"If it is somehow identifiable as part of a referential system, we immediately understand the meaning of a line on a piece of paper. A horizontal line will be easily read as a minus, an em dash or a way on a map, no matter how sloppily it is written or drawn."

In the turbulent square of Martim Moniz, stands a robust building by the architect Bartolomeu Costa Cabral. Invited by TECLA PLAY Cultural Association, artist Leylâ Gediz presents an installation of paintings in the interior gallery of the building,

Ernesto de Sousa (1921–1988) was a major and multifaceted figure from the Portuguese avant-garde—artist, poet, critic, essayist, curator, editor, filmmaker, and a promoter of experimental ideas and artistic expressions. Reflecting questions of hierarchy, authorship, and the complexity of framing or dividing within the multiple and complementary practices of

The book ...Umas […Some] begins before I existed. First of all, because of the artist's own connection with the newspaper: Lenora de Barros worked for many years behind the production of magazines and newspapers, artistically thinking the process of some of the main publications that still circulate in Brazil. The newspaper Folha de São Paulo, as it is known today, also has a lot of her touch.

Subduing our bodies, in the sense of controlling our impulses and desires, is an aspiration which is older than Christianity. At that time, the dominant question was: how do you get good control over yourself? Christianity made women the symbol of possible loss of control over our bodies. Achieving our self-control turned into being able to control the woman, to avoid the temptation that she, malevolent, represents.

In this warm and soft book, covered by a blood red fabric, artist Rosana Paulino brings together for the first time the series of drawings that give their title to the publication: Buffalo and Lady of Plants. Both represent female archetypes related to the black psyche, and they go against the dominant European and colonial collective consciousness. The series are first cousins. They talk to each other, complement each other, support and learn from each other. Their encounter also results from the affinity developed between artist and publisher. Together, they translated into this book-object part of the research, poetics, and materiality of Rosana's work.

But, tell me, how did he feel about the book? Well, it was in it that an awareness came up, the awareness that the work spoke more about him than about the other. And why? Who knows?