Claudia Andujar Horizontal 2 from Marcados series (1981-1983) Courtesy Galeria Vermelho

Room 11 in Artist and Society

Portraits and Community

1/27
Art in Portraits and Community

Adam’s Apple

© Paz Errazuriz

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Paz Errazuriz
Adam’s Apple
1983, printed 2008

These intimate portraits show cross-dresser and transgender sex workers going about their everyday lives in Santiago, Chile. Living in the community for four years, Errazuriz was able to document it from within. She recalled, ‘I found a family that I wish had always been my own’. She took photographs in their homes, on the streets in their neighbourhood, and with friends and family. Under the military dictatorship (1973–1990), gender nonconforming people risked persecution. For nearly two decades the political situation prevented the images from being circulated. Only the underground and artistic communities were aware of their existence.

Gallery label, December 2019

Adam’s Apple

© Paz Errazuriz

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Paz Errazuriz
Adam’s Apple
1983, printed 2008

These intimate portraits show cross-dresser and transgender sex workers going about their everyday lives in Santiago, Chile. Living in the community for four years, Errazuriz was able to document it from within. She recalled, ‘I found a family that I wish had always been my own’. She took photographs in their homes, on the streets in their neighbourhood, and with friends and family. Under the military dictatorship (1973–1990), gender nonconforming people risked persecution. For nearly two decades the political situation prevented the images from being circulated. Only the underground and artistic communities were aware of their existence.

Gallery label, December 2019

Sathyarani - Anti Dowry Demonstration, Delhi

© Sheba Chhachhi

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Sheba Chhachhi
Sathyarani - Anti Dowry Demonstration, Delhi
1980, printed 2014

This series includes both staged and documentary images. Chhachhi selected them from a body of work that records her long-term engagement with the feminist movement in India. Chhachhi’s images were used in posters, pamphlets and street theatre campaigns to end violence against women. In 1990 she reshot portraits of fellow activists taken years earlier. She encouraged the sitters to pose with objects of personal value. Chhachhi calls this ‘an invitation to perform the self’. She saw this collaboration as a way of redressing ‘the balance of power’ between artist and sitter.

Gallery label, December 2019

Adam’s Apple

© Paz Errazuriz

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Paz Errazuriz
Adam’s Apple
1983, printed 2008

These intimate portraits show cross-dresser and transgender sex workers going about their everyday lives in Santiago, Chile. Living in the community for four years, Errazuriz was able to document it from within. She recalled, ‘I found a family that I wish had always been my own’. She took photographs in their homes, on the streets in their neighbourhood, and with friends and family. Under the military dictatorship (1973–1990), gender nonconforming people risked persecution. For nearly two decades the political situation prevented the images from being circulated. Only the underground and artistic communities were aware of their existence.

Gallery label, December 2019

Adam’s Apple

© Paz Errazuriz

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Paz Errazuriz
Adam’s Apple
1983, printed 2008

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Claudia Andujar
Horizontal 2
1981–3

In 1971 Andujar began to photograph Yanomami communities in the Amazon region of Brazil. Mining and road-building had begun to encroach on Yanomami land. This led to outbreaks of diseases such as measles and malaria. Andujar started a vaccination programme. Yanomami culture restricts the uses of a person’s name. In identity photographs for the vaccination programme, individuals are identified by number instead. Presenting these images within an artwork, Andujar examines the boundaries between art and activism, and the complexities of cultural negotiation. The work raises questions about the relationship between an image and the purpose of its creation.

Gallery label, December 2019

Shahjahan Apa - Anti Dowry Public Testimonies, India Gate, Delhi

© Sheba Chhachhi

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Sheba Chhachhi
Shahjahan Apa - Anti Dowry Public Testimonies, India Gate, Delhi
1986, printed 2014

This series includes both staged and documentary images. Chhachhi selected them from a body of work that records her long-term engagement with the feminist movement in India. Chhachhi’s images were used in posters, pamphlets and street theatre campaigns to end violence against women. In 1990 she reshot portraits of fellow activists taken years earlier. She encouraged the sitters to pose with objects of personal value. Chhachhi calls this ‘an invitation to perform the self’. She saw this collaboration as a way of redressing ‘the balance of power’ between artist and sitter.

Gallery label, December 2019

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Susan Meiselas
20 dirhams or 1 photo?
2014

Meiselas made this work during a two-week residency in Morocco. She set up a pop-up photographic studio in a spice market in Marrakech. Working with Moroccan photographers Imane Barakat and Laila Hida, she invited women who worked there to have their portrait taken. Each participant was given a choice: she could either receive the print of her portrait or a payment of 20 dirhams (approximately £1.60). By accepting the payment, a participant gave the artist permission to keep and exhibit the print. Through this process Meiselas raised questions about identify and the ownership of one’s own image.

Gallery label, December 2019

Adam’s Apple

© Paz Errazuriz

License this image

Paz Errazuriz
Adam’s Apple
1983, printed 2008

These intimate portraits show cross-dresser and transgender sex workers going about their everyday lives in Santiago, Chile. Living in the community for four years, Errazuriz was able to document it from within. She recalled, ‘I found a family that I wish had always been my own’. She took photographs in their homes, on the streets in their neighbourhood, and with friends and family. Under the military dictatorship (1973–1990), gender nonconforming people risked persecution. For nearly two decades the political situation prevented the images from being circulated. Only the underground and artistic communities were aware of their existence.

Gallery label, December 2019

Adam’s Apple

© Paz Errazuriz

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Paz Errazuriz
Adam’s Apple
1983, printed 2008

Urvashi - Street play, ‘Om Swaha’, Mehrauli, Delhi

© Sheba Chhachhi

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Sheba Chhachhi
Urvashi - Street play, ‘Om Swaha’, Mehrauli, Delhi
1982, printed 2014

This series includes both staged and documentary images. Chhachhi selected them from a body of work that records her long-term engagement with the feminist movement in India. Chhachhi’s images were used in posters, pamphlets and street theatre campaigns to end violence against women. In 1990 she reshot portraits of fellow activists taken years earlier. She encouraged the sitters to pose with objects of personal value. Chhachhi calls this ‘an invitation to perform the self’. She saw this collaboration as a way of redressing ‘the balance of power’ between artist and sitter.

Gallery label, December 2019

Radha - Staged Portrait, Anandlok, Delhi

© Sheba Chhachhi

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Sheba Chhachhi
Radha - Staged Portrait, Anandlok, Delhi
1991, printed 2014

This series includes both staged and documentary images. Chhachhi selected them from a body of work that records her long-term engagement with the feminist movement in India. Chhachhi’s images were used in posters, pamphlets and street theatre campaigns to end violence against women. In 1990 she reshot portraits of fellow activists taken years earlier. She encouraged the sitters to pose with objects of personal value. Chhachhi calls this ‘an invitation to perform the self’. She saw this collaboration as a way of redressing ‘the balance of power’ between artist and sitter.

Gallery label, December 2019

Devikripa - Staged Portrait, Seemapuri, Delhi

© Sheba Chhachhi

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Sheba Chhachhi
Devikripa - Staged Portrait, Seemapuri, Delhi
1990, printed 2014

This series includes both staged and documentary images. Chhachhi selected them from a body of work that records her long-term engagement with the feminist movement in India. Chhachhi’s images were used in posters, pamphlets and street theatre campaigns to end violence against women. In 1990 she reshot portraits of fellow activists taken years earlier. She encouraged the sitters to pose with objects of personal value. Chhachhi calls this ‘an invitation to perform the self’. She saw this collaboration as a way of redressing ‘the balance of power’ between artist and sitter.

Gallery label, December 2019

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Claudia Andujar
Vertical 8
1981–3

Vertical 8 is a sequence of three vertical format black and white portrait photographs showing two men and a woman that are displayed side by side in a row. This grouping of images derives from a series of eighty-two photographs titled Marcados (meaning ‘Marked’ or ‘Branded’) taken by the photographer Claudia Andujar in 1981 and 1983. All of the images depict members of communities of Yanomami Indians from the Brazilian Amazon region. The photographs were taken as identification images during the first vaccination campaigns targeting Yanomami communities who had come into contact with outsiders – and were thus vulnerable to diseases such as measles and malaria – largely through activities such as mining and road-building which had begun to encroach on their territories from the late 1960s. Andujar had first become involved with and begun to photograph the Yanomami in the early 1970s. She had also established the Comissão pela Criação do Parque Yanomami (Commission for the Creation of a Yanomami Park, or CCPY). It was under the aegis of this organisation that she led the first vaccination teams, composed of two doctors and herself, in 1981 and again in 1983. Images of the Indians wearing numbered labels round their necks were taken for identification as Yanomami personal names are subject to strict taboos of secrecy. The portraits were set against different backgrounds, in this case almost black, to identify different communal groupings.

Devikripa - Sikh widow, Trilokpuri

© Sheba Chhachhi

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Sheba Chhachhi
Devikripa - Sikh widow, Trilokpuri
1987, printed 2014

This series includes both staged and documentary images. Chhachhi selected them from a body of work that records her long-term engagement with the feminist movement in India. Chhachhi’s images were used in posters, pamphlets and street theatre campaigns to end violence against women. In 1990 she reshot portraits of fellow activists taken years earlier. She encouraged the sitters to pose with objects of personal value. Chhachhi calls this ‘an invitation to perform the self’. She saw this collaboration as a way of redressing ‘the balance of power’ between artist and sitter.

Gallery label, December 2019

Urvashi - Anti Dowry sit-in, 1982

© reserved

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Sheba Chhachhi
Urvashi - Anti Dowry sit-in, 1982
1990–1991

This series includes both staged and documentary images. Chhachhi selected them from a body of work that records her long-term engagement with the feminist movement in India. Chhachhi’s images were used in posters, pamphlets and street theatre campaigns to end violence against women. In 1990 she reshot portraits of fellow activists taken years earlier. She encouraged the sitters to pose with objects of personal value. Chhachhi calls this ‘an invitation to perform the self’. She saw this collaboration as a way of redressing ‘the balance of power’ between artist and sitter.

Gallery label, December 2019

Urvashi - Staged Portrait, Gulmohar Park, Delhi

© Sheba Chhachhi

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Sheba Chhachhi
Urvashi - Staged Portrait, Gulmohar Park, Delhi
1990, printed 2014

This series includes both staged and documentary images. Chhachhi selected them from a body of work that records her long-term engagement with the feminist movement in India. Chhachhi’s images were used in posters, pamphlets and street theatre campaigns to end violence against women. In 1990 she reshot portraits of fellow activists taken years earlier. She encouraged the sitters to pose with objects of personal value. Chhachhi calls this ‘an invitation to perform the self’. She saw this collaboration as a way of redressing ‘the balance of power’ between artist and sitter.

Gallery label, December 2019

Shahjahan Apa - Staged Portrait, Nangloi, Delhi

© Sheba Chhachhi

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Sheba Chhachhi
Shahjahan Apa - Staged Portrait, Nangloi, Delhi
1991, printed 2014

This series includes both staged and documentary images. Chhachhi selected them from a body of work that records her long-term engagement with the feminist movement in India. Chhachhi’s images were used in posters, pamphlets and street theatre campaigns to end violence against women. In 1990 she reshot portraits of fellow activists taken years earlier. She encouraged the sitters to pose with objects of personal value. Chhachhi calls this ‘an invitation to perform the self’. She saw this collaboration as a way of redressing ‘the balance of power’ between artist and sitter.

Gallery label, December 2019

Radha - Staged Portrait Set-up, Anandlok, Delhi

© Sheba Chhachhi

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Sheba Chhachhi
Radha - Staged Portrait Set-up, Anandlok, Delhi
1991, printed 2014

This series includes both staged and documentary images. Chhachhi selected them from a body of work that records her long-term engagement with the feminist movement in India. Chhachhi’s images were used in posters, pamphlets and street theatre campaigns to end violence against women. In 1990 she reshot portraits of fellow activists taken years earlier. She encouraged the sitters to pose with objects of personal value. Chhachhi calls this ‘an invitation to perform the self’. She saw this collaboration as a way of redressing ‘the balance of power’ between artist and sitter.

Gallery label, December 2019

Shardabehn - Staged Portrait, DTC bus, Terminus, Delhi

© Sheba Chhachhi

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Sheba Chhachhi
Shardabehn - Staged Portrait, DTC bus, Terminus, Delhi
1990, printed 2014

This series includes both staged and documentary images. Chhachhi selected them from a body of work that records her long-term engagement with the feminist movement in India. Chhachhi’s images were used in posters, pamphlets and street theatre campaigns to end violence against women. In 1990 she reshot portraits of fellow activists taken years earlier. She encouraged the sitters to pose with objects of personal value. Chhachhi calls this ‘an invitation to perform the self’. She saw this collaboration as a way of redressing ‘the balance of power’ between artist and sitter.

Gallery label, December 2019

Shahjahan Apa - Staged Portrait set-up, Nangloi, Delhi

© Sheba Chhachhi

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Sheba Chhachhi
Shahjahan Apa - Staged Portrait set-up, Nangloi, Delhi
1991, printed 2014

This series includes both staged and documentary images. Chhachhi selected them from a body of work that records her long-term engagement with the feminist movement in India. Chhachhi’s images were used in posters, pamphlets and street theatre campaigns to end violence against women. In 1990 she reshot portraits of fellow activists taken years earlier. She encouraged the sitters to pose with objects of personal value. Chhachhi calls this ‘an invitation to perform the self’. She saw this collaboration as a way of redressing ‘the balance of power’ between artist and sitter.

Gallery label, December 2019

Shanti - Staged Portrait, Dakshinpuri, Delhi

© Sheba Chhachhi

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Sheba Chhachhi
Shanti - Staged Portrait, Dakshinpuri, Delhi
1991, printed 2014

This series includes both staged and documentary images. Chhachhi selected them from a body of work that records her long-term engagement with the feminist movement in India. Chhachhi’s images were used in posters, pamphlets and street theatre campaigns to end violence against women. In 1990 she reshot portraits of fellow activists taken years earlier. She encouraged the sitters to pose with objects of personal value. Chhachhi calls this ‘an invitation to perform the self’. She saw this collaboration as a way of redressing ‘the balance of power’ between artist and sitter.

Gallery label, December 2019

Shahjahan Apa - International Women’s Day gathering, Dakshinpuri, Delhi

© Sheba Chhachhi

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Sheba Chhachhi
Shahjahan Apa - International Women’s Day gathering, Dakshinpuri, Delhi
1980, printed 2014

This series includes both staged and documentary images. Chhachhi selected them from a body of work that records her long-term engagement with the feminist movement in India. Chhachhi’s images were used in posters, pamphlets and street theatre campaigns to end violence against women. In 1990 she reshot portraits of fellow activists taken years earlier. She encouraged the sitters to pose with objects of personal value. Chhachhi calls this ‘an invitation to perform the self’. She saw this collaboration as a way of redressing ‘the balance of power’ between artist and sitter.

Gallery label, December 2019

Shardabehn - Public testimony, Police Station, Delhi

© Sheba Chhachhi

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Sheba Chhachhi
Shardabehn - Public testimony, Police Station, Delhi
1988, printed 2014

This series includes both staged and documentary images. Chhachhi selected them from a body of work that records her long-term engagement with the feminist movement in India. Chhachhi’s images were used in posters, pamphlets and street theatre campaigns to end violence against women. In 1990 she reshot portraits of fellow activists taken years earlier. She encouraged the sitters to pose with objects of personal value. Chhachhi calls this ‘an invitation to perform the self’. She saw this collaboration as a way of redressing ‘the balance of power’ between artist and sitter.

Gallery label, December 2019

Sathyarani - Staged Portrait, Punjabi Bagh residence, Delhi

© Sheba Chhachhi

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Sheba Chhachhi
Sathyarani - Staged Portrait, Punjabi Bagh residence, Delhi
1990, printed 2014

This series includes both staged and documentary images. Chhachhi selected them from a body of work that records her long-term engagement with the feminist movement in India. Chhachhi’s images were used in posters, pamphlets and street theatre campaigns to end violence against women. In 1990 she reshot portraits of fellow activists taken years earlier. She encouraged the sitters to pose with objects of personal value. Chhachhi calls this ‘an invitation to perform the self’. She saw this collaboration as a way of redressing ‘the balance of power’ between artist and sitter.

Gallery label, December 2019

Devikripa - Sit-in, Family Planning Centre, Nandnagari, Delhi

© Sheba Chhachhi

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Sheba Chhachhi
Devikripa - Sit-in, Family Planning Centre, Nandnagari, Delhi
1988, printed 2014

This series includes both staged and documentary images. Chhachhi selected them from a body of work that records her long-term engagement with the feminist movement in India. Chhachhi’s images were used in posters, pamphlets and street theatre campaigns to end violence against women. In 1990 she reshot portraits of fellow activists taken years earlier. She encouraged the sitters to pose with objects of personal value. Chhachhi calls this ‘an invitation to perform the self’. She saw this collaboration as a way of redressing ‘the balance of power’ between artist and sitter.

Gallery label, December 2019

Shanti - With children, Dakshinpuri, Delhi

© Sheba Chhachhi

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Sheba Chhachhi
Shanti - With children, Dakshinpuri, Delhi
1989, printed 2014

This series includes both staged and documentary images. Chhachhi selected them from a body of work that records her long-term engagement with the feminist movement in India. Chhachhi’s images were used in posters, pamphlets and street theatre campaigns to end violence against women. In 1990 she reshot portraits of fellow activists taken years earlier. She encouraged the sitters to pose with objects of personal value. Chhachhi calls this ‘an invitation to perform the self’. She saw this collaboration as a way of redressing ‘the balance of power’ between artist and sitter.

Gallery label, December 2019

Art in this room

Adam’s Apple
Paz Errazuriz Adam’s Apple 1983, printed 2008
Adam’s Apple
Paz Errazuriz Adam’s Apple 1983, printed 2008
Sathyarani - Anti Dowry Demonstration, Delhi
Sheba Chhachhi Sathyarani - Anti Dowry Demonstration, Delhi 1980, printed 2014
Adam’s Apple
Paz Errazuriz Adam’s Apple 1983, printed 2008
Adam’s Apple
Paz Errazuriz Adam’s Apple 1983, printed 2008

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Claudia Andujar Horizontal 2 1981–3

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You've viewed 27/27 artworks

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