A 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).

In the Mamarracho series, scribbles are drawn, digitized, enlarged a thousand times, and then applied onto white canvases. Black lines traverse the surface of the canvas, extending onto the wall through wooden pieces, transforming these works into hybrid image-objects that simulate graffiti on a blank canvas.

The Mamarrachos can be interpreted in various ways: as an exploration of painting, where the gesture overflows the canvas, challenging Greenbergian norms; as an investigation of gesture, where a simple, intimate mark undergoes multiple digital and manual construction processes; or as a commentary on the De Stijl movement, since the Mamarrachos relate to the video Retouch (2008), in which, through a fictional action for the camera, Argote appears to be spray-painting over two Piet Mondrian paintings at the Centre Pompidou.

De Stijl sought to break away from traditional art concepts and create a non-representational visual language, structured around a limited set of basic compositional elements, such as the relationship between horizontal and vertical lines, dimensional variations, contrasts in luminosity, and the use of primary colors. The Mamarrachos exist precisely within this investigation of representation, where the most trivial sign of drawing—the scribble—becomes a monumental representation of itself.

The new works in the Mamarrachos series introduce a more direct dialogue with architectural space. Some compositions appear to have been cut in a way that allows them to fit into corners or ceilings, once again breaking away from the conventional place of painting. For ARCO Madrid, Argote proposes a composition in which pieces from the series construct a space within the spaces traversed by the Mamarrachos.

In the Mamarracho series, scribbles are drawn, digitized, magnified 1,000 times and then painted on white canvases. The black lines randomly cross the canvas, flowing onto the wall, making these works hybrid image-objects that simulate graffiti on a blank canvas.

The Mamarrachos are related to the video Retouch (2008), where, in a fictional action for the camera, we see Argote spray painting two paintings by Piet Mondrian at the Centre Pompidou with black paint.

In the Mamarracho series, scribbles are drawn, digitized, magnified 1,000 times and then painted on white canvases. The black lines randomly cross the canvas, flowing onto the wall, making these works hybrid image-objects that simulate graffiti on a blank canvas.

The Mamarrachos are related to the video Retouch (2008), where, in a fictional action for the camera, we see Argote spray painting two paintings by Piet Mondrian at the Centre Pompidou with black paint.

In the Mamarracho series, scribbles are drawn, digitized, magnified 1,000 times and then painted on white canvases. The black lines randomly cross the canvas, flowing onto the wall, making these works hybrid image-objects that simulate graffiti on a blank canvas.

The Mamarrachos are related to the video Retouch (2008), where, in a fictional action for the camera, we see Argote spray painting two paintings by Piet Mondrian at the Centre Pompidou with black paint.

In the Mamarracho series, scribbles are drawn, digitized, magnified 1,000 times and then painted on white canvases. The black lines randomly cross the canvas, flowing onto the wall, making these works hybrid image-objects that simulate graffiti on a blank canvas.

The Mamarrachos are related to the video Retouch (2008), where, in a fictional action for the camera, we see Argote spray painting two paintings by Piet Mondrian at the Centre Pompidou with black paint.

In the Mamarracho series, scribbles are drawn, digitized, magnified 1,000 times and then painted on white canvases. The black lines randomly cross the canvas, flowing onto the wall, making these works hybrid image-objects that simulate graffiti on a blank canvas.

The Mamarrachos are related to the video Retouch (2008), where, in a fictional action for the camera, we see Argote spray painting two paintings by Piet Mondrian at the Centre Pompidou with black paint.

In the Mamarracho series, scribbles are drawn, digitized, magnified 1,000 times and then painted on white canvases. The black lines randomly cross the canvas, flowing onto the wall, making these works hybrid image-objects that simulate graffiti on a blank canvas.

The Mamarrachos are related to the video Retouch (2008), where, in a fictional action for the camera, we see Argote spray painting two paintings by Piet Mondrian at the Centre Pompidou with black paint.

A 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).

A 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).

A 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).

A 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).

A 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).

A 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).

A 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).

Bells is a series of bronze pieces bearing statements from Iván Argote’s practice and inspired by his vision of politics, one marked by tenderness.

With bronze branches linking the letters together, these works imitate portals—preventing entry but allowing one to look through.

Bells is a direct continuation of the artist’s previous works, in which he painted, engraved, or cut out statements that are both political and sentimental across various media, including concrete, textile, paper, and billboards.

“Urihi-a” is one of Claudia Andujar’s most emblematic images and reflects her experimental approach in fieldwork through the use of different lenses, cameras, and films— in this case, infrared.
In 1970s Brazil, this type of film was widely used by the military dictatorship as a surveillance tool and to map the natural resources of the Amazon, enabling the exploitation of the territory through aerial surveys.
In Andujar’s work, however, infrared film takes on a poetic dimension, translating her sensitive gaze on the Yanomami culture and environment.

This series documents the Reahu feasts, the complex Yanomami funerary and intercommunity alliance ceremonies, marked by specific rituals and an abundance of food. To produce the photos, attempting to relate what she saw to the mystical dimension present in the rituals, Andujar developed photographic experiments in São Paulo, using flashes, lanterns, and infrared films, which she later applied in the forest. The images translate the spiritual universe, giving concrete form to an abstract world. “By interpreting with images, and not with words as anthropology and journalism did, Andujar also offered a new layer of meanings,” says Thyago Nogueira, curator of Andujar’s retrospective The
Yanomami Struggle.

This series documents the Reahu feasts, the complex Yanomami funerary and intercommunity alliance ceremonies, marked by specific rituals and an abundance of food. To produce the photos, attempting to relate what she saw to the mystical dimension present in the rituals, Andujar developed photographic experiments in São Paulo, using flashes, lanterns, and infrared films, which she later applied in the forest. The images translate the spiritual universe, giving concrete form to an abstract world. “By interpreting with images, and not with words as anthropology and journalism did, Andujar also offered a new layer of meanings,” says Thyago Nogueira, curator of Andujar’s retrospective The
Yanomami Struggle.