Showing all 12 results

  • DID U CUM YET – Richie Culver


    "There will be much to say about the role of the online social site in years to come. In more ways than a few, it has altered the production, the promotion, the market and the viewing of contemporary an for the foreseeable future. The biopolitics of the mediated world is a polymorphic authority that is constantly shifting with its own survival instinct, and many artists have sought to steal their autonomy back as both the provocative rebel (see Richard Prince's Instagram canvases) or as the buffoon-grandpa with a taste for contemporary art (see Mark Grotjahn's feed). DID U CUM YET is the Instagram project gone rogue. For all intents, the algorithms and recommendations performed beautifully, earning the image such titles as "white, straight, basic," "pinhead" and "go fuck your stupid art. Seriously though." That this has become a book, therefore, is the rogue element. Reality disenfranchised to its vivid alter ego online. An experiment asking for observations and conclusions, the event that transpired was experienced centrifugally by Richie; a swirling mayhem of voices, tags and comments that must've felt dizzying and disconcerting to be at the centre of. Is DID U CUM YET a poem? An abstract narrative? A transcript of a call-in radio show? Telepathy en masse? A coroner's report? Whatever such a collection of dialogue might be called, it continues the hard work of the original in faith to its provocative simplicity, and begs the question one more time to those who felt compelled to comment on Richie's work, if at last they have finally had the satisfaction of unloading their viscous bile." Excerpt from OLIVER MORRIS JONES, Nov. 2019   Richie Culver’s art works have become a phenomenon within the emerging art scene in the last two years. The artist’s autobiographical approach explores the cultural and social binaries found in the UK’s socio-political systems. His canvases, all of which are categorised into series, depict everyday scenarios that are recognised for their humour and references to popular culture. Common ‘Culver iconography’ includes greyhound racing, Princess Di, barbershop scenes, car logos and counterfeit goods from local markets. Born in Hull, Culver openly uses his experiences of growing up in the North as important material, often juxtaposed with his move to London as an adult. His exhibition ‘No one knows me like Dawn from the Job Centre’ reflects the way in which he stereotypes and often incorporates humour as a way of dealing with charged subjects that highlight the stark contrast between the South and North of the UK. Often occupied by large white space, Culver combines both abstract and figurative elements, which continue to evolve stylistically, as does his reputation as a social commentator, post-Brexit. Words by LARA MONRO, interview for Dateagle Art, Sept. 2018



    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.

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    The Life Of Ruben – Bernardo Sousa Santos

    33.00 30.00

    “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.

  • LIVRO DE PINTURAS II – Martinho Costa


    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.

  • 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.



    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!  

  • BROWSING – Pedro Amaral


    With these exercises, Pedro Amaral keeps the foundation and working method of appropriation by making a selection of images from both books and illustrated encyclopedias, but also from files or the Internet. But what stands out is the white paper, the treatment of the line, the fine features that contribute to the lightness and print a refined and detailed materiality. A determinant characteristic of this work is also the efficient operation of the ink, blue and black, used in the natural landscape motifs and figuration of human activity.

  • LIVRO DE PINTURAS I – Martinho Costa


    Martinho’s first 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 first of six books of that series.

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    55.00 27.50

    This book is a sequel to Olaio’s canvas with the same title and comes with a 7” vinyl with two versions of the song Yellow Birds in the Shade, a happy melancholy. A limited art object with an original handmade drawing on each cover, making each copy unique.

  • 54 NUCLEAR POWER PLANTS – João Fonte Santa


    Kept secluded and in inaccessible areas, nuclear power plants are just redeemed of invisibility through their inclusion in the databases of the Internet, where some general plans are eventually to be confused with any other industrial plant structure and therefore instill an acknowledgment that dilutes suspicions about the operations developing in its interior. João Fonte Santa takes into account the marketing strategies that support the ambivalence of public opinion on these energy sources, which eventually dissipate and even mute the threat hanging over the horizon. The use of watercolor, unlike oil or acrylic, lacks thickness and uniformity to give it body and presence, so images apear to be prints and assume an utopian dimension.

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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.