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.

Each video artwork editions continues a series Vhils began in 2011, using
his signature technique of controlled explosion. By literally creating through
destruction, the artist reveals what lies beneath the surface, both physically
and metaphorically. Captured with high-speed cameras, the moment of
detonation becomes a fleeting, lyrical gesture, imperceptible to the human eye,
yet rendered visible through technology. It is in this invisible instant that Vhils
uncovers a new form of beauty: one that emerges from force, fragmentation,
and the delicate choreography of demolition.

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

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.

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.

In one of Alfredo Cunha’s most iconic photographs, a child stands between intertwined hands — a symbol of communion, vulnerability, and the first moments of freedom. Using an ancestral method of weaving — not with threads, but with photography — Belli creates a piece that speaks of connection, memory, and care. Her work asks: what world are yesterday’s children offering to those of today? Do we still know how to cherish the freedom that was once so newly won? Through this poetic and tactile gesture, Belli invites us to reflect on the meaning of freedom — then, and now.