





































































57 x 38.5 cm (each) - polyptych consisting of 9 pieces
gelatin and silver analog enlargement on Ilford Multigrade Classic fibre based matte paper, with selenium toning
Photo Vlad Cindea



The Deichtorhallen Hamburg presents the exhibition “Claudia Andujar: The End of the World.” Curated by Viktor Hois, the show presents over 80 works by Andujar.

The Deichtorhallen Hamburg presents the exhibition “Claudia Andujar: The End of the World.” Curated by Viktor Hois, the show presents over 80 works by Andujar.

The Deichtorhallen Hamburg presents the exhibition “Claudia Andujar: The End of the World.” Curated by Viktor Hois, the show presents over 80 works by Andujar.

The Museum of Ethnography, in Budapest, opens today Claudia Andujar’s first exhibition in Hungary, the country where the artist lived with her family during the first 13 years of her life.
“Yanomami. Spirits. Survivors” is produced by Néprajzi Múzeum in collaboration with Vermelho and marks the first exhibition of contemporary photography in its new building.
The exhibition presents 124 photographs including analog enlargements, digital prints and projections.”Yanomami. Spirits. Survivors” has a singular importance in Andujar’s trajectory. It was from Hungary that the artist fled with her mother during World War II. Her father was murdered by the Nazis in Auschwitz. The exhibition in Hungary maps Andujar’s continued effort and work to prevent a new genocide, that of the Yanomami people.

The Museum of Ethnography, in Budapest, opens today Claudia Andujar’s first exhibition in Hungary, the country where the artist lived with her family during the first 13 years of her life.
“Yanomami. Spirits. Survivors” is produced by Néprajzi Múzeum in collaboration with Vermelho and marks the first exhibition of contemporary photography in its new building.
The exhibition presents 124 photographs including analog enlargements, digital prints and projections.”Yanomami. Spirits. Survivors” has a singular importance in Andujar’s trajectory. It was from Hungary that the artist fled with her mother during World War II. Her father was murdered by the Nazis in Auschwitz. The exhibition in Hungary maps Andujar’s continued effort and work to prevent a new genocide, that of the Yanomami people.

The Museum of Ethnography, in Budapest, opens today Claudia Andujar’s first exhibition in Hungary, the country where the artist lived with her family during the first 13 years of her life.
“Yanomami. Spirits. Survivors” is produced by Néprajzi Múzeum in collaboration with Vermelho and marks the first exhibition of contemporary photography in its new building.
The exhibition presents 124 photographs including analog enlargements, digital prints and projections.”Yanomami. Spirits. Survivors” has a singular importance in Andujar’s trajectory. It was from Hungary that the artist fled with her mother during World War II. Her father was murdered by the Nazis in Auschwitz. The exhibition in Hungary maps Andujar’s continued effort and work to prevent a new genocide, that of the Yanomami people.

80 x 120 cm
Mineral pigment ink on Hahnemühle Photo Rag Baryta 350g paper
Photo reproductionA Sônia features some of the hallmarks of Andujar’s work, such as superimposing images, rephotography and the use of filters. Sônia was a young woman who came to São Paulo with the desire to work as a model, but was turned down by all the studios she sought. Sonia’s “inability” is the very provocation of the essay. According to Andujar, “Sônia didn’t know how to pose. But that was precisely where her innocent charm came from. The unprofessional gestures and attitudes revealed a gentle, tranquil sensuality. She didn’t seem to be in front of the camera, but out of the world”. The essay was presented in the form of a slide projection, at MASP, in 1971, and published in the first issue of Revista de Fotografia (June 1971).

80 x 120 cm
Mineral pigment ink on Hahnemühle Photo Rag Baryta 350g paper
Photo reproductionEm 1971, Claudia Andujar publicou o ensaio fotográfico A Sônia no primeiro número da Revista de Fotografia (junho de 1971), que na época tinha George Love como editor. Segundo Andujar, o ensaio consumiu 10 rolos de filmes que foram refotografados utilizando o Repronar. O ensaio foi apresentado na forma de projeção de slide, no MASP, em 1971, com a música I had a Dream do cantor, compositor e fundador da banda The Loovin Spoonful, John Sebastian.
A Sônia
Sônia veio da Bahia. Queria ser modelo. Tentou as editoras e os estúdios de diversos fotógrafos, mas não conseguiu trabalho. Conheci-a nessa ocasião. Sônia não apresentava as características comuns às modelos. Alguma coisa, entretanto, havia nessa moça que me impressionava fortemente. Mas eu não sabia o que era. Guardei seu endereço. Não demorei a chamá-la. Realizamos este ensaio. Depois, sem outra oportunidade, Sônia voltou à Bahia.
O corpo humano é para mim o objeto mais belo que existe. Por isso, há anos sonhava em realizar um ensaio fotográfico sobre as formas físicas da mulher para conseguir revelar sua essência. No mundo atual, os homens têm menos consciência do próprio corpo. Essa consciência quando é clara e procurada, aumenta misteriosamente a beleza e o significado do corpo, como se lhe atribuísse cores. Assim, sinto as mulheres azuis e os homens cinza. O fascínio que pode exercer um corpo feminino em quem o observa e estuda, vai além da sensualidade, tornando-o objeto perfeito para a criação artística. Inclusive, é possível também que, como mulher, ao realizar um ensaio estético sobre as formas físicas femininas, eu esteja procurando uma identificação reflexa e idealizada do que desconheço do meu próprio corpo. Mas não poderei explicar por que Sônia, a moça que todos os meus colegas recusaram como modelo, servia perfeitamente para o meu ensaio. E mais, por que o corpo azul de Sônia se tornaria a revelação das imagens de um sonho?
No primeiro dia, depois de uma hora de fotografias, tive de interromper o trabalho. Sônia não sabia posar. Porém, era justamente disso que provinha seu encanto inocente. Os gestos e atitudes não profissionais revelaram uma sensualidade mansa, tranquila. Ela não parecia estar diante da câmera fotográfica, mas fora do mundo. Tentei compreender esse outro mundo oferecendo-lhe alguns discos para escolher um. Sônia ouviu vários e depois ficou repetindo uma única canção: I had a Dream (Eu tive um sonho), de autoria de John B. Sebastian, em que o próprio compositor a cantou acompanhado por um violão no Festival de Woodstock. Por coincidência era uma de minhas canções prediletas. Sônia não compreendia uma só palavra da letra. Quando voltamos ao trabalho, ouvindo essa música, ela assumia espontaneamente poses oníricas, sem saber tratar-se de um sonho o que Sebastian cantava. Assim, Sônia me revelou também o que eu sempre quis captar no corpo de uma mulher. E o ensaio fotográfico que realizava integrou-se de forma definitiva com essa música. Era um sonho, ou melhor, eu tivera um sonho em qualquer instante de minha vida e o estava decifrando no trabalho com Sônia.
Usei apenas um fundo infinito branco. Foram três horas de fotografias convencionais, poucas para um trabalho profissional tão importante para mim: 10 rolos de 36 exposições. Minha intenção era fazer fotos simples e diretas. A partir dessas fotos é que teve início a fase mais complexa e criativa, embora já totalmente programada. Eu chamei essa fase de reconstrução da imagem de Sônia, ou elaboração. Durante a semana em que refotografei as imagens selecionadas, fiz cortes de toda natureza usando filtros de diferentes cores, efetuando revelações em positivo e negativo. Finalmente cheguei a 90 cromos: a sequência ideal. A música de Sebastian agia no meu inconsciente, estimulando a sensibilidade e a intuição. Não sei se era a própria música ou o que ela representava naqueles instantes. Quando cheguei ao final, pude dizer que já não existia mais Sônia. Projetei a série para mim mesma. A felicidade que senti me garantiu que o velho sonho havia sido realizado.
Claudia Andujar na apresentação da projeção em 1971.

80x120cm
Mineral pigment ink on Hahnemühle Photo Rag Baryta 350g paper
Photo Galeria VermelhoA Sônia features some of the hallmarks of Andujar’s work, such as superimposing images, rephotography and the use of filters. Sônia was a young woman who came to São Paulo with the desire to work as a model, but was turned down by all the studios she sought. Sonia’s “inability” is the very provocation of the essay. According to Andujar, “Sônia didn’t know how to pose. But that was precisely where her innocent charm came from. The unprofessional gestures and attitudes revealed a gentle, tranquil sensuality. She didn’t seem to be in front of the camera, but out of the world”. The essay was presented in the form of a slide projection, at MASP, in 1971, and published in the first issue of Revista de Fotografia (June 1971).





68 x 102 cm
Scanned infrared film printed with pigmented mineral ink on Hahnemühle Photo Rag Baryta 315 gr paper Photo ©️ Claudia Andujar
92 x 141 cm
Scanned infrared film printed with pigmented mineral ink on Hahnemühle Photo Rag Baryta 315 gr paper Photo ©️ Claudia Andujar
102 x 68 cm
Scanned infrared film printed with pigmented mineral ink on Hahnemühle Photo Rag Baryta 315 gr paper
Photo reproductionFor someone who has spent much of her life in transit, like Andujar, the house (yano or xapono in the Yanomami languages) and, more broadly, the social organization of the Yanomami, becomes a topic of interest. The xaponos are collective spaces where more than one family lives. From these structures, various trails lead to the river, the forest, and other neighboring communities. The artist’s observation of the local flora, the detailed study of the structures of each element—leaves, fungi, and tree trunks—is part of her investigation into the elements of the forest that make up both the everyday life and the imagination of the Yanomami.
This work was produced with infrared film in an analog camera. In Brazil, this type of film was controlled, with its use restricted to the military and some specific scientific purposes. By subverting the traditional use of infrared, Andujar and other experimental photographers of the time propose a playful and poetic operation in contrast to the programmatic and functional use of the technology.
Excerpt from a text by Thais Rivitti for the exhibition “My Life in Two Worlds”, at the Pinacoteca do Ceará.

68 x 102 cm
Scanned infrared film printed with pigmented mineral ink on Hahnemühle Photo Rag Baryta 315 gr paper Photo ©️ Claudia Andujar
45x67cm
Gelatin and silver on Ilford Multigrade Classic 1K glossy paper Photo ©️ Claudia Andujar
68x102cm
Gelatin and silver on Ilford Multigrade Classic 1K glossy paper Photo ©️ Claudia Andujar
68 x 102 cm
Gelatina e prata sobre papel Ilford Multigrade Classic 1K brilhante Photo ©️ Claudia Andujar
45 x 67 cm
Gelatin and silver on Ilford Multigrade Classic 1K glossy paper Photo ©️ Claudia Andujar
70 x 100 cm
Mineral pigmented ink on Hahnemühle Photo Rag Baryta 315g paper Photo ©️ Claudia Andujar
66.6 x 100 cm
Mineral pigmented ink on Hahnemühle Photo Rag Baryta 315g paper Photo ©️ Claudia Andujar
67 x 100 cm
Mineral pigmented inkjet print on Canson Photo Rag 310 gr paper Photo ©️ Claudia Andujar It is known today that a large part of compulsory admissions was made due to the migratory explosion of the 1960s to the State of São Paulo, caused by industrial development, which contributed to the increase in unemployment, begging and marginality. Incarcerating people in these situations could be a way to make the problem go away from the streets.
100 x 67 cm
Mineral pigmented inkjet print on Canson Photo Rag 310 gr paper Photo ©️ Claudia Andujar It is known today that a large part of compulsory admissions was made due to the migratory explosion of the 1960s to the State of São Paulo, caused by industrial development, which contributed to the increase in unemployment, begging and marginality. Incarcerating people in these situations could be a way to make the problem go away from the streets.
100 x 67 cm
Mineral pigmented inkjet print on Canson Photo Rag 310 gr paper Photo Claudia Andujar It is known today that a large part of compulsory admissions was made due to the migratory explosion of the 1960s to the State of São Paulo, caused by industrial development, which contributed to the increase in unemployment, begging and marginality. Incarcerating people in these situations could be a way to make the problem go away from the streets.
102 x 72 cm
Mineral pigmented inkjet print on Hahnemühle Photo Rag Baryta paper Photo ©️ Claudia Andujar

57 x 38,5 cm 4 pieces
Gelatin and silver on Ilford Multigrade Classic 1K glossy paper Photo ©️ Claudia Andujar


30 x 45 cm
Mineral pigmented inkjet print on Hahnemühle Photo Silk Baryta 310g Photo ©️ Claudia Andujar
80 x 120 cm (each)
Mineral pigmented ink on Hahnemühle Photo Rag Baryta 315g paper Photo ©️ Claudia Andujar
68 x 102 cm
Gelatin and silver on Ilford Multigrade Classic 1K glossy paper Photo ©️ Claudia Andujar
68 x 102 cm
Gelatin and silver on Ilford Multigrade Classic 1K glossy paper Photo ©️ Claudia Andujar



















45 pieces: 46 x 55 cm each
Gelatin and silver on Ilford Multigrade Classic 5K matter paper. Photo ©️ Claudia Andujar
66.6 x 100 cm
Chrome overlay and mineral pigmented inkjet print on Hahnemühle Photo Rag Baryta 315 gr paper. Photo ©️ Claudia Andujar
66 x 100cm
Scanned diapositive overlay, mineral pigment print on Hahnemühle Photo Rag Baryta 315g paper
Photo ReproductionSonhos Yanomami (2002) foi uma das últimas obras realizadas por Claudia Andujar a partir de seu arquivo de imagens do povo Yanomami. Lúdica, poética e reveladora, a série consiste em 20 imagens criadas por meio da sobreposição de diapositivos e negativos fotografados a partir de 1971, quando Andujar teve seu primeiro contato com os povos indígenas de Roraima. Na trajetória de Andujar, Sonhos Yanomami reflete um momento de alívio que só foi possível após a artista e seus pares vencerem a batalha travada contra o governo federal brasileiro, culminando na demarcação da Terra Indígena Yanomami (TIY) em 1992. A cosmologia que aparece em Sonhos de Andujar só foi possível após quase 30 anos de convivência. A série é resultado da internalização da relação entre a estrangeira, como era chamada nos primeiros encontros, e o povo que hoje a chama de napa (mãe).










Claudia Andujar (Neuchatêl, 1931) is a Swiss-born Brazilian artist and activist who, along with other activists, founded the Comissão de Criação de Parque Yanomami (CCPY) [The Comission for the Creation of the Yanomami Park], which became the Comissão Pró Yanomami em 1978.The Commission, coordinated by Andujar, coordinated the campaign for the demarcation of Yanomami territory for the preservation and survival of the Yanomami people in the Amazon. The park was officially recognized by the Brazilian government in 1992. The artist has made the struggle for recognition of the Yanomami people and their right to their culture and land her life’s work.
Claudia Andujar, Vermelho and the Hutukara Associação Yanomami (HAY), an NGO led by the xamã and political leader Davi Kopenawa Yanomami, have been working together since 2004. Andujar and Vermelho donate 33% of the proceeds from commercializing the artist’s work to HAY which also receives support from the Norwegian Government, The Rainforest Foundation and other public and private institutions around the world in support of the Yanomami people.
Andujar escaped the Holocaust by fleeing to Switzerland with her mother from the Nazi German invasion of Hungary, where she lived with her family, in 1944. In late 1946 she crosses the Atlantic to the US to escape war-torn Europe and to live with her uncle, the only Holocaust survivor of her paternal Jewish family. In New York, she studies humanities at Hunter College, works as a guide and translator at the United Nations – she is fluent in five languages – among other activities, and studies painting. In 1955 she moved to São Paulo to be reunited with her mother who had moved to Brazil shortly after the war. Without speaking Portuguese, Claudia picks up photography and uses it as a tool to make contact with the country and its people and also for work. Over the following decades, she collaborats with national and international magazines, such as Life, Aperture, Look, Cláudia, Quatro Rodas and Setenta. In 1966, she joined the first team of photographers for Realidade magazine.
In 1971 she makes her first contact with the Yanomami, in 1977 she meets Davi Kopenawa Yanomami and in 1978 she founds CCPY, with the Italian missionary Carlo Zacquini, the anthropologists Alcida Ramos and Beto Ricardo (both Brazilians); and, the French anthropologist Bruce Albert, among others; and, a year later, the committee presents the mapping of the Yanomami Indigenous Land [Terra Indígena Yanomami, TIY] to the Brazilian government.
She starts teaching photography at MASP in 1973 and holds a series of exhibitions and publishes several books during the decade. Claudia’s story is available in English and Portuguese versions on the Fondation Cartier website. The foundation has been supporting Andujar´s work for the last two decades.
In 2000, she won the annual Cultural Freedom [Photography] Award as a human rights advocate from the Lannan Foundation in New Mexico (USA). In 2003, she received the Severo Gomes Award from the Teotônio Vilela Commission on Human Rights, São Paulo (Brazil), and in 2005, the award for best Photography Exhibition from the APCA [Paulista Association of Art Critics], with Vulnerabilidade do Ser, held at Pinacoteca do Estado, São Paulo, Brazil. In 2008, she was honored by the Brazilian Ministry of Culture for her artistic and cultural achievements. In 2018, she received the Goethe-Medaille in Weimar, Germany, for her lifelong contribution to international relations. She shared all the honors with her friend and fellow activist, the indigenous leader Davi Kopenawa Yanomami, who in 1989 received the UNEP (United Nations Environment Programme) Global 500 Award and with whom she helped found Hutukara (HAY) in 2004.
She received a grant from the Guggenheim Foundation (1971 and 1977) and participated in numerous exhibitions in Brazil and abroad, with emphasis on the 24th and 27th Bienal de São Paulo. Her recent exhibition A Luta Yanomami [The Yanomami Struggle] opens at MUAC, Mexico City, in May 2023, after touring at Fondation Cartier pour l’Art Contemporain, Paris, the Trienale de Milano, Fundacion MAPFRE, Barcelona, Winterthur Fotomuseum, Winterthur, Switzerland, The Barbican Center, London, and The Shed, New York.
Her work is presente in important collections around the world, including Museu de Arte Latino-Americana de Buenos Aires [MALBA], Buenos Aires (Argentina); Pinacoteca do Estado de São Paulo, São Paulo (Brazil); Museu Afro-Brasileiro, São Paulo (Brazil); Museu de Arte de São Paulo Assis Chateaubriand [MASP] (Brazil); Museu de Belas Artes, Rio de Janeiro (Brazil); Museo de Arte Moderno de Medellín [MAMM], Medelín (Colombia); MoMA – New York (USA); ICA Miami (USA); TATE Modern, London (England); Maison Européene de la Photographie, Paris (France); Fondation Cartier pour l’Art Contemporain, Paris (France); Museum für Moderne Kunst, MMK, Frankfurt (Germany); Stedelijk Museum Collection, Amsterdam (The Netherlands); Museo Nacional Centro de Arte Reina Sofia, Madrid (Spain); o Instituto Inhotim, Brumadinho (Brazil), inaugurated a permanente Gallery with more than 300 of her works in 2017.
Claudia Andujar (Neuchatêl, 1931) is a Swiss-born Brazilian artist and activist who, along with other activists, founded the Comissão de Criação de Parque Yanomami (CCPY) [The Comission for the Creation of the Yanomami Park], which became the Comissão Pró Yanomami em 1978.The Commission, coordinated by Andujar, coordinated the campaign for the demarcation of Yanomami territory for the preservation and survival of the Yanomami people in the Amazon. The park was officially recognized by the Brazilian government in 1992. The artist has made the struggle for recognition of the Yanomami people and their right to their culture and land her life’s work.
Claudia Andujar, Vermelho and the Hutukara Associação Yanomami (HAY), an NGO led by the xamã and political leader Davi Kopenawa Yanomami, have been working together since 2004. Andujar and Vermelho donate 33% of the proceeds from commercializing the artist’s work to HAY which also receives support from the Norwegian Government, The Rainforest Foundation and other public and private institutions around the world in support of the Yanomami people.
Andujar escaped the Holocaust by fleeing to Switzerland with her mother from the Nazi German invasion of Hungary, where she lived with her family, in 1944. In late 1946 she crosses the Atlantic to the US to escape war-torn Europe and to live with her uncle, the only Holocaust survivor of her paternal Jewish family. In New York, she studies humanities at Hunter College, works as a guide and translator at the United Nations – she is fluent in five languages – among other activities, and studies painting. In 1955 she moved to São Paulo to be reunited with her mother who had moved to Brazil shortly after the war. Without speaking Portuguese, Claudia picks up photography and uses it as a tool to make contact with the country and its people and also for work. Over the following decades, she collaborats with national and international magazines, such as Life, Aperture, Look, Cláudia, Quatro Rodas and Setenta. In 1966, she joined the first team of photographers for Realidade magazine.
In 1971 she makes her first contact with the Yanomami, in 1977 she meets Davi Kopenawa Yanomami and in 1978 she founds CCPY, with the Italian missionary Carlo Zacquini, the anthropologists Alcida Ramos and Beto Ricardo (both Brazilians); and, the French anthropologist Bruce Albert, among others; and, a year later, the committee presents the mapping of the Yanomami Indigenous Land [Terra Indígena Yanomami, TIY] to the Brazilian government.
She starts teaching photography at MASP in 1973 and holds a series of exhibitions and publishes several books during the decade. Claudia’s story is available in English and Portuguese versions on the Fondation Cartier website. The foundation has been supporting Andujar´s work for the last two decades.
In 2000, she won the annual Cultural Freedom [Photography] Award as a human rights advocate from the Lannan Foundation in New Mexico (USA). In 2003, she received the Severo Gomes Award from the Teotônio Vilela Commission on Human Rights, São Paulo (Brazil), and in 2005, the award for best Photography Exhibition from the APCA [Paulista Association of Art Critics], with Vulnerabilidade do Ser, held at Pinacoteca do Estado, São Paulo, Brazil. In 2008, she was honored by the Brazilian Ministry of Culture for her artistic and cultural achievements. In 2018, she received the Goethe-Medaille in Weimar, Germany, for her lifelong contribution to international relations. She shared all the honors with her friend and fellow activist, the indigenous leader Davi Kopenawa Yanomami, who in 1989 received the UNEP (United Nations Environment Programme) Global 500 Award and with whom she helped found Hutukara (HAY) in 2004.
She received a grant from the Guggenheim Foundation (1971 and 1977) and participated in numerous exhibitions in Brazil and abroad, with emphasis on the 24th and 27th Bienal de São Paulo. Her recent exhibition A Luta Yanomami [The Yanomami Struggle] opens at MUAC, Mexico City, in May 2023, after touring at Fondation Cartier pour l’Art Contemporain, Paris, the Trienale de Milano, Fundacion MAPFRE, Barcelona, Winterthur Fotomuseum, Winterthur, Switzerland, The Barbican Center, London, and The Shed, New York.
Her work is presente in important collections around the world, including Museu de Arte Latino-Americana de Buenos Aires [MALBA], Buenos Aires (Argentina); Pinacoteca do Estado de São Paulo, São Paulo (Brazil); Museu Afro-Brasileiro, São Paulo (Brazil); Museu de Arte de São Paulo Assis Chateaubriand [MASP] (Brazil); Museu de Belas Artes, Rio de Janeiro (Brazil); Museo de Arte Moderno de Medellín [MAMM], Medelín (Colombia); MoMA – New York (USA); ICA Miami (USA); TATE Modern, London (England); Maison Européene de la Photographie, Paris (France); Fondation Cartier pour l’Art Contemporain, Paris (France); Museum für Moderne Kunst, MMK, Frankfurt (Germany); Stedelijk Museum Collection, Amsterdam (The Netherlands); Museo Nacional Centro de Arte Reina Sofia, Madrid (Spain); o Instituto Inhotim, Brumadinho (Brazil), inaugurated a permanente Gallery with more than 300 of her works in 2017.
Claudia Andujar
1931, Neuchatel, Suíça
Lives and works in São Paulo
Solo Exhibitions
2024
– Trajetórias Cruzadas: Claudia Andujar, Lux Vidal e Maureen Bisilliat – Centro Mairantonia – São Paulo – Brasil
– Claudia Andujar. Sonhos Yanomami – Sesc Ribeirão Preto – Ribeirão Preto – Brasil
– Claudia Andujar. Cosmovisão. Itaú Cultural, São Paulo, Brasil
– Claudia Andujar. Minha vida em dois mundos. Pinacoteca do Ceará – Fortaleza – Brasil
– Claudia Andujar. La Lucha Yanomami – Banco de la Republica – Bogotá – Colômbia
– Claudia Andujar. The End of the World – Deichtorhallen Hamburg – Hamburgo – Alemanha
2023
– Claudia Andujar. La lucha Yanomami – Museo Amparo – Puebla – Mexico
– Yanomami. Spirits. Survivors. Photo Exhibition of Claudia Andujar – Museu de Etnografia de Budapeste – Budapest – Hungary
– Claudia Andujar. Sonhos Yanomami – Projeto Parede – Museu de Arte Moderna de São Paulo (MAM SP) – São Paulo – Brazil
– Claudia Andujar: poéticas do essencial – Museu Paranaense [MUPA] – Curitiba – Brazil
– Yanomami – Museu Municipal de Arte (MUMA) – Curitiba – Brazil
– Retratos Yanomami. Festival de Fotografia de Paranapiacaba – Paranapiacaba – Brazil
– Claudia Andujar y la lucha Yanomami – Museo Universitario Arte Contemporáneo (MUAC) – Mexico City – Mexico
– The Yanomami Struggle – The Shed – New York – USA
2022
– Claudia Andujar. A Sônia. Galeria Vermelho, São Paulo, Brasil
– Claudia Andujar e os Yanomami – Senac Scipião – São Paulo – Brasil
– The Falling Sky – Trinity Square Video – Toronto – Canadá
2021
– Claudia Andujar. The Yanomami Struggle – Fotomuseum Winterthur – Winterthur – Suíça
– Claudia Andujar. The Yanomami Struggle – Barbican Centre – Londres – Inglaterra
– Claudia Andujar – Galeria Vermelho – São Paulo – Brasil
– Claudia Andujar – Fundación MAPFRE – Barcelona – Espanha
– Claudia Andujar – Institute of Contemporary Art (ICA Miami) – Miami – EUA
2020
– Claudia Andujar. The Yanomami Struggle – La Triennale di Milano – Milão – Itália
– Claudia Andujar, La lutte Yanomami – Fundação Cartier – Paris – França
– Claudia Andujar – Fraunkirchl Erding – Erding – Alemanha
2019
– Yano-a – Galeria Claudia Andujar – Instituto Inhotim – Brumadinho – Brasil
– Claudia Andujar: a luta Yanomami – Instituto Moreira Salles (IMS) – Rio de Janeiro – Brasil
2018
– Amazônia de Claudia Andujar e George Love – Instituto Moreira Salles (IMS) – São Paulo – Brasil
– Claudia Andujar: A luta Yanomami – Instituto Moreira Salles (IMS) – São Paulo – Brasil
– Claudia Andujar: Sonhos Yanomami – Sesc Birigui – Birigui – Brasil
– Claudia Andujar: Yano-a – Sesc Caborê – Paraty – Brasil
– Claudia Andujar: Sonhos Yanomami – Sesc SJC – São José dos Campos – Brasil
2017
– Claudia Andujar: Tomorrow must not be Yesterday – Museum für Moderne Kunst (MMK) – Frankfurt – Alemanha
– Claudia Andujar: visão Yanomami – Arquivo Fotográfico Municipal de Lisboa – Lisboa – Portugal
2016
– Claudia Andujar – Galeria Vermelho – São Paulo – Brasil
– Brasile: erede di culture ancestral – Galleria Cândido Portinari – Palazzo Pamphilj – Roma – Itália
– Marcados – Museu de Arte Latinoamericano de Buenos Aires (MALBA) – Buenos Aires – Argentina
2015
– Galeria Claudia Andujar (exposição permanente) – Instituto Inhotim – Brumadinho – Brasil
– Claudia Andujar: no lugar do outro – Instituto Moreira Salles (IMS) – Rio de Janeiro – Brasil
2013
– Marcados – Galeria Vicente do Rego Monteiro – Fundação Joaquim Nabuco – Recife – Brasil
– O vôo de Watupari – Galeria Vermelho – São Paulo – Brasil
2012
– Sonho Verde Azulado – Prédio Histórico dos Correios – São Paulo – Brasil
– Obra Incompleta, 1961-68 (Sao Paulo y Washington) – Galeria Elba Benítez – Madri – Espanha
2011
– Marcados Para – Centro da Cultura Judaica [CCJ] – São Paulo – Brasil
2009
– Marcados – Galeria Vermelho – São Paulo – Brasil
– Retratos Yanomami – CAIXA Cultural Salvador – Galeria Arcos – Salvador – Brasil
– Claudia Andujar : Brésil, symphonie humaine – Maison de la Photographie Robert Doisneau – Gentilly – França
– Retratos Yanomami – Galeria Octogonal – CAIXA Cultural São Paulo – São Paulo – Brasil
2008
– Retratos Yanomami – Galerias Piccolas I e II – CAIXA Cultural Brasília: – Brasília – Brasil
– Meu Mundo – Programa de Fotografia 2008 – Galeria Olido – São Paulo – Brasil
2007
– Uma Autobiografia Visual –Museu de Arte Moderna da Bahia [MAM BA] – Salvador – Brasil
2005
– Vulnerabilidade do Ser – Pinacoteca do Estado – São Paulo – Brasil
– Yano-a – Galeria Vermelho – São Paulo – Brasil
– Women’s Fórum – Deauville – França
– Uma arqueologia do encontro – Palácio das Artes – Belo Horizonte – Brasil
2004
– Campos Lúdicos/Gestos Solenes – Galeria Senac de Comunicação e Artes – São Paulo – Brasil
2002
– Luzes, Seres e Água – Prêmio Especial Porto Seguro – Espaço Porto Seguro – São Paulo – Brasil
2001
– Yanomami – Retrospectiva Yanomami do Acervo do Museu de Fotografia de Curitiba – Memorial da América Latina – São Paulo – Brasil
2000
– The Yanomami – Lannan Foundation – Santa Fe – EUA
– Na Sombra das Luzes e Imagens Fotográficas Rupestres:Grafitagem Yanomami – Museu da Imagem e do Som [MIS SP] – São Paulo – Brasil
1999
– Retrospectiva Yanomami do Acervo de Fotografia de Curitiba – Photo España 99 – Museo de la Ciudad – Madri – Espanha
– Retrospectiva Yanomami do Acervo de Fotografia de Curitiba – Encontros da Imagem – Mosteiro dos Tibães – Braga – Portugal
1998
– Yanomami: A Casa, A Floresta, O Invisível – II Bienal Internacional de Fotografia da Cidade de Curitiba – Curitiba – Brasil
1990
– Yanomami/1990 – O Extermínio continua. Até quando? – Memorial da América Latina – São Paulo – Brasil
1989
– Genocídio Yanomami: Morte no Brasil – Museu de Arte de São Paulo [MASP] – São Paulo – Brasil
1971
– Sônia – Museu de Arte de São Paulo [MASP] – São Paulo – Brasil
– Famílias brasileiras – Museu de Arte de São Paulo [MASP] – São Paulo – Brasil
1961
– Claudia Andujar – George Eastman House – Rochester- EUA
1960
– Photographs for Collectors – Museum of Modern Art (MoMA) – Nova York – USA
1958
– Amazon Rainforest – Fundação Armando Alvares Penteado (FAAP) – São Paulo – Brasil
– Claudia Andujar – Limelight Gallery – Nova Iorque – EUA
Group Exhibitions
2024
– Land of Fire – Kunsthalle Bega – Timișoara – Romenia
– Judeus na Amazônia – Museu Judaico de São Paulo – São Paulo – Brasil
– Fondation Cartier 40th anniversary – Place du Palais Royal – Paris – França
– A noite dos clarões: ecos do surrealismo e outras cosmologias – Flexa – Rio de Janeiro – Brasil
– A Fotografia na Coleção de Arte da Cidade – Centro Cultural São Paulo [CCSP] – São Paulo – Brasil
– Memórias do Futuro – Carbono Galeria – São Paulo – Brasil
– Anne Frank – Deixem-nos ser – UNIBES Cultural – São Paulo – Brasil
– De los sueños te despiertas – Galerie Nordenhake México – Cidade do México – México
– 60th International Art Exhibition. Stranieri ovunque – Foreigners Everywhere. La Biennale, Veneza, Itália
– Política e Vanguarda 1964/85 na Coleção Lili e João Avelar – Museu Inimá de Paula – Belo Horizonte – Brasil
– Territorios. Arte contemporáneo latinoamericano en la Colección Jorge M. Pérez – Centro Andaluz de Arte Contemporáneo [CAAC] Sevilha – Espanha
2023
– No Fim da Madrugada – Galeria Vermelho – São Paulo – Brasil
– A verdade está no corpo – Paço das Artes – São Paulo
– Justiça de Transição não é Transação: a brutalidade e o jardim – Memorial da Procuradoria Geral de República – Rio de Janeiro – Brasil
– The Grid. L’art passé au crible – Musée Louvain-la-Neuve – Louvain-la-Neuve – Bélgica
– Esse frágil equilíbrio – Embajada del Brasil – Espacio Cultural – Palacio Pereda – Buenos Aires – Argentina
– Casa no céu – Galeria Vermelho – São Paulo – Brasil
– Elementar: fazer junto – Museu de Arte Moderna (MAM SP) – São Paulo – Brasil
– Mães no imaginário da arte – Museu Afro Brasil Emanoel Araújo – Parque do Ibirapuera – São Paulo – Brasil
– Chão da praça: obras do acervo da Pinacoteca – Pinacoteca Contemporânea – São Paulo – Brasil
– The Yanomami Struggle – The Shed – Nova York – EUA
2022
– Outras Lembranças, Outros Enredos – Cordoaria Nacional – Lisboa – Portugal
– Modernas! São Paulo visto por elas – Museu Judaico – São Paulo – Brasil
– Coração na aldeia, pés no mundo – Sesc Piracicaba – Piracicaba – Brasil
– A Mulher na Fotografia Brasileira – Fundação Cultural de Curitiba – Curitiba – Brasil
– Histórias Brasileiras – Museu de Arte de São Paulo Assis Chateaubriand [MASP] – São Paulo – Brasil
– Constelação Clarice – Instituto Moreira Salles [IMS Rio] – Rio de Janeiro – Brasil
– Currency: Photography Beyond Capture. 8th Triennial of Photography Hamburg – Halle für aktuelle Kunst – Hamburgo – Alemanha
– Por muito tempo acreditei ter sonhado que era livre – Instituto Tomie Ohtake [ITO] – São Paulo – Brasil
– Alfredo Jaar. The Temptation to Exist – Galerie Lelong & Co. – Nova York – EUA
– Forest: ancestry and dystopia – Fundacion Pablo Atchugarry – Miami – EUA
– Coleção Sartori — A arte contemporânea habita Antônio Prado – Museu de Arte do Rio Grande do Sul [MARGS] – Porto Alegre – Brasil
2021
– Inside the Amazon – Kunsthausbaselland – Basiléia – Suíça
– Por um sopro de fúria e esperança – Museu Brasileiro da Escultura e Ecologia [MUBE] – São Paulo – Brasil
– Constelação Clarice – Instituto Moreira Salles Paulista [IMS] – São Paulo – Brasil
– Presença – Estação República do Metrô – São Paulo – Brasil
– Colección. Episodio 2 – Museo Nacional Centro de Arte Reina Sofia – Madri – Espanha
– Amazonia – Centro Andaluz de Arte Contemporáneo [CAAC] – Sevilha – Espanha
– Arte Contemporânea Brasileira na Coleção de Andrea e José Olympio Pereira – Centro Cultural Banco do Brasil [CCBB] – Rio de Janeiro – Brasil
2020
– Pinacoteca: Acervo – Pina_Luz – Pinacoteca do Estado de São Paulo – São Paulo – Brasil
– Contemporâneo, sempre – coleção Santander Brasil – Farol Santander Porto Alegre – Porto Alegre – Brasil
– Clube de Colecionadores de Fotografia do MAM – 20 anos – Museu de Arte Moderna (MAM SP) – São Paulo – Brasil
– Mecarõ. Amazonia en la Colección Petitgas – Montpellier Contemporain [MO.CO] – Montpellier – França
– Vaivém – Centro Cultural Banco do Brasil [CCBB] – Belo Horizonte – Brasil
– La lenta exploson de uma semilla – OTR Espacio de Arte – Madri – Espanha
– Heranças de um Brasil Profundo – Museu Afro Brasil – São Paulo – Brasil
– Construção – Galeria Mendes Wood DM – São Paulo – Brasil
– Retratos de mulheres por mulheres – Galeria do Sesi Paulista – São Paulo – Brasil
2019
– Portraits and Community – Tate Modern on Level 2 West – Londres – Inglaterra
– O Ovo e a Galinha – Simone Cadinelli – Rio de Janeiro – Brasil
– Vaivém – Centro Cultural Banco do Brasil (CCBB) – Rio de Janeiro – Brasil
– Contemporâneo, sempre – coleção Santander Brasil – Farol Santander São Paulo – São Paulo – Brasil
– Feche os Olhos e veja. Galeria Almeida Dale, São Paulo, Brasil
– 150 Paraty em Foco. Festival Internacional de Fotografia (Artista Homenageada) – Paraty – Brasil
– Nature. Between Desire and Reality. From Amazonia to the Alps – Haus für Kunst Uri – Altdorf – Suíça
– Vaivém – Centro Cultural Banco do Brasil (CCBB) – Brasília – Brasil
– Trees – Fondation Cartier – Paris – França
– SEGUNDA-FEIRA, 6 DE JUNHO DE 2019 – Galeria Vermelho – São Paulo – Brasil
– Amazonia. Thé Shaman and Mind of the Forest – Musée d’histoire de Nantes – Nantes – França
– Festival La Gacilly-Baden Photo – Baden – Áustria
– Territorio común. Nuevas incorporaciones a la colección MAMM – Museu de Arte Moderno Medellín – Medelin – Colômbia
– Vaivém – Centro Cultural Banco do Brasil (CCBB SP) – São Paulo – Brasil
– A Queda do Céu – Caixa Cultural Brasília – Brasília – Brasil
– The World to Come: Ethics and Aesthetics in the Anthropocene – Michigan State Museum – East Lasing – EUA
– Festival Transatlântico de Fotografia – Instituto Mario Cravo Neto (IMCN) – Salvador – Brasil
2018
– Minas – Galeria Vicente do Rêgo Monteiro – Fundação Joaquim Nabuco – Recife – Brasil
– Arte Pará – Fundação Romulo Maiorana – Belém – Brasil
– Géométries Sud – Foundation Cartier pour l’art contemporaine – Paris – França
– Confusing Public and Private – The Third Beijing Photo Biennial – The Culture Industry Center of Beizhen – Pequim – China
– Patrimônios do Norte. Uma Exposição em Comemoração aos 81 anos do IPHAN – Paço Imperial – Rio de Janeiro – Brasil
– The World to Come. Art in the Age of the Anthropocene – Harn Museum – Gainesville – EUA
– Arte, Democracia e Utopia – Museu de Arte do Rio (MAR) – Rio de Janeiro – Brasil
– MAM 70: MAM e MAC USP – Museu de Arte Moderna (MAM SP) – São Paulo – Brasil
– AI-5 50 ANOS. Ainda não terminou de acabar – Instituto Tomie Ohtake – São Paulo – Brasil
– Mulheres radicais: arte latino-americana, 1960–1985 – Pinacoteca do Estado – São Paulo – Brasil
– Arte tem gênero? Mulheres na Coleção de Arte da Cidade – Centro Cultural São Paulo (CCSP) – São Paulo – Brasil
– Festival Photo de La Gacilly – Festival Photo de La Gacilly – Jardin du Relais postal – Gacilly – França
– Fondation Cartier pour l’art contemporain, A Beautiful Elsewhere – Power Station of Art (PSA) – Shanghai – China
– Radical Women: Latin American Art, 1960–1985 – Brooklyn Museum – Nova York – EUA
– Hybrid Topographies – 60 Wall Gallery – Nova York – EUA
2017
– Simultaneous Eidos. Guangzhou Image Triennial 2017 – Guangdong Museum of Art – Guangdong – China
– Histórias da Sexualidade – Museu de Arte de São Paulo [MASP] – São Paulo – Brasil
– Here the border is you – proyectosLA – Los Angeles – EUA
– Radical Women: Latin American Art, 1960-1985 (Pacific Standard Time: LA/LA) – Hammer Museum – Los Angeles – EUA
– Bienal Sur_Trazas Simultáneas – Espacio Cultural de la Embajada del Brasil – Buenos Aires – Argentina
– São Paulo não é uma cidade, invenções do Centro – Sesc 24 de Maio – São Paulo – Brasil
– Entre nós – A figura humana no acervo do Masp – Centro Cultural Banco do Brasil (CCBB) – Rio de Janeiro, Brasília – Brasil
– Retrato(s) da Mulher na Fotografia – Museu da Fotografia Cidade de Curitiba – Curitiba – Brasil
– Modos de Ver o Brasil: Itaú Cultural 30 Anos – OCA – São Paulo – Brasil
– Dja Guata Porã | Rio de Janeiro indígena – Museu de Arte do Rio – Rio de Janeiro – Brasil
– Amazonie. Le chamane et la pensée de la forêt – Muséum of
Pointe-à-Callière – Montreal – Canadá
– Nada levarei quando morrer, aqueles que me devem cobrarei no inferno – Galpão VB – São Paulo – Brasil
– Quando o Rio virou Mar – Museu Histórico Nacional – Rio de Janeiro – Brasil
– 10 Years Old – Fondazione Fotografia Modena – Modena
– Avenida Paulista – Museu de Arte de São Paulo (MASP) – São Paulo – Brasil
2016
– Verboamérica. Colleción MALBA – Museu de Arte Latinoamericano de Buenos Aires [MALBA] – Buenos Aires – Argentina. (Exp. Permanente)
– El Origen de la Noche. Sonido, Tiempo y Territorio Indígena – Museo de Arte de la Universidad Nacional de Colombia – Bogotá – Colômbia
– Light – Galeria Lago – Instituto Inhotim – Brumadinho – Brasil
– Adornos do Brasil Indígena – Resistências Contemporâneas – SESC Pinheiros – São Paulo – Brasil
– O Útero do Mundo – Museu de Arte Moderna (MAM) – São Paulo – Brasil
– Os muitos e o um: a arte contemporânea brasileira na coleção de José Olympio e Andrea Pereira – Instituto Tomie Ohtake (ITO) – São Paulo – Brasil
– Situações: a instalação no acervo da Pinacoteca – Pinacoteca do Estado de São Paulo – São Paulo – Brasil
– De lo espiritual en el arte. Obertura – Museu de Arte Moderno de Medellín – Medelin – Colômbia
– Coletiva – Galeria Vermelho – São Paulo – Brasil
– Coleção Joaquim Paiva – Museu de Arte Moderna [MAM RJ] – Rio de Janeiro – Brasil
– Amazonie. Le chamane et la pensée de la forêt – Musée d’ethnographie de Genève – Genebra – Suíça
– A Queda do Céu – SESC Rio Preto – São José do Rio Preto – Brasil
2015
– Parati em Foco – Casa da Cultura de Parati – Parati – Brasil
– Quarta-feira de Cinzas – Parque Lage – Rio de Janeiro – Brasil
– Strange World. Opere dalla Collezione – Fondazione Fotografia Modena – Modena – Itália
– Encruzilhada – Parque Lage – Rio de Janeiro – Brasil
– A Queda do Céu – Paço das Artes – São Paulo – Brasil
– Cruzeiro do Sul – Paço das Artes – São Paulo – Brasil
2014
– Roteiro poético do Imaginário das grandes bacias fluviais Brasileiras – Museu da Imagem e do Som (MIS) – São Paulo – Brasil
– Amazônia ciclos de modernidade – Museu do Estado do Pará – Belém – Brasil
– Histórias Mestiças – Instituto Tomie Ohtake – São Paulo – Brasil
– Vivid Memories – Fondation Cartier pour lárt contemporain – Paris – França
– Amazônia ciclos de Modernidade – Palácio da Justiça – Manaus – Brasil
– Tupi or not Tupi – Museu Oscar Niemeyer (MON) – Curitiba – Brasil
– América Latina, 1960-2013 – Museu Amparo – Puebla – México
– Cães sem Plumas – Museu de Arte Moderna Aloísio Magalhães – Recife – Brasil
– Poder Provisório – Sala Paulo Figueiredo – MAM SP – São Paulo – Brasil
– 30×bienal [itinerância] – SESC Piracicaba – Piracicaba – Brasil
– Um Olhar sobre o Brasil: A Fotografia na Construção da Imagem da Nação – Centro Cultural Banco do Brasil (CCBB) Brasília – Brasil
– Cruzamentos: Contemporary Brazilian Art – Wexner Center for the Arts – Columbus – EUA
2013
– Escavar o Futuro – Palácio das Artes – Belo Horizonte – Brasil
– Tomie Correspondências – Centro Cultural dos Correios – Rio de Janeiro – Brasil
– América Latina, 1960-2013 – Fondation Cartier pour l’art contemporain – Paris – França
– Fronteiras Incertas – Arte e Fotografia no acervo do MAC USP – MAC USP Nova Sede – São Paulo – Brasil
– 30 X Bienal: Transformações na Arte Brasileira da 1ª à 30ª edição – Pavilhão da Bienal – São Paulo – Brasil
– Cães sem Plumas – Galeria Nara Roesler – São Paulo – Brasil
– Mundos Cruzados – Museu de Arte Moderna [MAM-RJ] – Rio de Janeiro – Brasil
– Saber Desconocer – 43rd (inter) National Artists’ Salon – Museo de Arte Moderno de Medellín – Medelín – Colômbia
– Coleção Itaú de Fotografia Brasileira – Fundação Clovis Salgado – Belo Horizonte – Brasil
– ImageSingulières – 5e Rendez-Vous Photographique – Sète – França
– Coleção Itaú de Fotografia Brasileira – Instituto Tomie Ohtake – São Paulo – Brasil
– Pop, Realismi e Politica: Brasile – Argentina Anne Sessanta – Galeria D’Arte Moderna e Contemporânea [GAMEC] – Bergamo – Itália
– Um olhar sobre o Brasil: a fotografia na construção da imagem da nação – CCBB RJ – Rio de Janeiro – Brasil
– O Abrigo e o Terreno. Arte e Sociedade no Brasil I – Museu de Arte do Rio [MAR] – Rio de Janeiro – Brasil
– Tomie Correspondências – Instituto Tomie Ohtake – São Paulo – Brasil
– Coletiva – Galeria Vermelho – São Paulo – Brasil
2012
– Um olhar sobre o Brasil: A fotografia na construção da imagem da nação – Instituto Tomie Ohtake – São Paulo – Brasil
– Planos de Fuga – Centro Cultural Banco do Brasil [CCBB SP] – São Paulo – Brasil
– Mythologies: Brazilian Contemporary Photography – Shiseido Gallery – Tóquio – Japão
– América do Sul Pop: a arte das contradições – Museu Oscar Niemeyer – Curitiba – Brasil
– Amazônia, Ciclos da Modernidade – Centro Cultural Banco do Brasil [CCBB DF] – Brasília – Brasil
– Rituals of Chaos – Bronx Museum – Nova Iorque – EUA
– Jenseits von Brasilien – Museum für Völker Kunde – Viena – Áustria
– Arte de Contradicciones. Pop, realismos y política. Brasil – Argentina – Fundação PROA – Buenos Aires – Argentina
– Amazônia, Ciclos da Modernidade – Centro Cultural Banco do Brasil [CCBB RJ] – Rio de Janeiro – Brasil