March 23, 2023

PAULA REGO: THE STORY OF STORIES AT PERA MUSEUM ISTANBUL

 



PAULA REGO: THE STORY OF STORIES AT PERA MUSEUM




PAULA REGO: THE STORY OF STORIES AT PERA MUSEUM

The pleasure of toppling authority

December 23, 2022 – April 30, 2023

Pera Museum now hosts the works of a unique artist who redefined figurative art. The exhibition Paula Rego: The Story of Stories introduces art enthusiasts in Istanbul to Rego's paintings with an unprecedented selection. Rego, who passed away at the age of 87 last June, held her last exhibition as part of a retrospective at Tate Britain showcasing her works from all the phases of her artistic practice. The works of Paula Rego, who was born in Portugal, studied art in London, and made a name for herself among the most significant European artists, were also featured in this year's Venice Biennale.

Immediately following the Tate Britain retrospective and the Venice Biennale, the works of Paula Rego now await their visitors at the Suna and İnan Kıraç Foundation Pera Museum in Istanbul. Curating paintings that blend innocence and experience with elusive messages and narratives, the exhibition entitled Paula Rego:The Story of Stories  welcomes its audience to a magical space.Curated by Alistair Hicks, the exhibition includes the artist's oil, pastel, charcoal and acrylic paintings and installations. Offering a selection of Rego's early works from the 1960s that focus on both personal and social struggle, her large-scale paintings depicting single figures she created in the 1990s with striking narratives, and works consisting of layered scenes she produced after 2000, the exhibition will run until April 30, 2023.

A revolutionary with unlimited imagination

The exhibition’s title is an inspiration from the name of a museum in Cascais that is located along the coasts of Lisbon and that is home to Rego’s works: “House of Stories". Curator of the exhibition Alistair Hicks says, “Rego herself is a little house of stories,” and adds: “Rego's story begins with a girl born in a fascist state run by men. As a young woman, she was educated in the most arrogant and traditional art school in Britain. At an early age, she learned about authority and the pleasure of toppling it within the confines of her own world.”

An uncompromising Portuguese artist with an extraordinary imagination, Paula Rego revolutionized the way women were represented with her works, most of which highlight her personal nature, the socio-political context she feeds on and various themes such as oppression, authority and institutional violence.

Curator Alistair Hicks recalls a critic describing the artist’s first exhibition in Galeria de Arte Moderna in Lisbon as animalistic, wicked, and amazingly shocking” and says, “Rego's work captures the repulsive relationship between sexuality and power with pinpoint accuracy.”

When Paula Rego was born, Portugal was ruled by dictator Salazar. This did not change for the 35 years of Rego’s life, and it had a significant impact on Rego and her Republican family. In one of her interviews, Rego said, “My favorite themes are power games and hierarchies” and added: I always want to turn things on their heads, to upset the established order, to change heroines and idiots. If the story is ‘given’, I take liberties with it to make it conform to my own experiences, and to be outrageous. At the same time as loving the stories I want to undermine them, like wanting to harm the person you love”

Alistair Hicks highlights the importance of Rego's reintroducing stories into the mainstream of art, interpreting it as "a pivotal feminist contribution”: “In 1952 when she was the youngest student at the Slade, Rego was only allowed to depict stories that were strictly forbidden by school rules, because her teachers thought that she was a 'stupid girl' and that only male students would produce serious work.”

This approach is a reflection of the prejudice against women in the world of arts and women in general. In most cultures in the early age, women were considered to be guardians of stories. It was their duty to pass stories down, and women's stories had long been dismissed as "gossip." Hicks says, “Banning stories was just one of the many ways men tried to prevent gender-equal artistic competition. Every story told and retold helps to prove how rich the world is when we deviate from the preordained paths. Rego may have been ordered to ‘Sit down!’ But nothing could control Rego's mind and the pen that followed it’s command.”

Since her childhood, Paula had grown with the stories told to her by the women around her, especially her grandmother and her aunt. As the exhibition curator Alistair Hicks puts it, she was fed by a sea of stories, and stories poured out from her paintings.

Hicks describes the atmosphere prevalent at Slade, University College London's art school, at the time Paula Rego enrolled as a young student at the age of 17. “The fifties had a complicated relationship with stories, as there was a shift from the doctrine of ‘art for art’s sake’, from art’s obsession with absolute beauty, towards the ‘aesthetics of meaning’. Stories have long been a useful tool for depicting meaning. Francis Bacon saw it too, but due to the bigotry of his time, sought the greater magnificence of Greek myth.  Rego reasserted the painting’s role of deception and narration, making an important contribution to feminism.”

Although Paula Rego described herself as a “kind of an old-fashioned feminist,” Alistair Hicks disagrees: “She was a modern, open-minded feminist with an endless supply of startling, conflicting stories. She opened up in the 1980s and learned to use her own weaknesses, fantasies, and frustrations. She walked on a path that took her to face depression and abortion.”

In the early 2000s, a series of paintings by Rego dealing with the issue of abortion was associated with the Portuguese referendum to legalize abortion. The paintings were used effectively in the campaign, which eventually led to the amendment of the law. The then-president of Portugal described the impact of Rego’s paintings on the result: “It was a great way of showing that we cannot keep this kind of thing.”

Supported by the British Consulate General in Istanbul, British Council, Embassy of Portugal in Ankara and the Camões Institute, the exhibition includes a selection from Rego's family and personal collections, as well as important art institutions like the British Council Arts Collection, Gulbenkian Foundation Collection, Casa Das Historias Collection, Ostrich Arts Ltd, Victoria Miro Gallery Collection and Leeds City Art Gallery.

Featuring an exhibition and catalogue design by PATTU, the Paula Rego: The Story of Stories exhibition will be on display at the fourth and fifth floor exhibition halls of the Pera Museum until April 30, 2023.









PREGNANT RABBIT TELLING HER PARENTS, 1981-2

Acrylic on Paper

Dimensions: 101 x 137 cm

Private Collection











RED MONKEY OFFERS BEAR A POISONED DOVE, 1981

Acrylic on Paper,

Dimensions: 69 x 101 cm

Courtesy of Ostrich Arts Ltd. & Victoria Miro

Private Collection







RED MONKEY BEATS HIS WIFE, 1981

Acrylic on Paper,

Dimensions: 65 x 105 cm

Ostrich Arts Ltd. Collection

Courtesy of Ostrich Arts Ltd. & Victoria Miro







THE BRIDE, 1985

Acrylic on Canvas,

Dimensions: 220 x 200 cm

Private Collection







PARADISE, 1985

Acrylic on Canvas

Dimensions: 220 x 200 cm

Private Collection









ON THE BEACH, 1985

Acrylic on Canvas

Dimensions: 179,2 x 242,5 cm

Private Collection on deposit at Fundação D. Luís I / Casa das Historias Paula Rego

Photograph: © Carlos Pombo







CARMEN MIRANDA, 1985

Acrylic on Paper Mounted on Canvas,

Dimensions: 121 x 151 cm

Private Collection







THE VIVIAN GIRLS IN TUNISIA, 1984

Acrylic on Paper on Canvas

Dimensions: 250 x 181.5 cm

Ostrich Arts Ltd. Collection

Courtesy of Ostrich Arts Ltd. & Victoria Miro









BATTLE OF ALCACER – QUIBIR, 1966

Wool, Silk, Cotton and Various Tissues on Linen

Dimensions: 250 x 650 cm

Courtesy of Cãmara Municipal de Cascais / Fundação D. Luís I,Casa das Histórias,

Paula Rego Collection | Photograph: © Carlos Pombo











AIDA, 1983

Acrylic on Paper

Dimensions: 240 x 203 cm

Ostrich Arts Ltd. Collection

Courtesy of Ostrich Arts Ltd. & Victoria Miro







THE ARTIST IN HER STUDIO, 1993

Acrylic on Canvas,

Dimensions: 180 x 130 cm

Leeds Museums and Galleries Collection

Bought with Support From The Art Fund, the V&A

Purchase Grant Fund and the Leeds Art Fund, 1994















PERA MUSEUM ISTANBUL 




ABOUT PERA MUSEUM

Inaugurated on 8 June 2005, Pera Museum is a private museum founded by the Suna and İnan Kıraç Foundation. The aim of offering an outstanding range of diverse high quality culture and art services is as important today as when the Museum first opened its doors to the public.

Couched in the historic quarter of Tepebaşı, the impressive building was originally conceived as the Bristol Hotel, designed by architect Achille Manoussos. Restorer and architect Sinan Genim was given the daunting renovation operation in 2003; the triumph of transforming the interior into a modern and fully equipped museum is only matched by the architect’s mastery in simultaneously preserving the exterior façade, safeguarding an integral part of Istanbul’s architectural flavour.

Through Suna and İnan Kıraç Foundation's three permanent collections, “Orientalist Paintings”, “Anatolian Weights and Measures”, and “Kütahya Tiles and Ceramics”, Pera Museum seeks not only to diffuse the aesthetic beauty of these collections but also to create a dialogue with the public concerning the values and identities they encompass. Utilizing a full scope of innovative methods, including exhibitions, publications, audio-visual events, learning activities, and academic works, the objective of transmitting the beauty and importance of these works to future generations is realised. Having organized joint projects with leading international museums, collections, and foundations including Tate Britain, Victoria and Albert Museum, St. Petersburg Russian State Museum, JP Morgan Chase Collection, New York School of Visual Arts, and the Maeght Foundation, Pera Museum has introduced Turkish audiences to countless internationally acclaimed artists. Some of the most illustrious amongst these include Jean Dubuffet, Henri Cartier-Bresson, Rembrandt, Niko Pirosmani, Josef Koudelka, Joan Miró, Akira Kurosawa, Marc Chagall, Pablo Picasso, Fernando Botero, Frida Kahlo, Diego Rivera, Goya, Manolo Valdés, Andy Warhol, Cecil Beaton, Alberto Giacometti, Giorgio de Chirico, and Sergey Parajanov

Since its inauguration, Pera Museum collaborates annually with national and international institutions of art and education to hold exhibitions that support young artists. All of the Museum’s exhibitions are accompanied by books, catalogues, audio-visual events in addition to learning programs. Parallel to its seasonal programs and events, Pera Film offers visitors and film buffs a wide range of screenings that extend from classics and independent movies to animated films and documentaries. Pera Film also hosts special shows that directly correlate with the temporary exhibitions’ themes.

Pera Museum has evolved to become a leading and distinguished cultural center in one of the liveliest quarters of İstanbul.

https://www.peramuseum.org/Home/About





















HISTORY OF THE BUILDING

The construction of Hôtel Bristol, designed in unison with the general architectural character of the time by architect Achille Manoussos, was completed in 1893. The building was owned by the Armenian Catholic Patriarchate.

Hôtel Bristol was among the city’s most important hotels, and it frequently hosted high-ranking international guests. It remained in service until the early 1980s.

Constructed with brick masonry, Hôtel Bristol displayed features of neoclassical architecture: It had a large lobby, marble stairs, a lift, comfortable suites, halls, and a spacious dining hall with separate table seating.

Over the years, Hôtel Bristol had famous managers, such as Logothetti, Adampoulos, Djiras and Hadjira. Reflecting the changes in the region’s demographic composition in the early 1930s, Ömer Lütfi Bengü bought the hotel and continued to manage it until the 1980s.

In the 1980s, Hotel Bristol could no longer compete with newer hotels. Following the passing of the final owner of the hotel, Ömer Lütfi Bengü, in 1983, his heirs put it up for sale. The building was first purchased by Yıldız Lastikçilik, a rubber manufacturer, and then by Esbank, a national bank.

The building was redesigned by architect Doğan Hasol in order for it to function as the headquarters of Esbank. The hotel and the adjacent five-storey residential building underwent comprehensive renovation; their lots were combined but their façades facing Meşrutiyet Street were retained.

The building served as the headquarters of Esbank until 2002. It was redesigned as a modern and fully equipped museum by architect Sinan Genim, who retained Manoussos’ original façade as well as the lots combined by Hasol.








PERA MUSEUM ISTANBUL 












SIT, 1994

Pastel on Paper on Aluminum

Dimensions: 160 x 120 cm

Private Collection







LUSH, 1994

Pastel on Canvas

Dimensions: 120 x 160 cm

Hollywood Fine Art Collection

Courtesy of Ostrich Arts Ltd. & Victoria Miro







WIDE SARGASSO SEA, 1991

Acrylic on Canvas

Dimensions: 75 x 99.5 cm

Courtesy of Ostrich Arts Ltd. & Victoria Miro







UNTITLED (STUDY FOR THE ABORTION SERIES),1998

Pencil on paper,

Dimensions: 32 x 42 cm

Collection

Courtesy of Ostrich Arts Ltd. & Victoria Miro





STUDY FOR THE ABORTION N.3, 1998

Pencil on paper,

Dimensions: 42 x 59 cm

Collection Courtesy of Ostrich Arts Ltd. & Victoria Miro





UNTITLED (STUDY FOR THE ABORTION SERIES 1),1997

Pencil on paper,

Dimensions: 31 x 42 cm

Collection Courtesy of Ostrich Arts Ltd. & Victoria Miro





UNTITLED NO.4, 1998

Pastel on Paper Mounted on Aluminium

Dimensions: 110 x 100 cm

Private Collection





UNTITLED 1, 1999

Etching on Somerset paper,

Dimensions: 38.0 x 48.0 cm

Courtesy of Ostrich Arts Ltd. & Cristea Roberts Gallery

| Edition of 17





UNTITLED 2, 1999

Etching on Somerset paper,

Dimensions: 38 x 48 cm

Courtesy of Ostrich Arts Ltd. & Cristea Roberts Gallery

Edition of 17





UNTITLED 3, 1999

Etching on Somerset paper,

Dimensions: 38 x 48 cm

Courtesy of Ostrich Arts Ltd. & Cristea Roberts Gallery

Edition of 17







DEPRESSION No. 7, 2007

Pastel on Paper

Dimensions: 101.5 x 68.5 cm

Courtesy of Ostrich Arts Ltd. & Victoria Miro







FLYING CHILDREN, 1992

Coloured Etching and Aquatint on Somerset Paper

Dimensions: 62.4 x 50.7 cm

Courtesy of Ostrich Arts Ltd. & Cristea Roberts Gallery







ORATORIO, 2009

Wood Cabinet with Side Panels Comprising of Eight Paintings

(Conté Pencil on Paper) and Eight Figures

Dimensions: 255 x 350 cm

Ostrich Arts Ltd. Collection

Courtesy of Ostrich Arts Ltd. & Victoria Miro







SALAZAR VOMITING THE HOMELAND, 1960

Oil on Canvas

Dimensions: 94 x 120 cm

CAM-Fundação Calouste Gulbenkian, Lisbon Collection







UNTITLED, 1986

Acrylic on Paper

Dimensions: 112 x 76 cm

British Council Collection | Courtesy of the British Council Collection





SNARE, 1987

Acrylic on Paper Mounted on Canvas

Dimensions: 150 x 150 cm

British Council Collection

Courtesy of the British Council Collection





TURKISH BATH, 1958

Collage, Acrylic Paint and Graphite on Canvas

Dimensions: 93 x 93 cm

CAM-Fundação Calouste Gulbenkian Collection, Lisbon





STUDY FOR THE FAMILY, 1987

Indian Ink on Paper

Dimensions: 31.5 x 29.5 cm

Ostrich Arts Ltd. Collection

Courtesy of Ostrich Arts Ltd. & Victoria Miro