JR
0 Artwork
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Join the Underdogs movement! Visit us now to explore exhibitions, public art projects, and exclusive artist editions that connect communities through creativity.
Established in 2010 and consolidated in its present form in 2013, Underdogs works with a diversified roster of Portuguese and international artists connected with the urban inspired contemporary art universe, fostering the development of close relationships between creators, the public, and the city with the aim of promoting art as an everyday experience.
Edition of /180
Sixteen-colour lithograph on paper printed on a Marinoni press
Signed and numbered by the artist
BFK Rives White 300 g/m2 paper
100 × 70 cm
2021
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"It was supposed to stay only six months, but the installation remained intact for almost two years. People still talk about it in Italy because it became a landmark where people would meet up. It was interesting to see how ..." Listen more
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JR
0 Artwork

Edition of /12
Giclée print on paper
Signed and numbered by the artist
Smooth FineArt 270 g/m2 paper
29.7 × 42 cm
2025
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.
Preta.Preta reinterprets one of Alfredo Cunha’s most unsettling photographs — a scene of silence and emptiness, where no human figure is present, yet a weapon dominates the frame at Terreiro do Paço. In her work, the artist explores this absence, giving symbolic power to colour: red evokes the revolution and the carnation; blue represents what is silenced, ignored, or censored. Her composition reflects on today's realities — poverty, gentrification, conflict — and asks what remains of the hope captured in 1974.
Edition of /25 + 5 AP
Toxic mud, forest ash, pigment extracted from cigarette butts, mining tailings, (soil) construction waste on manually recycled paper (80% paper, 20% cigarette butts), printed using the Lixogravura technique
Signed and numbered by the artist
41.5 × 29.5 cm
2025
*Lixogravura: a technique that reinvents traditional printmaking using only discarded materials.
Edition of /75 + 10 AP
Giclée print on paper
Signed and numbered by the artist
Fine Art Cotton Rag Natural 290 g/m2 paper
29.7 × 42 cm
2024
The American artist based in Detroit is mainly known for an ongoing series of sketchbooks and photos documenting his travels within the United States. The original painting of this edition takes part in a series based on images of things Pat Perry saw for sale online. As he explains, “Craigslist and Facebook Marketplace are websites meant to serve a strictly practical purpose, but they are also repositories for strangeness. This series of paintings, based on images appropriated from these websites, muses on how real life is refracted when strangers use their phone cameras and social media accounts to sell things to each other online.”
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