no. 21 Editorial
Moodboard

ISSN · 2183-5527

Author in residence

Painting 21 and Painting 22

Painting 21 and Painting 22

Tânia Carvalho

Painting 21 and Painting 22

Alchemizing The Damage

Visual Essay

Alchemizing The Damage

Cecília Costa + Leonor Nazaré

DRAWING (cane field 289)

Visual Essay

DRAWING (cane field 289)

Edgar Massul + Angelo Gonçalves

The Black Angel

Visual Essay

The Black Angel

Rui Chafes + Pedro Falcão

The Hanged Woman

Author in residence

The Hanged Woman

Tânia Carvalho

Deep Into the Landscape – How to transform a cement-laden patio into an edible forest garden? – Part III

Visual Essay

Deep Into the Landscape – How to transform a cement-laden patio into an edible forest garden? – Part III

Landra

piano and birds for alberto carneiro

Sound Essay

piano and birds for alberto carneiro

Joana Gama

Swerve

Visual Essay

Swerve

Bruno Humberto

Painting 18, Painting 19 and Painting 20

Author in residence

Painting 18, Painting 19 and Painting 20

Tânia Carvalho

Deep Into the Landscape – How to transform a cement-laden patio into an edible forest garden? – Part II

Visual Essay

Deep Into the Landscape – How to transform a cement-laden patio into an edible forest garden? – Part II

Landra

DO HANDS DREAM IN ITALIAN?

Visual Essay

DO HANDS DREAM IN ITALIAN?

Antonio Colombini

Deep Into the Landscape – How to transform a cement-laden patio into an edible forest garden? – Part I

Visual Essay

Deep Into the Landscape – How to transform a cement-laden patio into an edible forest garden? – Part I

Landra

Consequence

Visual Essay

Consequence

Pedro Pires + Lourenço Egreja

Todos os Gestos

Visual Essay

Todos os Gestos

Rita Senra

Painting 16 and Painting 17

Author in residence

Painting 16 and Painting 17

Tânia Carvalho

Wrong Wrong n.21

Gestures

Visual Essay 29.04.2019

Apolo Rising

João Fonte Santa

At the turn of the 1960s to the 1970s, Hunter S. Thompson was looking for what was left of the American dream in Las Vegas. The porn cinema of the country that, propelled by the erotic libertarianism of the time, was popularized in psychedelic orgasms. S. Thompson would find the wreckage of the dream in a tavern in the confines of a decaying suburb of the city, along the desert.

As early as 1968, Stanley Kubrik had finalized his space opera with another psychedelic explosion, this one, profoundly solitary, finding its doors of perception in the confines of the universe.

At the time, the rite of passage from baby to child of an entire Western generation took place in front of a television watching the small step for man, the giant leap for mankind. A generation that accompanied in each season the new launches of the great white phallus towards the sterile Moon that it intended, in a utopian manner, to fertilize.

Broadcast still in low-fi television, one would watch the magical low gravity jumps followed by the complex rescue process of decontamination of the survivors, mechanics facilitators of the operation, collected from the purity of the maternal uterus of the ocean where they landed.

The whole adventure was a gigantic symbol, the testosterone of a system in cold war like deep space, with an other, obscured behind an iron curtain, it was said. As symbolic as the desire and aspiration of a golden age, dreamt but lost between the jungle, the ghetto and the suburb. A suburb where, in the spring of 53, on a mescaline journey and unlike Kubrik’s hero, A. Huxley had already found the doors of perception in a shopping center as he leafed through a monograph of baroque paintings in a bookstore.

Visual Essay + Author in residence

Freezing Utopia

Objects in mirror are closer than they appear