It's a tone you'd like to slap if it were a face.

It's like when people were only allowed to like one type of music to the exclusion of everything else. Photography can be a bit like that - you're only allowed to like whatever the photographic equivalent of Kraftwerk is. Maybe you can have some Steve Reich in there. Philip Glass would be too flamboyant. Whoop-de-doo!

I remember when I first got interested in photography. My taste followed a fairly familiar kind of trajectory.

It started with travel photography (because that's what I did), moved up to National Geographic, went on to World Press Photo, extended to Magnum and classic concerned photography, then that got me interested in Photobooks, then I learned something about Japanese photography, everything became a bit more autobiographical, a touch of the vernacular came in, so did the archive then things moved on to more multi-media visual representations with the trend being the move away from the actual image to everything that surrounded it. What's interesting is that as you move along this developmental trajectory, the numbers get smaller - how many people are actually interested in this kind of photography, how many people look at it, how many people buy it.

It's a trail followed by many people (but not everybody - what's your visual trail). People won't always admit it because they're is a hierarchy of taste in there and it roughly corresponds to the scale above. What's important in that scale is that there is a move away from photography, the purity (??) of the image, which can be regarded as the essential stupidity of the image - it's point and shoot.

As you go up the scale there's a distance from photography then and people sometimes imagine this distance is a mark of sophistication. It becomes less about the image and more about everything that surrounds the image. That's why so many people involved in photography really don't like photography. They don't even like looking for heaven's sake. I'm not sure I should pay any attention to somebody who doesn't like looking. It would be like buying a cookbook from somebody who doesn't like food. It doesn't make any sense.

Anyway, back to whatever it was I was talking about. So on these terms National Geographic is kind of low brow, Martin Parr is low middle-brow (and proud of it), Magnum is Middle Brow and Wolfgang Tilmans is high-brow but the low end of it (the hierarchies also tie in to economic, social and cultural hierarchies).

Photography is a taste culture then. And sometimes we are so narcissistic that we mistake our taste for some kind of absolute, or we mistake the dearth of people who share our taste for some kind of mark of sophistication. Or we mistake the evolution of our taste as symptomatic of a hierarchy, maybe because the idea of hierarchies are embedded in the evolutionary.  I think that is because the photography world we  talkative ones inhabit (academic, photobooks, documentary) is very small - we would rather be big fishes in small ponds then allow the vastness of the photographic universe to pollute the quasi-Brahminic rituals of our sphere of influence. And so we shut it out by creating artificial barriers.

Of course, we get work that crosses those barriers, that can make the leap from one taste-strata to another. We do have half an eye on the economic and social realities of the photographic world so work with elements of crime, or sex, or drugs, or youth culture can leap across boundaries; Weegee, Metinides, Brodie, spring to mind. And as mentioned above, we all like a bit of cash and glamour on the sly, so some genre-slipping is as much to do with the veneer of the work as with the content.

I think this is what happens with World Press Photo every year. It's a competition for press photos. These are pictures that fit into a particular genre and serve specific needs, including being beautiful, spectacular and impactful.

The winner this year, Burhan Ozbilici's picture of Mevlüt Mert Altıntaş murder of Andrey Karlov fits into all those categories. It's a difficult picture because, like many of the other World Press Photo Winners, it shows somebody who has died. Unlike most of these pictures, it also shows the killer. And he is a killer.

He's a killer who wants to be photographed. Let him be photographed. He wants to be written about. Let him be written about. Ultimately he will be judged for what he is; a murderer. For all the style and glamour and posing of the image, that is what will stick.

Because if we don't allow this death to be shown, then what death do we show. Disasters of war, memento mori, sharpshooters, lynchings, holocausts, murders, assassinations, executions, car crashes, falls, remains, corpses, cremations, post-mortems... pictures that witness, provide evidence, glorify, honour, memorialise, remember, warn, prosecute, celebrate... I'm not sure what can be shown and what can't be shown. And then if it can't be shown, it can't be written about or talked about or spoken of and we end up with a world that is fundamentally dishonest and in denial of what it is to be human.

Maybe also we overestimate the influence of photography, especially our kind of photography. Photography didn't end the Vietnam War, it didn't begin it. Photography didn't end any war. There are far more vivid and dramatic and heroifying images and clips of murders circulating online (Lina Hashim's work deals with this for instance) that do influence people and opinion, that do glorify murder and death - and they don't come from photojournalists or documentary photographers. And if you think about the images that have had a major effect on the lives of people, what kind of pictures are they? Who took the Marlboro Man pictures? How many deaths did they lead to? If they did lead to any? And who took all the countless anti-smoking photographs around the world. Which qualitatively have been determined to have led millions of people to stop smoking. And so, it could be argued, have saved thousands of lives.

In the UK, death is always hidden. We don't show the bodies and we don't show the killers - who is building those drones, who is pressing those buttons. This is a case where the killer is shown. Does it glamourise him, does it promote his cause? I don't think so. It's a great picture and fully deserves its award. It's photojournalism at its best.

Wednesday, 15 February 2017

I Miti di Italia con Luca Santese e Pasquale Bove!

 tutti i fotografie del Pasquale Bove

Da ora in poi, io scrivo le recensioni di libro in Italiano. Inizio con Italy e Italy. Le fotografie sono di Pasquale Bove e il libro curato di Luca Santese.




Ci sono molti fotografie en il libro, quasi quattrocento. Le fotografie sono del Rimini en gli anni 1990s. è un libro sul italianata e i miti del' Italia; una paesa dove la musica, il sesso, le droghe sono la vita Italiano!




Questo libro è una storia nostalgico pero Santese capisci questa nostalgia. è una nostalgia che se sa (??).  è una Italia che sa i miti del'Italia e le cose cattivo del'Italia. Ci sono crimine e corruzione pero anche il libro mostra la credenza del molti Italiani che la viva era migliore nel passato. Ahh, Italia con  le vacazione marviolloso, con la musica, il sole e il glamour, uno mondo dove la familia e suprema e non sono immigranti o uno disastro bancario.



Pero questa credenza e uno mito! Questo e chiara in Italy and Italy.. Più le cose cambiano più rimangono le stesse! Si, sono molti contento di questo!

 Compra il libro qui. 




E in Inglese con Google Translate 


And in English with Google Translate

From now on, I write the reviews of the book in Italian. Beginning with Italy and Italy. The photographs are by Pasquale Bove and edited book of Luke Santese.

There are many photographs en the book, almost four hundred. The photographs are of Rimini en the years 1990s. is a book about italianata and the myths of the 'Italian; a paesa where music, sex, drugs are the Italian life!

This book is a nostalgic story pero Santese understand this nostalgia. is a nostalgia that if you know (??). It is an Italian who knows the myths del'Italia and bad things del'Italia. There are crime and corruption but also the book shows the belief of many Italians that the living was better in the past. Ahh, Italy with acomodation marviolloso, with the music, the sun and the glamor, one world where the familia and supreme and are not immigrants or a bank disaster.

But this belief, and a myth! This is clear in Italy and Italy .. The more things change the more they stay the same! Yes, many are happy about this!

 Buy the book here.

Thursday, 9 February 2017

British Photographic Culture: Made by Europeans?


pictures by Mimi Mollica

Here in the UK we are very quickly approaching a Brexit. We're in the process of leaving Europe has started and there really isn't that much opposition to it at a political level. The Labour Party, our main opposition party, is voting for it with the government (except for the 50 MPS who opposed their leader) - part of a tradition where the opposition votes with the government on policies they are supposed to be against. They voted for government benefit cuts a couple of years ago. This is in keeping with that dumbass decision.

The idea that because of the Brexit vote, the people have decided and we should all shut up and get on with life is laughable.

This decision determines where I can live, where I can get health care, where I can travel.

It determines where my non-British friends can live and raises the possibility of them being forced to leave a country they call home.

It determines where my daughter can live, or get an education - already her opportunities have been shut down completely. She won't be able to study in Europe on the much cheaper courses that have been opening up. The UK will be her only simple option.

On top of that, the decision has caused such a huge amount of heartache, anguish and stress to people who are at the knuckle end of Brexit, for whom it really matters, it is heartbreaking.

The idea that people should stop talking about it and accept the decision of a slender majority of voters (and a massive minority of the British people) is laughable, is contemptible and is selective and anti-democratic. You fight for what's right, not what the Daily Mail and anti-Europe political leaders decide. The selfishness of the arseholes, of the two main parties, who say it's the will of the people is despicable,

Keep on complaining. Keep on being a noisy bastard. Keep on lettiing people know what the real human costs of Brexit are. Never shut up!

That's not being melodramatic, that's being realistic. These are headlines that you get every day in the UK in newspapers like the Daily Mail. These headlines lead to racist attacks, discrimination, abuse andheartbreak for people who imagine the UK to be their home.

And they apply to everyone who is a migrant (and not just a refugee) here. My wife is a migrant, her parents were refugees, my mother is a migrant, I've been a migrant. It's life itself. Why the fuck should I, or anybody who supports and has lived by migration, shut up because somebody tells me to. How anti-democratic, how narrow-minded, how closed!

Why should anyone support a decision that was fomented by racist in politics and the press, and enabled by feeble political leaderships. I don't support the totality of these headlines below and it doesn't matter to me, or anybody I respect, if 52%, 60%, 80%, 90% support these sentiments. Humanity, principles and belief in a world that goes beyond the market come above 52% I'm afraid!



There has been an increase in racism since the Brexit vote. I know people who, within days of the Brexit vote, experienced it for the first time. And every post-open borders European migrant I know experienced a huge amount of anxiety because of the vote.

That abuse and the possibility that people who have lived here half their life, or all their life, might not be able to live here any more is not unthinkable. In the past, British People would get deported from the Netherlands because they were looking for work. I remember hitching through Germany and getting checked for how much money I had. It's not long ago and it was in a far friendlier time.

So although it might seem a long way off (and how distant did Brexit and Trump and Theresa May seem a year ago), the possibilities are very real. And should be confronted. So don't shut up.

One of the most upsetting parts of all this from a UK point of view is the number of European (and other nationalities) photography professionals we have in the UK. Not only do they add to our visual understanding of Britain, they also add hugely to the photographic and visual culture of the country. They break through some of the barriers we little-britishers create for ourselves and get things done simply by getting things done. And when they go, those things don't get done. European migrants to Britain create culture and that culture is lost when they go. Or even when they don't come.

In Bristol we have people like Alejandro Acin and  Rudi Thoemmes, In Cardiff, people like Maciej Dakowicz, Joni Karanka, and Bartosz Nowicki set up the Third Floor Gallery, in Bristol there's Rudi Thoemmes and Alejandro Acin who set up IC Visual Labs. If you saw Juno Calypso speak there a couple of weeks ago, or are going to see Rob Hornstra tomorrow night, you have Alex to thank.

Then there's Federicca Chiocchetti, Bruno Ceschel, Federica Seravalle, Philipp Ebeling. Luca Desienna, Mimi Mollica - all of whom have enlivened and enervated British, European and global photography from these shores. And there are many, many more.

I think there are a few people who are more comfortable without the competition to be honest, because they do sometimes show us up. What is it they do that we don't do. And if you're open-minded and honest with yourself, you extend that to what can I learn from their approach? And generally it's something to do with drive and not caring too much about what other people think or say - especially when it is a defence mechanism against British snobbery, laziness and complacency.

So hats off to everybody who has come to the UK from Europe and added to our culture, enriched our culture.

And if you're in the UK, support them by attending their events or buying the books or just showing that they are valued and you are not a see-you-next-tuesday who reads the Daily Mail.

You can do that by attending ICVL events (but Rob Hornstra is sold out tomorrow) or by buying books like Mimi Mollica's brilliant Terra Nostra.

It's launching tomorrow (but that's sold out as well I think) and you can buy it here.

Read Sean O'Hagan's Review here.



Tuesday, 7 February 2017

Espanol es impossible! Un resena del Passport del Alexander Chekmenev


todos los fotografias del Alexander Chekmenev

Hoy escrivo en espanol. No puedo escriver en espanol, pero hay no problema for esto blog, la Piedra Rosetta di Fotografia. Pero quiero decir pardono me a todos los personas qui hablant espanol en el mundo. Pardono me!

 

Entonces, hoy el libro fotografia que Yo reseno es Passportde Alexander Chekmenev. Es muy bien. Al frente del libro, hay fotografias passoporto pequenos del personas muy viejos. Pero, estas fotografias son viejos tambien, del annos 1994-95. Chekmenev tomo las fotos en la decada 1990s quando los personas Ucraino no son Soviet  mas.

Los personas en los fotos no son ricos, pero son muy pobre y quantos son infermos. Chekmenev tomo sesenta fotos en una dia. Es multi fotos por un dia.

Pero, Chekmenev ha fotografia los cuartos donde los viejos vivan. No son grande pero son pequeno y muy pobre. Es muy triste.

Entonces, el libro es muy bueno y mi espanol es muy malo.

 




 

Y en Ingles con Google Translate

And in English with Google Translate

Today I write in Spanish. I can not write in Spanish, but there is no problem for this blog, the Rosetta Stone of Photography. But I want to say pardon me to all the people who speak Spanish in the world. Pardono me!

So, today the photograph book that I re-read is Alexander Chekmenev's Passport. Is very good. To the front of the book, there are small passoporto photographs of the very old people. But, these photographs are also old, from the years 1994-95. Chekmenev took the photos in the 1990s when the Ukrainian people are not Soviet anymore.

The people in the photos are not rich, but they are very poor and how many are inferences. Chekmenev took sixty photos in one day. It's multi photos for a day.

But, Chekmenev has photographed the rooms where the old people live. They are not large but they are small and very poor. It is very sad.

So the book is very good and my Spanish is very bad.

 

Thursday, 2 February 2017

The Importance of Failing: Giovanni Caroto's Young Boy with a Drawing.



I first saw this picture on Great Works by Tom Lubbock in the Independent. I still miss Tom Lubbock's writing on art and I still miss the Independent.

The picture is Portrait of a Young Boy holding a Child's Drawing (circa 1515), Giovanni Francesco Caroto and it shows a young boy with a drawing.

It's fabulous. It is one of the those pictures that absolutely nail something that we should know but we often sometimes forget - that people in the past are very much like those in the present, or that people in the present are very much like those in the past.

And the drawings they do as children are very much the same as children do now.

It's also the first depiction of child art in European painting and that's significant.

In the article, Lubbock talks about the allure of that childlike primitivism featured in Caroto's painting and the difficulty of trying to capture that childlike art.

'But the most telltale characteristic, and by far the hardest to imitate, is simply the quality of a child's drawn line. It's wrong to think of it as wildness. That wouldn't be so tricky. You can lose control and fling your flailing arm at a page at any age.
Child art is not pure wildness. Children are trying to get something right. They want to but they can't.'
He also. They want to but they can't. It's the same in photography as in art. We all want to but we can't. We can't fail in the same way that children fail - fail while trying, so not failing at all. And it seems that in his depiction of a child drawing, Caroto is failing in some way too. As Lubbock says. 
'And of course, this drawing is not a drawing. It's a painting of a drawing, made in the infinitely correctable medium of oil paint. Caroto has closely observed how children draw. He probably hasn't tried to unteach his own hand. He has faked it. And his careful copying has preserved for us evidence that while art styles change, children 500 years ago failed much as they do today.'


Wednesday, 1 February 2017

Ricardo Martinez. Le Plus Beau Model du Monde.


par Catherine Balet - apres Stanisław Ignacy Witkiewicz. C'est un peu comme Juno Calypson, n'est-ce pas?

Bonjour, aujourd'hui, sur le "Rosetta Stone de Photographie" (merci pour ca, Monsieur Feurhelm), je fais une revue sure le livre, Looking for the Master in Ricardo's Golden Shoes par Catherine Balet.

Le premiere fois (pardon moi, mes amies francophones, mais il n'y aurai pas des accents en mes revues francais - pour example ou sont les accents ici sur le 'c' en francais et l'u' en ou. En Italienne et Allemagne je veux essayer un petit peu parce qu'il y a seulement un ou deux accents. Mai Francais est trop sophistique. Il y a quatre accents! Imaginee!)...


par Catherine Balet - apres Wily Ronis

Alors, je retourne a la revue du livre. Oui, le livre est formidable! Les images sont les recreations des photographies celebres mais avec un model tres charmant et intelligent. Ca c'est Ricardo Martinez, l'homme avec les chaussures d'or en le title!

Alors, Balet a recree photographies comme les trois agriculteurs par August Sander. C'est mon favorite. Ou il y a un recreation de Rineke Dijkstra, de Diane Arbus, de Muybridge, de Strand, de Steich, de tous les celebres  photographes.

par Catherine Balet - apres Sebastiao Salgado

Le style et le costume, et la lumiere sont tres precise. Mai les photographies aussi ont du caractere parce qu'il y a Ricardo dans les images. Ricardo a les chausseurs d'or, c'est vrai, mais il est plein de charisma donc les images ne sont pas recreations seulement. Ricardo est comme un garcon mechant, avec un air de espiegle!



Oui, j'ai recontre Catherine et Ricardo a Photobook Bristol il y a deux annees. Ricardo etait le plus beau model pour le promotion de Gazebook, une fete de photolivres en Sicily. Malheuresement Photobook Bristol ne serait se passe pas cete annee parce qu'il n'est pas d'argent, mais Gazebook Sicily serait se passe parce que les italiennes veux chercher l'argent!

Acheter le livre ici. 

Et pardon moi pour mon francaise. Je l'ai apprende en l'ecole! Mai, aujourd;hui, sur le jour que les Anglais commencent render a les Brexiteers, je veux me sentir plus europeen que un petit anglais.

Merci a Google Translate pour le version Anglais ( Mais toutes nous Anglephones devons apprendre les langues etrangers tout suite!)

Thanks to Google Translate for the English version (But all of us Anglephones must learn foreign languages ​​all suite!)



Ricardo Martinez. The Most Beautiful Model of the World.



By Catherine Balet - after Stanisław Ignacy Witkiewicz. It's a bit like Juno Calypson, is not it?

Hello, today, on the "Rosetta Stone of Photography" (thank you for it, Mr. Feurhelm), I make a review on the book, Looking for the Master in Ricardo's Golden Shoes by Catherine Balet.

The first time (forgive me, my francophone friends, but there will not be accents in my French magazines - for example where are the accents here on the 'c' in French and the ' Germany I want to try a little bit because there are only one or two accents.May Francais is too sophisticated.There are four accents! Imaginee!) ...



By Catherine Balet - after Wily Ronis

So I go back to the review of the book. Yes, the book is great! The images are the recreations of the famous photographs but with a model very charming and intelligent. This is Ricardo Martinez, the man with the golden shoes in the title!

So, Balet has recreated photographs like the three farmers by August Sander. He's my favorite. Or there is a recreation of Rineke Dijkstra, Diane Arbus, Muybridge, Strand, Steich, all the famous photographers.



By Catherine Balet - after Sebastiao Salgado

The style and costume, and the light are very precise. May the photographs also have character because there is Ricardo in the images. Ricardo has gold shoemakers, it's true, but it is full of charisma so the pictures are not recreations only. Ricardo is like a wicked boy, with an air of spiegle!


Yes, I met Catherine and Ricardo at Photobook Bristol two years ago. Ricardo was the best model for the promotion of Gazebook, a festival of photolibraries in Sicily. Unfortunately Photobook Bristol would not happen this year because it is not money, but Gazebook Sicily would happen because the Italian want money!

Buy the book here.

And forgive me for my French. I learned it in school! May, today, on the day that the English begin to render to the Brexiteers, I want to feel more European than a little English.

Monday, 30 January 2017

Juno Calypso: "In photography you're not allowed to laugh"



picture by Alejandro Acin

I saw Juno Calypso speak in Bristol (twice - once at UWE where I teach on the journalism course) and once at the Arnolfini.

She spoke to packed houses both times including to over 200 people at a sold-out Arnolfini. It's the biggest crowd there's been at an IC Visual Labs or Photobook Bristol Event and a lot more tickets could have been sold.

So what is it about Juno Calypso that makes her so popular!

It's the work. It is instantly recognisable. Mention mirrors and green bum and everybody will know who you mean. Everybody will remember it too. It goes beyond the mirrors and green bum though. Calypso says her work is about the mythologies of romance, of love, of femininity, but it's also highly cinematic work that dramatises those things but also links in to Calypso's world view and the complete weirdness of the locations and styling she uses.It hits all the big spots of gender, identity, and space but does it with humour, with the personal mixed with the sinister underbelly of those virtual sets that she photographs herself in, all told through stories in which gender, identity and space do not get a mention. Instead we hear about why baby oil gets repeated showings in her pictures - she used to have an older boyfriend who had a bottle of baby oil that would always be at completely different levels. She eventually worked out it was because he was fucking absolutely everyone. So there's baby oil in a few of the  pictures - "Sad Sex" in a bottle.

That helps explain the audience. There were a lot of young women there. In contrast, the people who buy her photographs, explained Calypso, are "drunk rich white men in suits" - there's a six-word critique of the art market for you.


A Dream in Green by Juno Calypso: "I wasn't going to show anyone this picture. It was going to be just for me."

The other reason peope came was because she's an entertaining speaker. She's really funny, and she's also very direct. At UWE she talked about the value of great teachers and a good photographic education.

But she also wondered why there is that spirit of gravity in certain sectors of photography. "You can turn People on. You can freak people out. You can make them smile. But  in photography you're not allowed to laugh" she said. "At university, you'd have breaks and everyone's joking and laughing and then you go into the seminar and everyone's deadly serious. Noone cracks a smile. Why is that?"

It's a great question. Why is it that normal, interesting, funny people suddenly start making work and saying things like "I'm interested in the politics of non-space"  and we don't wet our pants laughing and say "no, you're not." Because actually, and quite obviously they are not remotely interested in it. There are maybe 7 people in the world who are really interested in non-space (or whatever, put any word that sends shivers down your spine in here) in a meaningful way. So why say it. It's just something they say because somehow they think they are suppposed to say it. Why do they think that? Who's put that idea into their heads?

And there is a world in which this is something you are supposed to say. But it is self-defeating. The audience is small and self-selecting, it limits the work and it stops communication. Calypso could have spoken about her work in a drier way because it does reflect questions of gender and identity, but it would have been painful to sit through. Those ideas are embedded in the work, and leading with the personal and cultural insights into how and why the work was made was more engaging, interesting and life-affirming and honest.

That voice is also apparent in the way she talks about her work. She recognises the strength of the work but there is a lack of preciousness to it. "I took this big 5-4 camera with me and unpacked it but then just used the Canon 5d. It looks the same! Nobody can tell the difference," she said.

So it was great to have this different voice speaking about photography. Perhaps that voice is one of the most important things in photography. It's not just about the images, it's about how you frame them, how you talk about them, how value them. There is more than one way of talking about photographs. You don't have to talk about them with a single monotone voice. You can be interesting, you can be funny, you can be irreverent. Because photography, especially now, is not  a single monolithic audience of sober-minded people obsessessed with gender/space/identity. In fact very few people are interested in gender, space and identity. These are not interesting subjects. It's the stories which manifest gender, space and identity that are interesting and these are should be full of  life, love, tragedy, humour... And that's what Juno Calypso has. And that is why so many people came to see her talk.


:


IC Visual Labs review of the talk. 

Juno Calypso interview on Port Magazine

"Everyone was taking about Bristol. I'd never been they but we all knew you had the best fucking ketamine." Juno Calypso on Bristol

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