Fidel Évora
0 Artwork
€0 EUR
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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 /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.
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?
Fidel Évora
0 Artwork

Edition of /25 + 5 AP
Stencil on paper
Signed and numbered by the artist
Conqueror Vergé 300 g/m2 paper
70 × 50 cm
2026
*Artist’s proofs consist of the original stencil matrices collaged on paper
Emerging from BIGOD’s exploration of vernacular culture and overlooked forms of labor, this edition reflects on the circulation of images and their role in shaping collective memory. Drawing on the figure of the street newspaper seller, the work positions artistic creation as an act of distribution: something that moves, repeats, and carries urgency.
Built through layered fragments and graphic rhythms, the composition evokes processes of print and reproduction, where images accumulate and transform over time. Balancing manual gesture with industrial reference, the work establishes a dialogue between past and present, translating a street-based visual language into a form that can be held, shared, and preserved.
Edition of /50 + 10 AP
Screen print on paper
Signed and numbered by the artist
Munken Pure 240 g/m2 paper
70 × 50 cm
2025
This print reflects my ongoing exploration of the relationship and dialogue between analog and digital media within the study of nature and landscape — their structures and mechanisms — through composition.In my paintings, these studies focus more on how color guides us through the structure of the image. In this monorganism, the main attention is directed toward the structure itself and how different media can relate to one another, describing the surface of the format through multilayered formal relationships that lead to a harmonious composition.
Edition of /50
Screen print on paper
Signed and numbered by the artist
71 × 51 cm
2025
Georgia Hill is an Australian artist currently based in Paris. Her multidisciplinary practice includes murals, installations, paintings, and drawings that respond to specific places and experiences. Through photography, notes, and collected references, she transforms architectural and landscape elements into layered compositions exploring memory, movement, and spatial perception.
In Sicily, Georgia Hill slowed her pace to fully absorb Cretto di Burri and Gibellina’s sculptural landscape. Photographing concrete textures and architectural fragments allowed details to resonate over time. Her print collages illustrated references from the site, blending permanence and ephemerality. The composition reflects questions of distance, memory, and preservation. By layering observed patterns with expressive drawing, she captures a town shaped by history and reconstruction, translating site-specific experience into contemplative abstraction.
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