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This Cultural Life

and then, just quite madly, i was doing my a—level art history project on him, and i read everything i'd ever, that was ever written about him, ifelt. and then one afternoon he'd had, he had a show on at marlborough art gallery, a commercial show, and i, i got the afternoon off school. i had to get permission to go to see the show. and as i was in the show, he walked in with his sister. and i was 16 or 17, you know, and ijust thought, "i've got to talk to him. got to talk to him." and all the flunkies in the gallery were allaround him. and ijust walked up to him and said, "can ijust ask you some questions?" and he gave me i, as i remember it, a lot of his time. and the people from the gallery were almost physically trying to get me away from him and him away from me, and he told them to go away. he said, "i'm talking to the young man. leave me alone." and they alljust disappeared. so it was a big deal, basically. but to meet him and to be treated with respect by him, ifelt, was, was a real... i was very impressed by that

Everything , Show , Ifelt , At-marlborough-art-gallery , Art-history-project , One , Cos-ijust , Permission , Sister , Afternoon-off-school , 17 , 16

This Cultural Life

in public places. just talk about how the work came about, first of all. i was asked if i had an idea for how would you memorialise a disaster, effectively. 19,000 people dying in one day. i just thought to myself, "what would i like to see "as someone, what would be interesting for me to know?" and ijust thought, "well, it has to be living people "to represent the dead." and so the idea really occurred to me, most of it, in one go. it's just that people in very accurate uniform move through britain on that day, unannounced, and they kind of infect the body politic. it's like a virus effectively going through britain and these men. and it's slightly sinister, maybe, or off—putting or whatever. ghostly. yes. but they're more like phantoms. not that i know what a phantom is compared to a ghost, but was more like... it's not a haunting as such. but it's just the... it's the presence. so we're very much... ..3d and they're solid things. they're not like ghosts you can put your hand through. they're there and they, they won't talk to you, but they will sing

Idea , Someone , People , Work , Disaster , Places , All , Effectively- , 19000 , One , It , Cos-ijust

This Cultural Life

shouting what was the motivation for that event and the restaging of something which, again, was such recent history? well, i think because it was recent history, and as history had been buried very effectively by...conservative governments and then new labour, and i worked with re—enactment societies. that's correct. but also with local people who, many of whom had been miners and had been at the battle of old orgreave. and we created this public event. it was about 1,000 people recreated the day, as it was. and filmed by mike figgis. filmed by mike figgis. and the reason i did it — i was very interested in that day. i remembered it as a young person watching the news and being totally disturbed by what i was looking at, cos ijust remember people being pursued up a hill by dogs and police on horseback and being sort of cut down by, by them, basically. so it had all the looks of something that would have, could have happened

Something , History , Event , Which , Restaging , Motivation , Shouting , Governments , People , Miners , Many , Labour

Newscast

who would you have? you were a big supporter ofjeremy corbyn? maybe big is not the right word, but you supported, you were enthused byjeremy corbyn? iwas, yeah, and it helped meeting him. he came across as a very kind person and an empathetic person, someone who actually had feelings and understood the plight of people, of the working—class especially. i mean, ifelt, yeah, it was hard for him, wasn't it? i mean, i felt... yeah, it was hard for him, wasn't it? really difficult. some people would argue he made it even harder for himself. potentially, yeah. but again, humans, we don't always get everything right, do we, and sometimes you lose self—awareness when you're in such a position, ithink. could you find yourself getting enthused about keir starmer? do you know what? i'll be honest, as much as i disagree with apathy, and i think it's really important to take an interest, cos for most of my life, i didn't, cos ijust felt politics, they don't talk like me, they don't sound...

Word , Someone , Person , Byjeremy-corbyn , Iwas , Supporter , Meeting , Feelings , Ofjeremy-corbyn , People , Vat-policy-wasn-t , Wasn-t

Newscast

participate in debates, vote on laws. it's the greatest honour and privilege of my life to be the mp for aberavon and ijust think it's an insult to your constituents to do what he did. so, i think it's completely out of order. on the political dynasty thing, i'm slightly overstating it there, but as the children of mps, you know, we hear so often people saying not enough people are drawn towards politics any more. it can be a toughjob, you're on a five—year contract with the electorate living in two places and all that sort of stuff. i suppose a newscaster might wonder, i mean, what's interesting is, neither of you were put off by the political life, by growing up surrounded by it when it does have its strains and difficulties and being in public life and being on the side of arguments where you might be unpopular or whatever, yet you still decided to go for it, which ijust think is quite intriguing. you saw enough to lure you in rather than put you off?

Thing , Life , Cos-ijust , Order , Mp , Dynasty , Vote , Constituents , Privilege , Debates , Laws , Honour