57 x 38.5 cm
In 1980, with the construction of highways in Indigenous territories, an epidemic was brought to the Yanomami region. As the Yanomami do not have first names, it was necessary to give them numbers to indicate that they had already been vaccinated and identify each one for their medical records. From this series of events, Claudia Andujar’s Marcados series was born: what was supposed to be a mere photographic record, for organizational purposes, ended up raising a big question about the “labels” given to people in the construction of societies. The series includes 82 photos of the expedition and was initially published together with texts and reports by the artist in the Commission for the Creation of the Yanomami Park. Vertical 14 (Ajarani, RR) from the Marcados series gives a glimpse into the intimacy, trust, and understanding Andujar has built with the Yanomami, one of Brazil’s largest Indigenous groups. According to the artist, this is related to her personal history. Born in Europe, the artist lived through World War II. Her entire family was killed in a concentration camp by the Nazi regime, where people were marked to die. Andujar’s portraits with numbers became a tool for the survival of the Yanomami people and culture. For the photographer, “They are marked to live, not to die.” These portraits, taken in the 1980s are as relevant as ever in a post-pandemic world. The raising of new sanitary borders render social injustices in Brazil even more visible. The Brazilian demarcated territory, for which Andujar fought all her life, is now suffering once more with an increase in malaria, Covid-19, and chronic child malnutrition, in addition the Indigenous populations are facing a significant invasion of miners, encouraged by those in power and extractivist corporations operating in the rainforest.
Claudia Andujar was born in Switzerland in 1931, and then moved to Oradea, on the border between Romania and Hungary, where her paternal family, of Jewish origin, lived. With the persecution of Jews during World War II, she fled with her mother to Switzerland and then emigrated to the United States. In 1955, she came to Brazil. Having spent most of her life in a permanently foreign condition, Claudia turned photography into a working tool and a means of contact with the country. Over the following decades, she travelled all over Brazil and collaborated with national and international magazines such as Life, Aperture, and Look, among many others. For almost seven decades, Andujar has been thoroughly involved with the Yanomami community in the Amazon; grappling with the challenges of visually interpreting their daily lives in sharp black and white imagery, as well as attempting to visually translate their shamanic culture through more experimental techniques like flash devices, oil lamps, and infrared film. Her works deliberately stands in the threshold of visual collage, documentary, and activism, perceiving photography as a tool for political change and raising awareness to the complexity of the daily life and traditions of her subjects, their restless resistance and dignity, and the ongoing injustices they have been subjected to for centuries. Andujar’s images of life in the rainforest and her political involvement with Indigenous causes made her an internationally recognized leading voice in defense of the Indigenous people of Brazil, whose land has been in constant threat by development and illegal mining activities, and more recently by a far-right government that have been actively revoking the rights of Brazilian native populations.
In addition to Yang’s signature drying rack and light bulbs, Office Voodoo includes various office supplies like CDs, paper clips, headphones, a computer mouse, a stamp, a hole puncher, a mobile phone charger...
Proyecciones Espacio Odeón (Bogotá, Colombia) y Museo La Tertulia (Cali, Colombia) ¿Cómo enfrentamos la incertidumbre de estos tiempos? ¿Puede el juego, los sueños, o incluso las alucinaciones ayudarnos a imaginar otras posibles trayectorias? ¿Qué tipo de prácticas nos permiten relacionarnos con los territorios que habitamos? Tomando como punto de partida el potencial de lo inquietante en medio de una amenaza invisible, Sigo esperando es una serie de proyecciones en las fachadas del Espacio Odeón (Bogotá) y del Museo La Tertulia (Cali)...
Vija Celmins | Hatton Gallery See the work of Latvian-American artist Vija Celmins at the Hatton Gallery, Newcastle ARTIST ROOMS Vija Celmins takes an in-depth look at the artist’s works on paper...
Pratchaya Phinthong’s work has explored the mineral and karmic economies of Laos, a country that shares language, beliefs, and a long border with his own native region of Isaan (Northeast Thailand)...
Gated Commune , a video by Camel Collective, is a critique of the complex, and often obtuse, language used to describe sustainable development projects...
Gildas Le Reste — & Guests — Galerie Catherine Putman — Exposition — Slash Paris Connexion Newsletter Twitter Facebook Gildas Le Reste — & Guests — Galerie Catherine Putman — Exposition — Slash Paris Français English Accueil Événements Artistes Lieux Magazine Vidéos Retour Précédent Suivant Gildas Le Reste — & Guests Exposition Dessin, estampe, peinture Gildas Le Reste, Notes de voyage #1, 2023 Encre sur papier marouflé sur toile Gildas Le Reste & Guests Encore 27 jours : 27 janvier → 9 mars 2024 La galerie Catherine Putman est heureuse de proposer une double invitation à Gildas Le Reste, comme artiste et commissaire d’exposition...
As he investigates the forms that slavery took through different events that occurred during the sixteenth century in the Huasteca region of Mexico, Noé Martínez tells, in a non-linear narrative, the history of human trafficking in Relación de tráfico de personas 1525-1533 I (Study of Trafficking of Persons 1525–1533 I) ...
Theatre Podcast: "Tiger of Malaya", Teater Ekamatra Thinking and Talking about Arts and Culture in Southeast Asia ArtsEquator Viewpoints October 1, 2018 Duration: 30 mins ArtsEquator’s theatre podcast host Matt Lyon is joined by guests Naeem Kapadia and Charlene Rajendran to discuss Teater Ekamatra’s Tiger of Malaya , which was written by Alfian Sa’at and directed by Mohd Fared Jainal, staged at the Drama Centre Black Box, inside the National Library Building, Singapore, from 12 to 23 September 2018...
Incompatibles (Unitas) is made from discarded samples of the yarns that are exported from Croatia and not actually available in the local market...
Gildas Le Reste — & Guests — Catherine Putman Gallery — Exhibition — Slash Paris Login Newsletter Twitter Facebook Gildas Le Reste — & Guests — Catherine Putman Gallery — Exhibition — Slash Paris English Français Home Events Artists Venues Magazine Videos Back Previous Next Gildas Le Reste — & Guests Exhibition Drawing, print, painting Gildas Le Reste, Notes de voyage #1, 2023 Ink on paper mounted on canvas Gildas Le Reste & Guests Ends in 27 days: January 27 → March 9, 2024 Galerie Catherine Putman has pleasure in making a double invitation to Gildas Le Reste as both artist and exhibition curator...