The exhibition consists of 5 paintings in premium matte acrylic paint on laminated plywood, hand-painted, and an illustrated 12-page book printed in screen printing. The book has two versions: one in A4 format with three premium colors, and a pocket book version in A6 with a single color.

The theme addresses the current life of the Portuguese, with this work being a political and economic satire on how the majority of the Portuguese people live and vote.

In the context of the work, there are several references and connections to symbolism and materiality, which together create its unity and strength.

About the book

The cover is sensationalist, referring to the iconic figure of Zé Povinho by Bordalo Pinheiro, portrayed this time as thin, naked, and downtrodden, without the strength to fight, to illustrate the real feeling that the Portuguese have about the current political and economic situation. At the same time, we are confronted with a message of strength and again the reference to Zé Povinho’s gesture of “TOMA,” crossing his arms in protest.

The first two pages refer to the increase in rental and public transportation costs. On the page about rents, two figures represent the person facing rising rents, clinging to their lease, while the other figure wanders the streets with nothing to hold onto, but with a ghostly strength rising, depicting the need for inner strength. On the next page, about the increase in public transportation costs, there is another reference to propaganda, using a mupi at the bus stop with the cover of Pink Floyd’s album “The Wall,” which portrays social isolation and is used here to reflect the isolation that increases in public transportation costs bring to society.

The other two pages present political messages. The first uses a pun in the phrase “Are you right?” or “Are you right or left?” to make the observer reflect on whether they are correct, if they are politically from right or left, or if right or left is the right way. The other page addresses the increase in taxes charged by the government, showing Zé Povinho in his barrel, floating in the sea, giving the last pennies to the shark, which proudly bears the symbol of Portugal’s crusades, representing the Portuguese government.

On the following two pages, the first addresses the real increase in public debt, maintaining the reference to the shark and the only thing it leaves behind. The second question is whether we are happy in Portugal, leaving a happy memory of our most precious and free beach sand.

To conclude the book, a triptych is presented that takes us to a tiny room, with the kitchen on the left, the bed in the middle, Zé Povinho, and the bathroom on the right. In the kitchen, the increase in food costs is represented in an empty and almost waterless kitchen. On the central page, Zé Povinho is sitting on the bed, looking for work on his laptop, while the increases in national average and minimum wages are represented. Finally, in the bathroom, there are messages of strength on the walls, and prominently, a mirror to make the observer reflect on the work and their own situation, questioning whether their life is reflected in these illustrations or if they reflect the consequences of their actions.

About the paintings

Regarding the painting style, the phrases are influenced by communist political propaganda design, only to enhance the passage of a political message at an aesthetic level. The same applies to the lines and drawings of the bodies and objects used in the works.

Regarding the materials, the predominant color is “Yves Klein” blue, a tribute to Portuguese tiles, chosen for its velvety matte finish and premium quality, to reference luxury and ostentation. As a background, “blackest ink on earth” black color is used, due to its matte and velvety finish that does not reflect any light, bringing a mysterious and dark side to the works. The paint is applied leaving visible the raw laminated plywood, precisely to contrast with the luxury and ostentation of the pure, natural, and lively material of wood.

Regarding the message in the paintings, “Say, No, More, Fight, Now,” is an intentional contradiction to the message of the book and the purpose of the exhibition, which is to appeal to fight to change the current situation. However, this message aims to appeal to a correct fight so that “The Poortuguese” does not have to fight more in the future. The paintings depict close-ups of contorted and disproportionate parts of Zé Povinho’s body, reflecting the twisting and adaptation that occurs in everyday life, or when receiving this message.

TOMA!