FLASHES OF POLITICAL-POETIC LUCIDITY:
Claudia Andujar and the Maxita Yano Gallery
photography; decoloniality; Claudia Andujar; Yanomami People; decolonial museology; Maxita Yano Gallery.
This dissertation investigates photography as a battlefield, where colonial narratives of invisibility are confronted by the decolonial forces of reexistence of indigenous peoples. The central objective is to analyze the photographic work of Claudia Andujar and the underlying curatorial process, questioning how the transition from Claudia Andujar Gallery to the Maxita Yano Gallery at the Inhotim Institute consolidates as a material practice of decolonial museology and historical repair. The study is anchored in decolonial theory, using the contributions of Aníbal Quijano, Nelson Maldonado-Torres and Walter Mignolo, and integrates the original thinking of Davi Kopenawa, Kaká Werá Jecupé and Ailton Krenak. Qualitative analysis demonstrates that Andujar's artivism generated a “decolonial artifact,” as her photographic collection, disconnected from mere aesthetic representation, intrinsically served the battle for the demarcation and defense of the Yanomami people. The concept of “flashes of political-poetic lucidity” is mobilized to qualify these images and actions as acts of resistance that create fissures of understanding and visibility in the darkness of colonial power. The dissertation concludes that the reformulation of the gallery, by transferring the curatorial and discursive protagonism to indigenous artists and leaders, not only honors the trajectory of these photographs but also establishes an institutional subversion that effectively dismantles the colonialities of knowledge and being, affirming the central place of indigenous peoples in the production and curation of art.