Sunday Roundup

Other, Roundup


“My little sister eleven, I looked her right in the face the day that I wrote this song, sat her down and pressed play.”




I’ve already written a little about the TRON party, but before preparing for the event on Friday I was profoundly moved by Ken Loach’s new documentary The Spirit of ’45. There is an inherent prevalence of socialism in much of Loach’s work, here focussing on the Labour Party that came to power immediately following the war. Using interviews mostly of nurses, miners, railway workers, dockers and other proletariat, Loach manages to juggle national history with personal stories. Of course the Spirit of ’45 is entwined with the full circle made in 1979 when Thatcher came to power, the film then proceeding to show what work was undone and why the nationalisation process was flawed to begin with. At it’s heart, however, is an impassioned defence of the NHS which is sorely lacking political support. At the risk of using a cliché, this is simply an essential film for everyone with an interest in history, in politics, in a bygone era, in Britain; every citizen.

Charlie C-T:

I’m going to Portugal tomorrow so I thought I would find a Portuguese artist to showcase. I then realized I don’t know any Portuguese artists, so I did some research. Rui Chafes, Burning is the Forbidden Sea. It’s an odd deep sea creature/monster that has an air of tranquility that comes from it being isolated within a blue room. The audio that accompanies it gives it a life. I think it’s one of those pieces that would be better to see live rather than a video, but this best represents it. I really like his work, here is his website to see more, Such elegant shapes.

Jacob M:

On a recent trip to the Saatchi Gallery, I was particularly inspired by the collage work of  Russian artist Anna Parkina:

Zamki I SamkiThe Case Is Open II

Parkina’s work combines the appetising and vibrant world of pop-culture and pop-art with the strength and command of propaganda and constructivism (having witnessed Russia’s transition between the collapse of the Soviet Union and the subsequent restoration of capitalism whilst growing up). I really like the way her work absorbs you with it’s colour and complexity, but, at a point, also detaches you with her portrayal of people caught up in worlds of distractions and consumerism.

More information about the artist here.


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