book

Showing 1–52 of 72 results

  • PRATA DA CASA – Org. André da Loba

    10.00

    In order to portray and disseminate Portuguese illustration in a meaningful and comprehensive way, André da Loba has selected over a hundred artists for the Prata da Casa. The curator highlights the strong female presence that does not always have the deserved representativeness in exhibitions. After making the selection and observing the heterogeneous, but very united group, he was not sure if the illustration has grown in the country or has always been present, but has no recognition. Younger or older, with greater or lesser fame, the artist spares no praise to all guests.

  • ARCHIVO ANGELITA APXИB 1937-1956 – Ana Pérez-Quiroga

    10.00

    A series of 22 paper drawings depicting the objects brought by the artist's mother, one of the exiled children in Russia between 1937 and 1956 due to the Spanish Civil War. These drawings are an act of appropriation of these memorabilia that are part of her identity consciousness.

  • DESOBJECTION – António da Cruz Rodrigues

    120.00

    There is no quest if the photograph is a kind of map that delimits a space, looking to contain infinity and thus losing its fascination. It shouldn't be a list of explicit elements, as if we were grocery shopping. What fascinates me about an image is that it doesn't have a list that defines it, that imposes its limits, that contextualizes it. I have no anxiety to contain everything in an image, just as I have no desire to buy everything at once in the supermarket or to live everything at once.

  • DESOBJECTION – António da Cruz Rodrigues

    78.00

    There is no quest if the photograph is a kind of map that delimits a space, looking to contain infinity and thus losing its fascination. It shouldn't be a list of explicit elements, as if we were grocery shopping. What fascinates me about an image is that it doesn't have a list that defines it, that imposes its limits, that contextualizes it. I have no anxiety to contain everything in an image, just as I have no desire to buy everything at once in the supermarket or to live everything at once.

  • ZZZZZZZZZZ – André Ruivo

    20.00

    In these fifty-two drawings, all but the cover one in black, a continuous outline defines the characters that are, in the majority of cases, the only elements of the composition. If, on the one hand, the almost geometrical linearity of these drawings draws them closer to cartoons; on the other hand, this simplification shows the interior dispositions of the figures and their bodies movements. Absorbed, closed in on themselves, asleep or enraptured, the figures represent the singularity of the states of mind. It is during these moments they escape the world and, simultaneously, sometimes fall into sleep; on other occasions, they are held, intertwined by their peers, in a mutual drifting dance. Catarina Alfaro

  • THINK OF A NICE TITLE

    20.00

    145 × 205 mm 208 pages Risograph printing on Munken Print White 90 g and PopSet 80 g paper. Limited edition of 50 copies. DELLI_press and Stolen Books // Published March 2019

  • FKLW #1

    25.00

    Collaborative publication Invited artists: C.W. Moss (USA), Jeffrey Cheung (USA), Juan Narowé (Brazil), Mantraste (Portugal) Open Call Submissions: Alice Sprascio (Netherlands), Amir Brito (Brazil), André Ruivo (Portugal), Bruno Lucas (Portugal), Caio Guedes (Brazil), Camilo Garcia (Colombia), Christian Toro (Chile), Daria Tommasi (Italy), Ema Gaspar (Portugal), Halfstudio (Portugal), Ermãos Monjon (Brazil), Joana Bettencourt (Portugal), Joana Pardal (Portugal), Joana Rosa Bragança (Portugal), Lourenço Providência (Portugal), Margarida Ferreira (Portugal), Maria Grande (Spain), Mike Funkhouser (USA), Monique Sena (Brazil), Nicolae Negura (Portugal), Paulo Mariz (Portugal), Rada Nastai (Deutschland), Santo Mealheiro (Portugal), Simón Sepúlveda (Chile)

  • 2018 – Bráulio Amado

    45.00

    “There is a style that can be considered ‘no-style’. It’s something that can be eventually mastered, although naturally, it’s a bumpier road than sticking to one thing. The plus side though is that nothing is out of reach – you can always experiment, change and adapt.” Edd Norval (Compulsive Contents)

  • PROPELLER #3 – PROPAGANDA

    45.00

    Visual contributions Stickers and Stamps As Toupeiras Aquellos que Esperan Borja Larrondo & Diego Sánchez No 60º aniversário da Revolução Cubana | On the 60th anniversary of the Cuban Revolution, 2018 Daniel Blaufuks Untitled Diogo Simões HTD Communication, Domotics, from How Things Dream Discipula Good and bad good and bad, 2018 Ignasi Aballí Writing (full texts) Editorial: Arte não é Propaganda! | Art is not Propaganda!, 2018 Sofia Silva Fire Inside, 2018 Pete Brook A fotografia à porta de casa e a propaganda | Propaganda and photography at the front door, 2018 (translation by Sofia Silva) Teresa Mendes Flores Shooting in the name of (and now you do what they told ya): Photojournalism – keeping the status quo, 2018 (translation by Sofia Silva) Rodrigo Peixoto, after intense dialogue with Valter Ventura Other Covers by Propeller and Matilde Ventur Design by Paulo Arraiano

  • Auto Erotica Penelope sticker – TIAGO EVANGELISTA

    10.00

    Tiago Evangelista was born in Viseu in 1987. He moved to Lisbon, where he lives and works, after finishing the arts course at ESAD Caldas da Rainha in 2011. Painting has always been the main focus of his work. Suburban space, abandoned buildings, and industrial objects are constant, both in abstract and figurative paintings that usually conjure up contemporary objects and trademarks (logos). He is one of the founders of the Germes Gang collective but before all, the son of a mechanic.

  • Auto Erotica 2019 Calendar – TIAGO EVANGELISTA

    30.00

    Tiago Evangelista was born in Viseu in 1987. He moved to Lisbon, where he lives and works, after finishing the arts course at ESAD Caldas da Rainha in 2011. Painting has always been the main focus of his work. Suburban space, abandoned buildings, and industrial objects are constant, both in abstract and figurative paintings that usually conjure up contemporary objects and trademarks (logos). He is one of the founders of the Germes Gang collective but before all, the son of a mechanic.

  • Why I’m Still A Communist – Pedro Pousada

    39.00

    Anger, ruin, and disharmony can also become gritty combustion. These drawings discuss the human subject, not its abstraction, not its statistical profile, not its standardization, but the dirty and stubborn creature made of biology and culture, the Adamic creature lost in his pioneering disillusion that the wild or the technological world will save it from redundancy and finitude.

  • Don’t Make Me Spell It Out – Cecília Corujo

    36.00

    “Don’t Make Me Spell it Out” by Cecília Corujo presents itself as a logbook, a record of a journey through the process of growing a character. Throughout a set of drawings, collages, questions, or lyrics, all done during a 1 year period, the book explores the blurring of a position, the emotional ambivalence that characterizes the end of youth and entering adulthood - a discussion between expectations and disappointments.

  • The Life Of Ruben – Bernardo Sousa Santos

    33.00

    “The life of Ruben” is the result of chance. An album of childhood photographs found on the street among other remains is now censored with gouache and finally rearranged. It had already ceased to be life, it became an object. From a set of just over a hundred images, twenty-five are presented to give shape to a reinvented memory.

  • DESDICIONÁRIO DA LÍNGUA PORTUGUESA – LUÍS LEAL MIRANDA

    27.00

    franfolho s. m. | Uma coisa sem nome, de forma indistinta, que só conseguimos identificar ao apontar e dizer: «É aquilo ali». A palavra «franfolho» surgiu pela primeira vez num dicionário em 1977. Não consta nas edições de anos anteriores nem no léxico de nenhum país de expressão portuguesa. Vários estudiosos acreditam que «franfolho» surgiu de uma aposta entre lexicógrafos e há quem defenda a existência de um prémio para a primeira pessoa a detetar o intruso. Existe ainda a teoria de que o termo tenha sido incluído no dicionário depois de uma amarga derrota no Scrabble («franfolho» vale 21 pontos). A tese mais comum, no entanto, é a de que o novo vocábulo entrou no dicionário para apanhar as editoras que o andavam a copiar. «Franfolho» não é a primeira palavra inventada na língua portuguesa porque todas as palavras antes dela também foram inventadas. E não é o primeiro erro do dicionário porque já lá estava a palavra "erro". O Desdicionário da Língua Portuguesa pretende servir de estufa para palavras sem raiz etimológica, orfanato para nomes de ascendência desconhecida ou mapa para a Atlântida dos significados. Inclui «franfolho» e outras 218 novas palavras novas que se não fossem inventadas tinham de existir.

  • THE SWIMMER – KLAUS KREMMERZ

    23.00

    A “masterpiece” Klaus has always been in love with, the narrative of The Swimmer was Klaus’ first thought when Portuguese publishers Stolen Books asked him to make his own book. “It’s an intense story,” the illustrator tells It’s Nice That of the short, originally published in The New Yorker before being adapted into a film in 1968. In discussing an individual’s dependence on alcoholism, “of which the protagonist is a victim,” The Swimmer’s storyline gradually takes a darker and darker turn which in Klaus’ words is “poignant and dramatic, but at the same time fresh and full of vitality.” — It’s Nice That

  • CONTEMPORARY LANDSCAPES – GERMES GANG

    18.00

    Lisbon-based illustration quartet Germes Gang, who work with both traditional forms of illustration and street art, have released a new book visualising their very favourite things. Contemporary Landscapes brings points of obsession for the gang — including “iconic cartoons. TV shows, brands, sports, and the low life” – into being. For the illustration gang’s four members, collaboration is thought of as “graffiti and art interventions which are politically and socially charged,” they tell It’s Nice That. Consequently, they see their practice as one “embedded in sarcasm,” and “perceive everything related to contemporary life traumatic.” — It's Nice That

  • AS AVENTURAS DE QUALQUER COISA – ANDRÉ RUIVO

    15.00

    I would prefer not to And so, suddenly, there are three ways to look at these drawings and all things reveal its incompleteness. Initially, each seems to develop new episodes of the life philosophy of Herman Melville’s Bartelby, the scrivener. Bartelby was a hero by absence, refusing the do all the requested talks, repeating, like a magic formula: “I would prefer not to”. Bernardo Soares is not far from it. Nevertheless, André Ruivo’s characters, with a self-destructive and deceptive sense of humour, are moving characters. So being, they are closer to the logic of urban dromology of Baudelaire’s flâneur. But they wander in an empty city, and not one full of people, a Sunday city and not an anonymous Boulevard or a Nevsky crowded street. In these drawings there is also a Pop drift: in the colours, the human bodies, the gesture’s theatricality, its props, the city’s buildings… everything indifferently perspectived, geometrized or planned, everything exclusively garish and musically rhythmic– memories of a certain and psychedelic submarine. Finally, in these drawings, it seems as if nothing is going on. Or almost nothing. Or nothing important. There is, after all, something. We can even tell very important things are going on. — João Pinharanda

  • PROPELLER #2 – FICÇÃO / FICTION

    45.00

    Visual Essays (previews) Artwork from 1978 to 2007 Lynne Cohen Beyond Zone 0 Vanessa Silvestre Paulo Triaden Ute Klein Borderline Sofia Ayarzagoitia Fake News Letícia Ramos Open Call – Shortlist #1 Agnieszka Gotowala, Felipe Abreu, Hiro Tanaka, Paulo Simão   Writings (full texts) Lynne Cohen’s Fictions Andrew Lugg Apontamentos sobre a Ficção | Notes on Fiction (translation by Sofia Silva) João Peneda Écfrase, um trompe l’oeil narrativo e algo mais | Ekphrasis, a narrative trompe l’oeil and something more (translation by Soraya Vasconcelos) Mário Avelar A selection of Ester Krumbachová’s tales Translated by Francis McKee   Other Covers by Propeller and Soraya Vasconcelos No princípio era o verbo… by Propeller

  • ELITE VOL. 1

    15.00

    Curated by Ricardo Passaporte. Double spreads by CLICK, DMOTE, DOMINIK, FRESH, GERMES GANG, NICHE, PETRO, PIXOTE, PNG, REMIO, REVOK, RIZOTE, SEEYR and SONIK.

  • BUGABOO – PEDRO DUARTE AMBRÓSIO

    30.00

    Bugaboo shows a photographic work about self-representation through the dislodgement of objects which, in the field, serve to scare away predatory birds, simulating the presence of human beings. These objects, in a studio environment, stripped of their main function, gain metaphorical interpretation, mirroring each one of their creators.

  • MIGUEL PALMA A-Z

    20.00

    Texts by: Pedro Gadanho, Luísa Santos and Adelaide Ginga Photography: Luís Silva Campos Miguel Palma. A-Z is a drawing-installation made up of around three hundred works on paper by Miguel Palma. This exhibition, the second held in MAAT’s Project Room, is presented as a random encyclopaedia of the artist’s drawing works. Including only a quarter of the total number of drawings he has created over three decades, the selection presented here consists of original drawings grouped by affinities at times formal (size, colour, technique), at other times conceptual (series, subjects). The exhibition catalogue records not only the project’s making of, but also the process of setting up the exhibition and images of the finished display. An essay by Luísa Santos and an interview with the artist by Adelaide Ginga, both curators of this exhibition, complement the content gathered in this book. — Maat   The machine. The motor, the cables, the construction. Turning the visible into invisible. Approximately 300 works on paper that establish what MAAT designates as drawing-installation and that come together under the banner of Miguel Palma’s anthology, based on his less known work. This way we can get to know the artistic methodology of Miguel Palma a little bit better and the way he reaches sculpture and installation. It is the first exclusive exhibition of his work on paper, whose works comprise approximately one-fourth of the existing total, according to the curator Adelaide Ginga. The present works, even though they serve mostly as support or an auxiliary of Palma’s sculptural works, have not, however, a sketch-like character, but give shape to an artistic parallel path. With that, we can perceive the artist’s joy when it comes to drawing and working on paper, because that takes him to the finished work, eventually ready to be exhibited. Palma declares “I feel an immense freedom with drawing” and considers that collage (which is repeated often in this anthological) has a very close relationship with sculpture. — Umbigo Magazine

  • THE SPIRITUAL ASCENSION OF ALL THE ANIMALS – Mantraste

    15.00

    From the walls to the pages of a fanzine. The Spiritual Ascension Of All The Animals is a kind of Mantraste redux or, doing more justice to the work, a portable and intimate version. It is a piece that marks a transitional phase in the career of this illustrator, the first pages of a new chapter. — Shifter

  • Can you fix this? – Mantraste

    25.00

    “Can you fix this?” is a series of publications in which artists explore the visual effect of a panel composed of 9 detachable pages from the book. In this first edition, “That day my grandma took away all the cows and dreams of my grandpa” by  Mantraste.

  • DOUBLE CHECK YOU’RE ALONE – Aaron Elvis Jupin

    39.00

    “Cartoons and erotica have much in common — fantasy, desire, an adipose sense of volume. Aaron Elvis Jupin assembles these polarities of play and smut, refracting their constituent parts to form a visual cosmology that crawls over paintings, onto walls, into various vintage ephemera. The results layer innuendo and innocence; a declension of glyphs sticking their tongue out at the fuddy duddiness of words.” — Christina Catherine Martinez, An Interview with Artist Aaron Elvis Jupin, thehundreds.com

  • 2017 – Bráulio Amado

    35.00

    After the success of 2016, Bráulio repeats the formula in 2017, making use of the fact that he rarely repeats formulas to offer us a book with unpublished works, such as posters, illustrations, identities, exhibitions, merchandising and other works, all materialized in 2017. “(…) Bráulio continues to consistently create intense, frenetic, almost manic pieces at an exhausting rate. The posters seem to reference a wide variety of historic cultural designs from around the world without copying any of them. They feel contemporary but at the same time vintage. The fun is turning each page to see what new technique or typeface is being distorted or invented. (…) Bráulio plays every instrument in the orchestra and he plays them like an experimental jazz musician - with skill and with creativity.” — Luke Hayman (Pentagram)

  • KINGDOM -Rita Lino

    18.00

    “Fighting can be one way to make peace with oneself. (…) For Rita Lino, her last chapter in life needed to end and the remnants of sorrow laid to rest and so her madness had reached a climax and she needed to erupt. She decided that in the fight that is the life she needed to let go and wrestle out her demons with two compassionate and willing, male comrades to aid her in this hour of need. Undignified naked forms, red-faced with contorted expressions, tangled body parts, confused, fragmented, the anger, frustration, and pain squeezed out. Emptied and in the process guarding the essential self.” — Michael Grieve

  • ON EXILE – José Carlos Teixeira

    24.00

    Texts by Ana Anacleto, João Pinharanda, Steven Henry Madoff, Jeremy David Bendik-Keymer, Maria Iñigo Clavo, Linda Ehrlich, Maria de Fátima Lambert, and Jean D. Soares (PT/EN) This book presents, through a series of works produced between 2016 and 2017, a reflective look on, on the one hand, mental illness and depression and, on the other hand, refugee status in the current context. The concept of exile is both thought of from a geopolitical perspective, as it is interpreted metaphorically. With reference to the language of the documentary, the video-essays on display methodologically explore the interview as artistic practice and kinematic territory, creating space for empathy and allowing the construction of intimate and psychological portraits.

  • SOUND CLIMAX – Pedro Cabral Santo

    30.00

    SoundClimax is not really a book. It pretends to be a true artistic artifact, able to cross the poetic, sonorous and moving image through a series of artworks made in the last 30 years, mostly in partnership and collaboration. 17 video installations, 17 ambient sound pieces (remix, mixture, found footage, noise, sampling, trash and sound pieces), from the FUZIVEL Project platform, with sound design and remastering by Fernando Fadigas, and also 17 excerpts from poems make the final object.

  • LIVRO DE PINTURAS II – Martinho Costa

    45.00

    Martinho’s second paintings book mimics the original book series the artist developed daily. With six books simultaneously opened in the studio, Martinho painted with oil on a different book each day, letting the paint dry during the rest of the time and starting all over again the following week. This is the second of six books of that series.

  • PROPELLER #1 – STAIN

    45.00

    Includes visual essays by João Penalva, Jörg Sasse, José Luís Neto, Robert Zhao Renhui, Sjoerd Knibbeler, among others. Texts by Walter Benjamin, Maria Filomena Molder, Soraya Vasconcelos, Brad Feuerhelm, talk with Lauren Henkin and Sofia Silva. Cover by Valter Ventura and works by Alex Gomez-Marin, Douglas Collins and Sónia Marques. When we chose to dedicate Propeller’s No. 1 issue to the “Stain”, we were moved by a desire to think about abstract photography. Above all, we wanted to investigate the morphological nature of photography, not only in terms of matter but above all in what transcends the same matter, transforming photography into an artistic entity. On the one hand, we were interested in thinking about a photography less dependent on the lines that circumvent the universally coded elements - human figures, natural elements, etc. - on the other hand, we wanted to venture into the depths of the mechanism of photographic representation and, there located, think how the absolute stain of photography is constituted: how is photography an image? How is photography pictured from, with and in addition to the elements that are imprinted on it?

  • PELE E PEDRA – Ana Rito

    24.00

    Texts by Isabel Nogueira, João Silvério, Ana Rito (PT/EN) Ana Rito investigates the presence of the body and the image. And when attentive to the perception modes and a sense of permanence, she also researches the relationships established over time and space. The reference of the title to skin and stone invokes the succession of strata and the density that makes up the matter, but also the way the artist approaches her work. In these works, the human figure is predominantly alone and in tension. The action arises from a relationship with the environment and with the objects that populate it, often reported to the body. And the way light shifts reinforces the expressiveness of matter, which is already accentuated.

  • CABRITA REIS @P28/P31

    30.00

    This book brings together five collaborative moments between Pedro Cabrita Reis and both P28 and P31 associations. These associations explore the relationship between the city, “non-places” and culture by taking action on social responsibility, working with artists/patients of the plastic arts studio of the rehabilitation service of the Psychiatric Hospital Center in Lisbon. “The Others” is the first collaboration documented here and is a project based on the exchange of roles between Pedro Cabrita Reis and the artists/patients. In this creative process, Pedro Cabrita Reis plays the role of a matrix - the model reproduced by artists/patients together with a sculptural intervention by Pedro Cabrita Reis.

  • JETSET DI STREET – Germes Gang

    28.00

    A crew/art project based in Portugal and now in Berlin. Their first interest was to create some kind of graff that didn’t exist before, something mega dirty, mega trashy, and the ultimate badass style, but always with some kind of humor behind it, ironical and evil, something really bad in all senses.

  • Sale!

    242 HASHTAGS – Patrik Mollwing

    35.00 25.00

    Patrik Mollwing is an illustrator and art director, and his colorful, fluid style feels loose and wibbly with characters made up of long limbs and soft-edged shapes. He depicts a colorful cast of forms including bendy wrestlers, Norse mythology figures, and sweaty runners. Recently he’s been broadening his practice by creating gifs and wigglegrams, which suit his style perfectly, with the movement making his work feel even more fluid.

  • YOU COULD FEEL THE PLASTIC – Ricardo Passaporte

    15.00

    Ricardo Passaporte's body of work is deeply engaged with the history of Pop, underscoring the evolving relationship between art and commerce as well as articulating the parallels between graffiti’s custom of tagging and the same repetitive, identity-driven practice of the corporate logo. By appropriating these logos as his artistic tag, Passaporte disrupts the relationship between brand and consumer.

  • RREVOLUÇÃO! / ROSTA REBOOT

    35.00

    It will be a hundred years since the revolutionary explosion of October 1917 that launched Russia in the path of modernity. It was with this in mind that the curatorial team invited a significant cast of contemporary artists to produce posters with the main purpose of expanding to our contemporaneity that moment of alterity and dialectical conjunction between Modernism and Revolution. By analogy or in a more deferred and less mimetic attitude, they contrast the straitjacket that is the political message with the experience of freedom and conceptual provocation that defines the art of the twentieth century and that which is defined at the threshold of this century. Artists: Albuquerque Mendes, Alice Geirinhas, Ana Boavida, Ana Catarina Fragoso, Ana Pérez-Quiroga, Ana Rito, António Melo, António Olaio, António Silveira Gomes, Armando Azevedo, Avelino Sá, Beatriz Albuquerque, Bruce Gilchrist, Bruna Sousa, Daniel Nave, Elisa Pône, Felippe Moraes, Fernando José Pereira, Fernando J. Ribeiro, Francisco Queirós, Isaura Pena, Jo Joelson, Joana Monteiro, João Bicker, João Fonte Santa, João Silvério – Empty Cube, José Maçãs de Carvalho, José Maria Cunha, José Pedro Croft, Luís Alegre, Manuel João Vieira, Miguel Ângelo Rocha, Miguel Palma, Miguel Soares, Nuno Coelho, Nuno Sousa Vieira, Paul Hardman, Paulo Mendes, Pedro Amaral, Pedro Cabral Santo, Pedro Cabrita Reis, Pedro Calapez, Pedro Pousada, Pedro Proença, Pedro Sousa Vieira, Pedro Tudela, Pedro Valdez Cardoso, R2 – Artur Rebelo and Lizá Ramalho, Rita Castro Neves, Rita Gaspar Vieira, Rodrigo Oliveira, Rui Matos, São Trindade, Susana Chiocca, Susana Mendes Silva, Vanda Madureira, Vânia Rovisco, Victor Pires Vieira, Vladimir Pliassov, Zulmiro de Carvalho

  • PROPELLER #0 – KEEP IT CUMMIN’

    38.00

    Propeller was born to promote the space given to photographic expression, but above all to think about the limits of its aesthetics, aiming at sharing original content. In addition to the publication of portfolios and visual essays by authors recognized by the public, at Propeller we’re focused on sharing new prespectives, that somehow potentiate a critical approach to the field of photography. With a semiannual periodicity, Propeller is a project by HÉLICE‘s team

  • 2016 – Bráulio Amado

    28.00

    “In 2016 I did more than a hundred posters. This is a collection of (almost) all of them. I took some out because they were really really really bad. Others I just couldn’t find the high res files.”

  • ARQUIVO E INTERVALO – José Maçãs de Carvalho

    24.00

    This book brings together four texts that approach four films around the subject of the archive and which somehow epitomize key issues of photographic and videographic practice. Since 2010, the artist’s practice has been exclusively around issues relating to the archive and its expressiveness. At the same time, this project gave rise to an academic research that crossed practice and thinking, spreading to several exhibitions.

  • THE BULLSHIT YOU DON’T KNOW… – Luís Alegre

    15.00

    Don’t all comics tell stories? How can a comic be abstract? Luis Alegre plays with the possibility of comics which tell no stories other than those that result from the transformation and interaction of shapes across the page. Reduced to the most basic elements of comics — the panel grid, brushstrokes, and colors — these abstract comics highlight the combination of abstraction and sequential art, resulting in work that is often surprisingly humorous or emotionally disturbing.

  • BEGÓNIA – Gonçalo Duarte

    12.50

    noun Plant native to the warm regions, grown for its decorative foliage and for their brightly colored flowers that range from pink to deep red.

  • DOUBLE CHECK YOU’RE ALONE – Aaron Elvis Jupin

    39.00

    “Cartoons and erotica have much in common — fantasy, desire, an adipose sense of volume. Aaron Elvis Jupin assembles these polarities of play and smut, refracting their constituent parts to form a visual cosmology that crawls over paintings, onto walls, into various vintage ephemera. The results layer innuendo and innocence; a declension of glyphs sticking their tongue out at the fuddy duddiness of words.” Christina Catherine Martinez, An Interview with Artist Aaron Elvis Jupin, thehundreds.com

  • HORTUS – Maria Condado

    28.00

    This book is a graphic voyage through the history of gardens. As in a card deck, everything is shuffled and dealt again. A portable landscape in book format.

  • UPPERCUT – André Carrilho

    15.00

    A selection of works developed for the last 2 years, among which the cartoons that evoke the Charlie Hebdo attack, Muhammad Ali’s death or the 15 years after New York’s 9/11.

  • BOOTLEG GROCERY low budget – Germes Gang

    18.00

    A crew/art project based in Portugal and now in Berlin. Their first interest was to create some kind of graff that didn’t exist before, something mega dirty, mega trashy, and the ultimate badass style, but allways with some kind of humor behind it, ironical and evil, something really bad in all senses.

  • BUTT-BUDDIES – C. W. Moss

    30.00

    One-sentence summary: A visual exploration of what happens when two men come together.

  • SEBENTA DO DIABO – Mantraste

    25.00

    [The Devil’s Seed] is an illustrated grimoire containing several tales about rituals of occultism, passion, spells and popular conjurations.

  • APROVEITA A VIDA CRISTALYS! – Pedro Almeida

    10.00

    “Instead of glorifying powers, I want to expose the vulnerabilities of cartoon characters and comic book icons usually portrayed as invincible characters who never get sick or die. They become, in the universe of my works, fragile and mortal characters - metaphors of an announced decadence.”