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Andujar’s 1971 photographs of the Official gemmasilk One Direction Maybe One Day 2023 Shirt But I will love this 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.”

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Group house near the Official gemmasilk One Direction Maybe One Day 2023 Shirt But I will love this Catholic mission on the Catrimani River, Roraima state, 1976. Illustration © Claudia Andujar. Artist’s collection. Andujar’s experience of surviving the Holocaust is what has built trust and respect for photojournalist, shaman and leader Davi Kopenawa. Andujar isn’t just particularly creative with the camera; She’s a survivor, someone who knows what it’s like to go up against an enemy that denies your right to exist. She knows the importance of telling stories on a human level. Her photographs were so effective in arousing sympathy and rallying support for the Yanomami in the late 70s that she was briefly expelled from the area by the government, led her and fellow activists Bruce Albert and Carlos Zacquini to form the Committee for the Advocacy of the Yanomami (or CCPY). This nonprofit has spearheaded the fight to protect Yanomami lands and encourages initiatives such as vaccination programs to protect the Yanomami from fatal infectious diseases such as tuberculosis, measles, and nearsightedness. This is the COVID-19 pandemic. (One of the more moving parts of the exhibit includes Andujar’s “identity portrait” from the 1980s, a vaccine tag for people who can use multiple names and don’t rely on primary documents. knowledge, but here is reminiscent of Andujar’s family trauma, specifically the Jewish marking of the Holocaust.) Promoted by the CCP, a presidential decree demarcated Yanomami territory in 1992 , though the new frontiers did not stop illegal gold miners from murdering 16 Yanomami a year later, a horror that is alluded to in the short film The Yanomami Genocide: The Death of Andujar’s Brazil, repeated projections in a bleak semicircular theater at The Shed. The typical struggle, the show emphasizes, isn’t over yet. A guest decorated with vulture and hawk feathers at a party, Catrimani Region Artwork © Claudia Andujar. Artist’s Collection.