One, two, three, four, five...count the little sheep and have sweet dreams! In the sculpture "Dream Team" by Superlinox, the sheep have a fluffy mission: carrying the next with care. Forever a flock, they’re stronger side by side - or in this case, on top of each other. Like acrobats, they wobble, they balance, they smile. Cheerful and cute, they carry one another’s weight on their shoulders. But even in a dream team…isn’t someone always carrying just a little more?

Blue Dinosaur offers a satirical take on Europe as a once-powerful force now stalled by its own legacy. Through the image of a prehistoric creature, the work questions the continent’s ability to adapt in the face of global urgency. Layered with irony and symbolism, it invites reflection on the balance between tradition, transformation, and political responsibility.

Blac Dwelle’s sculpture Thecora reimagines a 19th-century Portuguese slave ship as a humanoid machine, merging history with futuristic form. Carved from wood, it confronts the legacy of colonial violence and the evolving machinery of systemic oppression. Standing in the present, it challenges each viewer: are we agents of change, or still complicit in inherited injustice?

Fauna Material marks the first collaborative print by artists Add Fuel (Cascais, Portugal) and PichiAvo (Valencia, Spain). This piece unites their creative languages, blending the timeless presence of classical art—embodied in the mythological figure of the faun—with the refined beauty of traditional Portuguese tilework, which forms the backdrop of the composition.

In this special edition, Tristan Eaton fuses digital and screen printing to explore the tension between surface and depth, beauty and construction. Known for his layered approach, Eaton continues to blur the boundaries between fine art, pop culture, and street aesthetics. “Sous”captures the essence of his practice: bold, intricate, and unapologetically hybrid.

Edition: Edition of /50 + 10 AP

Technique: Giclée print and eight-colour screen print on paper

Size: 68.6 × 45.7 cm

Artist: Tristan Eaton

Shipping: Plastic-free packaging

This edition emerged from Layers, a generative NFT project that invited collectors to shape their own artwork by choosing how many visual layers to reveal. Built from photographs of torn urban posters, each composition was generated algorithmically and then printed on velvet paper, merging digital authorship with physical craft. It reflects the exhibition’s central idea of Threshold— a transition between the virtual and the tangible, and between observation and participation.

This edition emerged from Layers, a generative NFT project that invited collectors to shape their own artwork by choosing how many visual layers to reveal. Built from photographs of torn urban posters, each composition was generated algorithmically and then printed on velvet paper, merging digital authorship with physical craft. It reflects the exhibition’s central idea of Threshold— a transition between the virtual and the tangible, and between observation and participation.

This edition emerged from Layers, a generative NFT project that invited collectors to shape their own artwork by choosing how many visual layers to reveal. Built from photographs of torn urban posters, each composition was generated algorithmically and then printed on velvet paper, merging digital authorship with physical craft. It reflects the exhibition’s central idea of Threshold— a transition between the virtual and the tangible, and between observation and participation.

Each piece in the Shred Edition was created from real street posters — fragments of the city’s surface collected and transformed through Vhils’ process of carving and controlled removal. These works embody the project’s core tension between destruction and creation, presence and erasure. They echo the visual language of Threshold, turning detritus into testimony and collapse into continuity — where what’s usually discarded becomes a site of reflection.

This edition emerged from Layers, a generative NFT project that invited collectors to shape their own artwork by choosing how many visual layers to reveal. Built from photographs of torn urban posters, each composition was generated algorithmically and then printed on velvet paper, merging digital authorship with physical craft. It reflects the exhibition’s central idea of Threshold— a transition between the virtual and the tangible, and between observation and participation.

Betweenevilandfun, Diogo Potes, a graphic designer and creative director based in Lisbon, creates monsters that don’t really want to scare. His figures live in an ambiguous space — chaotic, colourful, intense — where the grotesque is softened by vibrant palettes and a sense of humour. Influenced by punk rock and 1990s skateboard graphics, these creatures with bulging eyes and sharp teeth inherit the anarchic spirit of that era, yet reject the narrative of fear. The result is a playful and provocative visual tension — monstrous, but never hostile.

BRINCAR com letras grandes("PLAYING in big letters") is a visually vibrant and provocative composition that delves into the ambiguity between playfulness and truth, lightness and emotional manipulation. The work confronts the viewer with a saturated visual universe - filled with childhood references, fragmented objects, and clashing textures - orchestrated within an intentional chaos.At the heart of this whirlwind lies a subtle yet loaded question: “Plena mente?” (a wordplay in Portuguese suggesting both “fully conscious” and “full of lies”). The phrase operates as both riddle and critique, questioning the social habit of saying something honest in the form of a joke - only to quickly retreat behind the phrase “just kidding” when vulnerability is exposed. A gesture that simultaneously reveals and denies.The painting becomes a reflection on dishonesty wrapped in playfulness, where a playful aesthetic is used to camouflage deeper emotional tensions.  Visual elements like cherries, childlike patterns, and abrupt cutouts serve as metaphors for the desire to express honesty. “BRINCAR com letras grandes” refuses the superficiality of joking and invites a reflection on the courage it takes to stand by the truth - even when it arrives masked as laughter.

“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.

“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.