Boyd Tonkin finds great buildings, a bold new art gallery and custard pies to die for in Portugal's capital
Everyone in Lisbon says that, since Portugal's great age of exploration, the city has looked far out to sea. It took a hand-written list of pratos de dia outside a little restaurant on the Rua das Janelas Verdes Street of Green Shutters to add spice to that truism for me. Today's specials? “Tandoori chicken €6.50, pork saag €6.50, chicken dansak €6.50, pork biryani €5.50”.
The pork dishes tell the story on a plate. In 1497, Vasco da Gama's first expedition to the Malabar coast inaugurated Portugal's brief heyday as a maritime superpower and began an affair with India (above all in Goa, Portuguese until 1961) that persists until now. António Costa, Portugal's prime minister, comes from a part-Indian family that still has an ancestral house in the south Goan town of Margao.
Continue reading...the collaboration highlights the importance of color in sport, and celebrates the history of the NFL's 32 teams.
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The screenwriter on a great festival, shock horror Train to Busan, hacking TV drama Mr Robot and immersive theatre to die for
Born in London in 1970, screenwriter, producer and author Goldman began her writing career aged 16 when she left school and became a journalist, initially working as a showbiz reporter for the Daily Star. That same year she met Jonathan Ross in a nightclub, married him in Las Vegas aged 18 and went on to have three children with him. While the children were young, Goldman published several nonfiction guides for teenagers and, in 2000, her first novel, Dreamworld, before making the switch to films as co-writer on 2007's Stardust. The movie was the first of several successful screenwriting collaborations with Matthew Vaughn, namely Kick-Ass (2010), X-Men: First Class (2011) and Kingsman: The Secret Service (2015). Her latest project is an adaptation for director Tim Burton of Ransom Riggs's Miss Peregrine's Home for Peculiar Children, in cinemas this week.
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It's a thrill to see the wildly beautiful art of Pollock, Rothko, De Kooning et al up close. Though you can have too much of a good thing…
There is an unnerving surprise at the start of this show. It is Mark Rothko's self-portrait. The artist of those numinous veils of colour, his aims (and his rhetoric) so transcendent, turns out to be a big lug in a brown jacket who can't draw his painting hand and botches his mouth. He is wearing tinted spectacles.
Rothko, along with his colleagues Adolph Gottlieb and Barnett Newman, is responsible for the abiding utterance of abstract expressionism. “The subject is crucial, and only that subject matter is valid which is tragic and timeless.” This subject matter painted big and painted simple, or so they claimed was as much about the human condition as any figurative self-portrait. That some of their colleagues might be more interested in landscape, colour or God forbid naked women, is only one of the innumerable ways in which this statement fails to unite conceivably the most disparate of all art revolutions. And so it is with this show.
Abstract paintings lose their force of personality when strung like washing on a line
Continue reading...while polygonal glass forms refract light throughout the space, tropical greenery offers an escape from the otherwise industrial landscape.
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This fiercely intelligent British chiller from Scottish director Colm McCarthy, whose small-screen credits include Doctor Who, Sherlock and Peaky Blinders, breathes new life into age-old horror tropes, taking familiar fears of zombies, the apocalypse and eerie children and spinning them in surprising ways. Although writer Mike “MR” Carey's narrative about a fungal plague that turns victims into cannibalistic “hungries” occupies a post-28 Days Later landscape, the central obsessions explored here are closer to the identity crises of Never Let Me Go (both book and film), with a strong underlying strain of the very British weirdness of John Wyndham.
The budget may have been relatively constrained (£4.4m), but not so the ambition of the film-makers who conjure a gripping genre picture as fleet-footed as its nimbly marauding zombies, juggling thoughtfulness and gore, brains and brawn, with subversive wit and invention.
It's a quantum leap from McCarthy's flawed but intriguing 2010 debut feature Outcast
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Today, Saturday Sept, 24, 2016 in the morning, the Smithsonian's National Museum of African American History and Culture officially opened on the National Mall in Washington, D.C. Participants in the ceremony included President Barack Obama, former President George W. Bush and Mrs. Laura Bush, Chief Justice John G. Roberts Jr., Smithsonian Secretary David Skorton, Rep. John Lewis and Lonnie G. Bunch III, the museum's founding director.
Obama, the final speaker, First Lady Michelle Obama and members of the Bonners, a four-generation African American family, rang the Freedom Bell, a 500-pound, cast-steel bell from the First Baptist Church of Williamsburg, Va., to officially mark the museum's opening. Bells then rang throughout Washington, D.C.
In addition to 7,000 seated guests on the museum grounds, tens of thousands of people gathered around the Washington Monument to watch the ceremony on Jumbotrons and cheer the museum's opening.
A video of the ceremony can be seen here:
Below are a few photographs of the many celebrants of all ages who came to the National Mall this morning to witness the historic opening of this newest Smithsonian museum. (Photos by John Barrat)
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