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Fremantle’s hunt for the cash for continued production will have to start in earnest, but short of returning to a British backer, the prospects look decidedly final for a show that has lasted well beyond its time.
The demise of political debate as it used to be, in favour of the fervent, dogmatic statement of party opinion as incontrovertible fact as we have now, has dramatically changed the nature of political discourse around the world.
If the Gaza war has taught us anything, it is that Gaza and the Palestinian people have proven to be the most central players in this ongoing tragedy. It is they, their resistance, and their political discourse that will eventually defeat the Israeli occupation and bring peace and justice back to Palestine.
The idea of “my country” being primary is anathema to the human being. Though the vast majority of humans have identified with particular groups for thousands of years, a small minority of human beings has always emotionally realized that they are part of humanity as whole.
This is Pablo Picasso the way he is rarely seen – at least in so far as the hundred or so pieces at the British Museum’s Picasso: Printmaker have been displayed. The viewer is treated to dazzling marked draughtsmanship that also evinces a mastery of techniques: the use of drypoint and etching, lithographs, linocuts and aquatints.
For obvious reasons, people feel uneasy when the right to be a citizen or resident is sold off to wealthy foreigners.