Photo: Cassander Eeftinck Schattenkerk





Photo: Henk Nieman

2012 - 2013

project (Indianenverhalen) and installation, solo presentation São Paulo, Brazil
and parking garages Bonnefantenmuseum, Maastricht and Museumplein, Amsterdam

The installation consists of a car cover, Jaquar S-type, dog coats, two dogs, two performers and a publication


Ever since her first visit to Brazil in 2009, Mariëlle Videler is fascinated by the life and culture of the indigenous people from Brazil. With the history of European colonialism and the destructive contemporary global agricultural network in mind, however, she decided against visiting them. Nevertheless, she engaged in the Indianenverhalen (Indian Stories) research project in an attempt to get as close as possible to their culture through and with artists and experts from São Paulo, a modern metropolis of concrete, brick and stone. With the help of anthropology and sociology Mariëlle Videler created the installation and a publication: Onça PIntada [Jaguar].

After an inspiring visit to the Pantanal region and intense conversations with experts, she focused on the relationship between humans and animals, especially the hunt. Two words became key: Ifutisu and transformation. Ifutisu; a lack of public aggressiveness and the practice of generosity, is the way the Kalapalo people try to live. It involves transformation from human to animal and the other way around and sometimes via a spirit. This phenomenon is frequently practiced when preparing for a hunt, for example by painting the body. The jaguar figures prominently in their mythology and cosmology. Some first people call white people jaguars, because they live a solitary life.

The installation made during a work period in urban São Paulo consists of a car, covered with a car cover, and dogs wearing jackets. A composition of drawings is printed on the fabric, with seeds of fruits and vegetables she ate there sewn onto it. The drawings were inspired by the drawing methods of, among others, the Kayapo people. With a white piece of paper in front of her she realized that they do not draw on flat surfaces, but onto their bodies. The drawings Videler made are based on various fences and walls that she saw in São Paulo. The composition is graphic, in black and white, with orange as a reference to the urucum used by the people to colour and protect their bodies.

The small art publication is a compilation of text by curator and art historian Thais Rivitti (BR) and mages of my research drawn by two artists (Bruno Kurru and Renan Cruz), plus images from the work process and the installation.
Photo: Henk Nieman