Louise M. Hisayasu
Louise M. Hisayasu (1991, Sāo Paulo) is an interdisciplinary researcher based in Berlin, Germany, interested in discourses around decolonial theory, marginal narratives and memory. Her project, “Arquivo Tadaima” makes space for Japanese-Brazilian narratives, by investigating the (trans)formation of cultures through a critical reflection on migration and identity. She has recently completed her postgraduate degree in the fields of media studies and art & technology from the Erasmus Mundus – Media Arts Cultures joint masters degree.
Resistance and protest are at the core of being an indigenous person, especially nowadays in Brazil.
Contribution focuses on the series Travelling Through the Territory by Brazilian photographer, Gabriel Uchida, in collaboration with the Uru-eu-wau-wau. In the interview, his experience living and collaborating with the Native peoples of the Amazon, the political climate in Brazil and the unsettling feeling towards the destruction of the Amazon are discussed. Brazil’s historical narrative has largely situated itself in contraposition to Indigenous narratives, which are often marginalized and submerged to a time immemorial. Illegal land invasions, death threats and injustice are on the rise, heightened by the damaging rhetoric of President Bolsonaro. Today, the Indigenous population is inseparable from resistance and protest, photography lends itself as a tool for self-defense and preservation. Besides cameras, the Internet is largely accessible, compact (smartphones) and provides direct contact with global audiences, contributing to the circulation of information and unbiased narratives.
Reality is becoming increasingly mediated by autonomous entities, whose systems locate themselves within a blackbox.
A critical gaze and an investigative guise are necessary in a time where the uneven boundaries between “the real” and the phantasmagoric are blurred into our conceptions of reality. We are surrounded by interfaces, screens, virtual spaces and infinite networks. Technologic advancements departing from the photographic medium have the potential to change our relations to our surroundings and our conceptions of ourselves through images. We are no longer merely receivers of images, we are active producers of them; In the 1980’s, philosopher Vilém Flusser and filmmaker Harun Farocki were already engaged in questions aimed at understanding our relationship to images and our responsibility towards the production images. Both urged their readers and spectators to engage in dialogue, to understand the phenomenon of photography and its direct correlations to mass communication structures.