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    "The work of visual artist João Belga is made up of multiple layers, significations, and meanings. In his painting, musical, visual, literary and philosophical references are combined in a markedly urban remix, which revives the collective spirit and the Art / Life binomial. An extremely confident drawing often serves as the basis for a painting that expands its strict and traditional limits and that spills over into collage, silkscreen, photography, fanzines, visual notebooks, artist's books and, finally, the screen surface, from small to large format, in the context of an installation. […] David Lynch is one of the references of João Belga's work, with his unclassifiable time and pseudo-narrative, where reality and fiction are merged and confused." (words by Rui Afonso Santos)

  • SOLIN SALA RA – Manuel Donada


    It is not talking about the origin of this book, because this book, infinite, varied, diverse, always similar and always different, perpetual and changing, has existed from all eternity. Nothing has been discovered, everything has been found. But in the heart of this artifact everything changes, everything is transformed, everything evolves. These pages have not existed at any time or any place, the message itself has an origin and the magic emanating from each of its pages can never be trained. At this point, there is nothing to do. It would be lovely to wait for the revolution of an admirable science. This book is dedicated, in part, to all those punks of sectarian mentality and false morals, those who feed the annihilation of the individual and those who are part of a camouflaged class, who die of fear and grief with the idea of being isolated. To all those who do not violently reject the supporters of an absurd and pestilent elite. To the loose dogs of abstract camaraderie that obstructs the spiritual, individual and cosmic revolution. To the victims of the revolution block, accomplices of permanent repression, duck-faced corpses and wild manners, all obstacles of the universal protest.



    The snake eats its own tail. But it is only after a long time of chewing that she recognizes that she devours the snake's taste. She stops then ... But after another time, having nothing else to eat, she comes back to herself ... Then she has her head on her throat.

  • VERY USEFUL – Fábio Zimbres


    Fabio Zimbres was born in São Paulo in 1960. Dropped out of Architecture school FAU-USP and graduated on Visual Arts at IA-UFRGS. Zimbres Was part of the team that created and edited Animal Magazine in the late 80’s in São Paulo. Around that time, he started contributing with his comics to publications like Chiclete com Banana and A Folha de São Paulo. He was also involved with the Brazilian alternative press of the early 90’s. In 1997 he started an imprint by the name Tonto to publish small books by Brazilian and Latin-American cartoonists like Lourenáo Mutarelli, Fido Nesti, Elenio Pico, Allan Sieber, Eloar Guazzelli, Mariana Massarani and many others. Apocalipse Segundo Dr. Zeug, the book he did for this collection has been recently translated and republished in the magazine Now by Fantagraphics Books. He has contributed comics and illustration to a series of publications in Brasil and abroad: Dundum, Lapin, Comix 2000, Rosetta, Lapiz Japones, Blood Orange, Strapazin and others A book published in 2009 collected the comicstrips (Vida Boa) he did for A Folha de São Paulo during the year 2000. Música para Antropomorfos is a joint effort with the band Mechanics where rock music and comics mingled and resulted in a book and record in 2006. The famed publisher from Valencia, Spain, Media Vaca published a version of Blaise Cendrars’ Panam· with his illustrations. He has been in small press fairs in Brazil and abroad with some of his artists books works, handmade publications with reuse of discarded books and other printed matter and other stuff like floppy disks and CDs. He also takes part in the collectives A Casa do Desenho (with Ediardo Haebaert and Gelson Radaelli) and Desenhomatic Ltda (with Jaca). The gallery Bolsa de Arte represents him in São Paulo and Porto Alegre. in Artzines website

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


    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.



    145 × 205 mm 208 pages Risograph printing on Munken Print White 90 g and PopSet 80 g paper. Limited edition of 50 copies. ISBN 978-989-54373-0-6 DELLI_press and Stolen Books // Published March 2019

  • FKLW #1


    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)

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    Why I’m Still A Communist – Pedro Pousada

    39.00 30.00

    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.

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    Don’t Make Me Spell It Out – Cecília Corujo

    36.00 30.00

    “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.



    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

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    ELITE VOL. 1

    15.00 10.00




    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



    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

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    30.00 21.00

    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.

  • YOU COULD FEEL THE PLASTIC – Ricardo Passaporte


    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.

  • HORTUS – Maria Condado


    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.


    53 drawings on handmade paper Original work (price upon request)

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    38.00 28.00

    Face drawings done in live drawing sessions and that more than one approach to the portrait, depart from physionomy to pure plasticity of formal games. These heads (thinking about each other) are here accompanied by plant drawings that abstract and reinvent an imaginary botany. Abstract plants as thought? Here, opening the possibility of a connection between the mind and the traditional ornamental vocation of plants, perhaps it is above all to emphasize the very plasticity of thought. João Silverio writes regarding the purpose of Olaio’s work, they «... are always works whose contents are in transit, and so continue. In addition to conducting these formal games, being “in transit” can be a way to synthesize the very work of this artist in the way it faces the nomadic nature of conceptual games.»

  • VISUAL MANIFESTO – Alice Geirinhas


    Alice’s second book is a manifesto in the form of an artist’s book which, in the words of the artist, imprints “memories and transgressions explained in patterns”.



    This book is a visual potpourri of a society that was thought invulnerable and believed eternity was about that brief moment of zero gravity when the world is perfect!  

  • THE CABINET OF DR ALICE – Alice Geirinhas


    This is a kind of image repository that ultimately builds (or rebuilds) a fictional biography of the artist. Not so much a collection of Geirinhas’ images, but a kind of return to her personal memory. We find here the artist’s drawings, some of which are from that recognizable series, produced in scratchboard, but others made with ballpoint or cheap markers, perhaps more remote chronologically speaking, or the result of relaxation exercises, scribbles to support the thought. But we also find images “found” or “appropriated”, in the form of photocopies, scans, pictures of all kinds of graphic qualities: children’s books, paper dolls to dress, multiplication tables of illustrations and traditional tales, recipes book guards, book covers, advertising sheets, an excerpt of a text in Spanish conservative tinge to the woman, and the everlasting Crónica Feminina.

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    GREY MATTER – Miguel Palma

    25.00 12.50

    It all started during the summer. With plenty of sun and heat Miguel Palma missed the winter and decided to think of gray. “There is a kind of nostalgia,” he said. However it is very difficult to paint in gray and so he got some pantones that he brought from the United States, with colors used in construction in Arizona, where he was in residence for a year. From the pantones he did an exercise that falls within the Abstract Expressionism and dripping, and from there he began telling stories. “I’ve cut out pictures and phrases from books and magazines. Each drawing refers to a day thinking about a certain subject,” he says. These were painted daily for 2 months, resulting in 46 drawings.