Read, Watch and Listen

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"Life is not restricted, but enriched".

This campaign utilises a contemporaneous resurgence in child psychology, marking the young, healthy multipara as facilitator of family well being; once enabled as a strategic contraceptor, pregnancies are viable and desired, and emotional privation is negated all round. 1966. Physician's circular, No.3 in a series of 4 / Syntex, 'Norinyl-1'. By kind permission of Roche. Courtesy of Julia Larden, and the Wellcome Library, London. Photography by J Borge 2014 CC BY 4.0

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"Millions of women throughout the world accept and trust Ovulen 1mg"

Several oral contraceptive brands sought market differentiation by presenting motivational models of ideal end users in print campaigns, e.g. the affluent, white multipara. Here, typical racial typing is [ostensibly] reversed, and ‘Ovulen’ claims authority through universality as “The Accepted Contraceptive”. 1969. Physician's circular / Searle, 'Ovulen 1mg'. By kind permission of Pfizer. Courtesy of Julia Larden, and the Wellcome Library, London. Photography by J Borge 2014 CC BY 4.0

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"Now Women's Freedom is Complete"

Emancipatory accounts of the Pill’s envisioned impact had been cultivated through corporate literature since 1961, with the American Andromeda campaign [for ‘Enovid’]. This ‘Suffragette’ item anticipates the centrality of reproductive autonomy to second-wave feminists and the nascent Women’s Liberation Movement. 1967. Calendar for 1968 / Eli Lilly & Company, 'C-Quens 21'. With the kind cooperation of Eli Lilly. Courtesy of Julia Larden, and the Wellcome Library, London. Photography by J Borge 2014 CC BY 4.0

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(c) Anna Cady, no title, translation of Matt's image, 13-20 May 2015:

“A funeral urn? Cremating, containing or representing the body? Black. Luminous. A sinister fairy tale. Hand made and performative. Air and fire inside the body as vessel. Air as breath. Internal and external. Containing and representing air simultaneously? Transforming ‘air’ into a solid ‘thing’. I perceive the central part of the vessel in Matt’s photograph as being made of glass. The colour, beauty and fragility of the projected, reflected colours in my film-still is as if it is to be seen as, or made of, glass. Just before it melts.” www.annacady.com

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(c) Auriol Herford, no title, translation of Sam's image, 11-18 March 2015:

“Taking the lead from Sam and his interest in the connections between the natural and digital world, I reflected on the idea of my instinct and relation to technology. Last week I had a Caesarean birth followed by a week of rigorous monitoring. Every night over the last year I have also plugged a catheter bag onto my eldest son. I translated the medical objects and fragments from the experience into an image that used printmaking, drawing and collage.” http://kitestudios.org/ 

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(c) Briony Campbell, no title, translation of Heather's image, 29 April – 6 May 2015:

"I wanted to represent Heather's vision of water, sky and leaves. Taking the clouds directly I fused them with a tree. I interpreted her plant pots as the domestic element; at once giving the plants the love they need to grow but also asserting ownership of natural things. So in my translation the pots became a human holding tight to the tree. Where Heather repeated the plant pot motif, I took the lights on the horizon of my original seascape and floated them into the sky as stars. The image is a collage of three of my own photos (involving long exposures) and one element of Heather's image.” www.brionycampbell.com

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(c) Bryan Eccleshall, 'Master Square', translation of Katarina's image, 25 March – 1st April 2015:

“Translators ordinarily shift things into their own language. Hence I have made a drawing of a photograph using a technique developed over the last couple of years, but with a slight difference. I took the photograph I was sent and edited it to make sixteen square images that, when assembled would resemble the image I was given, but this time as a drawing. The thing I made is a drawing, but for the purpose of this exercise, I assembled individual scans of the drawings into a jpeg in PhotoShop.” https://bryaneccleshall.wordpress.com/

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(c) Domingo Martínez, no title, translation of Anna's image, 20-27 May 2015:

“I perceive Anna’s image as a metaphor of wish and desire, but also of nostalgia and melancholy. The hand waiting for someone or for something to hold, or maybe just to be held. It reminded me of a photograph I bought in a flea market, which showed an arm from the same angle and a hand holding a child’s hand. I took that piece of the picture and drew it separately to express my own feelings. Then I reproduced the atmosphere in Anna’s picture, which I found very close to the nostalgic feeling I wanted to show, a feeling linked to a memory.” www.domingomartinez.es 

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(c) Heather Connelly, no title, translation of Juneau Projects' image, 22-29 April 2015

“I responded instinctively to the image, being particularly drawn to its formal composition and context – where the sculpture had been photographed and the objects that surrounded it. I sought out similar locations, photographing various elements, using a mirror to interrupt, reflect and deflect what I saw. I then manipulated and collaged some of the images together – layering and modifying them in ​

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