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Andujar’s 1971 photographs of the Yanomami and the photographs she has taken in the half century since, along with various works on paper and film by Yanomami artists, are part of a traveling exhibition organized by the Yanomami. co-organized with the Fondation Cartier pour l’art contemporain and the Moreira Salles Institute in Sao Paulo. This is a special exhibition, given the incredible amount of work (there are more than 200 works by Andujar and about 80 works by Yanomami artists), as well as the scope and depth of its closeness. . Group house surrounded by sweet potato leaves, Catrimani region Artwork © Claudia Andujar. Artist’s Collection. There are images of birth and death, hunting and gathering, project and play, portraits of belly and nipples, lips and eyes, ritually lit communal huts, of shamanic rituals, and suitable image. Some are in a direct reportage style, others capture more mystical and cosmic subjects (Andujar calls this “the soul of the forest”) using photographic techniques such as multiple exposures. and infrared film. The works considered have deep resonance: Unable to see these images of and by the Yanomami without realizing how precarious their lives are, every aspect of their existence has become should be threatened by the principles of crazy economic progress. cost (environment). The Yanomami, and indigenous people like them, are at the forefront of the question of what the future might look like on this planet. Or as Fondation Cartier’s artistic executive Hervé Chandes told Vogue, “We’re at a tipping point. After Yanomami, it’s all ours.”
Andujar’s 1971 photographs of the Yanomami and the photographs she has taken in the half century since, along with various works on paper and film by Yanomami artists, are part of a traveling exhibition organized by the Yanomami. co-organized with the Fondation Cartier pour l’art contemporain and the Moreira Salles Institute in Sao Paulo. This is a special exhibition, given the incredible amount of work (there are more than 200 works by Andujar and about 80 works by Yanomami artists), as well as the scope and depth of its closeness. . Group house surrounded by sweet potato leaves, Catrimani region Artwork © Claudia Andujar. Artist’s Collection. There are images of birth and death, hunting and gathering, project and play, portraits of belly and nipples, lips and eyes, ritually lit communal huts, of shamanic rituals, and suitable image. Some are in a direct reportage style, others capture more mystical and cosmic subjects (Andujar calls this “the soul of the forest”) using photographic techniques such as multiple exposures. and infrared film. The works considered have deep resonance: Unable to see these images of and by the Yanomami without realizing how precarious their lives are, every aspect of their existence has become should be threatened by the principles of crazy economic progress. cost (environment). The Yanomami, and indigenous people like them, are at the forefront of the question of what the future might look like on this planet. Or as Fondation Cartier’s artistic executive Hervé Chandes told Vogue, “We’re at a tipping point. After Yanomami, it’s all ours.”
“ [Andujar] was not Yanomami, but she was a true friend,” Kopenawa said in the comment that was memorialized on one of the exhibition walls: “She taught me to fight, to defend. Our people, land, language, customs, festivals, dance, chanting, and shamanism. She explained everything to me like my biological mother. I don’t know how to fight politicians, against non-natives. It’s good that she gave me a bow and arrow as a weapon, not to kill white people but to speak out in defense of the Yanomami.” This exhibition, Kopenawa told Vogue, is another arrow in his arrow: Hoping that visitors will come, educate themselves, and demand change. The election of President Luiz Inácio Lula da Silva is a reason to be cautiously optimistic: Lula began her presidency by rescinding all anti-indigenous and anti-environmental measures. of Bolsonaro, and established the country’s first Ministry of Indigenous Peoples, headed by Sonia Guajajara, of the Guajajara/Tentehar people, a staunch defender of the Amazon. But it is unclear whether these measures will be enough in light of the devastation and devastation that has already occurred, and whether they will actually be enforced without the global attention and pressure it brings. . “It was a war. It was a war,” Chandes said. “It’s the Amazon, it’s the air we breathe. And by the way, that is also the beauty of the world.” Well, Kopenawa agrees: “It’s worth the fight.” Perhaps the people who come to see this show will want to fight for it, too.
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