テート・ギャラリーさんのインスタグラム写真 - (テート・ギャラリーInstagram)「On #InternationalDayoftheWorldsIndigenousPeople we’re continuing our takeover with Tate’s adjunct curator of First Nations and Indigenous Art, Pablo José Ramírez, who is showing us a series of works that engage with Indigenous communities around the world.⁣ ⁣ ‘The relationship between photography and Indigenous communities has historically been problematic, as it has been used for colonial anthropological practices. Andujar's work may not escape some of those tensions, but it represents one of the rare cases of photographic work that engages intimately with the communities it portrays. The artist committed to a longstanding relationship with the Yanomami community, earning their respect and trust. Born in 1931 in Switzerland to a Swiss mother and Hungarian Jewish father, Andujar fled Europe in 1946 after having lost her father in a concentration camp. Vertical 8 is a sequence of three black and white portrait photographs showing two Yanomami men and a woman. These images are from an 82 photograph series titled Marcados (meaning ‘Marked’ or ‘Branded’), taken in 1981 and 1983, and were part of a vaccination campaign in the Yanomami territory. At that time, the Yanomami were battling diseases such as measles and malaria, brought mostly by workers from mining companies invading their land. It is difficult not to see the parallels with the tragedy of the Yanomami people nowadays, as they face Covid-19 on top of the already precarious health infrastructure in Brazil. In the photographs we see the Yanomami people holding a batch number used to organise the campaign. Decades after, Andujar brings these archival images as exhibition material, acknowledging the ambiguity and tensions of using those numbers as a form of classification, which, according to the artist, resembles her own memory as the daughter of a Hungarian Jew who perished in a concentration camp.’ - @pablojoseramirez⁣ ⁣ Claudia Andujar, Vertical 8 1981-3, on free display at Tate Modern.⁣」8月10日 0時52分