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).

The series “Genocide of the Yanomami” was first exhibited at the São Paulo Museum of Art Assis Chateaubriand (MASP) in May 1989 as part of the exhibition “Planet Earth.” Designed as an audiovisual installation, the series was conceived through a rearticulation by Claudia Andujar from her image archives, which document her various encounters with the Yanomami, the construction of the Northern Perimeter Highway (BR 210), the consequences of contact with white men on Yanomami culture, as well as clippings from newspaper articles. The series highlights Claudia Andujar’s experiments and interventions with light, filters, and various types of film. From the original black-and-white images, Andujar reworked her photographs using these experiments, which add new layers of interpretation to her work. The process of resignification is a constant in the artist’s career, and through practices like this, Andujar brings contemporaneity to already known images, reinterpreting their content according to the context in which they are placed.

The series “Genocide of the Yanomami” was first exhibited at the São Paulo Museum of Art Assis Chateaubriand (MASP) in May 1989 as part of the exhibition “Planet Earth.” Designed as an audiovisual installation, the series was conceived through a rearticulation by Claudia Andujar from her image archives, which document her various encounters with the Yanomami, the construction of the Northern Perimeter Highway (BR 210), the consequences of contact with white men on Yanomami culture, as well as clippings from newspaper articles. The series highlights Claudia Andujar’s experiments and interventions with light, filters, and various types of film. From the original black-and-white images, Andujar reworked her photographs using these experiments, which add new layers of interpretation to her work. The process of resignification is a constant in the artist’s career, and through practices like this, Andujar brings contemporaneity to already known images, reinterpreting their content according to the context in which they are placed.

The series “Genocide of the Yanomami” was first exhibited at the São Paulo Museum of Art Assis Chateaubriand (MASP) in May 1989 as part of the exhibition “Planet Earth.” Designed as an audiovisual installation, the series was conceived through a rearticulation by Claudia Andujar from her image archives, which document her various encounters with the Yanomami, the construction of the Northern Perimeter Highway (BR 210), the consequences of contact with white men on Yanomami culture, as well as clippings from newspaper articles. The series highlights Claudia Andujar’s experiments and interventions with light, filters, and various types of film. From the original black-and-white images, Andujar reworked her photographs using these experiments, which add new layers of interpretation to her work. The process of resignification is a constant in the artist’s career, and through practices like this, Andujar brings contemporaneity to already known images, reinterpreting their content according to the context in which they are placed.

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.

Sonhos 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).