A workshop experimenting with the basic principles of electronics and graphic design techniques mixing LEDs with pre-computer colour proofing techniques such as Xerography, Omnichrom and Letraset transfers. Electronic pizza, hummm!
For: 12 students. Difficulty: medium level. Costs: low. Time: 2 days. Low in calories and high in fibre and energy.

Ingredients:
24 Large size empty pizza boxes
12 assorted LEDs
2 Metres of electric cable
1 piece of electric wire
1 black marker
1 Set of Letraset for electrical engineers.
1 Isolating tape
2 Hansa N10 attaches
1 Assorted Letraset Omnicrom strips
2 1.5v Batteries
1 UHU Stick

In collaboration with: Tiago Borges and João Decq. At ESAD.CR

A contemporary art exhibition commemorating the 600^th aniversary of a well known portuguese love tragedy. “The name engraved in thy bosom” derives from the 1572 Luís Vaz de Camões’ epic poem “Os Lusíadas” (“The Lusiads”), from the section evoking the tragic love of Inês and King Pedro I of Portugal. The catalogue’s typography, materials and colours make reference to the local Portuguese traditional popular confectionery, creating a recognizable iconography. An additional reference is made to the epistolography of the two lovers by mimicking the envelope lining patterns on the book’s inner dustjacket.

Curator: Alexandre Melo
Art director and designer: António Silveira Gomes

Produced materials: catalogue, invitation and sticker

Catalogue for the exhibition of artist duo João Maria Gusmão + Pedro Paiva, as the official Portuguese representation at the Venice Biennale 2009. The project’s title is borrowed from the Joseph Priestley’s book in which the author presents a series of scientific experiments on air and gas, namely his discovery of oxygen.
The book’s colophon justifies some of the formal options: “The primary font used throughout this book is John Baskerville Text, in a version digitalised in 2001 from a collection of rare books originally printed by John Baskerville circa 1750. This typeface exudes the original spirit of Baskerville’s creations, reinforcing the strongly contrasted strokes, fine serifs and exquisitely fluid lines, enhancing the rhythm of the italics. The main physical characteristics of his typeface are the open loop of the lowercase “g”, a swash-like tail on the “Q”, the pointed apex of the “A” and a distinct cursive uppercase “J”. John Baskerville (1706-1775) was a headstone engraver, atheist and anti-clerical, master of calligraphy, typographer and printer in Birmingham, home city to the Lunar Society, an informal group of industrialists, natural philosophers and intellectuals whose ranks included Joseph Priestley whose work gives its name to this exhibition, and Erasmus Darwin, Charles Darwin’s grandfather. There is no record of these gentlemen ever having met; however, Benjamin Franklin, an associate of the Lunar Society, did meet Baskerville and greatly preferred his innovative print work to the Caslon typeface that predominated in that era. Baskerville drew upon his knowledge of printing inks and paper production to manufacture improved black ink and perfect the quality of paper. He made the most of blank space within his book layouts, and tried to keep ornament to a minimum, in his quest for austere and elegant books.”

Curator: Natxo Checa
Artists: João Maria Gusmão + Pedro Paiva
Editor: Mattia Denisse
Art direction: António Silveira Gomes (designer) and Cláudia Castelo (project manager)
Graphic designer: Patrícia Maya
Produced materials: catalogue, posters, invitations and press ads

With a goodby to the Escudos and a hello to the Euro, Flirt kept on its conqueror’s stance, although it become even more engagé where national cultural politics were concerned: publishing a wide-ranging survey on the production and the financial backing policies of contemporary art; the strikers António Pocinho and Gilberto Gouveia maintained also their positions; two of the best “Ócios” ever were created in this era: one on the best WCs and the other on the best zones for quick lays (cars, hidden corners, etc., by Pedro Moura) in Lisbon; also, a series of chronicles about Portuguese cities who were green with jealousy for not having a Flirt of their own, written by their better hosts: JP Simões (Coimbra), Pedro Mesquita (Porto), Alberto Pereira and Miguel Calvete (Caldas da Rainha), Alexandre Pascoal (Ponta Delgada); Braga (Zé Bernardo); Tavira (Vítor Pomar).

With the turn of the millennium the section “Ócios” was kept, again with two great lists: a special on beaches and semi-fresh fish, and a guide for 5-star restaurants (without ever eating there!). also, interviews with Pierre Bourdieu, Jean Baudrillard, Guillermo Gomez Peña and a Roy Ascott glossary.
A special section was done for all Super8 lovers: how to create a homemade laboratory.

2001 was, at one time, the highest peak and the beginning of the downfall for flirt. Some of the issues were thematic, some were not. Maturity set in, in a project that was condemn to be adolescent forever.
One of the issues was dedicated to abandoned houses cum squats, with a how-to-guide by bone fide squatters, a text exploring the artistic takeover of the Tercenas do Marquês building, and yet another article that remains up-to-date (8 years after being written), on the empty houses and apartments in Lisbon.
Also: Angela Davis; interview with Kalle Lasn (editor for Adbusters), the republishing of the “First Things Firts” manifesto, Critical Art Ensemble, Manuel de Landa, Geert Lovink and Negative Land.

Editor: Cláudia Castelo and Pedro Ornelas
Flirt’s hardcore: António Pocinho, Gilberto Gouveia, Pedro Moura, Mário Cameira, Francisca Bagulho, Natxo Checa, Manuel Henriques, Kika, José António Moura, Pedro Santos, Nuno Carvalho, Sofia Oliveira
Graphic design: António Silveira Gomes, Nuno Horta Santos and José Albergaria

Art Direction for the Ordem dos Arquitectos (Portuguese Architcture’s Guild).

Editor: Manuel Graça Dias
Graphic design: António Silveira Gomes, Nuno Horta Santos and José Albergaria

Art Direction for the Ordem dos Arquitectos (Portuguese Architcture’s Guild).

Editor: Manuel Graça Dias
Graphic design: António Silveira Gomes, Nuno Horta Santos and José Albergaria

Catalogue of the exhibition, presenting each piece as if in an industrial catalogue of volatile products.

Art direction and graphic design: António Silveira Gomes, Nuno Horta Santos

The cover, that looks like out of a Z-movie, may tilt the reader in the wrong way. The actual subject of this book is Abyssology, a parascience of the indiscernible, a term appropriated by artistic duo JMG and PP and explored here via an array of texts by scientists, poets, writers, philosophers and art critics. The book presents a text/image combination in which there is no distinction whatsoever between the artists’ own work and images from other sources.

Artists: João Maria Gusmão e Pedro Paiva
Curator: Natxo Checa
Art direction: António Silveira Gomes (designer) and Cláudia Castelo (project manager)
Graphic designer: Patrícia Maya

Produced materials: book

Attention! This is not a programme, but rather a publication created for the collective actions of the neo-fake artists from Teatro Praga. Each issue pretends to establish a parallel between the texts, the performance experiences and the very specific traits of each play. This publication is sold at the entrance of the venues where the shows take place, during intervals, in a small, improvised “kissing stall” sort of thing.
Props 1 and 2 were published together for the play entitled Demo. The first comprehended a series of texts related to the play, similar to the classical Al Jafee’s Mad fold-ins, and with a insert of spam ads. The second is a inside out magazine with the portfolios of 4 artists involved in the show: Gabriel Abrantes, Pedro Lourenço, Vasco Araújo and Kevin Blechdom.

Editor: Susana Pomba
Art direction: António Silveira Gomes (designer) and Cláudia Castelo (project manager)
Graphic designers and spam collectors: Patrícia Maya and Alexandre Castro

Produced materials: publication and brochure

Editorial project for an installation by artist Filipa César, a semi-documentary on illegal immigration and frontiers during the Salazar regime in Portugal. The invitation consists of a map of the locale discussed on the artwork; the very support’s material (paper) is evocative of the frontier’s dichotomy: only when the spectator holds the paper against the light he can see, through its transparency, the two sides coalescing the complete map information. The bookzine’s cover uses a lined blue sheet of paper (reminiscent of an official and obligatory type of paper used in that era’s Portuguese bureaucracy and its political police).

Art direction: António Silveira Gomes (designer) and Cláudia Castelo (project manager)
Graphic designer: Patrícia Maya

Produced materials: invitation and booklet

The “Confraria” are brotherhoods that share a common interest. Originally religious cults that worshiped a specific Saint. The Magazine bebes.comes is the voice of the Trás-os-Montes Gourmand and Enophile “Confraria”. This brotherhood is dedicated developing and maintaining the Culinary patrimony of the Alto Douro region… and always the ideal excuse to organize opulent, festive banquets.

Editor: António Manuel Monteiro
Art direction: António Silveira Gomes
Graphic Designers:
Sílvia Prudêncio, Patrícia Maya, Alexandre Castro

Oporto is a studio and a non-profit screening room located in Lisboa. Occupying the former Merchant Sailors Union headquarters, Oporto presents from time to time a single unique experimental video or film. The space is directed by artist Alexandre Estrela, in cooperation with ourselves and artist Miguel Soares. The screenprinted posters are created specifically for the invited artists and galerists and are also sold at each venue. The flyers are produced in various media from offset printing, fotocopies, letterpress and Riso Print Gocco.

Ken Jacobs (US), Werner Nekes (DE), Franz Zwartjes (NL), Gunvor Nelson (US)

Curator: Alexandre Estrela
Graphic Design: António Silveira Gomes
Screenprinting: Mike Goes West

Oporto is a studio and a non-profit screening room located in Lisboa. Occupying the former Merchant Sailors Union headquarters, Oporto presents from time to time a single unique experimental video or film. The space is directed by artist Alexandre Estrela, in cooperation with ourselves and artist Miguel Soares. The screenprinted posters are created specifically for the invited artists and galerists and are also sold at each venue. The flyers are produced in various media from offset printing, fotocopies, letterpress and Riso Print Gocco.

John Smith (UK), Charlemagne Palestine (US), Craig Baldwin and Negativland (US), R.Steevie Moore (US)(, John Behrens (US), Joel Singer (US), Vasco Lucena (PT),

Curator: Alexandre Estrela
Graphic Design: António Silveira Gomes
Screenprinting: Mike Goes West

Part of an experimental thesis project made during a post-graduation course at FA-UTL. “Pão” is bread in portuguese. By working with wall-newspapers, confectionery wrapping paper, cultural probes and pervasive computing concepts we tried to create a locally based publication that fed information about cultural habits in a popular Lisbon neighbourhood. This example shows amounts of alcohol consumption and Utopian floor plans.

Prototype:
Graphic Design and Research: António Silveira Gomes
Acknowledgements: Monica Mendes, José Brandão and Tereza O. Cabral.
Screenprinting: Mike Goes West