Exhibition in collaboration with Instituto Moreira Salles () 261, boulevard Raspail 75014 Paris — fondation.cartier.com PRESS KIT PRESS MANAGER Matthieu Simonnet [email protected] Tél. +33 (0)1 42 18 56 77

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Cover: Claudia Andujar, The young Susi Korihana thëri swimming, Catrimani, Roraima, 1972–74. Infrared film, 68 × 102 cm. Collection of the artist. © Claudia Andujar. 3 TESTIMONY FROM DAVI KOPENAWA 5 CLAUDIA ANDUJAR, THE YANOMAMI STRUGGLE 8 PRESS IMAGES 10 MAP OF YANOMAMI TERRITORY 12 BIOGRAPHIES 14 EXCERPTS FROM THE EXHIBITION CATALOG 19 EXHIBITION CATALOG 22 AROUND THE EXHIBITION 24 PROGRAM 2020 28 MEDIA PARTNERS 29 INFORMATION 12 “Claudia Andujar came to Brazil, passed through São Paulo, then Brasília, then Boa Vista, and then to the Yanomami lands. She arrived at the Catrimani mission. She was thinking about her project, what she was going to do, what she was going to plant. The way one would plant a banana tree, the way one would plant a cashew tree. She wore the clothes of the Indian, to make friends. She is not Yanomami, but she is a true friend. She took photographs of childbirth, of women, of children. Then she taught me to fight, to defend our people, land, language, customs, festivals, dances, chants, and shamanism. She explained things to me like my own mother would. I did not know how to fight against politicians, against the non-indigenous people. It was good that she gave me the bow and arrow, not for killing Whites but for speaking in defense of the Yanomami people. It is very important for all of you to see the work she did. There are many photos of Yanomami who have already died but these photos are important for you to get to know and respect my people. Those who do not know the Yanomami will know them through these images. My people are in them. You have never visited them, but their images are here. It is important to me and to you, your sons and daughters, young adults, children to learn to see and respect my Yanomami people of Brazil who have lived in this land for many years.” DAVI KOPENAWA Speech given on the occasion of the opening of the exhibition Claudia Andujar, A luta Yanomami at the Instituto Moreira Salles (Brazil, January 2018)

5 1 “I am connected to the indigenous, to the land, to the primary struggle. All of that moves me deeply. Everything seems essential. Perhaps I have always searched for the answer to the meaning of life in this essential core. I was driven there, to the Amazon jungle, for this reason. It was instinctive. I was looking to find myself.” CLAUDIA AUDUJAR

The Fondation Cartier pour l’art contemporain is pleased to announce the largest exhibition to date dedicated to the work and activism of Claudia Andujar. For over five decades, she devotes her life to photographing and protecting the Yanomami, one of Brazil’s largest indigenous groups.

15 7 Based on four years of research in the photographer’s archive, this new exhibition curated by Thyago Nogueira for the INTERPRETING YANOMAMI CULTURE Instituto Moreira Salles in Brazil, will focus on her work from this period, bringing together over three hundred photographs, Claudia Andujar first met the Yanomami in 1971 while her audiovisual installation as well as a series of Yanomami working on an article about the Amazon for Realidade magazine. drawings. The exhibition will explore Claudia Andujar’s Fascinated by the culture of this isolated community, she decided extraordinary contribution to the art of photography as well as to embark on an in-depth photographic essay on their daily life her major role as a human rights activist in the defense of the after receiving a Guggenheim fellowship to support the project. Yanomami. It is divided into two sections reflecting the dual From the very beginning, her approach differed greatly from nature of a career committed to both art and activism. The first the straightforward documentary style of her contemporaries. section presents the photographs from her first seven years The photographs she made during this period show how she living with the Yanomami, showing how she grappled with the experimented with a variety of photographic techniques in challenges of visually interpreting a complex culture. The second an attempt to visually translate the shamanic culture of the features the work she produced during her period of activism, Yanomami. Applying Vaseline to the lens of her camera, using when she began to use her photography as a tool among others flash devices, oil lamps, and infrared film, she created visual for political change. distortions, streaks of light, and saturated colors, imbuing her Claudia Andujar was born in Neuchâtel, , in 1931 images with a feeling of the otherworldly. and currently lives and works in São Paulo. She grew up in Claudia Andujar also developed a series of sober black- Transylvania, which at the time had recently been incorporated and-white portraits that capture the grace and dignity of the to Romania after years of Hungarian domination. During WWII, Yanomami. Focusing closely on faces and body fragments, Claudia’s father, a Hungarian Jew, was deported to Dachau where she tightly frames her images, using a dramatic chiaroscuro to he was killed along with most of her paternal relatives. create a feeling of intimacy and draw attention to individual Claudia Andujar fled with her mother to Switzlerand, psychological states. Alongside the many photographs taken immigrated first to the United States in 1946, then to Brazil in during this period, the exhibition will also present a selection of 1955 where she began a career as a photojournalist. Yanomami drawings. After years photographing the Yanomami herself, Claudia Andujar felt it was important to provide them with the opportunity to represent their own conceptions of nature and the universe. She thus initiated a drawing project, equipping members of the community with markers and paper. A selection of these drawings representing Yanomami myths, rituals, and shamanic visions will be presented in the exhibition.

6 8 The Fondation Cartier pour l’art contemporain has supported POLITICAL ACTIVISM the Yanomami cause and the work of Claudia Andujar for over twenty years. Claudia Andujar and Yanomami artists such as By the late 1970s, Claudia Andujar had reached a turning Taniki, Joseca, Ehuana, and Kalepi have participated in several point in her career. The construction of a transcontinental exhibitions and are amongst the artists present in our collection. highway in the Amazon, initiated by Brazil’s military The Fondation Cartier pour l’art contemporain presented her government, opened up the region to deforestation as well work for the first time in 2003 in the exhibition Yanomami, Spirit as invasive agricultural programs, bringing epidemics to of the Forest. Claudia Andujar renewed her collaboration with the the Yanomami and leading to the annihilation of entire Fondation Cartier in 2012 with the exhibition Histoires de voir: communities. This situation reminded her of the genocide in Show and Tell, in which she presented the work of Taniki, the Europe, and its impact on her was such that she decided to first Yanomami artist to work on paper. In 2013, she participated deepen her commitment to the Yanomami struggle. In 1978 in the exhibition América Latina, 1960-2013 with Marcados, a she founded, with the missionary Carlo Zacquini and the moving series of id photographs she took during a vaccination anthropologist Bruce Albert, the Commissão Pro-Yanomani campaign she led between 1981 and 1983 throughout (CCPY) and began a fourteen-year-long campaign to designate Yanomami territory. their homeland. At this point in her career photography, she put her artistic project aside and used photography primarily as a The Fondation Cartier is pleased to announce the presence means to raise awareness and support her cause. of Claudia Andujar, Davi Kopenawa, Dario Kopenawa, Bruce In the early 1980s, Claudia Andujar took a series of black- Albert, Carlo Zacquini and Thyago Nogueira at the exhibition’s and-white portraits of the Yanomami as part of a vaccination opening events. They will also participate in the Night campaign. They are wearing numbered labels to help identify Yanomami (January 30, 2020), a talk organized on this occasion. them for their medical records. The artist was struck by how these labels recalled the numerical tattoos of those ‘branded for death’ during the Holocaust. She later revisited these portraits and created the Marcados series, which reveal the ambiguity inherent in this act of labelling even if it is ultimately for their survival. In the exhibition, we will present previously unseen photographs from this series. One of the other major works presented in this section is Genocide of the Yanomami: Death of Brazil (1989/2018). This audiovisual installation, which has been recreated specifically for the exhibition, was originally made in reaction to the decrees signed in 1989, which broke up Yanomami territory in nineteen separate reservations. Produced with photos from Claudia Andujar’s archive, re-photographed using lights and filters, the projection leads the visitor from a world of harmony to one devastated by the progress of Western civilization. A 14 soundtrack composed by combining Yanomami chants and experimental music accompanies this installation. In 1992, following the campaign led by Claudia Andujar, Carlo Zacquini, Bruce Albert, and the Yanomami shaman and The exhibition's future venues spokesman, Davi Kopenawa, the Brazilian government agreed As part of the joint partnership between the Fondation to legally demarcate Yanomami territory. Recognized on the eve Cartier and Triennale Milano, Claudia Andujar, The Yanomami of the UN Conference on Environment and Development, this Struggle will be presented in Milan from Fall 2020 onwards. territory is still threatened by illegal mining and logging. The exhibition will also travel to the Fotomuseum Winterthur The work of Claudia Andujar provides both an unparalleled (Switzerland) from June 6, 2020, and to Foundation Mapfre glimpse into the complex cosmological worldview of the (Spain) from February 11, 2021. Yanomami and a powerful political indictment of the violence perpetrated against them. The explosive force of her photography remains relevant today in view of the renewed threats facing the Yanomami and the Amazon basin.

Curator: Thyago Nogueira (head of the contemporary photography department at the Instituto Moreira Salles in Brazil), assisted by Valentina Tong Exhibition coordinator: Leanne Sacramone, assisted by Juliette Lecorne

This exhibition is organized in collaboration with the Instituto Moreira Salles (Brazil) and is supported by the Hutukara Associação Yanomami (Boa Vista) and the Instituto Socioambiental (São Paulo and Boa Vista).

9 PRESS IMAGES PHOTOS © CLAUDIA ANDUJAR All photographs comes from the collection of the artist.

1. Collective house surrounded by sweet-potato leaves, Catrimani, Roraima, 1976. Infrared film, 102 × 68 cm.

2. Ericó, Roraima, 1983. Gelatin silver print, 38,5 × 57 cm.

3. Inside a collective house near the Catrimani River, Roraima, 1974. Gelatin silver print, 68 × 102 cm.

4. Aracá, Amazonas/Surucucus, Roraima, 1983. Multiple exposure, mineral pigment on cotton paper, 68 × 102 cm.

5. Antônio Korihana thëri, a young man under the effect of the hallucinogen yãkoana, Catrimani, Roraima, 1972–76. Mineral pigment on cotton paper, 45 × 67 cm.

6. Candinha and Mariazinha Korihana thëri clean red- billed curassow, whose plumage is used to feather arrows, Catrimani, Roraima, 1974. Gelatin silver print, 92 × 141 cm.

7. Youth Wakatha u thëri victim of measles, is treated by shamans and paramedics from the Catholic mission, Catrimani, Roraima, 1976. Infrared film, 68 × 102 cm.

8.Catrimani, Roraima, 1972-1976. Infrared film, 92 × 141 cm. 1 2 9. The young Susi Korihana thëri swimming, Catrimani, Roraima, 1972–74. Infrared film, 68 × 102 cm.

10. The shaman Tuxaua João blows on the hallucinogen yãkoana in the nostrils of a young man at the end of the reahu feast, Catrimani, Roraima, 1974. Gelatin silver print, 68 × 102 cm.

11. Collective house near the Catholic mission on the Catrimani River, Roraima, 1976. Infrared film, 92 × 141 cm.

12. Unahi Opiki thëri, Roraima, 1974. Gelatin silver print, 46 × 55 cm.

13. Slides from the audiovisual projection of Genocídio do Yanomami: morte do Brasil, 1989-2018. Claudia Andujar, Thyago Nogueira, Valentina Tong.

14. Guest decorated with vulture and hawk plumage for a feast, photographed in multiple exposure, Catrimani, Roraima, 1974. Gelatin silver print, 68 × 102 cm.

PORTRAIT OF CLAUDIA ANDUJAR 15. Claudia Andujar, 2019. Photo @ Victor Moriyama.

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11 YANOMAMI TERRITORY IN BRAZIL

SOUTH AMERICA MARARI

VENEZUELA MARAUIÁ MATURACÁ MAIÁ BRAZIL

São Gabriel da Cachoeira

Santa Isabel do Rio Negro

12 ERICÓ AUARIS

PALIMIÚ

SURUCUCUS Boa Vista ALTO MUCAJAÍ Mucajaí PAPIÚ APIAÚ Iracema

TOOTOTOBI AJARANI Caracaraí CATRIMANI DEMINI

ARACÁ AJURICABA

r io c MARARI a t r i m MARAUIÁ a Yanomami community n AMAZONAS i FUNAI post (in 1984) Religious mission (in 1984) RORAIMA Illégal mining settlement (garimpo) Capital City Yanomami territory in Brazil State boundary Federal boundary Highway Perimetral Norte highway (abandoned) Perimetral Norte highway (planned)

13 BIOGRAPHIES

advocate of the Yanomami cause and founded, along with the CLAUDIA ANDUJAR missionary Carlo Zacquini and anthropologist Bruce Albert, the Brazilian NGO Comissão Pró-Yanomami (CCPY). As part of Claudia Andujar is one of the most important photographers her work with this NGO, she began an international campaign living in Brazil today. She devotes much of her life to to demarcate a territory for the Yanomami. At the beginning photographing and defending the cause of the Yanomami of the 80s, Claudia Andujar launched, in collaboration with Indians, one of the largest indigenous communities in the two doctors, a series of vaccination campaigns throughout Brazilian Amazon. As President of the Comissão Pró-Yanomami Yanomami territory, photographing them for the purpose of (CCPY), she played a key role in the demarcation of Yanomami their medical identification cards. During the same period, she territory, which has been essential to the survival of this people witnessed the devastating impact of the activities of illegal gold and its culture. miners, who polluted with mercury the water and food sources of the Yanomami. A large series of photographs from this time Claudia Andujar was born Claudine Haas in Neuchâtel, document the often-disastrous consequences of their contact Switzerland, in 1931, to a Hungarian Jewish father and a Swiss with Western civilization. Protestant mother. After a childhood spent in Transylvania, she escaped to Switzerland with her mother during the Second In 1989, in response to the decrees signed by the Brazilian World War, fleeing Nazi persecution in Eastern Europe. government aiming to demarcate Yanomami territory into Andujar’s father was deported to Dachau, where he was killed nineteen separate and disjointed areas, Claudia Andujar created along with the majority of his family. In 1946, Andujar moved Genocídio do Yanomami: morte do Brasil, an audiovisual installation to New York where she lived with a paternal uncle. She studied depicting the catastrophic impact of Western civilization on the humanities at , where she met Julio Andujar, Amerindian world. a Spanish refugee, whom she married in 1949. After their separation, she kept his name to hide her Jewish roots. In 1953, Following the fourteen year-long tireless struggle Andujar while working at the United Nations, Claudia Andujar began led alongside Carlo Zacquini, Bruce Albert and Davi Kopenawa, painting. She left New York two years later and travelled to São shaman and spokesperson of the Yanomami Indians, the Paulo to join her mother who had moved there. She decided to Brazilian government finally agreed to legally recognize settle permanently in Brazil where she embarked on a career as a Yanomami territory. photojournalist. Fascinated by the people of Brazil, she travelled throughout the country to get to know it better, exploring Now eighty-eight years of age, Claudia Andujar continues to through photography its social and cultural diversity. From the exhibit her work and raise public awareness of the Yanomami late 1950s onward, cause. her photographs were published in feature reports by magazines In 2008, the Brazilian Minister of Culture awarded Claudia like Life, Look and Realidade. Andujar the Ordem do Mérito Cultural. Her work features in the collections in museums such as the Museum of Modern Art of In the early 1970s, Claudia Andujar met the Yanomami New York and George Eastman House in Rochester. She has also Indians of northern Brazil and decided to abandon her career as been the subject of solo exhibitions at the Museum für Moderne a photojournalist to concentrate exclusively on a photographic Kunst, Frankfurt in 2017 and the Instituto Moreira Salles in project focusing on this people. She received a Guggenheim Brazil in 2015 and 2018. The Institut in Brazil has Fellowship in 1971 that allowed her to achieve this goal. In 1976, devoted a permanent gallery to her photography. thanks to a grant from the Research Support Foundation of the State of São Paulo, she launched ambitious drawing project to better understand Yanomami culture, providing paper and markers to the Yanomami so they could represent their own DAVI KOPENAWA culture and mythology. Andujar’s photographic portraits of Davi Kopenawa, shaman and spokesperson for the Yanomami the Yanomami and the work from the drawing project formed Indians of Brazil, is, along with Raoni Metuktire, currently one of the subject of two different books: Yanomami: frente ao eterno the most important advocates for the Amazon rainforest and the (Praxis, São Paulo) and Mitopoemas Yanomami (Olivetti do Brasil, indigenous communities that live there. São Paulo), both published in 1978. That same year, Claudia Davi Kopenawa was born circa 1955 in Marakana, in the Andujar published Amazônia (Praxis, São Paulo) with her second northern part of the State of Amazonas in Brazil. His village husband the photographer George Leary Love, whom she had was decimated by two successive epidemics in 1959 and 1967, married ten years earlier. and since the late 1970's he has lived in the village of his wife in Watoriki. In 1974, Claudia Andujar witnessed one of the episodes that As a child, he endured the proselytizing of the American New decimated the Yanomami population: the construction of the Tribes Missionary Church who gave him his Biblical name and Perimetral Norte highway, a project that was later abandoned, his ability to read and write. He rejected their influence however, but that led to the destruction of Yanomami villages and a after losing most of his close relatives to the measles in 1967. measles epidemic. Due to these dramatic events, she put her Distraught at the loss of his parents and relatives but photography career on pause to devote herself to protecting this also fascinated by the power of Western materialism, Davi endangered people. From 1978 onward, she became a fervent Kopenawa left his native region as a teenager to work for the

14 Indian Protection Service (SPI) at Ajuricaba, on the Rio Demini. During this time, he tried hard, in his own words, to “become BRUCE ALBERT a white man.” He contracted tuberculosis and spent several French anthropologist Bruce Albert is Emeritus long months in a hospital in Manaus, capital of the State of Research Director at the IRD (Institut de Recherche pour le Amazonas, where he learned Portuguese. He returned to his Développement). A fervent defender of the Yanomami cause native village, and was employed in 1975 as an interpreter by since 1975, he is the author of many articles and several the Indian National Foundation (FUNAI, the successor of the ethnographic books on the Yanomami, the situation of SPI), following the opening of the Perimetral Norte highway. indigenous peoples from the Brazilian Amazon, as well as This experience provided him with the opportunity to travel the ethics of anthropological research. throughout Yanomami territory and gain an understanding of its geographical and cultural unity. It also gave him a deeper In 1975, Bruce Albert traveled to the border regions of Brazil understanding of the workings of “white” society and the threats and Venezuela, in the upstream part of the Catrimani River, to posed by its encroachment upon the Amazon on the Yanomami meet with the Yanomami. He was horrified by the construction people and the forest they inhabit. of the Perimetral Norte highway through their territory, causing When Davi Kopenawa finally settled in Watoriki, his father-in- diseases and social unrest. It became clear to him that he could law, a great shaman, initiated him and became his mentor. not conduct ethnographic studies without getting involved This initiation into shamanic life allowed him to realize a with the indigenous people with whom he worked. Along with vocation that had been revealed to him in dreams he had as a research on various social and cultural aspects of the Yanomami child. It also gave him a metaphysical framework that enabled lifestyle, Bruce Albert contributed to the creation of the Pro- him to develop a political understanding of the historical destiny Yanomami Commission (CCPY) in 1978, alongside Claudia of the Yanomami. Between 1987 and 1990, over one thousand Andujar and Carlo Zacquini. Yanomami died in Brazil due to the violence and disease brought about by the incursions of some 40,000 gold prospectors into Bruce Albert acquired an extensive knowledge of the main their lands. Outraged by this tragedy, Davi Kopenawa engaged Yanomami spoken language. For forty years, he frequently visited in a determined struggle in defense of his people. His name the Yanomami and developed a long-lasting friendship with Kopenawa, which means “for anger and for speaking harshly Claudia Andujar, Davi Kopenawa, and Carlo Zacquini, all bound to Whites,” comes from a shamanic dream that he had around by a common fight. this time associating him with the warrior spirit of hornets. The Falling Sky. Words of a Yanomami Shaman (Belknap Press, By virtue of his unique experience of the Western world and 2013) is one of his most important books. Written from long the intellectual fabric of his shamanic training, Davi Kopenawa interviews conducted in Yanomami, it tells the story of Davi quickly became one of the principal representatives of the Kopenawa’s shamanic vocation and political fight. Sharing his Amerindian cause and the defense of the Amazon, both in Brazil often-dramatic personal story, Davi recounts the devastating and around the world. In May 1992, with the support of the invasion of white men in the forest and his travels abroad to Brazilian NGO Pro-Yanomami Commission (CCPY), he played fight for his people. an important role in obtaining the legal recognition of the Yanomami territory, which covers 96,650 kilometers of rainforest For the Fondation Cartier, Bruce Albert has co-curated reserved for the exclusive use of the Yanomami people and two exhibitions (with Hervé Chandès), Yanomami, Spirit of the protected by presidential decree. Forest (2003) and Trees (2019). He has also collaborated In 1988, Davi Kopenawa received the United Nations on several Fondation Cartier exhibition catalogs. Global 500 Award for his contribution to the defense of the environment. In 1999, he was decorated by the Brazilian President with the Order of Rio Branco for “his exceptional merit.” He received an honorable mention from the jury of the CARLO ZACQUINI prestigious Bartolomé de Las Casas Award from the Spanish In 1965, Catholic Consolata Missionary Carlo Zacquini went to Government for his commitment to the defense and protection live among the Yanomami in the north of the Brazilian Amazon of indigenous peoples in 2008. In 2015, the Brazilian Ministry when the Catrimani River Catholic Mission was founded. of Culture honored him with the Ordem do Mérito Cultura and From the start, the mission didn’t look to proselytize but focused in 2019, he was the recipient of the Right Livelihood Award, instead on health care and the defense of indigenous rights. considered an alternative “Nobel Prize.” Carlo Zacquini welcomed Claudia Andujar in 1971, when Davi Kopenawa is the co-author, along with anthropologist she first arrived in the Catrimani River region to meet with the Bruce Albert, of The Falling Sky. Words of a Yanomami Shaman, Yanomami. From then on, in a spirit of solidarity and steadfast a biography that retraces his struggle, which was first published friendship, Carlo assisted Claudia Andujar in her discovery of in French by Plon, Paris in 2010, and later translated into English, the Yanomami and their lifestyle, as well as in her fight for the Portuguese and Italian. defense of their territory and culture. In 1978, Claudia Andujar, Bruce Albert, and Carlo Zacquini founded the Pro-Yanomami Commission (CCPY), which fights for legal territorial recognition finally approved by presidential decree in 1992.

15 EXCERPTS FROM THE EXHIBITION CATALOG All of the catalog’s texts are available on demand from the press office.

behind the months of work among the extended family of the RELATIONSHIP: MAN TO MAN world of the Yanomami. The Yanomami, who until recently thought they were the only people in the world. They, the CLAUDIA ANDUJAR “human beings” and the rest, the “napë”, those who are not Yanomami. The last thing I did, as I had done so often, was to It was morning and I knew that in the afternoon they would supply medicine to a sick man. The year 1974, marked by eleven come to get me and take me in the jeep to the small town cases of flu and measles, brought by the workers on the Manaus- of Caracaraí. My first land trip back to the other world, the Caracaraí-Venezuela highway, and the malaria that never ends. technological world with different commitments. The world And the jeep arrived. There were three or four Indians where I was born and grew up: where I learned that to be looking curiously at my paraphernalia. I was leaving. I said little, respected, I had to present myself as a smiling person with overcome with emotion. I was at home there. I felt good, it was a clear mind, optimistic. as if I had always been there, an integral part. That small world I didn’t say goodbye formally because “see you later” doesn’t in the immensity of the Amazonian rain forest was my place exist among the Indians: and if it did exist, I wouldn’t say and forever will be. I am linked to the Indian, to the land, to the goodbye in any case. Saying goodbye implies an end: but life is fundamental struggle. All of this moves me deeply. Everything an eternal continuation of things that come together, separate, seems essential. And perhaps I don’t understand it all, and then come together again. Sometimes differently. There are I don’t plan to understand. Nor do I need to, loving is enough. a thousand ways of separating and coming together: it is a Perhaps I have always sought the answer to the meaning of life molecular process. The forms are endless, the combinations in that essentiality. And I was taken there, in the Amazon jungle, countless, but in essence everything always continues: it’s the because of that. It was instinctive. In search of myself. process of life. The mystery of existence. Life, in which death is I find myself during the long treks through the forest. merely a complementary process, another form of continuing. I have done several. I remember the sweat dripping off my A process of transfigurations of moments in flux. nose, burning my eyes. We walked for hours. Men, women, I packed my hammock, sleeping bag, camera, cup, malaria children, newborns on their mothers’ backs, a nocturnal monkey medicine, jeans, T-shirts. Everything was ready for leaving clinging to a woman’s hair, the hammocks, pots, the essentials,

3 16 everything on the move. The man in the lead, clutching a bow in order to recreate in the form of images what I was feeling. and arrow to defend his wife and child, or ready for the hunt. Perhaps dialogue might even interfere. Only later, when I was Following the trail, a narrow path, carpeted with leaves. Igarapés done photographing, did I look for verbal communication. (streams), fallen branches, a thousand difficulties, virgin forest. Photography is the process of discovering the other and, The forest that is to the Indian like a city to us. He knows every through the other, oneself. Intrinsically, that is why the crossing, dealing with them the way we cross streets. photographer seeks and discovers new worlds but in the end I felt tired from hours of trekking. And in the monotonous always shows what is inside himself. My search for the man/land forest I could no longer see. And we kept on walking. Suddenly, interconnection was inside me before I went to the Amazon. I absented myself mentally. I know I was walking, following And the treks through the forest only served as catalysts to the person ahead of me, putting one foot in front of the other, reinforce what was basically there. but my thoughts were far away. I saw myself as a child in Fear of death pursued me for many years. It is thinking that Europe. A Europe at war, a child trying desperately to hold on goes back to childhood: without a doubt, a feeling of guilt. to someone. To love and be loved, understood, was the desire During the war, my world was destroyed overnight. I lived while of my childhood. And I failed. I went to New York, still a child, others died. My father, my grandmother, my girlfriends, and a and sought the same thing, I enjoyed spending hours in the male friend whose death deeply disturbed me and who woke me countryside, in parks, in cemeteries with trees, because they were from the dreams of childhood—all died. quiet and solitary places. I would spend hours in empty churches The years passed. It was late at night: exhausted from pain, talking to myself. I felt alone in the great metropolis. I rested my head on the pillow and applied ice to my brow. I felt But I was still trekking through the Amazonian jungle with myself drifting into limbo. I was suffering greatly with malaria. the Indians, a march that became automatic. And I felt that life I discovered that pain is worse than dying. My only wish was for was taking charge of me. It was a trek that cleansed. Cleansed the pain to cease. And one day it did: I lost the fear of death. everything inside of me. The heat, the sweat, the fatigue, the The rotting leaves on the forest ground, the treks in dense jungle, muffled sound of our footsteps. the self-revelation that life offered me in the rare moments of I felt united with myself, with the forest, it didn’t matter where respite, is what remains with me, it is in my work. Work that I was going, how many hours we walked. I knew that I had can be seen in the photography, in the treatment of the ill, in found myself. Found myself in the sense of having found that communication, in a thousand interconnected things, because which is essential. There are rare moments that we sometimes I’m always the same person with the same pursuit. experience, which sum everything up. And we feel whole. The jeep arrived, took me away. During the journey to They are fleeting, just moments. I remember that I sweated a lot Caracaraí I became calmer, knowing that what I had done was during that trek, how wet everything was. Thirst plagued me. right. Right for those I left behind and right for me. I wanted to stop and drink but couldn’t because I was only one among others accustomed to moving as one Text originally published with the title “Relação: homem a would on a wide avenue. And if I stopped and fell behind, homem” in the newspaper Ex-14, Brazil, September 1975 the jungle would swallow me. So I walked and lost myself in thought. This, my first trip through the forest, lasted five days. The Indians hunted and fished. The geographical destination of the trek was unknown to me, I only knew it was in search of food and wanted to know what that meant. There were days when we went on for hours, on others, very briefly. What drove me was the desire to understand why the search for food was A WORLD so essential to that society. Each afternoon, we would clear an area to accommodate us during the night. We would hang the NAMED FOREST hammocks between trees, covering them with a roof of sororoca (wild banana) leaves. Night came quickly. In the forest, where the HOMAGE TO NAPËYOMA sun barely penetrates, darkness at night is total. Around seven BRUCE ALBERT o’clock, everyone was in their hammocks, and all one could see was the lights from the campfires and the fireflies. Lying down, I first contacted Claudia Andujar by letter, a four-page missive I listened to laughter, the Indians’ conversations, and the sounds written in Paris in the summer of 1977. I was a graduate student of the forest. Because the forest is seldom silent. I would fall in Anthropology at the time, and I had just come back from my asleep and wake up. From time to time an Indian would get up to first long stay with the Yanomami of the Rio Catrimani region, tend to the fire. The nights were long, the noises mysterious. in the north of Brazilian Amazonia (1975–76). In 1974, in the At times I felt afraid and listened for the sound of animal same region and in contact with the same communities, Claudia footsteps or the song of a nocturnal bird. Sometimes I would had produced a crucial part of her photographic work, thanks hear a far-off jet passing over the forest and thought about the to a Guggenheim Fellowship. During my peregrinations in the passenger on the New York-Rio-São Paulo route having the last forest, my hosts had often spoken of an intriguing visitor, warm whiskey the stewardess served. I felt myself between two worlds, yet bold, whom they had nicknamed Napëyoma, “the White one very distant in times and mentality, the other nearby, which I woman.” longed to grasp in my hands and understand. Since the beginning of 1997, rumors about an epidemic on At the time, it didn’t bother me not to understand the Rio Catrimani had alerted me to the sanitary situation of isolated language of the Yanomami. We made ourselves understood communities I had visited on the river’s upper course. I resolved through gestures and mimicry. Answers were in the gaze. to reach out to Claudia so she could help organize a health I didn’t miss the exchange of words. I wanted to observe, absorb, program in the region. I wasn’t aware of it at the time, but the

17 worst had already happened. Claudia’s answer the next month come from the heart of the forest-land that has won us over long brought me distressing news: the measles epidemic, which ago and that, together and with others—especially our friend had been spreading since December 1976 from a Rio Mapulaú Davi Kopenawa—we have tried to defend against the predatory outpost of the Brazilian agency for Indian affairs (the Fundação madness of the “people of merchandise.” Nacional do Índio or FUNAI), had decimated most of the people from Rio Catrimani's upper tributaries. She had just spent two Yanomami territory was long delineated by shady guesswork, grueling months there, April and June 1977, accompanying but since 1992 and thanks to the long struggle of the CCPY Carlo Zacquini, who was in charge of the Catrimani mission, and Davi Kopenawa, it can be found under the official name helping the last survivors. Then she had been ruthlessly banned “Terra Indígena Yanomami” in the documents and cartographic from the area by a xenophobic FUNAI agent hostile to the surveys of the Brazilian federal government. Registered in such mission’s work supporting the Amerindians. Claudia had to a way, this Amerindian land appears as an extended boundary return to São Paulo in early July. She was desperate to secure line running along the Brazil-Venezuela border, enclosing another official authorization to pursue her photographic and no less than 96,650 square kilometers of tropical forest—an humanitarian work among the Yanomami. The FUNAI, then run immense area, checkered on maps by numerous local or federal by the military, refused to grant her such a document several administrative and political divisions. times, arguing that her staying with the Yanomami in a border However, if you listen to the Yanomami themselves, another area constituted a threat to “national security.” reality lies under the flat geographical space defined by state I was also caught in the same political and bureaucratic bureaucracy (which is not overlooked at all by Yanomami labyrinth but, as an anonymous student, I was more likely to ethnopolitics, as we will see). This reality is named Yanomae thëpë escape military surveillance and finally managed to return to urihipë, the “forest-land of human beings:” a complex socio- the field in February 1978. It was my turn to witness the tragic cosmological multiverse I will now try to chart out carefully. fate of our friends and former hosts from the upper Catrimani: […] distraught, I counted sixty-eight victims of the epidemic, for the most part women, children, and young people. This was back when Claudia and I were living near Rio […] Catrimani, and we witnessed how military governments implemented their Trans-Amazonian agenda through Our encounters with the Yanomami had filled us both with agricultural and road planning, and how it fostered unchecked fascination, but also with concern for their survival, as they economic occupation of the region (colonization, cattle farms, were increasingly threatened by the military dictatorship’s gold prospectors), first surrounding the Yanomami “forest-land” development programs. We resolved to write together the first before invading it altogether. This process of expropriation and of many public statements aimed at defending the integrity of its legislative arsenal (the “Indian Statute” of 1973) forced on their territory. We then met again in São Paulo to prepare plans Amerindian groups a process of self-objectification through for the legalization of Yanomami land with Carlo Zacquini (and the prism of new legal categories of identity and territory. the help of several friends, including Beto Ricardo, Maria Helena Indeed, the state had developed an official model for indigenous Pimentel, and Alain Moreau). Soon followed the creation of a communities (comunidades indígenas), complete with new legal NGO, the Comissão Pró-Yanomami (CCPY), and the launch of terminologies: the “human beings” (Yanomae thëpë) had to an international campaign in favor of the Yanomami’s territorial become Yanomami Indians (Índios yanomami), and the “forest- rights. land of the human beings” (Yanomae thëpë urihipë) was to be More than forty years later and we still have not stopped dismantled into an archipelago of discrete indigenous lands fighting together in support of the Yanomami, nurturing our (terras indígenas). friendship along the way. The present text is thus a modest Since the 1980s, the Yanomami have fought back against commemorative homage to Napëyoma—a relentless warrior land spoliation and rural “favelization,” attempting to subvert and an exceptional visionary. I will touch upon the metaphysical the government’s rhetoric —based on the alleged protection of imagination, social ingenuity, and poetic irony of the Yanomami, cultural identities and territorial rights— and take advantage the “inhabitants of the forest-land” (urihi thëri), whose aesthetic of it, putting up a sort of “mimetic resistance.” The most Claudia Andujar has so skillfully captured in her superb prominent figure of this struggle is Davi Kopenawa, a shaman at photographs. These precious and equally enigmatic images the forefront of Yanomami ethnopolitics. Throughout the years, he has reinforced his legalist claims with an insightful mix of political and cosmological arguments—highlighting current issues through the cosmological reinterpretation of first contact and its social and ecological consequences, but also the shamanic invocation of the ontological multiplicity at play in the “forest- land,” and the humbling reminder of the modest, transitory place humans and human activities should be granted in this world. After over a decade of advocating for the delineation and protection of a large undivided area, the Yanomami obtained its homologation in June 1992, just before the Earth Summit held by the United Nations in Rio de Janeiro. The “forest-land of the human beings” (Yanomae thëpë urihipë) became the Terra Indígena Yanomami, legitimized by the legal categories of official indigenismo and the rise of global environmentalism. But it has 10 never been absolutely safe from outside aggression, as the recent 18 violent prospectors mass invasions once again remind us. “time of sleep,” in which they can hear the counsel of the spirits In 2004 the Yanomami founded a NGO, Hutukara, whose that guide them in the conduct of social life. Communicating representatives and local associates cover almost all of the with the xapiri is a process of apprenticeship and self-knowledge Yanomami territory. The association is named after the first sky that can last a lifetime. The more experienced the shaman, the that fell in the first age and became the present-day “forest-land greater his access to his spirits, and therefore the greater his of the human beings.” The Hutukara newsletter highlights the capacity to understand the world and solve the problems of his ethnopolitical value of using such references, displaying it in community. an explicit subheading: “Hutukara, the name that defends the […] forest-land” (Hutukara urihi noamatima wãha). Before becoming an important shaman, Kopenawa Such strategies reaffirm the importance for the Yanomami went through a long apprenticeship. His description of the of their omnipresent cultural notion of “forest-land.” Indeed, presentation of the xapiri helps to understand Andujar’s mitigating the cultural dominance of state-imposed territoriality, images: “I saw them coming towards me from the sky’s heights this subtle reaffirmation of the Yanomami worldview acts as in a shimmering bright light. They were descending slowly, “means to support and legitimize difference”—another proof gathering in ever-growing numbers, like a blinding fall of of its current dynamism and relevance. white fluffy feathers. The powerful vibration of their songs was The rebellious resilience of the Yanomami “forest-land-world” gradually drawing closer: ‘Arerererere!’ They started to whirl against the virtual space of government bureaucracy around in place in the air, like a multitude of hummingbirds. has been teaching us a crucial lesson: it opens up the conceptual Gradually I started to distinguish their splendid ornaments: possibility of a “light earth” (Friedrich Nietzsche evoked the their curassow crest and agami neck armbands, their black rechristening of Earth as “the Light One”), weaving together saki tail headbands, and their hair covered in king vulture mobile multiplicities, and where, as John Rajchman puts it, down feathers. Their immaculate teeth sparkled and their skin “to become a ‘native’. . . one must learn how to ‘switch places’ shone with drawings made with vermilion and black annatto and move away.” pigments. They swirled around above me as they danced and An identity constructed on leaving one’s origin behind. whooped with elation. . . . They laid my image on the back of After all, this might be the illuminating alternative to the the sky at the center of their mirror. It was very frightening, heavy, somber “native soil” (Heimatboden) and entrenched but my fear disappeared rapidly, for everything that I saw was identity inspired by Heideggerian philosophy. At any rate, this magnificent. Despite the distance, I could see the xapiri and possibility—this captivating hope—is what brought Claudia their colorful and shiny ornaments perfectly. Their gaze landed Andujar and me together, more than four decades ago. upon me. Their troop descended from the edges of the sky, We arrived from different points of origin and paths of life, but carried by a multitude of glimmering paths that swayed in we had both left faraway countries (Hungary and Morocco) the air. They were as fast as planes and kicked up a powerful to find what we wanted from life, to forge our place in the world wind. This vast distance was nothing for them. They rushed in in exile and as outsiders. This is how, arriving in Brazil, we soon without interruption, countless, coming from every direction like developed an improbable yet everlasting affinity and solidarity television images. Then little by little they gathered in front of me with the Yanomami people. like guests at a reahu feast crowding together at their host’s door, impatient to do their presentation dance.” Andujar developed distinct forms for documenting each ritual of the reahu feasts, using elementary photographic resources, as well as flashes, lamps, and lights. During the previous year, spent in São Paulo, she had covered the windows in her apartment in order to practice photographing in low light. CLAUDIA ANDUJAR, Through multiple exposure in a single photo, she was able to superimpose and multiply elements, reinforcing the repetitive THE YANOMAMI STRUGGLE rhythm and the phantasmagoric atmosphere of the rituals. THYAGO NOGUEIRA The slow shutter speed transformed rapid movements into blurs, constructing collective amalgams and visual spectra. […] Vaseline on the lens also created radial soft-focus that amplified Andujar’s photographs of the reahu ceremonies represent the sensation of vertigo in the images. Shaking of the camera one of the most important series in her work. The photographer at the moment of shutter release and the use of a combination witnessed many of these feasts in different communities, of flash and low speeds transformed points of light into determined to register them. A reahu can last days or weeks, illuminated bundles. Shamanic chants and speeches became depending on the importance of the dead and the offering visible. of food. The feasts follow a complex sequence of specific and The use of photographic techniques, associated with the distinct rituals. Members of the community sing, dance, honor shamanic rituals, permitted Andujar to broaden the sense the dead, and restructure social networks, exchanging news, of what was photographed instead of merely documenting forming couples, and reinstating ties with neighboring groups, it. By using images and not words as did anthropology and who are also invited. journalism, she also offered a new layer of meanings. A good reahu is preceded by a clearing stocked with manioc […] and plantain and an extended hunting expedition. It is also during such ceremonies that the shamans invoke their xapiri, Marcados and health problems, 1980-87 in sessions stimulated by a hallucinogenic powder derived from In 1980, to prevent the deterioration of the health situation the yãkoana hi tree (Virola sp.). Yãkoana conducts them to the of the Yanomami, Andujar, the CCPY, and the medical doctors

19 Rubens Belluzzo Brando and Francisco Pascalicchio, of the recalled the first time she thought that someone could be Paulista School of Medicine (presently affiliated with the marked to die: it had been in Transylvania, when at the age of Universidade Federal de São Paulo), implemented a health thirteen she had seen her father’s family and her friends from program that established continuing treatment for the indigenes, school wearing the Star of David sewn on their chest. Among especially in the regions where there was a notable absence of those friends was a young boy named Gyuri, with whom doctors and paramedics. The initial program had the support of Andujar shared her first kiss. Gyuri died at Auschwitz in 1944 the Danish NGO IWGIA and the Norwegian foreign ministry. but lived on in a portrait that Andujar kept in a locket around her Andujar participated in almost all the trips, exercising neck. “It is that ambiguous sentiment that leads me, sixty years various functions. The routine included administering vaccines, later, to transform the simple registry of the Yanomami into the doing blood tests, as well as training missionaries and the condition of ‘people’—marked to live—in a work that questions Yanomami themselves to act as health agents. Throughout the method of labeling beings for diverse ends,” she explains. the 1980s, the CCPY garnered resources, elaborated projects, As of 1989, many of the one thousand portraits took on an and involved important international partners, including the additional meaning in the projection of the audiovisual Genocídio French organization Médecins du Monde. It also attempted to do Yanomami: morte do Brasil, presented to defend the indigenous implement a project of Yanomami autonomy, in cooperation land. They would also become part of other exhibitions and give with the Brazilian ministry of health. rise to the Marcados series, one of her best-known. […] During the journey of 1980–81, Andujar traveled through almost all of the Yanomami land, far beyond the Catrimani territory familiar to her. This trip gave rise to the monumental Relatório Yanomami 82: situação de contato e saúde (CCPY), a detailed description of the medical records of each community, with information about illnesses, suggestions for prevention, accounts of the levels of contact with Western culture, and demographic surveys. Comprising 220 pages, written in large part by Andujar, it brought together an amount of unpublished information on hundreds of communities. She gathered the testimony of missionaries and local leaders, and identified cultural problems that involved, for example, a woman who didn’t allow her children to be vaccinated or men who distrusted doctors because they attributed the death of a companion, victim of an unknown disease, to the autopsy performed on him. In each case, the conclusion was alarming: contact with outsiders had produced a tragedy that the governmental organizations responsible for healthcare were unable to prevent. The volume of information also made the report the key piece in strengthening the park project by offering the broadest and most detailed survey of the region. To accomplish the mapping, Andujar and the doctors of the Paulista School of Medicine provided a medical card for each person treated, with the goal of creating a health file of the Yanomami that would allow tracking the medical record of the patient and the vaccination calendar. The health file had room for various entries in the space for the patient’s name, because the idea of a fixed name of one’s own guaranteeing individual identity did not exist in Yanomami culture. Family members addressed one another by degree of kinship; other Yanomami used “nicknames” that might change over time and often were not even spoken in front of the person named. Following a portrait model already used by doctors in Xingu Park, Andujar decided to photograph each individual treated wearing a small plaque with movable numbers around his or her neck. […]

Over the years, these identification portraits mapped the Yanomami and assured them urgent and necessary care. It is as a collective body of work, however, that they reveal a paradox, that of individuals who must be marked and photographed by a society in order to be saved from the violence of that very same society. A paradox present in all of Andujar’s work. Years later, when she again looked at the images, Andujar

20 EXHIBITION CATALOG CLAUDIA ANDUJAR, THE YANOMAMI STRUGGLE

In conjunction with the exhibition, the Fondation Cartier publishes the catalog presenting the artist’s photographs as well as excerpts from her notebooks and Yanomami drawings. With texts by Claudia Andujar, Thyago Nogueira, and Bruce Albert, it features a map of Yanomami territory as well as a timeline documenting the artist’s life and the history of the Yanomami people.

Publication Fondation Cartier pour l’art contemporain, Paris French, English, and Italian versions Softback, 23 × 31 cm, 336 pages 300 black-and-white and color reproductions Texts by Claudia Andujar, Thyago Nogueira and Bruce Albert ISBN: 978-2-86925-154-0 Price: €40 Publication date: January 2020 Distribution: Thames & Hudson

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14 AROUND THE EXHIBITION NOMADIC NIGHTS AND NIGHTS OF UNCERTAINTY THURSDAY JANUARY 30 - 20:30 - NIGHTS OF UNCERTAINTY The Night of the Yanomami For the opening of the exhibition Claudia Andujar, The Yanomami Struggle (January 30 › May 10), the Fondation Cartier is pleased to announce the exceptional presence of Davi Kopenawa, shaman and spokesperson for the Yanomami of Brazil, alongside Claudia Andujar and Dario Kopenawa, for a special evening devoted to the defense of the Amerindian indigenous communities of the Amazon, who are under grave threat today. A discussion moderated by Thyago Nogueira, curator of this exhibition (Instituto Moreira Salles, Brazil) in the presence of Bruce Albert (anthropologist) and Carlo Zacquini (missionary). Find the complete program of the Nomadic Nights and Nights of Uncertainty on fondation.cartier.com/en/live-shows CHILDREN’S WORKSHOPS SATURDAY, FEBRUARY 22 / SUNDAY, MARCH 22 – 3PM SATURDAY, MARCH 28 / SUNDAY, APRIL 26 – 3PM Plant Transparency Photography of Yesteryear Silkscreen workshop with Arianna Tamburini, illustrator Photography workshop by Marie Rameau, photographer Ages 6 to 12 / Length: 2h Ages 7 to 13 / Length: 2h The children will learn the technique of silkscreen by printing Marie Rameau will share her passion by offering children a plant-shaped stencils on acetate sheets using squeegees, and journey back in time to discover pioneering photography different-colored inks. By layering the result over a work by techniques. Starting with a first painted glass plate serving as Claudia Andujar, also printed on transparent sheets, they will a negative, and using the scratch card technique, the children create interplay between the layers of photo and vegetation will make a water-themed drawing inspired by the exhibition’s reminiscent of the lush greenery of the Amazon rainforest. photographs. They will then transpose the drawing onto a second photosensitive glass plate to make a print, and will take SATURDAY, FEBRUARY 29 / SATURDAY, APRIL 18 – 3PM their artwork, framed and decorated with gold leaf, home with Photographic Journeys them. Photography workshop by Claire Curt, photographer Ages 7 to 13 / Length: 2h SUNDAY, APRIL 12 – 3PM In pairs, the students will experiment with different photography The Garden’s Secrets techniques using digital cameras. Playing with color filters, light, Garden discovery workshop with Benjamin Lefevre, and shadow, each team will create their own imaginary journey environmental engineer through brightly colored portraits and landscapes. Ages 6 and up / Length: 1h During a scientific wander through the garden of the Fondation SUNDAY, MARCH 8 / SATURDAY, APRIL 25 – 3PM Cartier, the children will be invited to observe, touch and smell Amazonian Figures different plant species, and to understand why trees are vital for all living beings. Painting workshop by Aurélia Fronty, illustrator Ages 6 to 12 / Length: 2h In this workshop, the young artists will paint a colorful, majestic SUNDAY, FEBRUARY 23 / SATURDAYS, MARCH 7 AND 21 AND plant decor on a small canvas using acrylic paint and gouache. SUNDAYS, MARCH 1ST, 15, AND 29 / SUNDAY, APRIL 19 / SATURDAY, They will next use colored pencils to draw figures of Yanomami MAY 2 AND SUNDAY, MAY 3 – 11AM Indians, inspired by Claudia Andujar’s photographs. Family Tours Ages 6 and up / Length: 1h SATURDAY, MARCH 14 / SUNDAY, APRIL 5 – 3PM Children and their parents can participate in a fun-filled visit of Boxed in! the exhibition in the company of a guide. Following a detailed Photography studio by Brigitte Baudesson, photographer tour of the exhibition, families are free to spend more time Ages 7 to 13 / Length: 2h exploring at their own pace. The children will be invited to draw inspiration from Claudia Andujar’s photos to make their black and white portraits and Find all the details of the program on photos of vegetation from the Fondation Cartier’s garden. fondation.cartier.com Their photos will then be printed on transparent acetate and placed in a box in which their face will appear immerged in a lush natural setting.

24 124 PROGRAM 2020

that traverses the boundaries of figuration and abstraction. Cherry Blossoms are at once a subversion and homage to the PARIS great artistic movements of the late nineteenth and twentieth centuries. They are part of the pictorial investigation carried out by Hirst since the start of his career, which explores color, beauty, DAMIEN HIRST perception and the role of the artist. After studying in Leeds and then Goldsmiths College of Art in London in the late eighties, « CERISIERS EN FLEURS » Damien Hirst quickly became the face of the group that came June 14 › November 8, 2020 to be known as the Young British Artists. These artists, which dominated the British art world in the nineties, shared a taste for experimentation and art viewed as provocative by some. Hirst’s From June to November 2020, the Fondation Cartier pour l’art Natural History series—in which bodies of animals are framed contemporain invites British artist Damien Hirst to unveil his in formaldehyde-filled tanks—soon became emblematic of both latest paintings, the Cherry Blossoms. The result of two years of the artist and the entire contemporary art scene. intense work in his London studio, the series is part of Hirst’s career-long investigation into painting and his desire to return Painting has always played an essential role in Hirst’s work: to the pure immediacy of this element of his practice. Cherry “I’ve had a romance with painting all my life, even if I avoided it. Blossoms marks the artist’s first museum exhibition in France. As a young artist, you react to the context, your situation. In the 1980s, painting wasn’t really the way to go.” Hirst made The Cherry Blossoms reinterpret, with playful irony, the initial forays into retro abstract expressionist styles, what he has traditional subject of landscape painting. Hirst combines thick himself described as a “paint how you feel” approach. brushstrokes and elements of gestural painting, referencing both He quickly, however, began to look at 60’s minimalism, Impressionism and Pointillism, as well as Action Painting. embarking on his conceptually endless Spot Painting series The monumental canvases, which are entirely covered in in the late eighties. In this series, colored dots, which appear dense bright colors, envelope the viewer in a vast landscape to have been painted by a machine, erase all traces of human intervention. The ironically named Visual Candy series (1993- 1995), meanwhile, made up of thick splats of paint and exuberant superimposed colors, celebrated the pleasures of painting.

With Cherry Blossoms, begun shortly after Hirst’s huge and complex sculptural project Treasures from the Wreck of the Unbelievable in Venice (2017), the artist revisits the spontaneous joy of painting. The imagined mechanical painter, omnipresent in the Spot and Spin Paintings series, is replaced here by the fallibility of the hand of the artist working in his studio.

“The Cherry Blossoms are about beauty and life and death. They’re extreme—there’s something almost tacky about them. Like Jackson Pollock twisted by love. They’re decorative but taken from nature. They’re about desire and how we process the things around us and what we turn them into, but also about the insane visual transience of beauty—a tree in full crazy blossom against a clear sky. It’s been so good to make them, to be completely lost in color and in paint in my studio. They’re garish and messy and fragile and about me moving away from Minimalism and the idea of an imaginary mechanical painter and that’s so exciting for me. ”

Photograph by Prudence Cuming Associates. ©Damien Hirst and Science Ltd. All rights reserved, DACS 2019. 26 Les Citoyens presents itself, in the words of Guillermo Kuitca, as a “solar system without a sun” made of connections that “weave MILAN a network of senses and sensations” and reveal unprecedented links between the works selected by Kuitca from among the nearly 1600 artworks from the 400 artists that make up the Fondation FONDATION CARTIER AND TRIENNALE Cartier Collection. The artist therefore proposes a personal journey within the collection where ideas of ensembles and MILANO ANNOUNCE A GROUNDBREAKING constellations, groups and individuals, of the whole and the fragment, of community and polyphony, of relationships and CULTURAL PARTNERSHIP otherness, answer each other in multiple voices. Guillermo Kuitca brings together a monumental drawing by The Fondation Cartier and Triennale Milano share a Cai Guo Qiang and a film by Artavazd Pelechian, both evoking similar artistic vision based on a resolutely multidisciplinary, a communion of animals. The works of Rinko Kawauchi and international program, open to all domains of creation, such as Virxilio Vieitez express the universal idea of the family unit, contemporary art, architecture, design, fashion, cinema and so on. as well as the multiple personalities and temporalities which constitute it. An installation by Agnès Varda mirrors a set of It is within this same spirit of discovery that the Fondation screens and chairs that invite visitors to gather into a community Cartier and Triennale Milano have come together, in an of spectators. The photographer Daido Moriyama immerses unprecedented collaboration between European public and viewers into his studio through a multitude of polaroids. private institutions, to propose a shared program of exhibitions David’s Living-room revisited (2014-2020) is another immersive and live performances, as well as to establish new international installation: this four-handed piece was inspired by David Lynch cultural networks. and is inhabited by Patti Smith’s voice...

Beginning next year and for a duration of 8 years, a 1,300 m2 An artist’s perspective, an exhibition-work exhibition space in Triennale Milano will house two to three Third chapter of the Fondation’s collaboration with Guillermo exhibitions per year, conceived in close cooperation with both Kuitca on its collection, Les Citoyens shows a great example of the institutions and inspired by the Fondation Cartier’s Parisian long term dialog the Fondation Cartier engages with artists. program. In 2014, on the occasion of the Fondation Cartier’s thirtieth anniversary, Executive Director Hervé Chandès, invited The partnership between the Fondation Cartier and Triennale Guillermo Kuitca to create his first project. Les Habitants brings Milano sets an exciting new precedent, showing how cultural together in the painting-installation David's Living Room Revisited, institutions can collaborate and expand contemporary artistic works by David Lynch, Patti Smith, Vija Celmins... It is the first conversations at a global scale. part of a singular and total work where the creative gesture is born from the artist’s outlook on the collection and the links and echoes he installs and reveals with the works that he selected. « LES CITOYENS UN REGARD DE GUILLERMO KUITCA SUR LA COLLECTION DE LA FONDATION CARTIER » TRIENNALE MILANO April, 10 › October 10, 2020

Presented exclusively at the Triennale di Milano, the exhibition Les Citoyens inaugurates the exceptional partnership between one of Italy’s foremost public institutions and the Fondation Cartier for the next eight years. Argentian artist Guillermo Kuitca, who has had a long term relationship with the Fondation Cartier, has been appointed by the Parisian institution to give his outlook on its collection through an exhibition of works by 28 artists, brought together to produce an original and personal art experience. With these paintings, drawings, photographs, installations, sculptures or videos, the exhibition also reveals the Fondation Cartier’s philosophy, its curiosity for different geographies, its singular way of working with artists, its long term commitment with them and its sensitivity to our world’s major issues.

Guillermo Kuitca during the exhibition set-up, Les Habitants, Fondation Cartier pour l’art contemporain, Paris, 2014. Photo ©Olivier Ouadah. 27 Guillermo Kuitca wrote the second chapter to this story in 2017 by inviting the Fondation Cartier to this city, Buenos Aires. This time, Les Visitants articulates the exhibition in a series SHANGHAI of monographs, underlining another essential feature of the collection, which brings together large groups of works and extends, from one acquisition to the next, the conversation with RAYMOND DEPARDON different artists. For Guillermo Kuitca, Les Citoyens constitutes the third part « ERRANCES » of a personal journey through the Fondation Collection, an POWER STATION OF ART exploration that is at work in its restitution, since once again the May 8 › August 29, 2020 artist is not only responsible for the choice of artworks, but also for the way in which they are placed in space, in resonance both with the architecture of the Triennale and his pictorial universe, In May 2020, the Fondation Cartier pour l’art contemporain the relationship with places and his obsession with scale. is pleased to present the first solo exhibition of Raymond Depardon in China. A living and unique portrait of the Fondation Cartier Organized in collaboration with the Power Station of Art in With Les Citoyens, the very first exhibition produced as part Shanghai, this exhibition brings together over 300 photographs, of its exceptional partnership with the Triennale di Milano, chosen from the artist’s most emblematic series, dating from the the Fondation Cartier has chosen to present itself to the Italian 1960s to the present day. It also offers a selection of films, as well public through an original project that resembles it, reflects its as an ensemble of documents, books and objects that will allow philosophy and tells its story. the Chinese public to discover the multiple facets of this major As its title indicates, Les Citoyens or Citizens, is about today's artist of the contemporary photography. world, one of different cultures, languages, origins and people that both mutually enrich each other and keep their The exhibition thus continues the enduring collaboration individuality. between Raymond Depardon and the Fondation Cartier since The theme of the community, the guiding thread of the the 1990s, and reflect the importance of the artist’s work in its exhibition, is also emblematic of the spirit that has animated collection. It also strengthens the very special relation uniting the Fondation Cartier since the beginning; its way of making the Power Station of Art and the Fondation, after the presentation works resonate, of connecting artists, of inspiring encounters, of in Shanghai of the exhibitions of the collection of the Fondation offering, over time, a space for expression and creation. Cartier, Junya Ishigami, and Jean Nouvel. Les Citoyens is the original creation of an artist around an art collection and mirrors the Fondation Cartier’s singular The Fondation Cartier continues its commitment to promote identity: its history, its programming choices and commissions, French culture around the world. its curiosity for different geographies—from Africa to Japan, via China, the Amazon or Colombia—, its unique way of working with artists, accompanying them on unexplored paths, its commitment to young talents as well as internationally renowned artists and its sensitivity to the major issues of our world.

CLAUDIA ANDUJAR « LA LOTTA YANOMAMI » TRIENNALE MILANO October 2020 › February 2021

The Fondation Cartier will present Claudia Andujar, The Yanomami Struggle at Triennale Milano, Italy, from Fall 2020 onwards, as part of the joint partnership between the two institutions. The exhibition will also travel to the Fotomuseum Winterthur, Switzerland, from June 6, 2020, and to Foundation Mapfre, Spain, from February 11, 2021.

Raymond Depardon, Autoportrait au Rolleiflex, Paris, 1959. Collection Fondation Cartier pour l’art contemporain, Paris. © Raymond Depardon. 28 PARIS SARAH SZE GRACIELA ITURBIDE December 2020 › May 2021 December 2020 › May 2021

For her second show at the Fondation Cartier pour l’art In December 2020, the Fondation Cartier pour l’art contemporain, American artist Sarah Sze will create an contemporain will present the first large exhibition in Paris for immersive installation that transforms the visitor’s perception almost 40 years of Mexican photographer Graciela Iturbide. and experience of Jean Nouvel’s iconic building. Born in Boston, Born in 1942 in Mexico, where she still lives, Graciela Iturbide Massachusetts, Sarah Sze works and lives in New York. is an emblematic figure of Latin American photography. Sarah Sze is internationally recognized for her intricate In 2008, she received the highest photographic distinction assemblages of everyday objects and moving images that blur with the Hasselblad Award. Graciela Iturbide embarked on her the boundaries between painting, installation, and architecture, career in the 1970s alongside Manuel Álvarez Bravo, whom she in delicate and complex sculptural installations. For her accompanied on various trips around the country. She is the upcoming exhibition, the artist will explore the way in which the author of an original body of work, at once lyrical and imbued proliferation of images – printed in magazines, gleaned from the with modesty, where the everyday rubs shoulders with the Web, intercepted from out space – fundamentally changes our unusual. She turns her attention to ancestral Mexican traditions, relationships to objects, time and memory. Her new installation the importance of rural rituals, the symbolic dimension of the will bring together for the first time the architectural, the landscape and objects, and to women and their place at the heart sculptural and the filmic. of society. Down through the years, Graciela Iturbide’s shots have become increasingly devoid of human presence in order to bear a greater attention to textures and materials, revealing the metaphysical link that unites the artist to things, nature and animals. The exhibition will present her iconic portraits of Seri Indians from the Sonoran Desert, her images of Zapotec women from Juchitán in Oaxaca province, her skies traversed by flocks of birds in flight, as well as a large number of recent photographs, including some in color.

Graciela Iturbide, Ojos para volar? (autorretrato), 1989.

29 MEDIA PARTNERS

A public TV channel with a focus Courrier international, a weekly newspaper on culture, ARTE offers a European which translates and publishes articles France Inter, who regularly invites perspective on international current from the international press, has in listeners to discover artists, exhibitions, affairs in a constantly evolving recent years given extensive coverage and artistic creations on its airwaves, has world. Creation, diversity, and open- to environmental issues in Brazil and chosen to support the Fondation Cartier mindedness are at the heart of the elsewhere in the world. In 2018, Courrier pour l’art contemporain. Claudia Andujar, station’s programming: arthouse cinema, devoted its front page to Amazonia, The Yanomami Struggle (January 30 › May innovative series, the performing arts, the place where the future begins. 10, 2020) is an exhibition that can be news, cultural documentaries, programs “Faced with the massive destruction experienced live on France Inter. on discoveries and science, investigative of the Amazon rainforest, citizens, For more info: franceinter.fr journalism, and history. Genres to suit environmental activists and scientists are every taste can be found on ARTE! ARTE reacting. They want to protect this vast is very pleased to be associated with the region shared by nine countries, but also Fondation Cartier pour l’art contemporain to develop economic resources based on for the exhibition Claudia Andujar, biodiversity, the very future of the Earth is The Yanomami Struggle. Established in 1944, Le Monde newspaper at stake. The countdown has begun,” we For more info: arte.tv has grown into a media company that wrote at the time. now also publishes themed supplements Claudia Andujar has been defending and the magazine M. The group privileges the Yanomami for fifty years in Brazil. independence, rigor, and exacting Her photographic work and her life bear editorial standards. Every month, it witness to her unfailing commitment attracts 22 million readers, Internet and TROISCOULEURS is a cultural magazine towards this indigenous people. Courrier mobile users. The publication provides primarily focused on cinema, monthly international supports this artistic and daily and continuous coverage of French and free, published by mk2. It relays and documentary project. and international current events, as well supports the best of cultural news, and For more info: courrierinternational.com as economic and cultural news. The daily explores the latest trends. Distributed in newspaper devotes four pages to culture all the movie theaters of the mk2 network with in-depth articles and portfolios, and and in more than 250 cultural venues, it offers videos on its website and mobile strives to make all art forms accessible to applications. as many people as possible and promote Le Monde is delighted to collaborate creative and innovative cinema through Télérama likes to share its curiosities, top with the Fondation Cartier pour l’art offbeat, educational and committed selections and its enthusiasm for various contemporain for the exhibition Claudia contents. artists and their work through reviews Andujar, The Yanomami Struggle, and to After celebrating the 30th anniversary of and articles in its weekly magazine, and share its enthusiasm and support of this the Fondation Cartier and collaborating via continuous coverage on its website. event with its readers. on several exhibitions, TROISCOULEURS The magazine also organizes large-scale For more info: lemonde.fr is pleased to partner up with the event Claudia Andujar, The Yanomami Struggle. events likely to interest its readers, and For more info: troiscouleurs.fr partners major arts institutions, thereby promoting arts and culture. Privileging discovery, novelty and creativity, the magazine allows readers to hold on to The strength of Les Inrocks? How it always their bearings in times of crisis, to find stays a step ahead when it comes to a certain levity, and to develop fresh culture, and close with its leading artists. perspectives for tomorrow’s world. From avant-garde to pop culture, this Télérama is pleased to accompany the media is proud to accompany artists in exhibition Claudia Andujar, The Yanomami music, cinema, and literature alike over Struggle at the Fondation Cartier pour l’art the long term! Since 1986, Les contemporain. Inrockuptibles has been a reference in the For more info: telerama.fr arena of cultural recommendation. Les Inrocks is proud to partner with the event Claudia Andujar, The Yanomami Struggle from January 30 to May 10, 2020. Find out more: lesinrocks.com

30 COMBINED TOUR PRICE: INFORMATION GUIDED TOUR OF THE BUILDING AND EXHIBITION The Fondation Cartier is open from Tuesday to Sunday, from One Saturday per month at 11am. 11am to 8pm. Closed on Mondays. Late closing on Tuesday, Full program on fondation.cartier.com at 10pm. — Regular admission : €20 — Schools: €7 / p — Seniors: €12 / p ACCESS Duration: 2 hours 261, Boulevard Raspail 75014 Paris — Metro Raspail or Denfert-Rochereau (lines 4 and 6) For more info and calendar : — RER Denfert-Rochereau (line B) https://www.fondationcartier.com/en/practical-information/ — Bus 38, 68, 88, 91 groups — Vélib, and disabled parking at 2 rue Victor Schoelcher TICKETS THE LAISSEZ-PASSER PASS The Laissez-passer Pass provides free and unlimited priority You can purchase your admission tickets on site at the Fondation access to the exhibitions, guided and Family tours, invitations Cartier’s ticket office or directly online. to events, as well as privileges at many other French cultural institutions. SOLO TICKETS — Regular admission €10,50 — Annual subscription €30 — Regular admission €10,50 (€11 online) — Duo Deal* €50 — Reduced admission* €7 (€7,50 online) *You and the person of your choice *Students, “carte Senior,” “carte famille nombreuse,” unemployed, — Reduced rate* €25 Maison des Artistes, partner institutions *Students, “carte Senior,” “carte famille nombreuse,” unemployed, — Free admission* Maison des Artistes, partner institutions *Children under 13, under age 18 only on Wednesdays, Fondation — Under 25 €18 Cartier Pass, Icom card, press card, and disability card holders — CE (Staff Committee) rate (please consult us)

GROUPS TICKETS You can purchase your annual pass on site at the Fondation Guided tours are offered on Wednesdays through Fridays from Cartier’s bookstore or directly online. 11am to 6pm, and on Tuesdays until 8pm.

Self-guided tours NOMADIC NIGHTS AND NIGHTS OF UNCERTAINTY (minimum 10 people) Reservation and calendar: — Adult groups: €9 / p https://www.fondationcartier.com/en/live-shows — Schools groups: €4 / p — Seniors groups: €5 / p — Regular admission €13 ( €12 online) — Reduced admission* €9 (€8 online) Guided tours *Students, under age 25, “carte senior,” “carte famille (group of 10 people) nombreuse,” unemployed and beneficiaries of social minima, — Adult groups: €12 / p Maison des Artistes, partner institutions, ministère de la Culture — School groups: €5 / p — Seniors groups: €8 / p Contact and information Duration: 1 hour Tel. + 33 (0)1 42 18 56 72 (from Monday to Sunday, 10am to 6pm) Reservation and contact Tel. +33 (0)1 42 18 56 72 (from Monday to Friday, 10am to 6pm) [email protected] YOUNG VISITORS ACTIVITIES Reservation and calendar: ARCHITECTURAL TOURS fondation.cartier.com/familles-jeune-public Guided tour of the building One Saturday per month at 11am. — Single rate €12 Full program on fondation.cartier.com — Regular admission: €12 / p — Schools: €5 / p — Seniors: €8 / p Duration: 1 hour

Back cover : Collective house near the Catholic mission on the Catrimani River, Roraima, 1976. Infrared film, 92 × 141 cm.