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Showing 105–111 of 111 results

  • STEALING BOOKS – Yvonne Winnefeld

    10.00

    An hommage to Abbie Hoffman’s Steal this Book. Written in 1970, the book exemplified the counterculture of the sixties, mainly focusing on ways to fight the government, and against corporations in any way possible. The section “Survive!” describes techniques of obtaining “free” things through legal and extra-legal means to survive “on the run.” It includes chapters on how to acquire food, clothing, furniture, transportation, land, housing, education, medical care, communication, entertainment, money, dope, and other assorted items and services. Suggestions include the use of slugs, taking advantage of government and church hand-outs, and a variety of shoplifting techniques. On the success of the book, Hoffman was quoted as saying, “It’s embarrassing when you try to overthrow the government and you wind up on the Best Seller’s List.”

  • UNPACKING – José Maçãs de Carvalho

    42.00

    “Unpacking” summarizes, on an experimental basis, the process of meaning of photographic images taken over more than twenty years, from the author’s archive. The work “Bilder Atlas” of Aby Warburg (1866-1929) and two key ideas: the “law-of-good-neighborly” that would create “non-hierarchical” relations between images, and also a “iconology of the interval” concept to define the significance relationships between images and their relational tensions, are taken as cultural reference and stylistic matrix. This book can be an “atlas-of-image” which condenses in power, the traffic between the unique and the universal, the private and the public, image and language, in a retrospective and self-reflection process in order to understand the formal and conceptual universe of the author’s file.

  • FLIP-BANG – Soraya Vasconcelos

    47.00

    The four flip-books that make up this edition show four explosions: a quarry blast, the shattering of a brick, a house exploding and the splintering of a group of trees. On the inside cover the phrase “the immobile dissolves into such disorder” can be read.

  • RED LABEL – Toyze

    30.00

    Emoticons we use every day in our e-mails, SMS and online publications in general, have inspired these images. They are powerful and colorful drawings born of small sketches in notebooks during meetings that Zé attends regularly, capturing the moods of the artist and the political and cultural zeitgeist. We are to live again a time of rapid change. As in street art, these laughs and grimaces capture the same urgent and unconventional visual literacy as writing on walls. They are essentially a radical speech. As meta-digital drawings, these masks, in their vector form, work at the same time as moldings or potencies of future identities.

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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.

  • [NO AUDIO] box – Luís Alegre

    Box containing: 2 giclée prints (600 x 600 mm) 1 [ NO AUDIO ] book

  • [NO AUDIO] – Luís Alegre

    20.00

    [NO AUDIO] displays a series of images which reveal particular moments, more or less known from the worlds of cinema, fashion or advertising. But also vernacular images that any of us could make and spread on the web. The vast majority of images have captions written, a fact that ultimately guides the viewers to a wide spectrum of interpretations and literary imagery. There is a somewhat paradoxical idea in these works that I deliberately wanted to explore, which ultimately situates these pieces on the border between sorrow and joy, between “I’ve felt this before” and “what the fuck is this?”.