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  • SOLIN SALA RA – Manuel Donada

    45.00

    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.

  • DID U CUM YET – Richie Culver

    25.00

    "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

  • Plastic – Dinis Santos

    45.00

    "Each era has its own monuments and achievements. Capitalism has indeed many great things and its ability to produce large amounts of plastic might be the greatest one"

  • I’M NOT ALWAYS OF MY OPINION – Luís Alegre

    50.00

    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

    23.00

    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

  • JUSTE AVANT OU JUSTE APRES – Vittorio Santoro

    95.00

    250 x 350 mm (box) Limited edition of 80 copies, all numbered and signed by the artist. 3 colors screen-printed box containing different items, including two signed one-color screen-printed newspaper pages. Design by Vittorio Santoro in collaboration with Luís Alegre. Text by Daniel Kurjakovic, translated by Patrick Lafièvre. Photography by Rebecca Fanuele, Marco Blessano, Vittorio Santoro. ISBN 978-989-54373-5-1 Yvon Lambert and Stolen Books // Published May 2019

  • 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.

  • zZzZine – Jan Buchczik

    10.00

    zZzZine is about the fear of missing out on something. About how you are happy to miss out on everything once you have someone special by your side. And also about one of the best things to do: sleep.

  • Daiana Ruiz – Risograph print

    30.00

    A3 (30 x 42 cm) 3 color risograph print (blue, pink fluor, yellow) Limited edition of 50 prints, all numbered and signed by the artist Stolen Prints // October 2018

  • Mantraste – Risograph print #5

    25.00

    A3 (30 x 42 cm) 3 color risograph print (bright red, black, hunter green) Limited edition of 25 prints, all numbered and signed by the artist Stolen Prints // October 2018

  • Mantraste – Risograph print #4

    30.00

    A3 (30 x 42 cm) 4 color risograph print (burgundy, hunter green, black, orange) Limited edition of 50 prints, all numbered and signed by the artist Stolen Prints // October 2018

  • Brush – Bráulio Amado

    25.00

    A3  3 colors Riso By Bráulio Amado

  • Music – Bráulio Amado

    20.00

    A3 (30 x 42 cm) 3 color risograph print (blue, black, yellow) Stolen Prints // April 2019

  • Luís Alegre – Risograph print

    25.00

    A3 (30 x 42 cm) 3 color risograph print (teal, pink fluor, yellow) Limited edition of 30 prints, all numbered and signed by the artist Stolen Prints // August 2019

  • Andrey Kasay – Risograph print #2

    40.00

    Andrey Kasay is a Russian visual artist based in Moscow. His metaphoric, surreal and crazy illustrations and animated videos are based on a satiric look at contemporary society. Since 2010 he took part in various group exhibitions and had solo shows in Europe, Asia, North and South America. He worked with brands like MTV, Nike, Red Bull, CNN, Washington Post, New Yorker, Adidas; and was featured by VICE, WIRED, Juxtapoz and It's Nice That.

  • Andrey Kasay – Risograph print #1

    40.00

    Andrey Kasay is a Russian visual artist based in Moscow. His metaphoric, surreal and crazy illustrations and animated videos are based on a satiric look at contemporary society. Since 2010 he took part in various group exhibitions and had solo shows in Europe, Asia, North and South America. He worked with brands like MTV, Nike, Red Bull, CNN, Washington Post, New Yorker, Adidas; and was featured by VICE, WIRED, Juxtapoz and It's Nice That.

  • Andrey Kasay – Silkscreen print

    150.00

    VACATION Alarm goes off at 8 am, a splash of cold water in the face to wake up. Breakfast, the subway, work. Colleagues, the wife, kids, the home. Need to sleep. A loan, a mortgage, a debt delinquency, a new smartphone. It was wise that I didn’t let them to get a dog. A traffic jam, nasty weather, don’t forget to get to the supermarket. Just let Saturday come. The shopping mall, an old friend, a couple of beers, the kitchen, Monday. It’s just a month before my vacation. I’ll be lying on a chaise, going for breakfast and getting suntan near a pool. All inclusive. An excursion, pyramids or castles—actually it doesn’t matter. A gift shop. Lunch and a couple of free cocktails. The sun is glistening on the sea just as in the travel agency poster. All inclusive. It's so nice that it’s possible to buy a sunset! But do you really need it when you have a TV? Andrey Kasay is a Russian visual artist based in Moscow. His metaphoric, surreal and crazy illustrations and animated videos are based on a satiric look at contemporary society. Since 2010 he took part in various group exhibitions and had solo shows in Europe, Asia, North and South America. He worked with brands like MTV, Nike, Red Bull, CNN, Washington Post, New Yorker, Adidas; and was featured by VICE, WIRED, Juxtapoz and It's Nice That.

  • YOU STUPID DARKNESS – Luís Alegre

    9.00

    Charlie Brown: I hear you're writing a book on Theology. I hope you have a good title. Snoopy: I have the perfect title... "Has It Ever Occurred to You That You Might Be Wrong?"

  • 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. ISBN 978-989-54373-0-6 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)

  • TIME ZONE FEATURING LIGHT – Nathaniel Russell

    15.00

    This zine is made of some quiet comic strips, kind of like an ambient comic book.

  • 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)

  • SPR.EAD – C.W. Moss

    7.50

    SPR.EAD is a publication that features spreads of spread women. Sadly, it is not a scratch-and-sniff book.

  • 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

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    AS AVENTURAS DE QUALQUER COISA – ANDRÉ RUIVO

    15.00 13.50

    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