Emerging from the encounter between André Saraiva and JonOne, Throw Up brings together two artists whose practices were shaped by graffiti and by the fundamental act of leaving a signature in public space. JonOne’s name expands across the composition as one big throw-up, while André Saraiva’s iconic Mr. A appears at its centre, merging two immediately recognisable identities into a single image.

Characteristic of their respective practices, the signature becomes more than a mark of authorship, evolving into a visual language of its own. While JonOne has transformed the writing of his name into an expressive, often repetitive, gestural form, Saraiva developed his character, Mr. A as a drawn signature capable of communicating beyond words. In Throw Up, these two approaches overlap playfully and directly, celebrating graffiti’s ability to turn a name into an image, an identity, and a presence.

Emerging from Miss Van’s ongoing exploration of femininity, sensuality, and emotional complexity, Lady with Poppies presents a figure suspended between strength and vulnerability. Surrounded by poppies and rendered through flowing lines, the portrait draws inspiration from vintage Art Nouveau lithographs, bringing their decorative elegance into dialogue with the mystery and intensity that define the artist’s visual universe.

Characteristic of Miss Van’s practice, female figures become spaces for exploring multiple and sometimes contradictory expressions of femininity. Sensuality, confidence, vulnerability, and introspection coexist, resisting a singular or idealised representation of the feminine. Blending the dreamlike with raw emotion, Lady with Poppies transforms the portrait into a psychological presence, where beauty and allure reveal something more complex, intimate, and elusive beneath the surface.

“Freedom is absolute in the relativity of time and space.” In this edition, Miguel Januário transforms the format of an eye chart into a layered reflection on perception — visual, political, and historical. As the letters shrink line by line, so does the idea of freedom itself, becoming increasingly narrow, distant, and harder to hold onto. Released on the occasion of 25 April, the anniversary of Portugal’s Carnation Revolution of 1974, the editions revisit the ideals of revolution through a lens of doubt and critical observation.These works are part of ±MaisMenos±, Januário’s long-standing project that uses minimalist language and bold contradictions to expose social and political paradoxes. Operating between public space, activism, and contemporary art, his practice turns language into a site of tension — and clarity into critique.The editions are available in two formats: a large, limited edition and a smaller open edition. When purchasing the large one, the smaller is included — a gesture of sharing and accessibility that reflects the artist’s belief in the circulation of ideas.

Underdogs celebrates the 25th of April with the launch of a special series of editions by seven Portuguese artists who, although they did not experience the revolution firsthand, grew up with its legacy deeply embedded in the fabric of society. This year marks 51 years since the Carnation Revolution — a historical moment that ended decades of dictatorship and restored democracy in Portugal. The works emerged from an invitation by Underdogs to engage in a dialogue with iconic photographs by Alfredo Cunha — one of Portugal’s most important photojournalists. With a sharp and sensitive eye, Cunha captured defining moments of April 25, 1974, immortalising expressions of freedom, confrontation, silence, and hope.

Each artist was invited to choose, reflect on, and respond to one of these images, inviting viewers to step into a portal through time and offering a new, personal reading of the past. Originally presented in the exhibition Portais do Tempo, held at the former Lisnave shipyards in Almada in 2023, these powerful works are now being relaunched as limited editions — produced in the same format and with identical margins. Each edition will be sold at the same price, making them accessible to a wider audience and reaffirming the importance of keeping alive the reflection on what freedom means, and what it continues to mean, today.

Inês Teles departs from a historic photograph of Portugal’s transition out of dictatorship — tanks, crowds, and a moment of rupture. Yet her gaze shifts to the margins: a soft light, subtle movement, and the branches of a tree in the foreground. It is from this organic detail that she builds her sculptural response — a poetic glass form inspired by the concept of the Social Amoeba, a unicellular organism that unites for collective survival. Her delicate work reflects on the balance between individual and collective, and the need for resilience in uncertain times.

Underdogs celebrates the 25th of April with the launch of a special series of editions by seven Portuguese artists who, although they did not experience the revolution firsthand, grew up with its legacy deeply embedded in the fabric of society. This year marks 51 years since the Carnation Revolution — a historical moment that ended decades of dictatorship and restored democracy in Portugal. The works emerged from an invitation by Underdogs to engage in a dialogue with iconic photographs by Alfredo Cunha — one of Portugal’s most important photojournalists. With a sharp and sensitive eye, Cunha captured defining moments of April 25, 1974, immortalising expressions of freedom, confrontation, silence, and hope.

Each artist was invited to choose, reflect on, and respond to one of these images, inviting viewers to step into a portal through time and offering a new, personal reading of the past. Originally presented in the exhibition Portais do Tempo, held at the former Lisnave shipyards in Almada in 2023, these powerful works are now being relaunched as limited editions — produced in the same format and with identical margins. Each edition will be sold at the same price, making them accessible to a wider audience and reaffirming the importance of keeping alive the reflection on what freedom means, and what it continues to mean, today.

Fidel Évora reinterprets a photograph by Alfredo Cunha that the photographer himself describes as an image of peace — a calm crowd and stillness in the air. Yet, for Évora, the scene carries a different weight: the soldiers appear not as protectors, but as a barrier. Through collage, the artist fragments and reassembles the image, introducing new layers of meaning and tension. Evoking the end of colonial war and Cape Verde’s path to independence, the artist: more than fifty years on, are we moving forward, or simply repackaging the past?