PAULA REGO: SECRETS AND STORIES

I caught the repeat on BBC2 of Nick Willing’s film, Secrets and Stories, about his mother Paula Rego, a useful pendant to the recent retrospective at Tate Britain – a long interview interspersed with images of her at work and film of her younger self. What was obscure at Tate became clear: the autobiographical sources of her art and the way she exorcised her demons through painting. She inherited her father’s disposition to depression and admitted that her childhood was full of fears.

Willing said that until her eighties Rego was almost secretive about her life, but then she began to tell stories. The cause of her reticence may have been the way her experiences motivated her. If she talked she wouldn’t have painted. Well-adjusted people aren’t great artists.

The film was informative about Victor Willing, Rego’s husband. It was he who was tipped for artistic stardom at the Slade, not her, but as his inspiration withered, hers grew, and he enouraged her without jealousy.

Rego followed an undistracted figurative course through post-war fashions to become one of our greatest artists, but we saw here that she took 25 years to make the paintings we recognise her for. Not unconnected with her greatness is the fact that her talk was free of artbollocks. There was no wish to impress, to which lesser artists are prone, no conventional jargon, no theorising. She said what she felt and believed. Everything was real.

VILLAGE UNDERGROUND, LISBON

On the way back from Belém and MAAT we looked in at Village Underground, a space in the dock area that has been taken over for a new cultural initiative using old containers and buses. It’s under the 25 April bridge and next to the converted warehouses used for creative industries and new businesses.

This is how they describe it:

“Village Underground (VU) is an international platform for culture and creativity, which was created in London in 2007 and reached Lisbon in 2014. It is also a coworking community and a creative events destination.

“Its unique architectural structure is made from shipping containers and double decker buses, recycled into office spaces, a restaurant and conference room.

“A landmark in the Lisbon landscape, Village Underground is home to a new creative community in the city.”

As it was Sunday there wasn’t much going on, but it was an attractive space and I was sorry not to see it in use.

MAAT, LISBON

In Belém we visited the new Museum of Art, Architecture and Technology, which brings together artists, designers, architects and visionaries in Amanda Levete’s dramatic, shark-shaped building.

The displays focus on global threats, environmental change and mass population movement.

Tomás Saraceno’s Thermodynamic Imaginary (above) is a sustainable housing future of balloons that draw energy from the sun and the earth’s radiation. The Center for Genomic Gastronomy wrote The National Dish, in which they brought scenario planning to bear on Portuguese food. The Living exhibited mycelium bricks, their energy neutral and biodegradable building materials. Diller Scofido and Renfro presented Exit 2008-2015, a startling summary of the effects on the world population of war, drought and flooding (below).

I would have liked less apocalypse and more solutions, but this is an unusual and challenging gallery of blue-sky thinking.

QUERUBIM LAPA

On a visit to Lisbon I found that the azulejo tradition is not only more deeply rooted in Portugal’s culture than I realised but that it remains alive and is being continually renewed.

The Lisbon metro has been decorated in azulejos over the last twenty years, using modern techniques like screen printing and styles and themes that are completely contemporary. Then, when we were walking past the Pasteleria Alcôa (the best pastry shop in the city), I saw the tiled shop front made by Querubim Lapa in 1960, a beautiful, softly-painted panel in shades of blue.

Lapa, I discovered, was one of Portugal’s principal contemporary ceramic artists. The high esteem in which tile painting is held in this country meant that after a training and early career in easel painting, he was able to concentrate entirety on ceramics.

The shop in Rua Garrett, originally for a seller of lottery tickets, Casa da Sorte, was a collaboration between architect Francisco Conceição Silva and Lapa. Lapa rated his contribution so highly that he asked for his application for the chair in ceramics at the school of fine arts to be assessed on it alone.

When Casa da Sorte closed, there was concern for the future of this fine ceramic work, but, when Alcôa took over the building in 2015, they undertook not to disturb it.