True Colours : An Exhibition Review CCEA Ulster Museum

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Current exhibition on at Ulster Museum

The work of some of Northern Ireland’s most exceptional young artists will be on display at the Ulster Museum during January and February. CCEA’s True Colours is a showcase of the outstanding artwork produced for the summer 2017 GCE & GCSE examinations. The event will be visited by almost 50,000 people over the coming months, with many schools making trips to show other young artists the standard and quality of work produced in Northern Ireland.

Congratulating the students on their work, Justin Edwards, CCEA’s Chief Executive, said:

“This is now our seventh annual True-Colours exhibition at the Ulster Museum. The venue offers a fitting setting for such outstanding work. It is also a pleasure to be able to give the public an opportunity to view the diversity and quality of work being produced by young artists and designers.”

My take on seeing the works

It would be absurd to be over critical of the work produced by students embarking on their art expression given the constraints education put them under. The variations of work attest to the dilemma and prodigious talent in the realm. What on earth becomes of it is pure speculation. What is evident is the quality this minute of each object on display in whatever form it takes.

So that is where to begin. Following a narrative seems part of the octagon of the wonders we see.

Those Dark Materilas onboard in lexicons of abrupted life.

The immersion of young artists seeking out their own interpretative, derivative direction is passionately taken as a journey of self discovery embracing work which creates fictions of realities presume innocent and observing laws of insight. Nothing is further from the truth in seeing other work then completely transcending its thought patterns to create a unique observance. Only by seeing something recognizable can it be truly dismissed. The artist is sent off in another trajectory making their own valid statement no matter how they arrived at it. Each artist here has 1. Chosen a persons work to interpret. 2. Has looked to themselves as affected by the act of making art.

The three images above converge in the piece to form the first image and  is sublime in its execution.

The symmetry of the energised triangulated sculpture throwing away precepts of tradition was one piece which would have been evidently secure in its aloneness, singularity so the added function of development stages is more the academics statement than the artists statement.

This is a scholarly path and important to negotiate while picking up techniques and skills of seeing and illuminating their work. ‘Artist as Thief’ is the name given to a parallel exhibition and the meaning of this one is of a similar formula. In seeing the Ulster Museum CCEA Exhibition work

French horn player (untitled) a coiled bell by Tom McVeigh

I was totally drawn in by the art delivered in one persons almost narrative approach. They pay homage to the skills or an artist of music. The quietude of a study room, with natural light augmented by a photographers tripod lamp is a settling peaceful restful prologue to a homage of a fellow artist. The starting point is the room. The ambience and colour it lends to solitary performance in the domestic room or retreat of a college of music is a concert of nuanced environmental choices. While large windows give an air of radiance of the seasonal changes of the everyday, the light is warmed by the barrier of the glass clear boundary separating sound and the external world. Centrally is the French Horn Player sitting on a stool in a natural balancing posture with the body caressing an instrument at rest. Both are in symmetry as one with the other able to convey in union a voice now silent. The studio is a piece and setting. A drama is unfolding of a woman’s comfortable nurturing of a chosen companion. An intrusion is taken in for the sake of art and cadences are many. Unspoken is the collaboration we see as a work of art.

The way Tom McVeigh has produced around this final painting, his progression toward it is very comprehensive as study goes. It is a work produced to ‘convince’ an examiner of the process being understood. This is quite strange given the academic is neither of any import other than the consignment by compliance with theory or method the actual approach which the ‘examiner’ is without. They are not in the process but mere witness. The tools are encouraged and some direction taken but to produce this extent of analysis is perverse. Such are educational norms.

 

 

 

Superb study work can stand alone

Many of the students have taken the instruction to find an artist and explain why they appeal and how they work. The choices are something of a hit or miss formula. Pinterest Instagram, Art Network, or any familiar Art arena seems to have Ben trawled and then a peculiarity sought is explored. The appeal is not in question. The work forms are varied and experimental ways of working are placed into ‘categories’ printing, installation, sculpture and painting, drawing. In a classroom there is lenient persuasion or implied progression. So as not to derail original thinking the ideas go unchallenged. The effect is often tedious and narrowing. Unlike the primary educational functions undertaken centuries before where a talent is nurtured by studio work on real pieces and learning in conjunction with an artist as assistant the ‘school’ precedes the nurturing of particular insight with work conceived is absent here.

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Psychology and the human mind occupy a lot of the work

Of all types of work seen the idea is key.  Transforming thinking is the outcome sought by the artist and viewer. Where I found work which transcended the ‘method’ it had overcome the running commentary of connective narrative, important in degrees though it was in providing an’analysis’ for the pupil to find encouragement and self awareness from. The outcome is what? It is a piece which out to stand on its own. An example is one which needed no backstory but required going through the art gears to establish its own place. The process is the viewer observing it and making a story or conclusion or even lost in challenging considered thought processes to be completed after the experience of seeing.

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Layered installation & other views

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I often find reflection part of the process and it need not have any signposting.

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Less is more. Picasso was a deceptive artist and seeing all manner of ‘objects’ as you do in the Paris Picasso Museum you see the machinations and the way a print is found or painting is brought forward. These study facilities are career products and are only in the after view are they precious in anyway. The single statement of pieces apart are more relevant as a basis of understanding. The understanding is often not the purpose but a communication of a form, a connection however tenuous is primary to arts place in our world.

 

 

Prophetic visions in diverse materials

What annoyed me was the compression of the work in a space into which the curator, teaching professional, felt no hierarchy was an issue. The work suffers by not being seen properly. One pupil had a particular set of skills and had many more dimensions to it than adjoining work. The adjoining work was a complete very profound and distinctly of another ‘camp’ while equally assured in it. So both were lost companions in need of greater exposition. This clash and compression was and is a feature of exhibition when it is sanctioned as a ‘critique’ of sorts. An end of year show will always look like an end of year show if the curator so requires it to be seen widely or in a step up of a kind endorsing education methods. The Art College in Central Belfast often fails to display work appropriately or in any depth of curation. It avoids the exposure or display of ‘see the process as us teaching/learning’ to create. One thing is certain. The work here is to be valued again and again and new work is the probable outcome while this cannot be discarded as ‘juvenilia’.

 

Outsider art

One artist, a Photographer was bold enough to campaign down the road of observation of their own community.  Never staying which side they were aligned to or not at all they provided one of the most illuminating and sanguine pieces of all.  In a Frankie Quinn rather than Paul Seawright kind of way the observations they made were abrupt sharp and visually coherent full of meaning.

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The image in particular stànding out is of a Twelfth Procession and day two persons, an adult and a child, the former of (possibly) Ulster ethnicity and the child different race, they shared a  palm slap provocative and prescient of racial tension.  The tension of unity bound in apparent opposite pathways.  One is going in one direction and the same human nature is belonging whichever road taken.  It could have been staged or image edited and with added colour.

Some other images by the same pupil are equally observant and challenging.  One has a frame cutting off the front part of a band member and is framed on an onward heading through ,arch with a H&W ubiquitous and defining.  Others are of feet and bands passing some members, a boy recognising the photo taken for instance in a capture of memorial probably not differing much in age.

 

 

Special stages in Art

By way of variance of approach and exercising different ways of producing an image the author has gone down the route of using a drawing medium.

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Assertive pieces

The dark and light of materials possibilities is sharply recorded.  Here are a few other examples and by no means is this a full study.

 

 

Material truths

Dendrite’s and neurons place heuristics in a real world or creative truths on a line of culture. So going on and based on fear protection threat assessing the life course in unreal terms is easy for artists abstracting life. Realities are adjusted and systems of obedience are liked by pupils intially but intelligible constructs can win through the conscious of a teaching environment. Compliance is often a risk which is overridden for the sake of outside. On the inside obeying the rules is a given and it constrains perfectly good thought however perverse or irregular it may be. Local exhibitors Gilbert and George will be visited by several of these artists I suggest, others will not make it to ‘the city’ to see the work. They are masters of conformity. In a altered real they implicitly comply. I saw their work decades ago and it was evident then. They are absurdists with a conservative and compliant existence. For the Brit art era it was a comfort to know they were around to play conformity for all its worth like a paid of John Major twins and grayness which they actual added a might of colour to was a tame avenue of cave weeping aspirations and endurance.

Enduring Dissonance 

I saw the problems 21st Century pupils face in their life emerge and by dint their artwork. Trina Hobson, a local artist, often goes back to the neglect and dropping of identity. It has long been around as a trait. Here the pupils decline identity pigeonholing purposely and suppress the invasion of image. Especially self image. See the photoshop and scratched identities in differing work. It speaks of an age which is harming. The adult lesson prevailing is of the wrongful placing of image as being of importance in the spontaneous exchange of their continued Facebook, Instagram and the media driven wrap is intense and unwanted as here, is seen as being declined as a value system. Scars occur in art to express this emotion purposely and I feel it is not thoroughly enough tasked because it is under the aegis of an educational process. The Course Curriculum. It is as circus performance not educational but seen isolated and apart from other subjects. This is proof of a talent and voice which the adult will not accept for its obvious lesson but will simplify and sell it back to the youth producing it in its sundry forms. The paying of the cost is pupil borne.

Dry material is evident. Not liquid or translucence altering body of altering substance is present. The intention is to allude to permanence. Therefore where is the place of performance and dissolution of spirit observed? Incremental transformation is not allowed or suggested in the work because it’s intangibles are unclassifiable. The closet to this obtuse element was a display of cement like material. It is interesting the future of materials will change apparent limitations of art as digitisation has. The phosphite and graphene tomes of solid state technological choices unseen here are a future conduit of arts material change.

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It goes way beyond many art professional work seen elsewhere and deserves seeing often and in a clearer context.

 

 

On at The Ulster Museum Belfast Rooms Ground floor.

John Graham

30 January 2018

Belfast

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Beyond the Beyonds : A John Kingerlee Exhibition Art Review

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Life’s circles

On entering the rooms where John Kingerlee’s work is on exhibition light streams in from the first floor south facing windows of the former Victoria College at the reclaimed Crescent Arts Centre Belfast illuminating Beyond the Beyonds. A phrase comes to mind from Marshall McLuhan whose mastery of conjunction plagued scholarly thought with its soundbite philosophical stance on media. It is Inscrutable Condition. Well it’s not. Like McLuhan fought with the circumstances of time we see in John Kingerlee’s work an infusible power still restless in encounter. There is a possible connection I make with the former involvement of Kingerlee in writing with the similar approach of a grammar, rhetoric and logic, the trivium engaged in while considering along with Heaney whose strength lay in the fragility of words each transformed, transform their sphere of interest. One the painter another the convict. Convinced by words and paint of the beyond and asking questions of us and themselves through our at times nightmarish lack of mutual learning. A real breath of scoping out materiality in a venture undertaken is strongly held in reading the work here on display.

Kingerlee also moved his place of residence. From Birmingham eventually arriving in Ireland. McLuhan a Canadian outlier of the USA full on embrace of modernity and contemporary tools, he found himself in Cambridge able to distill in ‘soundbites’ while eschewing its tyranny, our multiple means of communication. In the latest outstanding work of Leontia Flynn The Radio her poetry if McLuhan affected by the rewarding swaying of words in our times fielded in a tyranny of locked in media forms. Her poem on Heaney is particularly deep while is fresh in these perceptions. These words and her italics, Seamus Heaney : August 30th 2013. “The way we’re living will have been our life.” which is a reaction, a eulogy or to use a less provocative word, homage to the poet who has left through the only available door.

Another internal gallery image.

Boundaries

Boundaries mattered to Seamus Heaney whose words for the title of this unique exhibition. It is beautifully hung in three relatively small linked rooms with a scale of human persuasion connecting the visitor to the work intimately. Exhibitor, Curator Larry Powell has combined a literary and long understanding of the works evolution to curate and present a homage of many years work brought together in a quite extraordinary full on breathtaking encounter with not just this artist work but the meaning of art itself. Often it is said and local art Professor Mike Cattos words in the catalogue follow this train of thought, the work is on the edge of experience with paint and image. Two themes dominate, Heads and Grid or Pattern. though landscape and collage sit alongside. Materials are impasto oil or giclee paint, acrylic occasionally on board, canvas, aluminum, Indian paper in multiple overlays of expression. Each is a piece in continuation of a symphonic approach elegantly placing accompaniment of the central outworking of a inner thought process which is absent from ego and therefore is internally hippocampus controlled, switched off which is where artists will tell you they are in the clearing space. The space where they are free to communicate through paint or media.

Two pieces in a grid of 12 aluminum panels completing a frame of 305 x 305 cm majestically create scale and presence. Neighbours Grid, Cullen’s Grid respectively. It is especially clear this is where John Kingerlee is distinguishing himself in placing his work out there for us to enjoy and embrace. The process is a completion which he has ventured to place Heads, Landscape, figuratively and semi abstracted – position. No one is aware of how the mind fully computes these encounters. Not yet anyway. Sometimes you feel like you are in a place where the oxygen has been drawn from you like being on top of a glacier, a mountain high altitude sickness, then the next moment a warm immersion of imbibing gratitude of finding a place to unify similar reactions as coalescence of almost primordial inner self. Few realise colour as Kingerlee.

For immediate entry only occasionally are little seemingly inconsequential figurative forms included. Postage stamps are a collage tool employed to symbolic effect placing a small token narrative to juxtapose our everyday literal interpretation. It’s as if it’s not about that asking you to go on into the several dynamic ranges of colour graduations. Simply to explore by being invited in. A device which familiarity is often employed by abstract artists to deflect critical abstention. I call it savvy. Collage is a favourite tool of another Irish Artist. Another native of immense significance as an astute conveyor of ourselves and our perceptions and times. Sean Hillen. Here the range is non political but rooted in good old fashioned wisdom. Politicai wisdom but wisdom isn’t politics as they might have you believe.

So John Kingerlee chooses a different path. Another artist practicing in Ireland Dermot Seymour does narrative painting with a political edge which is itself contradiction, eschewing the normal projections believed to be perceived. Being a native of Birmingham and John Kingerlee has as a background a literal background, wishing at first to be a writer and following through a confronting imagination telling him stories visually of earthen subjects eventually leading to what we see today in his early eighties (b. 1936) a fulmination, oration of his essence. It does not make sense for him to try political expressiveness as those mentioned above, the line instead is of discovery found historically except by a – and this is an outsiders objectivity – the genus loci of the islands evocations in the landscape works.

There is no comparison to be made with artists such as Dada practitioners, portrait non-conformists (Bacon, Braque) or media savvy practitioners such as Kooning and Pollack but to go beyond that. Beyond the Beyonds. Seamus Heaney was subtle in his ways and more grateful were we for his illuminating narrative. In such a phrase he is I think acknowledging his own encounter of art through a lifetime. Greek Gods, Apollo came to mind. That his visual vocabulary was as large as his language constructs. He would have absorbed all that is visually inspiring and tragic alongside the means to collect it mentally. Therefore it is possible to say he was expressing the thought given by the work here and other elements seen – the art witnessed is outside of us still and is working within us or on us to accommodate, the unimagined yet to be gathered in, poles we are within. I looked for the mythological creatures, sea horses Heaney may have imagined observing in his classical theorist mind, such was the odyssey of looking.

Earth is both Heaney and Kingerlee’s tale. The human is either seeing the world go round them or they go round the world. Neither pathway is a wrong one but singularity is a difficulty, or challenge, as humans we are each separate and this essence is something Seamus Heaney has seen somehow in the work. Each of us separate from the person next to us. Vantage points are imitating expectations. Curation is at once a function causing juxtaposition which is a failsafe in exhibitors eyes of staging contest of will and endurance in spectacle. World museums frequently alter their game changing efforts to create gravitas, to enlighten, to mound or reach perceptions otherwise unvisited. Barriers are reduced often and it is narrative which – this discourse is only a single opinion brought from encounter- then unveils more thoughts. The glacial or the warmth of self connection to the work is where many take the time to achieve some knowledge-filled own time.

Depth beyond words

John Berger was one of the first like Marshall McLuhan to use contemporary rule breaking formation of words to allow an expedient entry to understanding learnt through allowing new media – detested by McLuhan but giving him a comfortable living – to provide alternative and therefore contestable views. Art history is changing everyday. To see paintings is primary. In visiting this exhibition then looking at a very well produced catalogue, full of indication and reproduction, itself a valid record and entry point, it is evident immediately their is absolutely no comparison or equality of experience to be had except by having nothing between you and the canvas, work. Most people visiting galleries know this and they ‘set aside’ prejudice of previous experiences – of galleries, of the work supposed, of opinions received, of visual comparisons.

There are few mediums of art more direct than paint on a basic flat surface. So what is it we are seeing and what is it John Kingerlee has achieved which makes this work distinctive and unique? It’s meaning is in the continuation of evolving our own thought experiences appreciating layers of context and going beyond it through to new ideas of empirical sense of humanity and self. We are in search through our examinations of things, objects and daily ephemera, notions which change and alter realism. Some things are un-salvageable until alternative messages come our way. Choices are complex as these paintings are capable of billions of alternative meanings once seen. I came away with one word which is a word to sum up our quest towards higher meaning for ourselves and mankind which this exhibition realises in a way. It is not a closing of a journey. It is a quest towards salvation. Salvation.

John Graham

21 January 2018

Belfast

Beyond the Beyonds – Work by John Kingerlee is on at The Crescent Gallery – Crescent Arts Centre – http://www.crescentarts.org University Road Belfast. http://www.kingerlee.com Larry Powell Art Consultant tel. +44 (0) 7765 406139 and at larrymatthewpowell@icloud.com

11 – 31 January 2018

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The Final Year : A Film Review

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The Final Year

Cast : Barack Obhama, John Kerry, Samantha Power, Ben Rhodes. Producers : John Battsek … producer, Diane Becker … co-producer, Alice Bristow … associate producer, Christopher Buchanan … co-producer, George Chignell .. Production Executive : Passion Pictures, Christopher Clements … Production, Executive: Motto Pictures, Ann Rogers,  associate producer, Kerstin Emhoff … co-executive producer, Julie Goldman … producer, Tyler Gurd … associate producer, Carolyn Hepburn … Production Executive Ann Rogers … associate producer, Andrew Ruhemann … co-executive producer, Nicole Stott … Production Executive: Passion Pictures, Erikka  Music by Philip Sheppard Cinematograph  by Martina Radwan, Erich Roland, Film editing by Joshua Altman, Langdon Page. Duration 1hr 29mins. Cert. 12a.

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The Final President

Home Box Office have created a documentary of the final year in office of the 44th President of the United States, Barack Obama’s tenure of service from 2009 to 2017 an inevitable expectancy reaching a form of closure.

THE FINAL YEAR is a unique insiders’ account of President Barack Obama’s foreign policy team during their last year in office. Featuring unprecedented access inside the White House and State Department, THE FINAL YEAR offers an uncompromising view of the inner workings of the Obama Administration as they prepare to leave power after eight years.  It is an ‘fly on the wall’ without the depth of the intimacy of private wrestling with the pervasive conflicting day to day manifestations of outfall not just of past history but managing the present.  It is inside and insightful yet is disappointing and troubling to watch.

News Management has soared to the top of everyone’s truth seeking senses.  It seems we are all on a course of becoming a component in an agenda of mismanaged futures through the choices made in elections everyone is on someone’s line of trajectory.  People as commodities.  Holding firm to truth and where it emanates from is as ever a pathos, as stories crush and compel arguments across Governmental desks.  Challenges are of unique carefully drafted message enveloped in media forms confronted by the reveal of history none were anticipating. Paradise papers and whistleblowers.  Julian Assange just recently became a citizen of Ecuador while the GB Government has him under house arrest.  Democrat disjunction, disfunction, is here to be seen also writ large ahead of the triumphalism of the anti-Athenian D. Trump.  Dialogue is free and interpreted instantly.  This film takes us up to that threshold and we are in the arc following when the choke was taken off the master tapes of the White House and Twitter accounts tell of internal wrangling.

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Term of Office

No longer is there a President of the United States but a franchise which is part an incumbent of enemies trading powers privilege staying off legislation. A News managed for the mass consumption in return for a route to launder currency is all it took to dismantle the final office frontier. Nations and boundaries no longer matter and instead a block chain of political dimensions untaught in manuals or educational establishments, for that is what they were, are grounded on blocks of power. High yield is a derivative played by arms provisions.

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Adjust the War

Barack Obama was the last President concerned with solving the long trail of a Rothschild type Imperialist agenda which saw the Gaza Strip as a battleground. He could not avoid it but it was not an analysis of sufficient gravity but a long held (dis)belief it was not a religious warp. So religion and it’s many dimensions never became part of the guidance on either side. Read the scholarly Saeb Shaath on the legacy.  Syria and The Middle East have held a long sword of unremitting horror over its own people extracting themselves from a century or more of exploitation through its  own tyranny.  http://saebpress.com/2013/08/saudi-arabia-funding-unrest-in-middle-east/. 20c Oil has been the catalyst for the resurgence of the Arab world to again become valid citizens in a fallible relationship with its surrounding neighbours and fellow followers of peaceful unity but it has harboured the hurt and damage caused by invasion and exploitation of corporate thieves. Now the calamity is in a frame of technicolour news as daily reports of intolerance, genocide and divisiveness saturate continents and infiltrate the outskirts of formerly untroubled Nations. Migration by displacement is a shared world problem.

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Calmness is a convoy of aid and here in the film of the round up of conventions and diplomatic dancing comes another narrative. Blaming and shaming. The aid literally is blown up by an actor for the world to react to, showing the failure diplomacy is. UN outrage is blunt and name calling. Putin is intent on alarming the world by showing here it is a crime to want peace if you do not accord with a rule of one Federation. The former Soviet Union is revengeful and Ukraine which barely gets a mention in this documentary is as near as we can place a truth of division outside of the Middle East used as a bargaining chip by both sides. The Hillary Clinton input is put aside also.

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Global Diplomacy

Heavily featured here is the Vietnam veteran John Kerry. He justifiable carries the burden of spokesperson for the nothing war which claimed and still does the lives of many of his fellow combatants and by mines left unexploded awaiting a victim. The Vietnam War follows through from Kennedy whose armaments fed the Vietnamese regimes fighting Communism to the Johnson and Nixon destruction both of their own troops and many civilians in Laos and thereafter came an legacy where there is still a long unbroken chain leading into Presidency after Presidency. Obama is intent on doing his peacemaking tour around the world and finds it gratifying and just in going back to the past and looking to repair the broken shattered peace and being a fitting memorial for drawing a line. Japan and Hiroshima will also feature.

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John Kerry is on the alternative narrative of dealing with today’s catastrophe while ignoring the elephant in the room of USA defence weaponry manufacture and industrial warmongering industries. Safe to say he is not a pacifist as late on he declares and at the same time purports to be seeking peace. On USA terms. The other handgliding drone in the room is a UN Ambassador whose job is to make the obstinate squirm and show up the fallacy of their ways. Samantha Power has the unusual insight of an Irish Immigrant background; disqualified from running for office by that origin but equipped by having been recruited on the basis of a journalists approach and her book on origins of war and where they are taking us, at least that was my original take on its premise. The John F. Kennedy School of Government at Harvard University (sic) was the institution Samantha Power established a Human Rights Foundation in. From writing about how 20th century genocide was ignored (wide generalisation given the WWII and continuation of The Great War) is lost in narrative with the title The Problem from Hell. Women’s issues are highlighted and it is neither seen as a fashion thing about wearing hijabs or subjection but a basic lack of equality. Religious dogma is not writ large. Kidnapping and slavery and terrible abuses are documented while the daylight of a USA where a form of women’s subjection is to open on news fronts across industries in a #me too narrative is in the shade here. Truth will out eventually. One of the guides they fail to recount is John Stuart Mill, not only on divinity recalling the individual broadly used not as freedoms footnote but as a economic distribution ethos.

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Unintelligible is the strength and power of religious idealism and internally humanity overdoing any ‘value’ hierarchy brought about by trade. JSM relies on ‘constructive empiricism’ while seeing or rather not seeing ‘nature’ – the storms of civilisation alongside the natural phenomena of our daily bread – constantly putting us in our rightful place demanding reconciliation with it and ourselves. For JSM his wisdom also produced solutions peculiar to himsel& and in his relationship with Harriet Taylor evidenced an equality of existence even the Church could not form. Itself a ‘periclesian’ mode which was denying no one their individual freedom. The suffragettes at the same time conducted wicked and detestable bombing and created a scourge still not acknowledged as a means to an end. Democracy. Enemies were many and often with good cause. So this is a backdrop History is failing to include in the breath of those forces confronting the so called ‘leaders’ this film seems intent on eulogising in a passing river of consciousness as it reaches down rebranched tributaries and flows continually caring the waters which it will always carry.

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Dressing wounds

Narratives are forms of life and no history of the world can be written without the diaspora having a say. From the Anglicised retention’s of rule in a Fedralised America to the Religious strength consumed and abused in the USA and nations from the tip of South America up to Alaska, Canada, across Europe and spread dishonestly as a rhetoric of truth comes another will. The will of America to prevail and be prevalent as values which we are overhearing in the everyday talk of the rooms of power.  No mention of the G20 or Peter Sutherland, Goldman Sachs or any taint of monied America getting its hands dirty?  Just another HBO narrative with displacing counterpoint in soundbites hurled with intended anonymity into the whirlpool of chaos two steps behind the developing story.  At the beginning of the film comes a follow me routine. The feet fast and well shod on prepared ground. The diplomats timetable run out as prescribed in advance but always a beat behind. It’s as though they are insistent on not being their on time so as to disown the past.

Imperialist allies

Britain invented Israel as a removal of a family of languages and people. the afroasiatic form called Hamito-Semitic, a family of languages including as subfamilies Semitic, Egyptian, Berber, Cushitic, and Chadic.  Syria is Palestine and holds a bitter division in opposition to the Imperialist Israel Project with Lebanon as a hideout. An interesting novel character is found in a speech writer whose compass matches Barack Obama’s.  Ben Rhodes is an under forty master of spin and incisive vective. This is a part of Obama’s person he (Obhama) can’t devote time to so has allowed a surrogate to unfold his theories and unlock his wisdom. Unwittingly or is it intent, he is cast in the mound of a Jewish intern general with a false past which is possibly denuded of the Religious might he is from.

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Religion is swerved here. His Episcopal Father and Jewish Mother are tongues he listened to and listens internally to now it would seem safe to assume. No faith is to undo the legacy of an infant Israel heresy. Muslim or Christian. Judaism in a bold type of monotheistic reason is adhered to in American eyes.  Both these travellers, Obhama, Rhodes, are Religious in degrees privately it has to be assumed from other media but often as not it is left outside the Oval Office. Neither seems to realize their part is based in Religious heirachy and they are beholden by virtue of their cloth. That sets them apart and mitigates against their understanding of others values not matching theirs. Fundamentally in the Middle East.  Winston Churchill is apparently their mentor or past leader of choice for guidance. He was beholden to America also and Blenheim Palace became the gift of the British Crown for his persuasion in getting the USA to enter WWII and send supplies into a Europe which was under siege from that genocide The Problem from Hell. More like the problem of Hell. How not to see it. How to not recognize its advance.

Hell is in the clouds and earth.

Speeches set the tone and every new room entered has a pathos to be delivered. For Barak Obama it is the American Declaration of Independence and is foremost in lectures to the gathered. It was what a Congress was derived for. July 4, 1776, and the words were set in Washington’s Presidency. Those words were conscripted from Ulster’s Francis Hutchensons philosophy brought forth by Thomas Paine as exiles of the yoke of imperialism they so detested.  Unitarian in thought and principle their ideas were nevertheless based on individuals allowance of free thought. Less words would carry such might as those distilled here. Yet where are the notions of the Declaration in assignment against the tours of combat since embarked on. Only the hideous genocide of future generations in Africa and Asia would equal the waste of WWII and its legacy borne world wide. Now the countries are being stripped of their assets by new entrants from China and the G20.

Conclusion ###3

Rich as this film is equipped with the sensory media behemoth of the United States of America in history mode it fails to direct the camera in any decisive illuminating way while illustrating a West Wing narrative which is high on ideal and lacking in scuprles or any game changer dynamic.  The anticipation of office has been swamped by time advancing with greater perils opened up through truth emerging in histories recall.  As a mission to complete the 44th Presidency many repairs were sought to be made by Barack Obhama while his steadfast troops both suited and fatigued were deployed on present day flanks with much of the common talk broken into slow burning flames of hope.  It is a film worth seeing as a reminder of the removal from the political sphere a genuine worthy experience of mankind reckoning with their own failures and beholden by powers immensely conflated and misunderstood.  Philosophy is in its a bit but it is a failure to define politics as a motor of governance for the common good which is all too clearly absent given the extremes of the states and actors involved at the heart of our world order.

John Graham

18 January 2018

Belfast

Opening at Queens Film Theatre Belfast 19 January 2018 until 25 January 2018.

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