SURVIVING THE LAST DAY OF THE UNIVERSE.

RETHINKING, REBUILDINGAND RELIVING IN LISBON

AFTER THE EARTHQUAKE OF 1755

JAPANWORLD TSUNAMI MUSEUM CONFERENCE OCTOBER 2017

LISBOALISBON

1 DE NOVEMBRO DE 1755 NOVEMBER

1Surviving the last day of the Universe .

Rethinking, rebuilding and reliving in Lisbon a�er the earthquake of 1755

That horror of that day, is not for those who only read about it

Le�er from a Portuguese friar to his brother, in Goa, 1756

Introduc�on. Earth, water and fire: the fury of the elements

When the French philosopher Voltaire (1694-1778) heard about the Lisbon

earthquake of 1755, he wrote a poem that would mark a boundary between divine

providen�alism which legi�mised the eventual injus�ces of theodicy and

enlightenment which sought to explain ra�onally the death of thousands of

ordinary people who, being innocent, could not of course raise such a

dispropor�onate wrath of God. Voltaire's long text also launched, in a certain sense,

a global way of thinking: Lisbon was in ruins and they danced in Paris, as the poem

says. The statement is sarcas�c, as Voltaire implicitly cri�cised the aliena�on of his

compatriots regarding a catastrophe that, in such an arbitrary manner, could have

taken place anywhere on Earth.

1No�cia do Terramoto de 1755 (News of the 1755 Earthquake), manuscript of an Italian Capuchin friar (ed. Barata, et alli, 1989: 325-326).

1

Voltaire portrait by Nicolas de Largilliére,c.1724public domain

Tsunami caused by the earthquake of 1755. Engraving. Unknown loca�on

Voltaire's words illustrate the interna�onal repercussions of the

earthquake which struck Lisbon. In Portugal, the wri�ngs on the catastrophe were

much more numerous, the authors confron�ng it with the impossibility of

describing, in words, the magnitude of that earthquake and the sheer speed with

which Lisbon became ruins. The number of tes�monies, although not coincidental

among themselves, cons�tutes an informa�onal source that allows us to

reconstruct, in general terms, the succession of occurrences on that first day of

November in the year 1755, All Saints' Day.

The day would break sunny and calm. Around 9.40 a.m. the earthquake

struck; its beginning was compared to the passing of a carriage, which quickly

became a "formidable Trembling" that lasted 7 to 8 minutes. The a�ershocks, more

than 60, were felt up to the a�ernoon and the phenomenon was accompanied by

two other catastrophes: before 11 a.m., about half an hour a�er the first impact, the

city was swept by a tsunami with at least five waves, and by that �me there were

Model of Lisboa before the earthquake of 175520th century

Museum of Lisbon

several fires that consumed considerable parts of Lisbon; the fire burnt for four days,

although other sources admit that it con�nued uninterruptedly for six days. The

earthquake had an es�mated magnitude of 8.7 on the Richter scale and would have

reached grade 9 at the riverside.

It is impossible to know exactly how many people died, but it is es�mated

that the number was between 20,000 and 40,000 people

on that day and during the following days, in a city of some

250,000 inhabitants at the �me. Only 8 nobles perished

due to the fact that the Court had not yet returned to

Lisbon. Around six months later, the Priest Pereira de

Figueiredo wrote that, since that first day of November

1755, Lisbon had experienced over 250 small earthquakes.

Lisbon's triple catastrophe, which destroyed two-

thirds of the city's dwellings, also captured the a�en�on of

many ar�sts. The physiognomy of the Portuguese capital

was known in engravings which circulated around Europe

and it was from these that some designers, who had never

been to Lisbon, portrayed the phenomenon of what had

happened. Most of the views of the earthquake show a city

of hills, with buildings composed of tall towers distributed

here and there to the le� or to the right, a detail that coincides with the stories that

suggested that parts of the city had been shaken from west to east (from S. Roque to

the Castle) and others from north to south (from Terreiro do Paço to Rossio).

The river, riotous, reaches the banks and the whole central zone is

consumed by fire, while some inhabitants seem to run through the riverside

squares, with open arms, not knowing exactly what to do besides ge�ng away.

Other prints show the a�empt to escape in small boats, an op�on which

condemned many to being shipwrecked, succumbing beneath the waves of the

tsunami.

3

Fire destroying the Hospital of All Saints

th 19 centuryMuseum of Lisbon

Lisbon before and during the earthquake of 1755According to a german engraver of Augsburg, a�er 1755, Museum of Lisbon

Some prints intended to be more rigorous. In this group are the six works of

Jacques Philippe le Bas (1707-1783), engraver of

the French court who drew up a set of six views

from inverted drawings by Miguel Tibério

Penegache (1730? -1794), sent from Lisbon to

Paris. Although less exaggerated than other views

of the city in ruins, the works of Le Bas also include

fanciful elements designed to reinforce the

desola�on caused by the earthquake, as can be

seen in the representa�on of the cathedral (where

it is known that the Cross tower and the South

tower of the façade both fell, but there was no

generalised destruc�on of the building). The other

engravings seem more reliable, especially that of

the Tagus Opera House, a luxurious and Italianised

theatre inaugurated on March 31, 1755 and

devastated by the earthquake, having retained

only the side walls, which curiously s�ll exist,

The Cathedral of Lisbon and the Ópera House, a�er the earthquake of 1755Jacques Philippe le Bas, a�er a drawing of Miguel Tibério

Penegache c. 1755 Museum of Lisbon

Aardbeeving te Lissabon in den Jaare 1755. Dutch engraving. Museum of Lisbon

integrated in the reconstruc�on of the western block of Praça do Comércio. In the

Tagus Opera House, for the night of the first of November 1755, was scheduled the

premiere of the piece The Destruc�on of Troy ...

2«Bury the dead; care for the living; close the ports» . The response to the

catastrophe by the Prime Minister of King D. José

On the day when the earthquake took place, Sebas�ão José de Carvalho e

Melo (1714-1777), prime minister of the King D. José (1714-1777)

and the future Marquis of Pombal, launched the works for the

rebuilding of Lisbon. If the earthquake had le� Lisbon shrouded in

chaos, the swi� and energe�c ac�on of the minister revealed the

full extent of State authority within the reach of the leaders of the

Old Regime in the behavioural regula�on of the inhabitants, in

carrying out the many tasks of the city's rebuilding and even in the

area of interna�onal economic rela�ons.

It was the lot of this statesman to perform what was

already classified as the "normalisa�on of chaos", as he began his

rise to the posi�on of Secretary of State of the Kingdom in these

"days of distress". A�er crea�ng a command structure, where

some ministers and nobles of the trust of Sebas�ão José de

Carvalho e Melo were involved in the planning process, the

priority was to bury the dead. In the absence of a large enough cemetery, or even of

cemeteries belonging to the parish churches (some of them also destroyed), the

op�on was to cast many of the dead to the sea and, in the work of clearing the

buildings - an ac�vity that became a profession in the days that followed the

earthquake - the decaying bodies that were found were covered with tar, to avoid

contamina�on of the air and the spread of diseases.

In the area of regula�on, King José's minister fixed prices, wages and

incomes at the level of those prac�sed on the eve of the earthquake, to control

2This sentence was a�ributed to Pedro de Almeida Portugal, 1st Marquis of Alorna, when he was ques�oned by the King, D. José, on what should be done regarding the calamity which had assailed. 5

Portrait of the Marquis de Pombal

thJoana do Salitre, 18centuryMuseum of Lisbon

Lisbon a�er the Earhquake of 1755, according to a german engraver of Augsburga�er 1755Museum of Lisbon

specula�on, concentrated the sale and distribu�on of supplies in the army and

senate of the Chamber, ordered the policing of the port and the entrances to Lisbon

to prevent the escape of any thieves, and was relentless with criminals, which is why

some engravings show the hanging of men convicted of the�, among the ruins,

among the homeless and among those working. Even in a chao�c se�ng, it was

impera�ve that the law should prevail. Finally, a customs duty of 4% was imposed

on all goods imported a�er 1756 to help finance the reconstruc�on of Lisbon.

Reconstruc�on: a new (idea of the) city

Lisbon fell in on Lisbon. And I do not know if it fell in on itself

Francisco de Pina e Mello, 1756

Undoubtedly, the reconstruc�on of the city was the main mission of

Sebas�ão José de Carvalho e Melo. In 1763, eight years a�er the earthquake, Lisbon

remained prac�cally in ruins. A drawing by Bernardo de Caula reveals that the

central riverside area was clear of debris, which appeared to form landfills towards

the river, but most of the buildings remained par�ally destroyed and large areas of

the interior were s�ll unoccupied. What Caula does not seem to have represented

were the more than 9,000 shacks that were built in the months following the

earthquake, especially in the western and northern areas. Only the Real Barraca

Lisbon. However, the sentence characterises more objec�vely the ac�ons of the future Marquis of Pombal.

Terreiro do Paço in 1763. Bernardo de Caula, Na�onal Library of Portugal

7

Topographic Plan of Lisbon with the rebuilding project. 1758. Captain Eugénio dos Santos

Museum of Lisbon

(Royal Hut), named Royal Palace of Ajuda, is iden�fied, but in the first decades a�er

the earthquake, the housing situa�on in Lisbon favoured construc�on in wood.

Some wooden huts had chapels, others, imported from Holland, had two

floors, and others were luxuriously decorated, in the manner of ancient noble

palaces. In 1766, a foreigner who passed through Lisbon observed that the huts

arrived prefabricated and could be put up in just one day.

The rebuilding plan began on November 29, 1755, when the future Marquis

ordered the measurement of squares, streets and houses that had been destroyed.

By December of that year, the areas to be des�ned for building had already been

defined. The Catholic Church joined this process only in August 1756, channeling

one-third of the incomes of the parish churches of Lisbon. At that �me, the plan of

the team led by Manuel da Maia had already been approved. The military engineer

had presented a preliminary project as early as December 4, 1755, which included 5

alterna�ves for the rebuilding of the city.

The op�on was to rebuild the lower part of Lisbon, according to an

ambi�ous program that provided for the total destruc�on of any pre-exis�ng

structures. New streets were organised according to a rigid orthogonal mesh, which

did not have diagonal paths, and new commercial buildings, iden�cal to each other

and which also had to observe a strict "symmetry in doors, windows and heights",

according to drawings made by the captain Eugénio dos Santos, at the �me

architect of the Senate of the Chamber of Lisbon. The projects of the la�er were

delivered in April 1756 and are based on values that imposed a change in the

architecture of the city, as they privileged the u�litarianism of buildings and a

repe��ve construc�ve module, later cri�cised for its aesthe�c monotony ...

Despite the radical nature of the plan, two pre-exis�ng structures

remained: the most important squares of the old city - Terreiro do Paço, in the

south, where it was already known that the royal family would not live again; and

Rossio to the north, where it was also known that its main monument, the Royal

Hospital of All Saints, was not to be rebuilt. Between these squares, unlike the single

street which connected them, as there was previously (Rua Nova de El-Rei), there

were now three streets and the main public buildings were organized according to

the hierarchy provided by the two squares.

Symptoma�cally, the technical staff in charge of equipping the Downtown

area of Lisbon with a new landscape was composed of military engineers and not by

architects. The future Marquis of Pombal had chosen the men of the For�fica�on

Class, not those of the Class of Civil Architecture from the Palace, he chose those

who had built the Aqueduct of the Águas Livres and not those who had built the

Na�onal Palace of Mafra (two of the most emblema�c works of the �me of D. João V

and which resisted the earthquake, although the intensity of the earthquake in

Mafra cannot be compared to that registered in Lisbon). With this op�on, the

engineering solu�ons were favoured, to the detriment of a purely architectural

vein. Speed, safety and ra�onalisa�on of methods and resources were also given

preference. The country was faced with a problem and it was necessary to act

swi�ly, simply and efficiently, values that the Portuguese school of military

engineering was accustomed to pursuing.

Manuel da Maia (1677-1768) was the true ideologue of the reconstruc�on

process. Graduated from the Class of For�fica�on, he took an ac�ve role in the last

fortresses of the "restora�on", like Estremoz

and Elvas. In 1718 he made a survey of Lisbon,

and in 1731 he made comments on the Águas

Livres aqueduct program, which was already in

development under his guidance. Despite

having a career fragmented by the calling to

several military posi�ons, he was appointed

chief engineer of the kingdom in 1754, close to

comple�ng 80 years of age, a posi�on in which

the earthquake found him.

Un�l April 1756, Maia presented the Disserta�on on the renewal of the city

of Lisbon cons�tuted by three parts, in which the evolu�on of the various proposals

for the rebuilding of the city was shaped. Assuming urban planning as a prime value,

superimposed on architectural or aesthe�c issues, the work coordinated by this

military engineer was intended to simplify the reconstruc�on process before it

became complex, which is why he was concerned with understanding how the

former landowners could be reimbursed in the new plan. In addi�on, he worked

quickly, recommending that the buildings should not exceed the width of the

streets in height and also taking into considera�on a sewage system under the roads

and even private water pipes for the buildings, but advising against the existence of

pavements, because they made the work more expensive and land would have to

be removed from the owners.

The project approved was Nr. 5, signed by Eugénio dos Santos (1711-1760),

with minor correc�ons and changes. The right arm of Maia, who he accompanied in

several for�fica�on works, Santos not only signed the "winning" project, but also

9

Architect Manuel da MaiaMãe d’ Água

AmoreirasMuseum of Water

Project for new buildings in Downtown Lisbon by Eugénio dos Santos and reconstruc�on model of behaviour in case of earthquake, Museum of Lisbon

designed the façades of the buildings in the Downtown area, the authorship of the

whole reconstruc�on program, and the engineering solu�on known as the

Pombaline cage, which was also a brainchild of his, although the most consensual

opinion a�ributes this "inven�on" to Carlos Mardel.

The Pombaline cage was an empirical solu�on found to provide mul�-

storey buildings with sufficient elas�city to withstand earthquakes, or to delay their

impact. This system was already prac�sed in some of Lisbon's buildings, usually

located on steep slopes, but it gained importance and uniformity in the

reconstruc�on of the city. It is a wooden structure which, embedded in masonry

walls, can detach itself from these in the event of a strong jolt, but remaining intact.

For this reason, the first builders to be called were the carpenters, who built the

cage, and only later did the masons begin their work.

This system was not built on stone

founda�ons, because the military engineers also

introduced innova�ons in this area. The various

levels of rubble were to be drilled by thick, deep

wooden stakes on which the cage was erected, thus

making the building and founda�ons a whole unit.

The stakes, formed by bars of pine, which was s�ll

green, from which the resin was not extracted,

Pombaline Founda�ons in the area of the Money Museum and reconstruc�on model of the founda�ons

Model of Pombaline cage. Ins�tuto Superior Técnico

should cohabit with the water, since a substan�al part of the downtown area of the

city occupied the river-bed and the banks of the old Tagus estuary. This type of

founda�on had other advantages: it allowed the conserva�on of wood inside water,

it prevented the founda�ons from burning and also, an aspect which was li�le

appreciated by those who wrote on the subject, provided a great stability for the

buildings, laying their founda�ons well below the ever more unstable landfill levels.

The buildings also had a restraining wall above the roof, a kind of firebox designed to

delay the spread of possible fires.

Shortly a�er the death of Eugénio dos Santos,

it was necessary to carry out new measurements and

readjustments, a process that was led by Carlos Mardel

(1696-1763), a successor of Santos as architect of the

Senate of the Chamber. Although he was a military

graduate and had had a career in the Portuguese

military engineering area, Mardel was a full-fledged

architect and had completed the final stretch of the

Aqueduto das Águas-Livres (the Aqueduct), including

the Mãe d'Água das Amoreiras and the Arco de Triunfo

(Triumphal Arch) in Rua das Amoreiras . These

terminals of the immense water supply system to the

capital bore witness to his crea�ve genius but also the

convic�on of hia ideas, since Mardel had to fight to

implant the Mãe d'Água in Amoreiras, in a high zone

and of easy access to Príncipe Real, in detriment to its

ini�ally designed deployment, in the lower and

peripheral area of the city. He also designed the main set of fountains that were to

become some of Lisbon's highlights. The connec�on to the future Marquis of Pombal

also bore an influence on Mardel's decision to design the Marquis' palace in Oeiras

and the architect was also involved in the crea�on of the Rato Porcelain Factory,

another emblema�c project of the Marquis, implemented in the brand new

Industrial District of Águas Livres. Based on this biographical data, it came as no

surprise that Mardel contributed to the reconstruc�on of Lisbon, in the course of the

works from 1760 un�l his death; examples of his contribu�on to the rebuilt city are

the most dynamic profile of the roofs of the Rossio buildings, which contrast with the

repe��on and s�ffness of the façades designed by Eugénio dos Santos, or a drawing

for the Triumphal Arch of Rua Augusta, which symbolically crowned the most

important street that linked Terreiro do Paço (renamed Praça do Comércio, or

Commerce Square) to Rossio. And it was also by the hand of Mardel that the

reconstruc�on of Lisbon was opened to the architects trained in Mafra, for Reinaldo

11

Portrait of Carlos Mardel c. 1760, unknown author

Manuel dos Santos (1731-1791) succeeded him;

he was already at the head of Lisbon's main

religious enterprise at the �me: the Basilica

(Basilica da Estrela). The last director of the works

was Honorato José Correia de Macedo e Sá, who

was responsible for the office of Águas Livres

(1799) and the Plan for the Rebuilding of the City

(1807).

The Memory of the Earthquake.

Past and present in the life of the city

On the twel�h of May 1758, the law of the

reconstruc�on of Lisbon was published, which

provided a period of five years to finish the

project. The period of the greatest intensity of

works was, however, the 1780s, when the country

experienced a more favourable situa�on. But in

1802, state support for reconstruc�on ceased,

and that responsibility was le� exclusively to

private hands. This decision paved the way for the

programma�c and architectural diversity of the

buildings, which did not follow the formal rigidity

of the Pombaline programme. The city gained

something in a variety of shapes and colours, but

it lost the rigour of the construc�ve method and

the pombaline cage gave way to a simplified and

misleading form known as "gaioleiro", a system that dispensed with some elements

of horizontal solidarity on the structural or master walls and which was generically

con�nued in the buildings of the first half of the twen�eth century.

By this �me, the Chiado area had not yet been subjected to the rebuilding

programme, and it was here that the nineteenth century le� more marks, especially

along the axis formed by Rua da Misericórdia and Rua D. Pedro V, where a recent

inventory managed to iden�fy only three buildings that were not affected by works

in the nineteenth century. In 1802, Terreiro do Paço itself was not finished, although

the equestrian statue of D. José, designed in 1759 by Eugénio dos Santos, was finally

inaugurated in 1775.

Rossio Square nowadays, showing the bulldings of Carlos Mardel on the right

Project for the Triunphal Arch of Rua Augusta. Carlos MardelMuseum of Lisbon

Model of «Gaioleiro», a misleading form of the Pombaline cage Museu do Regimento de Bombeiros

As for the triumphal arch of Rua Augusta, the process was even more drawn

out. In 1815 only the support columns were placed and the bid for finishing the work

took place only in 1843. The works of the winning proposal only began a�er 1862

and the project was to be inaugurated in 1875, more than a century a�er the

reconstruc�on plan was approved. With a sculptural program by Vítor Bastos and

Céles�n Anatole Calmels, it is an ultra-roman�c performance on a Pombaline basis.

The Marquis of Pombal was not forgo�en in this roman�c period of �me, as he is

represented in the Triumphal Arch, alongside "heroes" of classical history and the

glorious past of Portugal (Viriatus, Nuno Álvares Pereira and Vasco da Gama). And,

shortly a�erwards (1881-83), the City Council commissioned the painter Miguel

Ângelo Lupi to perform a monumental pain�ng that glorified the role of the Marquis

in the reconstruc�on of the city.

13

Triunphal Arch of Rua Augusta nowadays, showing a Statue of Marquis de Pombal.

th19 century

The Marquis of Pombal and collaboratorsexamining the plans for rebuilding Lisbon

Miguel Ângelo Lupi, 1881 - 1884Museum of Lisbon

15

In this second half of the

nineteenth century, the fashion of

placing registers of saints on the

front doors of the houses had

already become widespread, thus

invi�ng the protec�ve saints of each

individual, family, professional

corpora�on or community to

protect those who lived there. In

fact, this devo�onal prac�ce started

as far back as the seventeenth

century, not only in Lisbon, but gained prominence a�er the earthquake, the

popula�on being affected by a generalised psychosis which feared the repe��on of

such a catastrophe.

The Portuguese capital never again experienced an earthquake like that of

1755. For many, the memory of the great earthquake in Lisbon is a distant historical

fact, shelved in the chronological records of the city and revisited conceptually in

the museological discourse and academic exercises of urban planning. But the

earthquake is more present in the daily life of the city than one might think. In the

cloister of the Cathedral of Lisbon, the south wing was consumed by the ensuing

fire, ruining all the chapels and even fracturing the vaults. This area has not been

rebuilt and the reddish stone that s�ll remains, illustrates the violence of the fire

that struck it. Across the hill on the other side, the former Convent of Carmo also

shows the scars of the earthquake. Converted into the Archaeological Museum of

Carmo, on entering one of the largest Gothic churches in Portugal, the visitor

discovers that the dome, destroyed in the earthquake, has not been rebuilt. Shortly

Cloister of the Cathedral of Lisbon nowadays Aisles of the Convent Church of Carmo nowadays

Tile panel represen�ng the Holy Family, Saint Marçal, Saint Bárbara and Saint Emídio.Museum of Lisbon

a�er 1755, the Carmelites began the rebuilding of the church, with a pioneering

neo-Gothic project which provided for a greater height of the naves, but financial

and opera�onal difficul�es interrupted the undertaking. The Roman�cism

movement dictated that it would remain as a feigned ruin and guaranteed for the

city of Lisbon an everlas�ng memory of the impact of the earthquake, now

shrouded in the charm of an eclec�c museum, a hanging garden in the heart of

Lisbon.

Archeology has been a fer�le field for understanding the consequences of

the earthquake and the extensive urban renewal that followed it. In Terreiro do

Paço, excava�ons carried out in 2009 discovered the surface level of that square

(Comércio) before the earthquake. The ground had been surfaced with pebbles

from the river, as was customary in the paving of the city before and a�er 1755, but

the main feature was that it was about 4 metres deep. This a�ests how deep the

landfill was in the main square of Lisbon in the decades that followed the

earthquake. Another elucida�ve example was discovered in the Money Museum (in

the vicinity of the destroyed patriarchal chapel). The excava�ons carried out since

Wooden stake system found in the area of Money Museum

Sta�graphic model of Terreiro do PaçoExcava�on 2009

2008 have revealed a par�cularly homogeneous and well-preserved core of

Pombaline staking, which was the main point of interest of the temporary exhibi�on

named (Re)Founda�ons of Lisbon. The ini�a�ve, which was complemented by a

series of lectures on the 260th anniversary of the earthquake, provided a direct

insight into how the buildings of Baixa de Lisboa (the Downtown area) were

constructed as well as the current state of conserva�on of a system that has

remained ac�ve for over two centuries.

Other ini�a�ves have shown the importance of the 1755 earthquake

mainly for tourists, as is the case of the Lisbon Story Centre, a space symptoma�cally

located in Terreiro do Paço and which appeals to a sensorial experience related to

the earthquake.

� It is, however, the Museum of Lisbon which exhibits the most important

collec�on on the catastrophe of 1755 and the rebuilding processes of the city. As a

moment of rupture, the terminal of an urban dynamics inherited from the Middle

Ages and founder of a new idea of the city, the theme is periodically revisited by the

Museum of Lisbon, not only in its permanent collec�on (which focuses par�cularly

on the panorama of the city before, during and a�er the earthquake), but also in

temporary exhibi�ons, the last of which was held between November 2015 and

March 2016. En�tled “When Lisbon Shakes, from 1755 to the Resilient City”, it was

the result of a partnership among several organic units of the Lisbon City Hall

17

WHEN LISBON TREMBLES. Temporary exhibi�on, 2016 - 2017, Museu of Lisbon

(Lisbon Museum, Civil Protec�on and Regiment of Firefighters), the Dom Luiz

Ins�tute of the Faculty of Sciences of the University of Lisbon, Ins�tuto Superior

Técnico (Technical University of Lisbon) and the Portuguese Ins�tute of the Sea and

Atmosphere. Equipped with a strong didac�c content, it allowed visitors to interact

with earthquake-genera�ng simula�ons, to witness the behaviour of "oscilla�ng

buildings", to play on online pla�orms and learn how to act in the event of an

earthquake. This ini�a�ve aimed, above all, to contribute to the specific training of

Lisbon's popula�on, which was not sensi�sed to (or was even totally alienated

against) the city's seismic situa�on. Because, a�er all, the great Lisbon earthquake

was already/only 262 years ago, too long on the ordinary human scale, but a just

second ago in the history of the planet.

WHEN LISBON TREMBLES. Temporary exhibi�on, 2016 - 2017, Museu of Lisbon

Text Paulo Almeida Fernandes Collabora�on Rita Fragoso de Almeida José Avelar Graphic project Paula Serpa Transla�on Timothy Hinchey