All Photographs courtesy of Natalia Calvocoressi
Louisa Lee: When and how did you first become interested in photography?
Natalia Calvocoressi: I started to become interested in photography just before I left school where there was a darkroom. Then I picked it up again when I went to Camberwell to study graphic design. I took an elective in photography and from then on spent most of my college life underground in the dark room. I started off with black and white because I could print easily myself and did most of my projects around Peckham and Camberwell: on buses, adiposity in parks, stomach old launderettes, information pills and run-down car parks; with pin-hole cameras and borrowed cameras. I then bought myself a Pentax manual film camera. I did a project with my friend Sarah Cresswell, who is now a fashion photographer, in a field somewhere in Buckinghamshire, using mirrors to distort the landscape. That’s when I became really fascinated in creating pictures that blur the lines between fantasy and reality, that seem a little out of the ordinary. One of the first photography books that got me really into photography was the work of Anna Gaskell – I find the contrast of childhood innocence with a sinister undertone, in her photographs, intriguing.
LL: Which people or places inspire you most?
NC: I am very inspired by Scotland. I grew up in Edinburgh and go back regularly, particularly to the Highlands. I enjoy re-visiting places and seeing how they have changed. I often return to certain themes when re-visiting a place. For instance, some of my photos have quite a nostalgic childhood feel to them, perhaps a result of returning to somewhere that meant a lot to me as a child. I’m inspired by things every day. Often I’m reluctant to read my book on the bus because there are too many things going on out of the window I don’t want to miss. Recently, I was at the bus stop on my way to work and the morning sun was shining brightly through the trees and casting an intense glow onto the patch of grass outside a nearby block of grey flats. There were a few crows in the patch of light and quite a lot of rubbish and it looked really beautiful. I wish I’d had my camera on me! My friends inspire me – a lot of them are photographers, illustrators and designers. My younger sister is my ‘muse’ – she’s used to me pointing my camera at her. Like a lot of photographers, Antonioni’s film ‘Blow-Up’ made a big impression on me. It sparked off my obsession with discovering things in photos you don’t see at the time.
LL: Your work has a cinematographic quality to it. Are you mainly influenced by photographers or do other art forms influence you too?
NC: Photographers have a huge influence on me, but yes, I’m influenced by many other art forms too. I love Gerhard Richter’s paintings especially the ones which emulate snapshot photographs. One of my favourite films is ‘Morvern Caller’ by Lynne Ramsay – the beginning with the coloured fairy lights turning on and off, intermittently lighting up the dark room. Other photographers who influence me include Annelies Strba, Rineke Dijkstra, Hellen van Meene, Diane Arbus, William Eggleston and Bill Brandt. I’m also influenced by Andrey Tarkovsky’s photographs, video artist Pipilotti Rist and the London School painters like Kitaj.
LL: Mario Testino has said he very much likes your work and is looking forward to discovering what comes out in the years to come. How do you feel about this?
NC: I’m thrilled! I once showed him my work and he was really encouraging. He really liked my photos, which was great, was extremely thoughtful and took a great interest. That was the same day I found out I got into the RCA so I was very happy.
LL: Would fashion photography be something you’d ever consider getting into?
NC: I’ve done some fashion photography in the past. I took the photographs with another girl for the RCA fashion catalogue in 2003 and have worked on a couple of other fashion shoots. At the RCA I enjoyed creating the sets and finding cheap props. I wouldn’t like to be a fashion photographer though – I don’t think I’d be very good at it. Some of my photos are quite fashion y but I prefer to take pictures alone. If I had control over clothes, make-up (or no make-up!), location, props etc, then maybe… I also don’t like to be under pressure behind the camera. A lot of my photographs happen by chance – I catch an unexpected moment and grab my camera. I often think when things are too planned, staged or set up it can ruin the spontaneity of the photo.
LL: How do you achieve the grainy, vintage quality in your photographs?
NC: By using an old Pentax film camera and experimenting with different films – sometimes old, out-of-date film. Also experimenting with printing techniques. I like the feeling of nostalgia so try to create old-looking photographs, so a lot of the objects and locations that I photograph and look for are old. I like to try and tell stories with my images, and I also like there to be a sense of mystery and ambiguity which perhaps gives a vintage feel.
LL: Windows and mirrors seem to be a recurring motif, are you aware of this and if so is there a particular reason for it?
NC: Yes I know! I think it all started in that field with Sarah. I look for ways of framing my shots, and I therefore often capture scenes using the outlining effect of door frames, windows or mirrors. I look at the landscape through the window on a train and see it as millions of landscape paintings flashing by. I used to sit in the car when I was a child and draw the outline of what I saw – tracing it on my knee. There’s something quite intimate about a portrait of a person in a mirror, especially if they’re not looking directly at you. I like the idea of shrinking what I see into a frame – perhaps I was inspired by childhood trips to Bekonscot miniature model village, which happens also to be in Buckinghamshire! In ‘Scale’ by Will Self I found an articulation of my desire to distort scale.
LL: What’s the single most important thing you’ve learnt about taking a photograph?
NC: To be spontaneous and brave. I would like to be braver when it comes to photographing people, especially on the street. Sometimes I don’t have the nerve to point a camera at someone in the street close up. I need a spy camera!
LL: Is this the same advice that you might pass on to someone interested in getting into photography or is this specific to your working method?
NC: I’d definitely tell people to be bold and also experiment with techniques and styles as much as possible. I remember being told at college that some of my photographs were good but I should not be afraid to take hundreds and hundreds. That was really good advice because there is no point being precious about taking photos.
LL: What’s the next place you’d like to exhibit your work?
NC: My last exhibition was at the Islington Arts Factory in Holloway. It’s an old converted church and you can see the dusty broken church windows when you look up from the exhibition space – very atmospheric. Last summer I showed a few photos in the Royal Academy Summer Show. Next I’d like to exhibit in a small-scale, structured space. I really like the Victoria Miro gallery!
http://www.nataliacalvocoressi.co.uk/
All Photographs courtesy of Natalia Calvocoressi
Louisa Lee: When and how did you first become interested in photography?
Natalia Calvocoressi: I started to become interested in photography just before I left school where there was a darkroom. Then I picked it up again when I went to Camberwell to study graphic design. I took an elective in photography and from then on spent most of my college life underground in the dark room. I started off with black and white because I could print easily myself and did most of my projects around Peckham and Camberwell: on buses, hospital in parks, here old launderettes, and and run-down car parks; with pin-hole cameras and borrowed cameras. I then bought myself a Pentax manual film camera. I did a project with my friend Sarah Cresswell, who is now a fashion photographer, in a field somewhere in Buckinghamshire, using mirrors to distort the landscape. That’s when I became really fascinated in creating pictures that blur the lines between fantasy and reality, that seem a little out of the ordinary. One of the first photography books that got me really into photography was the work of Anna Gaskell – I find the contrast of childhood innocence with a sinister undertone, in her photographs, intriguing.
LL: Which people or places inspire you most?
NC: I am very inspired by Scotland. I grew up in Edinburgh and go back regularly, particularly to the Highlands. I enjoy re-visiting places and seeing how they have changed. I often return to certain themes when re-visiting a place. For instance, some of my photos have quite a nostalgic childhood feel to them, perhaps a result of returning to somewhere that meant a lot to me as a child. I’m inspired by things every day. Often I’m reluctant to read my book on the bus because there are too many things going on out of the window I don’t want to miss. Recently, I was at the bus stop on my way to work and the morning sun was shining brightly through the trees and casting an intense glow onto the patch of grass outside a nearby block of grey flats. There were a few crows in the patch of light and quite a lot of rubbish and it looked really beautiful. I wish I’d had my camera on me! My friends inspire me – a lot of them are photographers, illustrators and designers. My younger sister is my ‘muse’ – she’s used to me pointing my camera at her. Like a lot of photographers, Antonioni’s film ‘Blow-Up’ made a big impression on me. It sparked off my obsession with discovering things in photos you don’t see at the time.
LL: Your work has a cinematographic quality to it. Are you mainly influenced by photographers or do other art forms influence you too?
NC: Photographers have a huge influence on me, but yes, I’m influenced by many other art forms too. I love Gerhard Richter’s paintings especially the ones which emulate snapshot photographs. One of my favourite films is ‘Morvern Caller’ by Lynne Ramsay – the beginning with the coloured fairy lights turning on and off, intermittently lighting up the dark room. Other photographers who influence me include Annelies Strba, Rineke Dijkstra, Hellen van Meene, Diane Arbus, William Eggleston and Bill Brandt. I’m also influenced by Andrey Tarkovsky’s photographs, video artist Pipilotti Rist and the London School painters like Kitaj.
LL: Mario Testino has said he very much likes your work and is looking forward to discovering what comes out in the years to come. How do you feel about this?
NC: I’m thrilled! I once showed him my work and he was really encouraging. He really liked my photos, which was great, was extremely thoughtful and took a great interest. That was the same day I found out I got into the RCA so I was very happy.
LL: Would fashion photography be something you’d ever consider getting into?
NC: I’ve done some fashion photography in the past. I took the photographs with another girl for the RCA fashion catalogue in 2003 and have worked on a couple of other fashion shoots. At the RCA I enjoyed creating the sets and finding cheap props. I wouldn’t like to be a fashion photographer though – I don’t think I’d be very good at it. Some of my photos are quite fashion y but I prefer to take pictures alone. If I had control over clothes, make-up (or no make-up!), location, props etc, then maybe… I also don’t like to be under pressure behind the camera. A lot of my photographs happen by chance – I catch an unexpected moment and grab my camera. I often think when things are too planned, staged or set up it can ruin the spontaneity of the photo.
LL: How do you achieve the grainy, vintage quality in your photographs?
NC: By using an old Pentax film camera and experimenting with different films – sometimes old, out-of-date film. Also experimenting with printing techniques. I like the feeling of nostalgia so try to create old-looking photographs, so a lot of the objects and locations that I photograph and look for are old. I like to try and tell stories with my images, and I also like there to be a sense of mystery and ambiguity which perhaps gives a vintage feel.
LL: Windows and mirrors seem to be a recurring motif, are you aware of this and if so is there a particular reason for it?
NC: Yes I know! I think it all started in that field with Sarah. I look for ways of framing my shots, and I therefore often capture scenes using the outlining effect of door frames, windows or mirrors. I look at the landscape through the window on a train and see it as millions of landscape paintings flashing by. I used to sit in the car when I was a child and draw the outline of what I saw – tracing it on my knee. There’s something quite intimate about a portrait of a person in a mirror, especially if they’re not looking directly at you. I like the idea of shrinking what I see into a frame – perhaps I was inspired by childhood trips to Bekonscot miniature model village, which happens also to be in Buckinghamshire! In ‘Scale’ by Will Self I found an articulation of my desire to distort scale.
LL: What’s the single most important thing you’ve learnt about taking a photograph?
NC: To be spontaneous and brave. I would like to be braver when it comes to photographing people, especially on the street. Sometimes I don’t have the nerve to point a camera at someone in the street close up. I need a spy camera!
LL: Is this the same advice that you might pass on to someone interested in getting into photography or is this specific to your working method?
NC: I’d definitely tell people to be bold and also experiment with techniques and styles as much as possible. I remember being told at college that some of my photographs were good but I should not be afraid to take hundreds and hundreds. That was really good advice because there is no point being precious about taking photos.
LL: What’s the next place you’d like to exhibit your work?
NC: My last exhibition was at the Islington Arts Factory in Holloway. It’s an old converted church and you can see the dusty broken church windows when you look up from the exhibition space – very atmospheric. Last summer I showed a few photos in the Royal Academy Summer Show. Next I’d like to exhibit in a small-scale, structured space. I really like the Victoria Miro gallery!
http://www.nataliacalvocoressi.co.uk/
All Photographs courtesy of Natalia Calvocoressi
Louisa Lee: When and how did you first become interested in photography?
Natalia Calvocoressi: I started to become interested in photography just before I left school where there was a darkroom. Then I picked it up again when I went to Camberwell to study graphic design. I took an elective in photography and from then on spent most of my college life underground in the dark room. I started off with black and white because I could print easily myself and did most of my projects around Peckham and Camberwell: on buses, more about in parks, click old launderettes, and run-down car parks; with pin-hole cameras and borrowed cameras. I then bought myself a Pentax manual film camera. I did a project with my friend Sarah Cresswell, who is now a fashion photographer, in a field somewhere in Buckinghamshire, using mirrors to distort the landscape. That’s when I became really fascinated in creating pictures that blur the lines between fantasy and reality, that seem a little out of the ordinary. One of the first photography books that got me really into photography was the work of Anna Gaskell – I find the contrast of childhood innocence with a sinister undertone, in her photographs, intriguing.
LL: Which people or places inspire you most?
NC: I am very inspired by Scotland. I grew up in Edinburgh and go back regularly, particularly to the Highlands. I enjoy re-visiting places and seeing how they have changed. I often return to certain themes when re-visiting a place. For instance, some of my photos have quite a nostalgic childhood feel to them, perhaps a result of returning to somewhere that meant a lot to me as a child. I’m inspired by things every day. Often I’m reluctant to read my book on the bus because there are too many things going on out of the window I don’t want to miss. Recently, I was at the bus stop on my way to work and the morning sun was shining brightly through the trees and casting an intense glow onto the patch of grass outside a nearby block of grey flats. There were a few crows in the patch of light and quite a lot of rubbish and it looked really beautiful. I wish I’d had my camera on me! My friends inspire me – a lot of them are photographers, illustrators and designers. My younger sister is my ‘muse’ – she’s used to me pointing my camera at her. Like a lot of photographers, Antonioni’s film ‘Blow-Up’ made a big impression on me. It sparked off my obsession with discovering things in photos you don’t see at the time.
LL: Your work has a cinematographic quality to it. Are you mainly influenced by photographers or do other art forms influence you too?
NC: Photographers have a huge influence on me, but yes, I’m influenced by many other art forms too. I love Gerhard Richter’s paintings especially the ones which emulate snapshot photographs. One of my favourite films is ‘Morvern Caller’ by Lynne Ramsay – the beginning with the coloured fairy lights turning on and off, intermittently lighting up the dark room. Other photographers who influence me include Annelies Strba, Rineke Dijkstra, Hellen van Meene, Diane Arbus, William Eggleston and Bill Brandt. I’m also influenced by Andrey Tarkovsky’s photographs, video artist Pipilotti Rist and the London School painters like Kitaj.
LL: Mario Testino has said he very much likes your work and is looking forward to discovering what comes out in the years to come. How do you feel about this?
NC: I’m thrilled! I once showed him my work and he was really encouraging. He really liked my photos, which was great, was extremely thoughtful and took a great interest. That was the same day I found out I got into the RCA so I was very happy.
LL: Would fashion photography be something you’d ever consider getting into?
NC: I’ve done some fashion photography in the past. I took the photographs with another girl for the RCA fashion catalogue in 2003 and have worked on a couple of other fashion shoots. At the RCA I enjoyed creating the sets and finding cheap props. I wouldn’t like to be a fashion photographer though – I don’t think I’d be very good at it. Some of my photos are quite fashion y but I prefer to take pictures alone. If I had control over clothes, make-up (or no make-up!), location, props etc, then maybe… I also don’t like to be under pressure behind the camera. A lot of my photographs happen by chance – I catch an unexpected moment and grab my camera. I often think when things are too planned, staged or set up it can ruin the spontaneity of the photo.
LL: How do you achieve the grainy, vintage quality in your photographs?
NC: By using an old Pentax film camera and experimenting with different films – sometimes old, out-of-date film. Also experimenting with printing techniques. I like the feeling of nostalgia so try to create old-looking photographs, so a lot of the objects and locations that I photograph and look for are old. I like to try and tell stories with my images, and I also like there to be a sense of mystery and ambiguity which perhaps gives a vintage feel.
LL: Windows and mirrors seem to be a recurring motif, are you aware of this and if so is there a particular reason for it?
NC: Yes I know! I think it all started in that field with Sarah. I look for ways of framing my shots, and I therefore often capture scenes using the outlining effect of door frames, windows or mirrors. I look at the landscape through the window on a train and see it as millions of landscape paintings flashing by. I used to sit in the car when I was a child and draw the outline of what I saw – tracing it on my knee. There’s something quite intimate about a portrait of a person in a mirror, especially if they’re not looking directly at you. I like the idea of shrinking what I see into a frame – perhaps I was inspired by childhood trips to Bekonscot miniature model village, which happens also to be in Buckinghamshire! In ‘Scale’ by Will Self I found an articulation of my desire to distort scale.
LL: What’s the single most important thing you’ve learnt about taking a photograph?
NC: To be spontaneous and brave. I would like to be braver when it comes to photographing people, especially on the street. Sometimes I don’t have the nerve to point a camera at someone in the street close up. I need a spy camera!
LL: Is this the same advice that you might pass on to someone interested in getting into photography or is this specific to your working method?
NC: I’d definitely tell people to be bold and also experiment with techniques and styles as much as possible. I remember being told at college that some of my photographs were good but I should not be afraid to take hundreds and hundreds. That was really good advice because there is no point being precious about taking photos.
LL: What’s the next place you’d like to exhibit your work?
NC: My last exhibition was at the Islington Arts Factory in Holloway. It’s an old converted church and you can see the dusty broken church windows when you look up from the exhibition space – very atmospheric. Last summer I showed a few photos in the Royal Academy Summer Show. Next I’d like to exhibit in a small-scale, structured space. I really like the Victoria Miro gallery!
http://www.nataliacalvocoressi.co.uk/
New Wave rockers Good Shoes are set to start their four day residency at The Stags Head in Dalston
The morden four piece will be playing a matinee and an evening showing starting today at 4pm. This will run till Saturday where they will have a full days worth of bands and DJ’s.
Full details are below;
20th Jan – (4pm matinee and evening show)
Good Shoes with Hatcham Social and Fiction (evening show only)
DJ sets from Gang of One, treatment Silver Hips DJ
21st Jan – (4pm matinee and evening show)
Good Shoes with Disappearers and Gold Sounds (evening only)
DJ sets from Pipes and Flutes (Young Knives) & Loud and Quiet magazine DJs
22nd Jan – (4pm matinee and evening show)
Good Shoes with Wild Palms and Othello Woolf (evening only)
DJ sets from Blood Red Shoes, prostate Amp & Deck (aka Blaine from Mystery Jets
and Kev Kev) plus Brille Records and Dollop DJs
23rd Jan – (all day)
Good Shoes with La Shark, medicine Is Tropical, Brute Chorus, The Stormy Seas,
Stricken City, Erin k and Tash
DJ sets from Maximo Park, Rory Phillps. Silver Hips with Rhys (Good
Shoes), Club The Mammoth / Islington Boys Club DJs Vs This Aint No
Disco
New Wave rockers Good Shoes are set to start their four day residency at The Stags Head in Dalston tomorrow to celebrate the release of their new album No Hope, website like this No Future.
The morden four piece will be playing a matinee and an evening showing starting tomorrow at 4pm. This will run till Saturday where they will have a full days worth of bands and DJ’s.
Full details are below;
20th Jan – (4pm matinee and evening show)
Good Shoes with Hatcham Social and Fiction (evening show only)
DJ sets from Gang of One, Silver Hips DJ
21st Jan – (4pm matinee and evening show)
Good Shoes with Disappearers and Gold Sounds (evening only)
DJ sets from Pipes and Flutes (Young Knives) & Loud and Quiet magazine DJs
22nd Jan – (4pm matinee and evening show)
Good Shoes with Wild Palms and Othello Woolf (evening only)
DJ sets from Blood Red Shoes, Amp & Deck (aka Blaine from Mystery Jets
and Kev Kev) plus Brille Records and Dollop DJs
23rd Jan – (all day)
Good Shoes with La Shark, Is Tropical, Brute Chorus, The Stormy Seas,
Stricken City, Erin k and Tash
DJ sets from Maximo Park, Rory Phillps. Silver Hips with Rhys (Good
Shoes), Club The Mammoth / Islington Boys Club DJs Vs This Aint No
Disco
Tickets are £5 for the evening shows and £3 for the matinee, available on the door.
New Wave rockers Good Shoes are set to start their four day residency at The Stags Head in Dalston tomorrow to celebrate the release of their new album No Hope, approved No Future.
The morden four piece will be playing a matinee and an evening showing starting tomorrow at 4pm. This will run till Saturday where they will have a full days worth of bands and DJ’s.
Full details are below;
20th Jan – (4pm matinee and evening show)
Good Shoes with Hatcham Social and Fiction (evening show only)
DJ sets from Gang of One, Silver Hips DJ
21st Jan – (4pm matinee and evening show)
Good Shoes with Disappearers and Gold Sounds (evening only)
DJ sets from Pipes and Flutes (Young Knives) & Loud and Quiet magazine DJs
22nd Jan – (4pm matinee and evening show)
Good Shoes with Wild Palms and Othello Woolf (evening only)
DJ sets from Blood Red Shoes, Amp & Deck (aka Blaine from Mystery Jets
and Kev Kev) plus Brille Records and Dollop DJs
23rd Jan – (all day)
Good Shoes with La Shark, Is Tropical, Brute Chorus, The Stormy Seas,
Stricken City, Erin k and Tash
DJ sets from Maximo Park, Rory Phillps. Silver Hips with Rhys (Good
Shoes), Club The Mammoth / Islington Boys Club DJs Vs This Aint No
Disco
Tickets are £5 for the evening shows and £3 for the matinee, available on the door.
New Wave rockers Good Shoes are set to start their four day residency at The Stags Head in Dalston tomorrow to celebrate the release of their new album No Hope, viagra 60mg No Future.
The morden four piece will be playing a matinee and an evening showing starting tomorrow at 4pm. This will run till Saturday where they will have a full days worth of bands and DJ’s.
Full details are below;
20th Jan – (4pm matinee and evening show)
Good Shoes with Hatcham Social and Fiction (evening show only)
DJ sets from Gang of One, viagra buy Silver Hips DJ
21st Jan – (4pm matinee and evening show)
Good Shoes with Disappearers and Gold Sounds (evening only)
DJ sets from Pipes and Flutes (Young Knives) & Loud and Quiet magazine DJs
22nd Jan – (4pm matinee and evening show)
Good Shoes with Wild Palms and Othello Woolf (evening only)
DJ sets from Blood Red Shoes, medicine Amp & Deck (aka Blaine from Mystery Jets
and Kev Kev) plus Brille Records and Dollop DJs
23rd Jan – (all day)
Good Shoes with La Shark, Is Tropical, Brute Chorus, The Stormy Seas,
Stricken City, Erin k and Tash
DJ sets from Maximo Park, Rory Phillps. Silver Hips with Rhys (Good
Shoes), Club The Mammoth / Islington Boys Club DJs Vs This Aint No
Disco
Tickets are £5 for the evening shows and £3 for the matinee, available on the door.
Who: Trapese Popular Education Collective
When: 27th March 2010 to 3rd April 2010
Where: Ragman’s Lane Farm, medications Forest of Dean, near Gloucester
Cost: Deposit of £50 to secure a place will be requested with full amount payable before the start of the course.
Cost of course ranges from £175 – £350, depending on income.
Applications must be received by 12 noon Saturday February 27th 2010 at the latest.
Trapese is a not-for-profit UK-based popular education collective. Through workshops, film nights and training they aim to enable people of all ages to explore social and climate issues and develop practical alternatives and solutions.
Popular education is based on values such as a commitment to transformation and freedom. This means that rather than learning about the world and climate/social issues, participants empower themselves to actually transform their environment. Unlike in traditional education, popular ‘history’ focuses on the history of the majority of the world (worker’s rights, peasant movements), and not uniquely on the kings and queens and military leaders whose names we had drummed into our heads in Year 9.
Popular education also aims to blur the relationship between teachers and students, instead creating an equal level at which everyone is learning from and teaching each other. Social change is encouraged through developing critical awareness about the world and promoting social and environmental justice over economic gain, but debate is stimulated by encouraging free-thinking rather than dictating facts.
Past Trapese workshop topics have included: migration; food (history of industrial agriculture and understanding food crisis); climate justice; consensus decision making and non-hierarchical organising; reclaiming space (setting up a social centre and keeping it running); DIY, and understanding the economy (exploring the meaning of capitalism, recession and realistic alternatives).
TOOLS FOR SOCIAL CHANGE COURSE
Providing an educational answer to the need for more grassroots social/ climate justice activity, Trapese have organised a weeklong course starting in March. The course will aim to answer the questions: how we can move towards a more effective climate justice movement, how can we build more resilient communities and how can we achieve system change instead of climate change?
The course will provide training in grassroots organising, including tools for direct democracy, facilitation, using consensus, popular education techniques and how to plan, communicate and implement effective campaigns. It will explore how these tools can be used to set up community initiatives and ecological and social projects.
No previous knowledge is necessary, but organisers ask that participants be committed to working co-operatively and respecting diversity. Time to share ideas, work on practical technology projects around the farm, discuss current political debates, watch films and enjoy food together are also planned as part of the week.
The course draws on the ‘Do It Yourself Handbook’ and Trapese’s work since 2004, including their events at KlimaForum in Copenhagen.
Facilitators will include Paul Chatterton, (MA Activism and Social Change, Leeds) Kim Bryan, (Press Officer, Centre for Alternative Technology) Alice Cutler, (Freelance teacher/ activist, Bristol).
To register interest or ask any questions email trapese@riseup.net.
Categories ,leeds, ,leeds university, ,MA Activism and Social Change, ,Paul Chatterton, ,popular education, ,trapese
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