GUILLERMO THOMAS recommends an important, if dispiriting book about the neo-colonial culture of Uganda under Yoweri Museveni
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Riveted by Rego's realm
Visceral, confrontational and emotionally charged, the retrospective of scenarios by the great Portuguese artist transfixes JAN WOOLF
TROUBLING TALES: (L to R) The Dance (1988) and The Policeman’s Daughter (1987)
SUSAN DARLINGTON applauds the sensuality and strong characterisation of an unconventional ballet about an unconventional woman
BRENT CUTLER admires the plotting but takes issue with the politics of a new Scottish crime thriller
Tyrannosaurs in Thailand, colonialism as videogame, and a feminist gem from 1936
PAUL FOLEY steps gingerly through an exhibition that purports to show east and south-east Asian culture, and questions its intentions
New releases from Alex Wilson and Omar Rios Melendez, Hello Cosmos, and Harry Christelis
Paula Rego
Tate Britain, London
FIGURATIVE art has become fashionable again, apparently.
Yet the extraordinary Paula Rego probably couldn’t care less. Pushing on through the fashionable Young British Artists era of the 1980s, she has always drawn and painted what she needed to.
Born in Portugal in 1935, she was brought to England by parents opposed to the fascist Salazar regime — God, Homeland and Family was one of its guiding slogans and the Female Portuguese Youth was set up to train girls for domesticity.
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