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Ya n o m a m i

Spirit of the Forest

Exhibition May 14October 12, 2003
2 3 7 8 8 9 10 Foreword Nearby People, Faraway People, Davi Kopenawa Yanomami Shamanism The Yanomami in Brazil Bruce Albert and Davi Kopenawa Yanomami Geography The Artists and the Works: Claudia Andujar, 10
Lothar Baumgarten, 11 Vincent Beaurin, 12 Raymond Depardon, 12 Rogerio Duarte do Pateo, 13 Gary Hill, 14 Tony Oursler, 14 Wolfgang Staehle, 15 Naoki Takizawa, 16 Adriana Varejo, 16
Claudia Andujar, Identity Series, Wakatha u, 1976
Claudia Andujar

Stephen Vitiello, 17 Volkmar Ziegler, 18

19 20 21 22 23

The Exhibition and the Catalogue Nomadic Nights and Activities for Children Upcoming exhibitions Exhibitions Abroad Practical Information

Press Information
Linda Chenit assisted by Nathalie Desvaux tel 33 1 42 18 56 77/56 65 fax 33 1 42 18 56 52 e-mail lchenit@fondation.cartier.fr on-line images/fondation.cartier.fr

261, boulevard Raspail 75014 Paris fondation.cartier.fr


Yanomami, Spirit of the Forest brings international artists into contact with the shamans of Watorik (Windy Mountain), a Yanomami village in the Brazilian Amazon. The ambition of this exhibition is not to lapse into exoticism or paternalism, but to connect our conception of images and representations with that of another culture, exploring how the traditional yet constantly evolving metaphysical world of the Yanomami echoes the various facets of the savage mind still at work in our society. This exhibition brings forth a radical otherness in an endeavor to alter our perception and habitual modes of thought. This exchange was organized in collaboration with the shamans of Watorik and Davi Kopenawa, their spokesman. The artists who travelled to the Amazon all stayed in the same Yanomami village, thus achieving unity of time, place and action. 1 Others, also commissioned by the Fondation Cartier, worked with the materials produced in Brazil by the Yanomami.2 Finally, there are several artists included in the exhibition who have had an interest in the Indians throughout their careers.3 All of them exposed their individual creative worlds to the Yanomami concept of shamanic images, in an attempt to bridge two completely different worlds. Consequently, Yanomami, Spirit of the Forest features neither tribal feather ornaments, nor any Amerindian or crossover art. Nor is this an ethnological or humanitarian exhibition. Treating Yanomami thought on an equal footing, this exhibitions films, photographs, paintings, sculptures and video installations offer a web of correspondences relating to the major themes of the cosmological ideas and visionary experience of the eleven shamans of the village of Watorik. This exhibition has been organized by the Fondation Cartier pour lart contemporain in collaboration with Survival International France and the Brazilian Comisso Pr-Yanomami NGO (CCPY). The Fondation Cartier is supporting a bilingual education programme run by the CCPY and is also participating in a project involving the comprehensive mapping of the Yanomami territory using local knowledge to interpret satellite photographs. The exhibition catalogue presents the work of the artists participating in the show, discusses the history of the village of Watorik and examines the cosmological relationship of the Yanomami to the tropical forest. In addition, a series of previously unpublished photographs documents the history of the Yanomamis tragic encounter with western society.
Bruce Albert and Herv Chands

Bruce Albert is an anthropologist and director of research at the Institut de recherche pour le dveloppement (IRD, Paris). Herv Chands is director of the Fondation Cartier pour lart contemporain, Paris. 1. Raymond Depardon, Gary Hill, Wolfgang Staehle, Adriana Varejo and Stephen Vitiello. 2. Vincent Beaurin, Tony Oursler and Naoki Takizawa worked with texts by Davi Kopenawa and drawings by Joseca Yanomami and children from Watorik, as well as with video sequences shot by Geraldo Yanomami. 3. Claudia Andujar, Lothar Baumgarten, Rogerio Duarte do Pateo and Volkmar Ziegler.

Yanomami, Spirit of the Forest Press Information: Linda Chenit assisted by Nathalie Desvaux tel 33 1 42 18 56 77 / 56 65 fax 33 1 42 18 56 52 e-mail lchenit@fondation.cartier.fr on-line images / fondation.cartier.fr

Nearby People, Faraway People

Protect the Forest

Davi Kopenawa

You may have heard of us. However, you dont really know who we are. Thats not good. You dont know our forest and our houses. You dont understand our words. So we could die and you would never know it. Thats why, if we remain in the dark for you, like tortoises buried underground in the forest, I think it could hurt. The white people living around us, around our land, are hostile. They dont know anything about us and never ask us how our ancestors lived. All they think about is taking over our forest with their cattle and destroying our rivers to search for gold. Only people who live far away want to know us and defend us. Their words are powerful and can help us. Thanks to their words, the nearby people who are always saying things against us will stop invading the forest. White people came from far away for the exhibition*. They lived among us and heard our words. They saw us with their own eyes and ate our food. We made friends. Now their thoughts are straight and they stand by us. They will go back and tell the people of their lands about us. They will talk about what they saw and heard in the forest. They will show pictures of us and make our voices heard. Many people around them will then come to understand. If thats what happens, Ill be happy. It will be a straight and wonderful thing. When faraway people know about us and talk about us, the people nearby hesitate to destroy us. Without the support of their friendly words, the settlers and cattle farmers would continue to move in on us. One day they might repair the highway they left in our forest.1 Then the gold-seekers would rush back in again. The politicians would send in machines to dig up the ground and search for ore* and the number of soldiers would continue to grow.2 Thats how it is. Among the whites there are some who are Omamas people.3 Theyre the ones whose thoughts are straight and who defend us. The othersthose whose minds are smoky and full of darkness, who want to destroy the forest and drive away the spiritsare the people of Omamas bad brother, Yoasi, who gave us illness and death. Right now, as I speak, you are working among us. You see our forest and the Windy Mountain that rises over it. You see us eat, work and sleep. You see us hunt and make the animal ancestors dance. You see us act as spirits.4 You draw our words, you take our pictures. We inhale the ykoana powder to take care of our people.5 We bring back the vital principles of our children stolen by evil spirits. We save their animal doubles wounded by far-off hunters. We protect them from the bird-of-prey spirits sent by enemy shamans. You observe us and you say: Haixop! 6 Thats how the Yanomami have always lived far away from us. They heal by bringing down the spirits. We didnt know that. I invited you to our village to give you this thought. After taking many pictures in our house and our forest, you will take them far away to other lands. You will show them to children, to young women, to young men, to adults and elderly people who will go to see the exhibition. They will ask you questions and you will reply: Yes, the Yanomami are other people who have always protected their forest. Thus, you will give them straight thoughts. Then they will take interest in us, they will want to defend us. They will think: Haixop! We like to see the Yanomami and hear their words. They are great shamans. Their forest is beautiful and they know how to protect it. It was closed off by the government of Brazil.7 If other white people want to invade it, well speak out severely to make them retreat! Id like the people who come to see the exhibition to have these thoughts. Then Ill be satisfied because I want the hostile whites to stop saying: The Yanomami are

Yanomami, Spirit of the Forest Press Information: Linda Chenit assisted by Nathalie Desvaux tel 33 1 42 18 56 77 / 56 65 fax 33 1 42 18 56 52 e-mail lchenit@fondation.cartier.fr on-line images / fondation.cartier.fr

people of the forest, animals. They are violent. They are lazy and take up too much land for nothing. I want our children to stop dying from malaria and the flu. I want them to grow up in the forest and, later on, to become shamans as well. Making the Spirits Dance We inhale the ykoana powder to enter into the ghost state. Thats how we make the spirits dance. In the past, their movements could be seen by everyone. Nowadays, although their images are still around, theyve become invisible to common people. They remain hidden up in the mountaintops and only come down when the shamans call them. They watch over us and are aware of the ills that afflict us. They extract them from the bodies of the sick and throw them far away, into the underground world. They heal us. Thats why the spirits are important* to us. The white people do not know them. You have to inhale the ykoana for a long time to make them dance and become a strong shaman, able to fight evil spirits and avenge the sick.8 This is as important as studying papers and making people swallow medicines, as you do. You should think about that wisely and say to yourself: Yes, its good to see and to hear the Yanomami call the spirits. We dont become other for no reason.9 Our spirits are tiny, but very powerful. They can destroy illnesses and heal us. They fight against the evil spirits that devour us like game. They can also silence thunder, put an end to torrential rains, and calm the storm winds that break the trees. They make the plants grow in our patches and invoke the fertility of the forest to fatten up the game. They keep the sky from collapsing and the forest from filling up with snakes or epidemics. This is the work that the shamans do. Their activity reaches far beyond our villages. The spirits live in stone mountains like the one that rises over our house. It is the house of the spirits, the house of our ancestors. Many spirits live in this mountain. Their paths branch out in all directions. The forest is covered with their mirrors.10 If they didnt exist, we wouldnt be alive: the evil spirits would eat every one of us up. Thats how it is. And if all the shamans were to disappear, the spirits of celestial fire, Thorumari,11 would go into a rage and destroy everything to avenge their death. The white people wouldnt be spared any more than we would. The work of the shamans is what keeps us alive. So when you defend us, you should think that the Yanomami shamans reach out to protect you too. Your land seems far away to you. Thats not true for the spirits. Thats why we want you to know them. Then perhaps youll think: The Yanomami shamans are also defending us. They dont just protect their forest. Many of them have already died because of the white people. That has to stop now. They live in the forest. They defend whats left of it, what hasnt yet been destroyed. And thats good. If the Yanomami were to disappear, we would also perish. So let their shamans continue to fight illnesses, let them continue to hold up the sky and hold back the spirit of hunger! Yoasis bad white people say to us all the time: Reject your spirits, theyre not worth anything, they soil your chests! However, Omamas image tells us: If you forget your spirits, your children will all die off. The rain will fall relentlessly, and the night will never end. Evil spirits and epidemics will take over the forest! Thats why we keep calling the spirits and refuse to let the cattle farmers and gold-seekers destroy our land. So tell those who come to see our pictures and hear our voices in the exhibition: The Yanomami want to continue to make their spirits dance. Keep the people of God, who want to drive out these spirits, away from them.12 These spirits belong to them. They know them. Theyre the only ones who know how to inhale the ykoana to call them and make their songs heard.

Yanomami, Spirit of the Forest Nearby People, Faraway People - Davi Kopenawa

The Fragrance of the Earth

Davi Kopenawa during a shamanic session, Watorik, 1993

Bruce Albert

Dont think that the forest is dead, just sitting there for no reason. If it was inactive, we wouldnt be active either. The forest is what gives us vitality. It is alive. We dont hear it complain, but it suffers, just like human beings do. It feels pain when we burn it, and its big trees moan as they fall. Thats why were against deforestation. We want our children and our grandchildren to be able to get their food from the forest and to grow up in it. We take care of it, thats why its healthy. We clear just a little area to open up our patches. We plant banana trees, manioc, taro, yams, sweet potatoes and sugar cane. Then, after a while, we let it grow wild again. Our patches become thickly entangled with vegetation, and the trees start growing back. If we replant our patches several times in the same spot, the plants dont provide anymore. They shrivel and dry out. They become too hot, like the earth which has lost the fragrance of the forest. After that, nothing will grow there anymore. Thats why our ancestors moved around in the forest from one patch to another when their crops dwindled and the game animals became scarce around their houses. The white people who live near us are different. The cattle farmers have a lot of men to help them clear the forest. They chop down the trees and set fire to large areas of the forest. And they do all of that not to grow manioc or banana trees or any kind of food. They only plant grass for their cattle. The gold-seekers dig around in the rivers like wild pigs. The waters become dirty, yellowish, full of the epidemic-smoke of engines.13 You cant drink the water anymore without getting sick. All the fish and caimans die. And still, the whites keep saying: Open up roads, clear the forest, search for gold, bring in development! If they continue to destroy the forest like this, there wont be anything left of it. Then, later on, theyll complain of hunger and thirst, like some of them already do.14 Theyll lack everything and will have to ask for food from other people or become thieves* in the cities. The leaves and flowers fall from trees and pile up on the ground. Thats what gives the forest its fragrance and its fertility. This odor disappears as the earth dries out and absorbs the streams deep down. If the trees are cut and burned everywhere, the earth starts to dry out. These trees, such as the Brazilian nut trees and the kapok trees, are what draws the rain. Water only exists in a healthy forest. When the earth is bare, the spirit of the sun, Mothokari, burns up the rivers. He licks them dry with his tongue and swallows their fish. When his feet come close to the earth, it starts to bake. Its surface becomes hot and hard. It can no longer give birth to any saplings. There are no more fresh roots in the damp soil. The water has receded far away. And then the wind, which used to follow us around and cool us like a fan, also vanishes. Scorching heat settles in. The leaves and flowers piled up on the ground start to shrivel. All the earthworms die. The fragrance of the earth burns up and disappears. Whatever we do, nothing will grow. The forests fertility has left forever for other lands. We dont want this to happen. Thats why we protect the forest. Omama wants us to keep it intact. His image says to us: Eat the fruit of the trees without chopping them down. Clear a space for your patches in the forest, but dont make it go too far, and use the trunks you cut down for the fires that give you warmth and that you cook on. Dont cut down any trees foolishly. Dont think theyre growing there for no reason!

Yanomami, Spirit of the Forest Nearby People, Faraway People - Davi Kopenawa

Thats why I want you to listen to our words. The thinking of the nearby people is dark and tangled. They keep moving closer to us by gradually clearing the forest. Over where the road begins, in the area that belongs to the Yawarip,15 the land is already bare and scorched. Soon nothing will grow there and Ohinari, the spirit of hunger, will arrive. As long as the Yanomami watch over the forest, he will stay far away. If the spirits go off and we disappear, he will settle here forever. These are our words, the words of Omama and the spirits, words to protect the forest. You have come to visit us. I gave you these words in Watorik, in our house of the Windy Mountain. Pass them on to the people of your land. Show them pictures of us and of the forest. Let them hear the sounds of the animals and the songs of the birds, so that they think: Haixop! The forest is beautiful. Let the Yanomami continue to live there and protect it from the threat of the white people! And if you hear that the nearby people want to invade it and destroy it, speak to your elders and to those in Brazil. Tell them with vehemence: We know the Yanomami. We have slept in their houses and eaten their food. We have become friends with them. We want them to be able to live in their forest in the way they want to! This is what we were thinking when we gave you our pictures and our words. Thats how it is.
Statement received and translated from Yanomami to French by Bruce Albert Translated into English by Jennifer Kaku

* Expressed in Portuguese during the interview. 1. A 211-kilometer section of the Perimetral Norte highway (northern beltway of the Transamazonian), abandoned in 1976, cuts through the forest in the southeastern part of the Yanomami territory. 2. An allusion to the three platoons already positioned in Yanomami territory along the Venezuelan border. 3. Omama is the creator of present-day humanity and its cultural codes. Yoasi, his ugly, clumsy, quick-tempered brother, is to blame for all the evils and ills that afflict human beings. 4. Make the animal ancestors/spirits dance, to act as a spirit are expressions referring to shamanic activity. The artists invited to Watorikwere able to witness several shamanic sessions. 5. Hallucinogenic powder made from the resin of the Virola elongata tree. 6. Interjection expressing a mixture of approval and amazement. 7. In reference to the official ratification and demarcation of the Yanomami territory in Brazil in 1992. 8. Shamanistic healing is viewed as an act of vengeance against the pathogenic entities. 9. To become other or act as a ghost are expressions that also describe shamanic activity. 10. The spirits always move about on mirrors (mirexip or mirekop). 11. When a shaman dies, these spirits, in the form of bright red macaws fly out of the deceased persons funeral pyre. 12. The expression the people of God (Teosi thrip) refers to the missionaries, especially the Anglo-Saxon evangelists who practice a particularly aggressive type of proselytism. 13. The Yanomami associate epidemics with the smoke from manufactured objects and engines. They thus refer to them as xawara wakixi, or epidemic-smokes. 14. An allusion to the recurring droughts that affect the Brazilian Nordeste. 15. The name of a Yanomami group contacted by the builders of the Perimetral Norte highway in 1973. Much of their land has been deforested and invaded by cattle farmers and settlers.

Yanomami, Spirit of the Forest Nearby People, Faraway People - Davi Kopenawa

Yanomami Shamanism
Shamanism, along with the complex rituals for dealing with death and the dead, is one of the pillars of Yanomami culture. Individual or collective shamanic sessions constitute a spectacular yet regular activity in Yanomami communal houses. Each village has at least one or two shamans and sometimes more than ten, as is the case in the Watorik community. In their own terms Yanomami shamans bring down and make dance images (utup) of beings from the mythological origins of the world, especially those of human/animal ancestors from original creation (yarorip). The shamans incorporate these images one by one as auxiliary spirits (xapirip) in order to carry out various supernatural tasks for which the attributes or competences of these entities have been summoned. These spirits appear to them in the form of tiny human-like creatures, which are compared to shining particles of dust. Always magnificently draped in colorful, luminous feathers, they dance slowly on big mirrors and never touch the ground. During these sessions, the shaman reproduces the special song and dance of each spirit, identifying with them one by one. Because of this process of identification with these images/spirits from the earliest times, Yanomami shamans are known as xapiri thp, spirit people. The shamans main activity is to cure members of their community and to protect them from predatory powers which can be both human (bad allies or enemies) or non-human (forest evil spirits, enemy shamanic spirits). They are also responsible for ensuring the regular alternation of days and seasons, the abundance of game and the fertility of the crops and the forest. Lastly, if an old shaman dies, it is their job to prevent his orphaned spirit from cutting into the heavenly vault and thus causing it to fall, a cataclysm from which they believe the world originated and which could also provoke its end. It is said that every future shaman is, from childhood, haunted by the strange dreams induced by the spirits as they fix their gaze on him. Later, guided by the elders, he will have to learn to see these spirits. The initiation of a shaman is both a painful and ecstatic process. For several weeks the shaman inhales ykoana, a powerful hallucinogen and his body is then dismembered, inverted and recomposed by the spirits. This is the price to be paid if he wants to be able to see them, learn their songs and make them work for him. By invoking, incorporating and combining images from the origins, Yanomami shamanism has developped a way of interpreting the reality of the world and of acting on its underlying mechanisms. It presupposes the shamans capacity to transcend the barriers between the categories of beings that people the universe by embodying them one by one. This incorporation of originary images gives them the potential power to take on the subjectivity of all possible existences, whether human or nonhuman. The body of the shaman thus becomes the junction of the ontological unity of all existence or, in other words, a portal for a general knowledge of the cosmos.

Raymond Depardon, Hunters and Shamans, 2002 (filmstrip)

Palmeraie et dsert

Yanomami, Spirit of the Forest Press Information: Linda Chenit assisted by Nathalie Desvaux tel 33 1 42 18 56 77 / 56 65 fax 33 1 42 18 56 52 e-mail lchenit@fondation.cartier.fr on-line images / fondation.cartier.fr

The Yanomami in Brazil

The word Yanomami means human being. The Yanomami are hunters-gatherers and horticulturalists who inhabit a part of the Amazonian tropical forest on either side of border of Venezuela and Brazil. In Brazil, their population of approximately 12,500 lives in 185 villages and communal houses situated in the north-Amazonian states of Amazonas and Roraima. Their first sporadic contact with white menessentially military of the Border Commission, members of the Indians Protection Service (SPI), latex collectors and explorersoccurred in the first decades of the 20th century. In the 1950s and 60s a number of permanent (Catholic and Evangelical) missions were set up on their land. It was only in the mid-1970s that they experienced more massive, destructive contact with their white neighbors. This began in 1973-1976 with the opening of the northern section of the transAmazonian highway in the south-eastern part of their territory. Then came the threat of decimation by epidemics (malaria, respiratory infections) and the violence which accompanied the gold rush that attracted some 40,000 prospectors to the western part of Roraima state in 1987-1989. However, although these invasions were highly destructive, they were also short-lived: 211 kilometers of the Perimetral Norte highway were abandoned to the forest in 1976 and most of the gold panners were progressively expelled from Yanomami territory after 1990. On both occasions, therefore, Yanomami society managed to escape depopulation and the total loss of their culture. Thus, in spite of these tragic episodes and threats to their territory represented by various local economic interests (especially agricultural colonization and mining), the Yanomami today constitute the largest indigenous community in Brazil to have preserved their traditional way of life. They occupy a territory of some 96,650 square kilometers, which was officially recognized by a presidential decree issued in May 1992 before the Earth Summit in Rio de Janeiro. Since 1999 the Yanomami have been provided with medical assistance by URIHI (www.urihi.org.br), a Brazilian NGO funded by the National Health Foundation (FUNASA), a Brazilian state institution. Another NGO, CCPY, founded in 1978, is running a campaign in Brazil in defense of Yanomami territorial rights. Since 1995, this organization has also run a bilingual education program designed to enable the Yanomami to defend these rights for themselves (www.proYanomami.org.br).

Claudia Andujar, Identity Series, Kaxipi u, 1974

Claudia Andujar

Bruce Albert and Davi Kopenawa

Born in 1952 in Casablanca, Bruce Albert is a doctor of anthropology at the Universit de Paris X-Nanterre (1985). He is now head of research at the Institut de recherche pour le dveloppement (IRD, Paris), and is currently working in So Paulo, Brazil, where he has lived at regular intervals since 1973. He is also vice president of Survival International (France). Albert has been working with the Yanomami of Brazil since 1975, carrying out anthropological research (social organisation, ritual systems, cosmology and shamanism, representations of contact, ethnogeography and socio-economic changes) and

Yanomami, Spirit of the Forest Press Information: Linda Chenit assisted by Nathalie Desvaux tel 33 1 42 18 56 77 / 56 65 fax 33 1 42 18 56 52 e-mail lchenit@fondation.cartier.fr on-line images / fondation.cartier.fr

helping to set up health, educational and environmental programmes. He is the cofounder of two Brazilian NGOs (CCPY and URIHI) which are running programmes in Yanomami territory in the northern Amazonian states of Roraima and Amazonas. Bruce Albert speaks one of the four Yanomami languages fluently. He has continued to sojourn with these Indians for periods of several months ever since the 1970s. It was his longstanding friendship with the Yanomami of Watorik that made it possible to organize the artists stays with the community there. He has known Davi Kopenawa since 1978. Davi Kopenawa was born around 1955 at Marakana, a collective house in the upper reaches of the Toototobi River, near the border with Venezuela. He lost most of his family in the epidemics (measles, flu) of 1959 and 1967. Grief-stricken and perplexed by the mortal power of the white man, in the early 1970s Davi Kopenawa left to work for the National Foundation for Indians (FUNAI), serving it as an interpreter. This experience gave him a better knowledge both of the Yanomami territory as a whole and of the world around it. He subsequently settled in the village of Watorik, where he married the daughter of the communitys leader and oldest shaman, who initiated him into shamanism in the early 1980s. Faced with a new invasion of the Yanomami territory by gold panners and a new wave of decimation afflicting his people in 1987, he became committed to an unrelenting fight to defend the Yanomami and the forest where they live. In recognition of this he was awarded the United Nations Environment Programs Global 500 prize.

Yanomami Geography

In parallel with the exhibition Yanomami, Spirit of the Forest, the Fondation Cartier is financing a Yanomami ethnogeography project organised by the CCPY, the Institut de recherche pour le dveloppement (IRD, Paris) and the Centre national de la recherche scientifique ( CNRS - CREDAL ). This project involves the comprehensive mapping of the Yanomami territory using the most sophisticated satellite technology available today. This will enable the Yanomami to acquire a more global knowledge of their territory and thus to optimize the occupation and sustainable use of their land. At the core of this project, jointly led by Bruce Albert (IRD) and Franois-Michel Le Tourneau (CNRS), is the creation of a database using recent satellite images, complete with place names in Yanomami. This ethnogeographic project with the Yanomami has been organised in the framework of the bilingual education programme set up by the CCPY , part of which involves training Yanomami teachers how to read and use satellite images. An immense mosaic of satellite images, shown in the exhibition and reproduced in the catalogue, will give an overall view of the Yanomami territory in Brazil.

The Yanomami territory in Brazil Lambda print (2.74 x 3.23 m)

2003 Franois-Michel Le Tourneau (CREDAL-CNRS), CCPY and Fondation Cartier pour lart contemporain, Paris

Yanomami, Spirit of the Forest

The Artists and the Works

Claudia Andujar
Born in 1931 in Neuchtel. Lives in So Paulo.

Both with her camera and by her activism, the Brazilian photographer Claudia Andujar has played a fundamental role in obtaining recognition of the Yanomami territory from the Brazilian government. She moved to the country in 1956 and began doing documentary work on the Karaj Indians. She came into contact with the Yanomami in Amazonia in the early 1970s and decided to dedicate her work to them. A founding member of the Brazilian NGO Comisso Pr-Yanomami (CCPY), Claudia Andujars photographs of the Yanomami (portraits, everyday scenes and shamanic rituals) constitute the largest body of work yet produced on the subject. In 1975-1976 she witnessed the first large-scale epidemics that hit the Yanomami population during the constructionsubsequently abandonedof the Perimetral Norte highway. This moved her to give up photography for a while to help with the rio Catrimani health unit. As a result of this period, and of the invasion of Yanomami territory by the gold diggers in the 1980s, she produced a moving series of photographs showing the often disastrous consequences of contact with the whites. Using superimposed images, her most recent photographs convey the processes of shamanic thought, which works by progressive absorption and metamorphosis.
Identity Series, Wakatha u, 1976 99 x 87 cm
Claudia Andujar

The Invisible Series, Wakatha u, 1976 87 x 99 cm

Claudia Andujar

Black and white photographs: 20 black and white collection prints on semi-matt fiber paper, warm toned Identity Series, Wakatha u 9 x 1976 (23 x 29 cm), 1 x 1974-1976 (23 x 29 cm), 1 x 1977 (23 x 29 cm) 1 x 1976 (99 x 87 cm), 1 x 1976 (147 x 99 cm), 1 x 1976-1977 (99 x 87 cm), 1 x 1977 (99 x 87 cm) Identity Series, Hwaya u, 1975 (23 x 29 cm) The House Series, Wakatha u, 1974-1976 (87 x 97.5 cm) The Invisible Series, Wakatha u 2 x 1976 (87 x 99 cm) and 1 x 1974-1976 (87 x 99 cm)

10 Yanomami, Spirit of the Forest Press Information: Linda Chenit assisted by Nathalie Desvaux tel 33 1 42 18 56 77 / 56 65 fax 33 1 42 18 56 52 e-mail lchenit@fondation.cartier.fr on-line images / fondation.cartier.fr

(Claudia Andujar continued)

Color photographs: 10 black-and-white photographs with superimposed color, printed on color paper Contacts Series, Garimpo, Erico 1 x 1980 (66.9 x 100 cm), 1 x 1980/1989 (66.5 x 100 cm) Contacts Series, Garimpo, Paapi u, 1984 (66.7 x 100 cm) Contacts Series, P de Pato, Ajarani 1 x 1981 (66 x 100 cm), 1 x 1980/1989 (66.2 x 100 cm) Contacts Series, Perimetral Norte, Ajarani 1 x 1980 (65,8 x 100 cm), 1 x 1980/1989 (65.4 x 100 cm) Contacts Series, Opiktheri, 1982/1998 (67.5 x 100 cm) Contacts Series, Sorveteria, Caracara, 1982/1989 (66.8 x 100 cm) Dreams Series, Toototobi, The Fall of the Sky, 1976/2002 (67.8 x 100 cm)

Lothar Baumgarten
Born in 1944 in Rheinsberg. Lives in New York and Dsseldorf.

River-Crossing, Kashorawtheri, 1978 Series of 6 gelatin silver prints published in the catalogue of the exhibition 35.5 x 28 cm
Courtesy Marian Goodman Gallery, New York Lothar Baumgarten

Language occupies a central position in the multifaceted work of Lothar Baumgarten, which embraces photographs, films and books. In 1978-1979 he spent eighteen months with the Yanomami in the Upper Orinoco region of Venezuela, completely cut off from the outside world. It was only after having spent eight months with this community at Kashorawtheri that he took his first photographs. In 1985 he made two visits to the Yanomami of the rio Uraricoera region in Brazil, where he photographed abandoned Yanomami communal houses (yano or xapono) and the ravages caused by the coming of the gold diggers. From these sojourns, Baumgarten brought back over 72 hours of sound recordings, 9 hours of 16mm film and many notebooks, recording his dealings with the Indians, as well as several series of black-and-white photographs. One of these, River-Crossing, was made in the space of only a few minutes on the Orinoco, in the Kashorawtheri region.
Series of 15 gelatin silver prints presented in the exhibition: River-Crossing, Kashorawtheri, 1978 11 x (62.2 x 48.9 cm), 3 x (64.5 x 80.6 cm), 1 x (103.8 x 135.3 cm)
Courtesy Marian Goodman Gallery, New York

11 Yanomami, Spirit of the Forest The Artists and the Works

Vincent Beaurin
Born in 1960. Lives in Paris.

Over the last twenty years, the artist Vincent Beaurin has been examining the ways in which we read a work of art. Starting from the postulate that language develops out of exchange and use, he is particularly interested in so-called functional objects. In 2002, he conceived the exhibition Fragilisme with Alessandro Mendini and Fabrice Domercq for the Fondation Cartier pour lart contemporain. His sculptures, watercolors and films are the poetic crystallizations of a singular cosmology. Both his visual works and his texts, in which each word is chosen with a real sense of perfectionism, are the fruit of his visions, of the appearance and transformation of mental images. His Enseignes (Signs) can be compared to the visions of the Yanomami shamans. Their glitter skins evoke the scintillating, magnificent luminosity of the animal ancestor spirits.
Enseignes [Signs], 2002-2003: Black, 2003 (128 x 50 x 60 cm) Black trophy, 2003 (35 x 70 x 30 cm)
Photo Patrick Gries Vincent Beaurin

Yellow, 2003 (70 x 57 x 98 cm) Yellow, 2003 (97 x 85 x 60 cm) Yellow (high), 2002 (approx 170 x 75 x 65 cm) Yellow and black, 2003 (103 x 40 x 58 cm) Yellow and black (small), 2003 (50 x 39 x 23 cm) Yellow and black landscape, 2003 (35 x 100 x 100 cm) Yellow and black trophy, 2003 (80 x 55 x 36 cm) 9 sculptures in polystyrene and wood and polyester glitter 192 domes, 2003 (approx 7 x 4 m): polystyrene and polyester glitter Black, 2003 (35 x 28 x 28 cm): wood Black expanse, 2003 (environ 2.30 x 1.80 m): polyester glitter

Raymond Depardon
Born in 1942 in Villefranche-sur-Sane. Lives in Paris

A filmmaker, photographer and journalist, Raymond Depardons work over the last three decades has made an important contribution to the rejuvenation of French photojournalism. From Chile to Chad, from Venice to Afghanistan, his reports express a profoundly singular vision that takes them well beyond the conventions of press imagery. He has published numerous books in which his photographs are set alongside his own texts and notes, among them Tchad (1978), Correspondance new-yorkaise (1981), San Clemente (1984), Voyages (1998), Errance (2000), Dtours (2000) and Dsert, un homme sans loccident (2003). In his documentary films and fictions, notably 1974, Une partie de campagne (1974/2002), Reporters (1981), La Captive du dsert (1989-1990), Dlits flagrants (1994), Afrique : comment a va avec la douleur ? (1996), Paris (1997), Profils paysans : lapproche (2001) and Un homme sans loccident (2003), he manifests the same determination to get to grips with the real as we find in his photographs. At the Fondation Cartier pour lart contemporain, Raymond Depardon has taken part in the exhibitions Amours (1997) and le dsert (2000). For Yanomami, Spirit of the Forest, he has made a color film and a series of black-and-white photographs.

12 Yanomami, Spirit of the Forest The Artists and the Works

(Raymond Depardon continued)

During his stay at Watorik, he made parallel films of a group of hunters and a group of shamans, marking the close interdependence of the shamanic world and the great mental and practical intimacy that the Yanomami have with the tropical forest. He spent hours out with the hunters and attending the shamans cure sessions, trying to find his own place in this other world, between the forest and the spirits. They knew that they were being filmed, but that didnt change them at all. I was a visitor. I was passing by. I was welcomed, received and even desired. They thus offered their image to someone who, before that, was not even aware of their existence. I played my role as an intermediary, someone who passes things on.
Chasseurs et Chamans [Hunters and Shamans], 2002 AATON A-Minima camera, color Kodak Visions film transferred onto DVD Duration: 32 mins Production: Claudine Nougaret Editing: Roger Ikhlef Mixing: Dominique Vieillard
Commissioned by the Fondation Cartier pour lart contemporain, Paris Palmeraie et dsert

Raymond Depardon / Magnum Photos

Watorik (Amazonas, Brazil), November 2002 7 gelatine silver prints (50 x 40 cm and 40 x 50 cm) 2 gelatine silver prints (178 x 121 cm and 121 x 178 cm)
Magnum, Paris

Rogerio Duarte do Pateo

Born in So Paulo in 1971. Lives in So Paulo

A student of anthropology at the University of So Paulo and associate researcher on the Ncleo de Histria Indgena e do Indigenismo (NHII/USP), Rogerio Duarte do Pateo is engaged in anthropological and audiovisual research on the subject of inter-community conflicts and ceremonial dialogues among the Yanomami Indians of Brazil, with whom he spent thirteen months doing fieldwork. The ceremonial dialogues are sung dialogues which are used as an official way of conveying news between hosts and guests during Yanomami inter-community celebrations (reahu). Rogerio Duarte do Pateo is also working on a study of the photographs of Claudia Andujar. Wayamu is his first film.
Recent publications Os olhares do espirito reflexes sobre a obra de Claudia Andujar (in preparation). Agresso e reflexividade: a guerra Yanomami por meio de uma experiencia de comnunicao, in Revista Sexta Feira, no. 7, 2003 (with Silvia Pizzolante Pellegrino) Guerra, histria e sociedade nas Guianas in Sociedades indigenas e suas Fronteiras na regio Sudeste da Guianas, So Paulo, Editora da Universidade de So Paulo (EDUSP), 2003 Yanomami: a Construo Imagetica da Realidade Nativa, Sinopse, in Revista de Cinema, no. 5, 2000 Wayamu [Ceremonial dialogues], Surucucus and Homoxi, 2001-2002 Video camera with Night Shot (infrared) capability Duration: 1:03 mins
Rogerio Duarte do Pateo Collection

13 Yanomami, Spirit of the Forest The Artists and the Works

Gary Hill
Born in 1951 in Santa Monica. Lives in Seattle.

Gary Hill began his artistic career in the early 1970s with a series of metal sculptures. Since first using video, for a performance in 1972, he has gone on to experiment with all the available techniques in this medium, exploring the phenomenon of the creation and perception of the image, of its appearance and disappearance. Combining video images, sound, language and poetry, each new work radically renews his practice. Using video as a mirror of consciousness, Hill forces the viewer to engage physically with the image and its demands. His frequent use of his own body as part of the experiment can be seen to anticipate his experience of Yanomami shamanism. At Watorik he found that shamanism and its techniques for bodying forth mental images echoed his own visual and philosophical concerns. Impressions dAfrique, 2003 Video installation, mixed media Dimensions variable
Commissioned by the Fondation Cartier pour lart contemporain, Paris Courtesy Donald Young Gallery, Chicago and & : in SITU, Paris

Gary Hill

Tony Oursler
Born in 1957 in New York. Lives in New York.

Exploring the distinction between the real and the imaginary, revealing what is going behind images and means of communication, creating a phantasmagorical world peopled by faces that emerge suddenly from a piece of furniture or on a cloud of smoke, probing the moment when the image appearsthese are some of the issues explored by Tony Oursler. Ever since his first works, at the end of the 1970s, his art has been about creating a mental space out of stories and images. Setting out to put video in (or on) the outside world, he emancipated it from the screen and, as of the early 1990s, began projecting filmed images of faces onto the heads of monstrously proportioned effigies. His fascination with certain mental disturbances in which the body is experienced as fragmented, and with the multiple nature of personality, is expressed in the Eyes series, which he began developing in 1996. The video installation that he has made for this show is a monumental extension of this. Using footage of shamanic cure sessions shot by Geraldo Yanomami, but also an extraordinary

14 Yanomami, Spirit of the Forest The Artists and the Works

(Tony Oursler continued)

bestiary drawn by youth of Watorik, the artist sets these images against others that reveal his own work on the imitation of mental images.
Mirror Maze (Dead Eyes Live), 2003 Video projection with sound on 10 resin spheres (diameter, each: 1.8 metres) Music: Tony Oursler, guitar (performance): Dan Walsh Postproduction Assistant: John Daniel Walsh Thank you: Vanessa Carreras, Constance DeJong, Shannon Funchess, Julie Opperman, Pravin Sathe
Commissioned by the Fondation Cartier pour lart contemporain, Paris

Tony Oursler

Wolfgang Staehle
Born in 1950 in Stuttgart. Lives in New York.

A pioneer of multimedia art, in 1991 Wolfgang Staehle founded THE THING, an independent project that became an important forum for discussion and reflection on the new media-based arts. Playing on the idea of compressing time and space, the artist emphasises the relation to the present, notably in images that are projected in real time. Orienting his investigations towards virtuality, the absence of the physical object, he used video to create images with a pronounced painterly quality. During his stay with the Yanomami at Watorik, the artist made a number of video sequences including static-shot panoramic landscapes, filmed over 24 hours, one from the Stone mountain, which the Yanomami think of as the home of shamanic spirits, and the other, a reverse shot, from the communal house/village towards the mountain. Also, his large panorama proposes a kind of digital image that is analogous to the supernatural image of the forest elaborated by the shamans. This mentalisation of the landscape goes beyond anecdotal illustration to attain a timeless, abstract dimension.
Wolfgang Staehle

Pareakk (yano haran) [The Stone mountain, seen from the communal house], 2003 Digital video, duration: 24h Yano a (Pareakk haran) [The communal house, seen from the Stone mountain], 2003 Digital video, duration: 24h Watorik (praharan) [The Windy mountain, seen from afar], 2003 Digital video, duration: 1h Moko utup [Image of a young girl], 2003 Digital video, duration: 5 mins Director: Wolfgang Staehle Programming engineer: Jan Gerber Postproduction: Tim Jaeger
Commissioned by the Fondation Cartier pour lart contemporain, Paris

15 Yanomami, Spirit of the Forest The Artists and the Works

Naoki Takizawa
Born in 1960 in Tokyo. Lives in Tokyo.

A graduate of Kuwasawa Design School, Naoki Takizawa joined the Miyake Design Studio when he was 22. He was trained by Issey Miyake and, the following year, was put in charge of the Plantation line. He became an Issey Miyake designer in 1999. In this role he developed a taste for dialogue with visual artists, musicians and choreographers, a curiosity for other disciplines which led him to take an interest in the new Japanese scene and in a number of international artists. In 1995 he designed costumes for the ballet EIDOS; TELOS by William Forsythe. He has collaborated recently with the musician Pierre Bastien, the Silent Poets, the artist Chiho Aoshima, the architects Seijima and Nishizawa, and the image makers Warren Du Preez and Nick Thornton-Jones. Starting from the storytelling of Davi Kopenawa and animal drawings by Joseca Yanomami and the youngsters in Watorik, Naoki Takizawa has created Mirekop, an installation evoking the choreography of images of the animal ancestors from the time of the origins and the plants of the forestspirit-images that have come down to dance on the great mirrors, summoned by the shamans.
Mirekop [Shamanic Mirrors], 2003 Mirrors, aluminium, steel, video projection (DVD) made with Yanomami drawings by Joseca Yanomami and the young people from Watorik 7.5 x 8.5 m Video made by tienne Mineur Installation design by Daniel Adric
Commissioned by the Fondation Cartier pour lart contemporain, Paris Installation produced with the support of

Naoki Takizawa

Adriana Varejo
Born in 1964 in Rio de Janeiro. Lives in Rio de Janeiro.

The works that Adriana Varejo has been making for some ten years now, at the intersection of painting and sculpture, have exceptional visual power. The hybridising, syncretic art of his canvases owes a great deal to memories of Brazils colonial history, invoking as they do both the miracle of transsubstantiation and cannibalism, as freely interpreted from 17th-century prints. History, culture, geography, the dismembering of bodies and dismantling of referencesthe vocabulary of the early works has become much sparer in the later pieces. During her sojourn in Watorik, Adriana Varejo engaged in a dialogue with the Yanomami based around her work on the dislocation of the body and of landscapes. The shamans in the village commented at length on his images in relation to their own cosmological references, notably the symbolic dismembering/inversion of the future shamans body during his initiation, but also, more generally, with regard to

16 Yanomami, Spirit of the Forest The Artists and the Works

(Adriana Varejo continued)

the cannibal theme that informs their theory of supernatural aggression (witchcraft, aggressive shamanism, evil spirits).
Pssaros da Amaznia [Birds of Amazonia], 2003 Hand-painted ceramic tiles, 5 x 4 m Collaboration: Beatriz Sauer Paisagem canibal [Cannibal Landscape], 2003 Oil on wood and epoxy, 170 x 220 cm Cadernos de Viagem: Connaissance par Corps, [Travel Notebooks: Knowledge by the Body], 2003 Oil on linen, 270 x 165 cm Cadernos de Viagem: Ykoana [Travel Notebooks: Ykoana], 2003 Oil on linen, 270 x 165 cm
Courtesy Galeria Fortes Vilaa, So Paulo, Victoria Miro Gallery, London and Lehmann Maupin, New York

Adriana Varejo

Em segredo [In Secret], 2003 Oil on linen and resin, 270 x 165 cm Collection of the artist

Stephen Vitiello
Born in 1964 in New York. Lives in New York.

An electronic musician and creator of sounds, Stephen Vitiello constructs works out of the noises that he records in his surroundings. He retranscribes and deterritorialises these in such a way as to transform our sensorial apprehension of the world. He was worked regularly on experimental installations with video artists such as Tony Oursler and Nam June Paik. Using recordings made during his sojourn at Watorik, he has worked out a sound piece made up of voices from the forest, a polyphony which is like a call whose multiple registersstirrings, breathing, quiveringare interpreted by the Yanomami voice in a kind of counterpoint, in accordance with the codes and mythological narratives and symbols of everyday life. The title of the acoustic environment that he has created for the exhibition, He, refers to this cultural appropriation of forest sounds and to the interpretation of the calls of certain birds and insects, which the Yanomami see as signs or presages (announcing the presence of animals or fruit, the imminent arrival of visitors or enemies, the closeness of a change of season, etc.). The exhibition also includes Watorik, a walk in the Yanomami sound environment captured with great depth and precision using binaural microphones.
He, 2003 DVD Audio (5.1 mix) Duration: 45 mins Voices: Lourival Watorikthri and Davi Kopenawa

17 Yanomami, Spirit of the Forest The Artists and the Works

(Stephen Vitiello continued)

Watorik, January 2003 (binaural recordings) 1- Long walk: from the village to the river and back, 15 mins 55 2- Davi, Bruce and an angry parrot, 7 mins 56 3- Heri: womens chorus at night, 6 mins 17 4- Morning walk with rain, 13 mins 10 5- A shaman at 5 am, 5 mins 15

Volkmar Ziegler
Born in 1944 in Karsdorf. Lives in Berlin.

The filmmaker and photographer Volkmar Ziegler started working with the Yanomami in 1981. Three years later, he made the film Yanomami de la rivire de miel (Yanomami of the Honey River). Between December 1986 and August 1987 he spent seven months with the Yanomami of Surucucus and learnt their language. During this time he witnessed the development of the Calha Norte project, a plan for the Brazilian army to occupy the high plateau of Surucucus, near the Venezuelan border. In his film La Maison et la Fort (1994), Ziegler gave the Yanomami a chance to express themselves directly about the intrusion of western society. This film, the culmination of five years of work, represents the first time the most isolated Yanomami of Brazil were able to express their feelings about the events of their recent history, from the arrival of the missionaries and then the soldiers to the influx of the gold diggers, while at the same time reaffirming the mythological and cosmological foundations of their society.
La Maison et la Fort [Home and Forest], 1994 16 mm film transferred onto DVD Duration: 2 x 56 mins Directing, script/camera, editing: Volkmar Ziegler Sound: Pierrette Birraux, Volkmar Ziegler Original version: French/Yanomami (subtitles in French, translated by Ivanildo Wawanawtheri, Jacinto Mahekototeri, Bruce Albert and Catherine Als)

Volkmar Ziegler

18 Yanomami, Spirit of the Forest The Artists and the Works

The Exhibition
Director of the Fondation Cartier pour lart contemporain: Herv Chands Exhibition conceived by Bruce Albert and Herv Chands Curators in charge of the exhibition: Hlne Kelmachter with Leanne Sacramone and Vanessa Critchell; intern: Frdrique Foull Exhibition produced with the support of Exhibition designers: Stphane Maupin and Nicolas Hugon Technical coordinator: Frdrique Mehdi Video engineer: Romain Augros Sound engineers: Sbastien Cannas, Maxime Munoz This exhibition is presented in collaboration with Survival International, a worldwide organization supporting tribal peoples, which stands for their right to decide their own future and helps them protect their lives, lands and human rights. The organization was set up in the United Kingdom in 1969 in response to concern at the grave situation of the Brazilian Indians. The French section was founded in 1978. Survival International played a key role in ensuring the international impact to the CCPYs 14-year campaign for legal recognition of the territorial rights of the Yanomami in Brazil (1978-1992), and it continues to actively defend Yanomami territorial, cultural and civil rights in that country.

The Catalogue
Graphic design: Larry Kazal, Paris Publications: Dorothe Charles assisted by Sophie Perceval ; interns: Vanessa Bellemou and Ccile Branche Proof reading: Franoise Buisson Given the importance of the way images manifest themselves in Yanomami shamanism, the exhibition catalogue Yanomami, lesprit de la fort is a highly visual publication. Archive photographs, geographical maps and artworks relate the unique experience of the artists welcomed to Watorik and the recent history of the Yanomami people since their encounter with white men. At the heart of this book, hidden correspondences between contemporary art and mythical thought affirm the power of the dreamed, conscious or narrated image. Both an art book and a scientific tool, this catalogue is entirely dedicated to Yanomami thought. The catalogue also includes Davi Kopenawas Les anctres animaux (The Animal Ancestors), a tale transcribed from the Yanomami by Bruce Albert. This is the first Yanomami shamanic story ever published in France and has been made possible through the long-term collaboration of Davi Kopenawa and Bruce Albert. French version hardback Fondation Cartier pour lart contemporain, Paris/Actes Sud, Arles 22 x 28 cm, 208 pages, 341 color and black and white reproductions Authors: Bruce Albert, Davi Kopenawa Publication: May 13, 2003 Price: 38

19 Yanomami, Spirit of the Forest Press Information: Linda Chenit assisted by Nathalie Desvaux tel 33 1 42 18 56 77 / 56 65 fax 33 1 42 18 56 52 e-mail lchenit@fondation.cartier.fr on-line images / fondation.cartier.fr

Nomadic Nights
In conjunction with the exhibition Yanomami, Spirit of the Forest, Nomadic Nights present events related to the performing arts.

Programme MayJuly 2003

Saturday May 17 at 6 pm and Sunday May 18 at 8 pm: Sarah Chase, Private Rooms performances in apartment (danse)* Advanced sale of tickets at the Fondation Cartier. Information: tel. 33 1 42 18 56 76 Thursday May 22 at 8.30 pm: Sarah Chase, Private Rooms scene version (dance)* Thursday June 5 at 8.30 pm: Edit Kaldor, Or Press Escape (performance)* Thursday June 12 at 8.30 pm: Odile Darbelley and Michel Jacquelin, Tout doit disparatre, vernissage (installation-performance) Thursday June 19 at 8.30 pm: Themselves {Doseone & Jel} (concert) Thursday June 26 at 8.30 pm: Georges Aperghis, 14 Jactations and Tingel Tangel (concert) with Frdric Davrio, Lionel Peintre, Valrie Philippin and Franoise Rivalland Thursday July 3 8.30 pm: Julyen Hamilton and Christian Reiner (improvised dance and music) Thursday July 10 at 8.30 pm: Black Dice (concert) Information and reservations (necessary), every day, except Mondays, from 12 pm to 8 pm. Tel. 33 1 42 18 56 72
*Performed in English

Activities for Children

During the exhibition Yanomami, Spirit of the Forest at the Fondation Cartier pour lart contemporain, activities for younger visitors (6 and upwards) will be organized on Wednesdays at 3 pm: Exhibition visits (Wednesdays May 14 and 21, July 2, 9, 23 and 30, August 6, 13, 20, 27) Bertille Souliers Les belles histoires (Wednesdays May 28, June 11 and 25, July 16, September 3, 10 and 24) Parures de plumes workshop with Lya Garcia (Wednesdays June 4 and September 17) Parures de fleurs et de plumes workshop with Catherine Reisser and Laurence Quentin (Wednesdays June 18 and October 1) Encounter with Raymond Depardon and Clmence Ren-Bazin (Wednesday October 8) On Wednesday May 14 at 3 pm, young visitors are invited to a special encounter with shaman Davi Kopenawa, Drio, Joseca and anthropologist Bruce Albert. Information and reservations: Vania Merhar tel. 33 1 42 18 56 67 vmerhar@fondation.cartier.fr

20 Yanomami, Spirit of the Forest Press Information: Linda Chenit assisted by Nathalie Desvaux tel 33 1 42 18 56 77 / 56 65 fax 33 1 42 18 56 52 e-mail lchenit@fondation.cartier.fr on-line images / fondation.cartier.fr

Upcoming Exhibitions
Jean-Michel Othoniel, Crystal Palace (sculpture) Daido Moriyama (photographs) October 31, 2003January 4, 2004 Press opening on Thursday October 30, 2003

Jean-Michel Othoniel, Crystal Palace

Crystal Palace, the exhibition by French artist Jean-Michel Othoniel has been designed specifically with Jean Nouvels glass building in mind. Banners of pearls and pendeloques of iridescent glass, veils embroidered with gold sequins, a sublime blown-glass four-poster bed, coloured lanterns radiant with delicate light, a fountain of pleasure and tears, a curtain of pearls spreading out like a landscape have been all conceived for the exhibition. All of the works play on light ant its reflections and invite the visitors to wander through the show which seamlessly extends to the garden. For Crystal Palace, Jean-Michel Othoniel collaborated with the most gifted craftsmen, from the master glassmakers of Murano and the CIRVA to the embroiderers of Rochefort.

Daido Moriyama
Organized in direct collaboration with the artist, the exhibition on Daido Moriyama will bring together approximately 200 photographs, including many of the artists most significant black and white images from series such as Platform (1977), Light and Shadow (1981-1982), Hysteric (1992), Polaroid Polaroid (1997) and Shinjuku (2002). Born in 1938 in Ikeda City near Osaka, Daido Moriyama was first interested in painting before turning to photography at the age of twenty-one. In 1961, he moved to Tokyo with the eminent photographer Eiko Hosei, one of the founders of the Vivo agency. Influenced by the work of William Klein and Robert Frank, he began making gritty street photographs with a hand-held camera, offering a dark view of contemporary social conditions. His photographs reveal a society deeply affected by the pervasive American military presence and explore the relation of that society to American influences, such as Beat generation poets and pop artists. Daido Moriyama has enjoyed a major retrospective at the San Francisco Museum of Modern Art. The exhibition at the Fondation Cartier will be the first major retrospective of the artists work in Europe.

21 Yanomami, Spirit of the Forest Press Information: Linda Chenit assisted by Nathalie Desvaux tel 33 1 42 18 56 77 / 56 65 fax 33 1 42 18 56 52 e-mail lchenit@fondation.cartier.fr on-line images / fondation.cartier.fr

Exhibitions Abroad
Cultural Centre of the Fundaci la Caixa, Palma de Majorca, Spain October 7, 2003January 11, 2004 Press opening on Sunday October 7, 2003 Pierrick Sorin, Plaa Weyler, 3/07001 Palma de Majorca
In March 2001 Pierrick Sorin moved his flat to the ground floor of the Fondation Cartier. There were video installations in each roomthe hall, the kitchen, the living room, the bedroom, the bathroom, the studio. Before this new move to Palma de Majorca, the artist presented his work in Barcelona (Av. Marqus de Comillas, 6-8/ 08038 Barcelona) and Bilbao (Recalde 30/48009 Bilbao).

Bildmuseet, Ume, Sweden June 1October 26, 2003 Press opening on Friday May 30, 2003 Overview: Highlights from the Collection of the Fondation Cartier pour lart contemporain
This selection of works from the Fondation Cartier Collection on show at the Bildmuseet includes paintings, sculptures, photographs and video installations by an international array of contemporary artists whose work has never been shown in Scandinavia before: Beaurin-Domercq, Eliane Duarte, Hubert Duprat, William Eggleston, Udomsak Krisanamis, Alessandro Mendini, Vik Muniz, J. D. Okhai Ojeikere, Pierrick Sorin, Beat Streuli, Adriana Varejo, Bill Viola and Leslie Wayne. The Bildmuseet, which is the museum of Ume University, has recently shown works from the South African National Gallery, the Stedelijk Museum and the Karin and Lars Hall Collection. Its programme includes large-scale monograph and group exhibitions.

22 Yanomami, Spirit of the Forest

Practical Information
The Fondation Cartier pour lart contemporain is open to the public every day except Mondays, from 12 am to 8 pm. Entrance fee: 5 , reduced rate: 3.50 Bookshop The bookshop of the Fondation Cartier pour lart contemporain is open at the same hours as for the exhibitions Nomadic Nights Thursday evenings at 8.30 pm (except special evenings). Information and reservations (necessary), every day, except Mondays, from 12 pm to 8 pm. Tel 33 1 42 18 56 72 Entrance fee: 5 , reduced rate: 3.50 Group visits By appointment only Guided visits daily through the exhibitions Activities for children Visits round the exhibitions every Wednesday Meetings with the artists and other activities Lecture Series/Introduction to contemporary art Mondays and Tuesdays, from 7.30 pm to 9 pm By registration only Documentation available on request The Circle of Friends Membership of The Circle of Friends of the Fondation Cartier pour lart contemporain offers many advantages (free entry to the exhibitions, invitations to private views, 10% discount in the bookshop, 30% discount on lecture courses) For information on all these activities, Vania Merhar: tel 33 1 42 18 56 67 e-mail vmerhar@fondation.cartier.fr

261, boulevard Raspail 75014 Paris tel 33 1 42 18 56 50 fax 33 1 42 18 56 52 fondation.cartier.fr

The exhibition Yanomami, Spirit of the forest is organized with the support of the Fondation Cartier pour lart contemporain under the aegis of the Fondation de France and with the sponsorship of Cartier.

23 Yanomami, Spirit of the Forest Press Information: Linda Chenit assisted by Nathalie Desvaux tel 33 1 42 18 56 77 / 56 65 fax 33 1 42 18 56 52 e-mail lchenit@fondation.cartier.fr on-line images / fondation.cartier.fr