quarta-feira, 31 de dezembro de 2008

I - Lusitania index

Put together in 2008 by Gwenn Thomes


Editor / Publisher:
Martim Avillez

Saul Ostrow (Lusitania 7-11)

Managing Editors:
Edward Ball (Lusitania 4, 5, 6)
Carole Ashley (Lusitania 7-11)

February 1988
A Journal of Reflection & Oceanography


Klaus Theweleit Fantasias Viris
Gregory Whitehead Body Fluids (and other mobile homes)
Friedrich Duderstadt Cartografias (entrevista por Martim Avillez)
Aimee Rankin 1967/1987: Geneologies of Art and Theory

Legacies of Critical Practice in the 1980s
Martim Avillez / Aimee Rankin Temores Húmidos / Humores Túmidos
Peter Fend Ocean Earth Construction & Development Corporation

Winter 1988


Robert D. Ballard Titanic
Editor O 3º Quarto do Dia
Albert Dürer  
Erwin Panofsky “Melencolia I”
Walter Benjamin A Sindroma Melancolica
Susan Sontag Sob O Signo de Saturno
Leandro Katz  
Roland Barthes Camera Lucida
Robert Burton  
Ross Bleckner  
Sigmund Freud Luto e Melancolia
Gregory Whitehead Beyond the Pleasure Principle
Excerpts from a radio essay
Yve-Alain Bois Os Trabalhos do Luto
Ashley Bickerton  
Jean Baudrillard Conclusão
Fernando Pessoa Ode de Ricardo Reis
Rui Sanches  
De Chirico  
Jean Clair Artes Geometricae
Marcel Duchamp  
Eduardo Batarda  
Martim Avillez (T. Dean) Como Passar o Tempo
Tom Dean Excerpts From A Description of the Universe
Chris Marker Sem Sol
Bérènice Reynaud Lettre d’Amour Perdu
Michèle Zalopany  
Lynne Tillman Fixing Memory
David Diao  
Gwenn Thomas  


ISBN 1-882791-02-9


Editorial Martim Avillez
Edward Ball Loose Canon / Cãnones Para Todos
Carol Squiers Money Well Spent / Dinheiro Bem Gusto
Philomena Mariani Pubic Space, Private Fantasy
Espaço Público, Fantasia Privado
Joshua Decter The Museological Binds Desire, Displaced
O Elo Museológico Desejo, Deslocado
Andrea Fraser Notes on the Museum’s Publicity
Apontamentos Sobre a Publicidade dos Museus
Henri-Pierre Jeudy The Aesthetics of Meaning Contamination
A Estética da Contaminação do Sentido
Brian Wallis Mediating Death
Morte por Mediação
Timothy Maliqalim Simone Black to the Future
O Futuro Negro
Coco Fusco Managing the Other
A Gestão do Outro
Angelica Madeira Os Pensionistas do Imperador
The Emperor’s Pensionists
Irwin Stern The Ascension of Fernando Pessoa
A Ascenção de Fernando Pessoa
Aimee Rankin Dream Quest in the Magic Kingdom
No Pais das Maravilhas
Rhonda Lieberman / Catherine Liu Capital, The Void, Your Mother
O Capital, o Vazio, a Sua Mãe
Gregory Whitehead Wrong Side Out
Å Meia Volta

Chris Burden, Barbara Kruger, Louise Lawler, David Diao, Muntadas, Gerhard Richter, Robert Gober, Gran Fury, Leandro Katz, Lorna Simpson, Judite dos Santos, Aimee Rankin, Rhonda Lieberman, M. von Focker.

ISBN 1-882791-00-2

Guest Editor:
Catherine Liu


I Travel

Gregory Ulmer Abject Monumentality
Monumentalidade Abjecta
Jay Murphy Havanarama
Deborah Root Sacred Landscapes/Colonial Dreams
Paisagem Sagrada/Sonhos Colonais
Allen Weiss Artaud in Mexico
Artaud no México

II Interviews

Slavoj Zizek interviewed by Josefina Ayerza “It Doesn’t Have to Be a Jew...”
    Não é Preciso Ser um Judeu...”
Gayatri Spivak interviewed by Edward Ball Extreme Eurocentrism
  Eurocentrismo Extremo
Gregory Whitehead General Custer’s Pinky
O Dedo Mindinho do General Custer
Henri Pierre Jeudy with L.F. Baeta Neves One or Two Things We Know About Brazil
Uma ou Duas Coisas que Sabemos Sobre o Brazil

III Recipes

Receitas St. Ciprianus

IV Exposés

Craig Saper Scandalography
Jon McKenzie Tabloid Theory and the Remains of Science
Teoria Tablóide e os Restos da Ciéncia
Rhonda Lieberman MacDonna
José Piedra Donald Duck Discovers America
O Pato Donald Descobre as Américas
Albert Liu Theses on the Metalmorph
Teses Sobre o Metalmorfo

V Arts

Brooks Adams Body Building
Graham Durward Encounter
David Humphrey The Abject Romance of Low Resolution
O Romance Abjecto da Baixa Resolução
Christopher Borrok High Plains Drifter
Celeste Olalquiaga The Pandemoniac Junk Shop of Solitude:
Kitsch and Death
O Bric-a-Brác Pandemónico da Solidáo
Kitsch e Morte
Catherine Liu The Pop Body
O Corpo Pop

VI Reports from the New World
Noticias do Novo Mundo

Pêro Vaz de Caminha Letter to His Majesty King Manuel Announcing the Discovery of Brazil
Carta ao Rei Dom Manuel Sobre o Achamento do Brasil
Bartolomé de Las Casas The Island of Cuba
A Ilha de Cuba

VII Ideas

Michael Taussig The Space of Death: Georges Bataille, Meet Baron Samedi
O Espaço da Morte: Georges Bataille, Conheça o Barão Samedi
Curtis Mitchell Uses of Waste
Peter Canning The Regime of Misery and the System of Judgement
O Regime da Miséria e o Sistema do Juizo
Laurence Rickels Mickey Marx
Editorial Martim Avillez

ISBN 1-882791-01-0

Guest Editor:
Ammiel Alcalay


Ammiel Alcalay About this issue...
Mesa Selimovic The Dervish and Death
Ammiel Alcalay For Sarajevo
Interview with Ademir Kenovic  
Aleksander Hemon Graveyard
Mula Baseskija Chronicle
Zlatko Dizdarevic War Journal
Isak Samokovlija Rafo’s Courtyard
Letters from the Siege  
Obala Theater Witnesses of Existence
Goran Tomcic Exploitation of the Dead
Tomaz Mastnak A Journal of the Plague Years: Notes on European Anti-nationalism
Ali Jamale Ahmed Anthem of the Nation
Adonis The Other Body
Solomon Ibn Verga The Fate of the Spanish Exiles
Saskia Sassen Rethinking Immigration
Amatus Lusitanus The Oath of Amatus Lusitanus
Jacques Hassoun Bassatine...for the record
Naomi Shihab Nye Praying for Wind
David Shasha Nurturing the Voice
Enrique Fernandez Slouching Toward ’92
Juan Goytisolo “1492”
Rashida Ismaili O Brado Africano
Jimmie Durham / Maria Teresa Alves Complaints and Discoveries
Daniel Lazar The Death of Che
Ali Jamale Ahmed Of Nations and Narratives
Alexis de Veaux The Riddles of Egypt Brownstone
Juan Felipe Herrera Memorial(s) from an Exile’s Notebook
Goran Tomcic Empty Chair on the Balcony
Etel Adnan Deep Into the World

ISBN 1-882791-02-9

Guest Editor:
Lillian Lennox

Allucquère Rosanne Stone Invaginal Imaginal: How to Fill (Or Surround) Virtual Space
Durham Crout Wasting Architecture
Kristine Stiles Shaved Heads and Marked Bodies: Representations from Cultures of Trauma
Gregory Whitehead Juiced: an interview with the “Wolff Queen”
Alexandra L.M. Keller Prosthetic Opportunities: Fictional Fragments Towards a Theory of the Human Body
Allen S. Weiss Bataille’s Ascent
Alphonso Lingis Carnaval in Rio
Kathy O’Dell Lutz Bacher’s “Playboys”: the Morphology of Jokes and Other Questions
Sheila Davies The Runway Model
Toni Dove Artificial Changelings: A Tale of the Boned Body, the Chaos of Flesh
Aimee Morgana The Big ‘C’
Chantal Thomas The Kiss of the Parrot
Terri Kapsalis Vaginal Architecture
Maureen Connor The ‘M’ Word
Carolee Schneemann Vulvic Space
Karen Bermann and Katherine The Salem Witch Trials
Liz Kotz Beyond the Pleasure Principle
Alan Sondheim Lip
Value Ophelia Untitled
Allen S. Weiss Ophelia’s Posthumous Dream Noir
Christine Tamblyn Grafting Tentacles on the Octopussy
Editorial Martim Avillez

Lutz Bacher, Ellen Berkenblit, Louise Bourgeois, Ellen Cantor, Larry Clark, Toni Dove, Nicole Eisenman, Hokusai, Zoe Leonard, Lauren Lesko, Ariane Lopez-Huici, Monica Majoli, Aimee Morgana, Anne Naldrett, Grace Roselli, Carolee Schneemann, Heather Vernon, VNS Matrix, Christine Tamblyn,

i - xxiv:
Eduardo Batarda, Louise Belcourt, Louise Bourgeois, Emily Cheng, Issa Clubb, Patricia Cronin, Linda Dement, Marcel Duchamp, Carroll Dunham, Nicole Eisenman, Brian Goldberg, Mary Heilmann, Jean-Jacques Lequeu, Lauren Lesko, Judith Linhares, Marilyn Minter, Mira Schor, Beverly Semmes, Seton Smith, Philip Taaffe, Gwenn Thomas, Veronica Vega, Lisa Yuskavage, 

Provisional Utopias
ISBN 1-882791-03-7

Guest Editor:
Stan Allen with Kyong Park


Kyong Park Introduction
Editorial Martim Avillez
Mojdeh Baratloo, Clifton Balch Territorial Imperative
John Miller In the Beginning there was Formica
Dave Hickey Interviewed by Stan Allen
Celeste Olalquiaga Paradise Lost
Albert Liu New God City
Edward Dimendberg Kiss The City Goodbye
Dan Hoffman The Levittown Stories
Thomas Bish, Hal Laessig Newark, The Hidden City
Miwon Kwon Imagining an Impossible World Picture
Alex Wall The American City, The Automobile
Scott Bukatman Ann-Margret is my Copilot
Neil Denari Two Projects
Han, Jae Su The Future Lies in the Past
Hani Rashid LAXNYCYHM: Urban Triptych
Greg Lynn Projects
Enric Miralles Mollet del Vallés Park and Civic Center Space Bleeds
Aaron Tan The Walled City
Raoul Bunschoten Linzer Entfaltungen
Friedrich Kittler Expressway
Enrique Limon Paul Virilio and the Oblique (interview)
Archigram Historiography
Edward Ball Case Study: New Babylon
Bruce Altshuler Buckminster Fuller: Three Utopian Projects
Jesse Reiser, Namako Umemoto Some Notes on Geodetics
Gabriel Morgan The Glass Chain
Christian Hubert Friedrich Kiesler: Two or Three Things We Know About Him
Friedrich St.Florian Imaginary Architecture Revisited
Kim, Seok Chul An Architect’s Utopia
Jeremy Edmiston The Green Cyborg
Luc Deleu A Task for Contemporary Architecture
Adrian Dannatt Langlands & Bell


Net Subjectivity
ISBN 1-882791-04-5

Guest Editor:
Alan Sondheim

Alan Sondheim



Honoria Honoria in Ciberspazio
Peter Krapp Untitled
Steven Meinking Burn
Brian Carr HrH Design
Ellen Zweig The Lurker: Outline for a Murder
Alan Sondheim LOL
Karen Wohlblatt The Sweetness of Lurking

File: Grammar

Friedrich Kittler There is no Software
Mike Metz Artist’s Portfolio


Andy Hawks Isn’t this where we came in...
Rose Mulvale ’net (not gross) relationships
Doctress Neutopia Message from Neutopia
Douglass Carmichael Re: Community and Progress
Mark Poster CyberDemocracy: Internet and the Public Sphere
Caitlin Martin spaces and MOOS and such
Tara Calishain It’s not just a genre anymore...
Laurie Cubbison Writing
Elizabeth Fischer Re: Community and Progress


Roger Bartra Tropical Kitsch
Martin Langfield Rebels Ride the Net
Peter Halley Project


Angela Hunter Beautiful Users
Andrew Libby Dear Angela
Jane W. Hudson Chthonie, Die Fragmente!
Nesta Stubbs My Altar
Charles J. Stivale Cyber/Inter/Mind/Assemblage
Alexander Chislenko Are you a Cyborg?
Paula Davidson Negotiating with the data
Gregory Ulmer The Unheimlich Maneuver
Bernadette Garner Communication from Babel

File: Rhetoric

Martim Avillez The Collective Intelligence of Pierre Lévy
Stephen Perrella Hypersurface Topology and the Haptic Horizon
Regina Frank The Artist is Present


Michael Current A Little Something
Daria Penta Monogamousbody
Christopher Keep A Great Miscegenation of Types: Viral Texts in the Age of TCP/IP
Deb Martinson 20 minutes until i have to go to work...
Stephan Vladimir Bugai Weather


Slavoj Zizek Virtualization of the Master
Alice Aycock Artist’s Portfolio
Virtual Martina Content Provider


ISBN 1-57027-080-5

Guest Editor:
Allen S. Weiss


Allen S. Weiss
Paradigms of Taste

Jeff Weinstein White Toast and Butter
Chantal Thomas Blancmange with Almond Milk
Richard Schechner Sab’s Hot Dogs
Terri Kapsalis Yiayia’s Hands

Lawrence Schehr Rossini’s Castrati
Rodolphe el-Khoury Taste and Spectacle
Daniel Spoerri La faim du C.N.A.C.
George Bauer Regendering the Fig
Clayton Eshleman Oy
Lydia Vásquez Ratafia and Other Love Potions

Allen S. Weiss The Ideology of the Pot-au-Feu
Alphonso Lingis The Sovereign’s Table
Mushim Fried Eggs and Soju
Ron Scapp Eating Up: Restaurants and Class Indentity
Gregory Whitehead Chowderhead
Coco Fusco & Nao Bustamante Stuff

Jean-Claude Bonnet Carême, or the Last Sparks of Decorative Cuisine
Alexandra Keller The Radiophonic Cookbook
Jon McKenzie/VArcades Cyber Space Foods
Eve Jochnowitz Three Recipes for Reading

Picture Menu:
Julia Jacquette, Cody Choi, Larry Miller, Gay Outlaw, Lothar Baumgarten, John Miller, Jean Charles Blanc, Jeanne Dunning, Rob Wynne, Chrysanne Stathacos, Hunter Reynolds, Marilyn Minter, Coco Fusco, Nao Bustamante, William Pope.L, Roxy Paine, Rirkrit Taravanija, Robert Watts, Marcel Broodthaers, Perry Bard, Maureen Connor, Daniel Spoerri.

THE 23
ISBN 1-882791-08-8


Martim Avillez (with Alex Skorupski) The 23


Leslie Camhi Voyages
Anita Novinsky New Christians, Rationalism, and The De-Catholization of The New World
José Gil From The Natural State to Democracy
Bérènice Reynaud Kol Nidre for Spinoza–Fragments

Architecture and Art in the Space of Media
ISBN 1-882791-09-6

Guest Editors:
Christine Calderón, Omar Calderón, Peter Dorsey


Saul Ostrow Introduction
Omer Fast Glendive Foley
Andrew Benjamin/AADRL Planning Diagrams
Acconci Studio Sliding Out of the 20th Century
Donald Kunze A Fable About Virtual Form. Lying, Self-Reference and Mortification in the Age of Computing
Omar Calderón Notes on Form
KOLMAC/William MacDonald & Sulan Kolatan HOUSES: Chimerical Houses for Mass Customization
Greg Lynn/Fabian Marcaccio THE PREDATOR: Text by Jeffrey Kipnis
Cary Wolfe Shifting Ground: The Downsview Park Competition
Al Rahim Contemporary Techniques and their Architectural Effects
Thomas Zummer A Critical/Historical/Personal Account of the Technological Sensorium
Jennifer Steinkamp Recent Work
Asymptote Architecture / Hani Rashid B.Scapes
Peter Dorsey The Advance of Media Immersion in Architecture
Neil Leach Virtual Dreamworlds
Maureen Connor Love [At First] Site
ROEWU/Stephen Roe & Chiafang Wu From Machines to Information: Engineering a New Architecture
Bill Albertini DISSECTING SOLARIS: Encoding and Deciphering the Imagined. Text by Saul Ostrow
Diana Cooper Beyond The Frame: Interview by Jean Crutchfield
Ed Keller Complex Time, Ethics & Invention
Christine Calderón The Incredible Fleeting of Architecture
Scott Weiland PRACTICE/FIELD: Architecture and New Media

II - About Lusitania

Filipe Rocha da Silva

Seminário sobre LUSITANIA,
publicação periódica fundada e editada por Martim Avillez.
Universidade de Évora
8 de Janeiro de 2008

Lusitania é um caso de Estudo ímpar na cultura portuguesa.

Fundada por Martim Avillez em 1988 publicou o seu mais recente número (“Beyond Form”) em 2004.

Durante esse período de tempo saíram vários números, inicialmente associados às estações do ano, como: Lusitania, A journal of Reflection & Oceanography (1988), Melancholia, (1988), Kultura (1989), Abject América, For Za Sarajevo(1993), Vulvamorphia (1994), Being Online, Net Subjectivity (1996), Taste Nostalgia (1997),  “Os 23” (2001), “Beyond Form” (2004).

Normalmente, Martim Avillez convidava para a cada número e de acordo com o tema escolhido um Redactor Principal ou Editor Convidado especializados, como Allen S. Weiss, Alan Sondheim, Lillian Lennox, Ammiel Alcalay, Catherine Liu, surgindo nos últimos tempos Saul Ostrow como redactor Associado.

Esta revista, olimpicamente ignorada em Portugal, é notável nos seguintes aspectos todos eles aparentemente independentes mas interligados, num milagroso cocktail cultural.

É uma manifestação da emigração e diáspora portuguesa, exibindo um portuguesismo contraditório, relação de amor – ódio pelo torrão natal, evocativo da atitude de outros emigrantes intelectuais portugueses, como Jorge de Sena. Fernando Pessoa ( A Mensagem), Alexandre O’Neil e Eduardo Lourenço, podem também ser recordados como influências culturais. A revista “O Tempo e o Modo” e António Alçada Batista podem ter sido também determinantes para o conceito de Lusitania.

O título da publicação é o nome do transatlântico das linhas Cunard torpedeado por um submarino alemão em 1915.  O logótipo com o navio a afundar-se pode ser uma alegoria ao fim do império colonial português (o autor foi ex-combatente na Guiné). As designações de vários dos números são também em português e os textos são na maioria dos casos bilingues. Lusitânia é assim um testemunho vivo da impossibilidade eventualmente involuntária de  deixar de ser português, mas também um notável exercício de vontade, uma heroicidade cultural perpetrada por quem, sozinho, na capital da civilização na segunda metade do séc XX, demonstra “lá fora”que “um português é tão bom ou melhor do que os outros”.

Num dos últimos números, “OS 23”, talvez o mais autobiográfico, Martim Avillez assume plenamente na sua qualidade de artista e autor de Banda Desenhada e relata a saga de um grupo de judeus portugueses, que deixaram o Brasil no século XVII para formarem em Nova Iorque a primeira comunidade judaica.

Lusitania revela também um universalismo global e absoluto e multicultural. Martim Avillez manteve um contacto estreito e vivíssimo com o pulsar da a cidade de Nova Iorque e a alternância de todas as ideias e formas que caracterizavam o fim do século, na então a cidade das cidades. Sendo uma revista americana (em Abject América está também patente relação de amor - ódio), imersa nas correntes e preocupações mais actuais do momento em que era publicada, como Nova Iorque, Lusitania ia aos quatro cantos do mundo, não hesitando, como Susan Sontag, em partir para Sarajevo ou manter presença da cultura e filosofia francófonas.

Lusitânia é um registo do who’s who na principal capital das artes e da boémia nos finais do século XX. Passando sobre ela os olhos temos a noção dos tumultuosos tempos em que as ideias e as formas se entrechocavam, surpreendendo-nos sempre mas nunca definitivamente e deixando na boca e no espírito um gosto do temporário e da insatisfação. Lá está a arte de Louise Bourgeois, Andy Warhol, Andres Serrano, Coco Fusco e Nao Bustamante, Philip Taafee, Carolee Schneemann, Gerhard Richter, Charles Ray, Kiki Smith, Marcel Broodthaers, bem como os
  textos de Gregory Whitehall, Jean Claude Bonnet, Michael Taussig, Gaytari Spivak...Muito poucos portugueses: José Gil, Eduardo Batarda e Rui Sanches.

Como não podia deixar de ser, Lusitania é um revista de gosto cosmopolita, dotada de uma estética e um grafismo avançado e inovador. Martim Avillez é Designer e Ilustrador, formado na excelente Cooper Union em Nova Iorque tendo sido professor de Ilustração na Parsons School of Design e colaborador durante muitos anos, entre outros, do New York Times e particularmente no Book Review, que permitia aos ilustradores uma maior liberdade. Criou e deu a criar através da Lusitania a vários outros colaboradores gráficos, artistas e/ou ilustradores, designers e fotógrafos, um produto mutante, aparentemente caótico mas na realidade sujeito a uma grande inteligência visual.

Cada número de Lusitânia é uma espécie de escola, repositório ou catálogo de brilhantes soluções gráficas, que gerações de paginadores têm observado e alguns copiado.

O gosto pelo excesso gráfico, a intensidade e frequência da informação, a metamorfose de um numero para o outro e dentro de um mesmo volume devido a razões temáticas e contextuais, a descontinuidade como única forma possível de continuidade, a preocupação sucessiva (ou simultânea?), por exemplo pela guerra e as novas tecnologias, a mulher e a gastronomia,
  tudo isto faz de Lusitânia um monumento cultural pós-moderno e um flagrante exemplo do neobarroco português.

* * *

Filipe Rocha da Silva
Coordinator of ABOUT LUSITANIA
Évora, October 2008

Lusitania’s journals and books are an outstanding case study in Portuguese culture.

Founded by Martim Avillez in 1988, the most recent volume,
Beyond Form: Architecture and Art in the Space of Media, was published in 2004. The previous titles were “Lusitania: A Journal of Reflection & Oceanography” (1988), Melancholia (1988), Kultura / Control (1989), The Abject, America, For Za Sarajevo (1993), Vulva Morphia (1994), Being On Line, Net Subjectivity (1996), Taste, Nostalgia (1997), and The 23 (2001) Starting with The Abject, America Martim Avillez would invite guest editors for each volume such as Saul Ostrow, Allen S. Weiss, Alan Sondheim, Lillian Lennox, Ammiel Alcalay, and Catherine Liu.

, almost unknown in Portugal, is a remarkable combination of the following components mixed in a sort of miraculous cultural cocktail:

Lusitania is a phenomenon of Portuguese Diaspora and emigration. Deeply Portuguese, it demonstrates a profound love–hate relationship towards the land of birth, evocative of Portuguese intellectuals who emigrated to the U.S. such as Jorge de Sena. Fernando Pessoa ("A Mensegem"), Alexandre O'Neil, and Eduardo Lorenço can also be discerned as cultural influences. “O Tempo e o Modo”, a publication first directed by António Alçada Batista in the 1960s and early 70s, might also have been influential in the formation of the concept of Lusitania.

The name is taken from the Cunard Line ship Lusitania that was torpedoed by a German submarine in 1915. The logo—a sinking ship—can be thought of as an allegory of the end of the Portuguese colonial empire
[1] (Martim Avillez was a soldier in the colonial war in the country that is now called Guinea–Bissau). While early issues were in Portuguese, they expanded to include languages such as French, Bosnian and Korean.

In one of the last volumes,
The 23, Martim Avillez emerges fully as an artist, illustrator and author in the field of comics, narrating the history of a group of Portuguese Jews who left Brazil in the 17th century in order to create the first Jewish community in New York.

Lusitania also manifests a strong multiculturalism. Martim Avillez was part of the flow of life in New York and the constantly shifting forms and ideas that characterized the end of the century in that city.

While being principally an American publication, submerged in the topics that were of concern at the time, it also demonstrated a global outlook, reaching out to the four corners of the world, not hesitating to produce a volume on Sarajevo, and keeping a presence of French-based culture and philosophy in its pages.

Lusitania also keeps track of the evolution of the arts in New York at the end of the 20th century. Letting our eyes travel across its pages and considering the names we encounter, we are made aware of the tumultuous times in which ideas and forms constantly collide with each other—always surprising us.

We can find the art of Louise Bourgeois, Andy Warhol, Andres Serrano, Coco Fusco and Nao Bustamante, Philip Taaffe, Carolee Schneemann, Gerhard Richter, Charles Ray, Kiki Smith, Marcel Broodthaers, texts of Gregory Whitehead, Michael Taussig, and interviews with people like Gayatri Spivak… Very few Portuguese: José Gil, Eduardo Batarda, Rui Sanches…

First and foremost,
Lusitania is international, with advanced and revolutionary aesthetics. Martim Avillez is an artist and illustrator, educated at Cooper Union in New York. He taught at Parsons School of Design and was an illustrator for publications including The New York Times and Harper’s, both of which gave illustrators greater freedom. With Lusitania he inspired other artists, designers and photographers to create a multiform product, organized by a strong visual intelligence. Each volume of Lusitania can be viewed as a sort of school, a collection or catalogue of brilliant graphic solutions.

The taste for graphic excess, the intensity of the information, the metamorphosis occurring volume to volume, and even within the same issue for contextual or thematic reasons, the discontinuity as the only possible form of continuity, the successive (or even simultaneous) obsession with war and new technologies, women and gastronomy, all this makes
Lusitania a Portuguese neo-baroque and post-modernist monument.


[1] Considering this idea in 2008 Martim thought that it might be “too recherché”.