Two powerful voices in contemporary art — Paula Rego and Adriana Varejão — come together in an exhibition that is as visceral as it is relevant. The show at CAM in Lisbon is about women artists, about painting, about history, and about wounds — the unhealed scars of history and colonization. It stages an intercontinental dialogue between Portugal and Brazil, weaving stories of memory, violence, and resilience.

On Saturday morning, September 13th, fifteen members of 100 Collectors gathered for a guided visit led by journalist and curator Julia Flamingo, part of the 100C team. The tour took place at the brand-new Centro de Arte Moderna (CAM) of the Calouste Gulbenkian Foundation, an architectural landmark designed by Kengo Kuma.

Adriana Varejão (b. 1964) is one of Brazil’s most important contemporary artists. Her work delves into the legacies of colonialism, exposing its scars through visceral paintings that often resemble ruptured flesh, cracked tiles, or architectural fragments. Varejão reveals how violence and hybridity have shaped Brazilian identity, creating works that are both raw and deeply layered with history.

Paula Rego (1935–2022) is widely recognized as Portugal’s most celebrated artist. Having lived much of her life in London, she developed a singular figurative language that challenged conventions of gender, power, and morality. From reinterpreting folk tales to confronting political struggles — including her renowned Abortion Pastels — Rego’s art consistently gave voice to women’s experiences and exposed the darker realities of society.

Seen together, Rego and Varejão establish a dialogue that is urgent and unsettling. Their works open space to reflect on social issues such as abortion, depression, violence, prejudice, colonialism, and the wounds that societies often prefer to ignore. Both artists confront these delicate, often taboo subjects head-on, exposing them through art with uncompromising force.

This visit was especially meaningful for our members because of the discussions it sparked around these pressing social questions. That’s the power of art: even on a sunny Saturday morning, not everything we see is beautiful. Much of it is meant to challenge and disturb us — and that is precisely why it matters.

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