Isabel Löfgren 120 Denilson Baniwa, a prominent figure in the movement of Indigenous artists within contemporary Brazilian art, cre- ates a striking civilizational clash between Western and Indig- enous socio-technical imaginaries by re-signifying images and worldviews. In his work “Contatos Imediatos de Terceiro Grau” (“Close Contacts of the Third Kind”) (2021), Baniwa uses a his- torical photograph of the mountainous landscape of Roraima in northernmost Amazon region in Brazil perpetually shrouded in fog, where a traditional maloca (Indigenous dwelling) is ab- ducted by flying saucers – a metaphor for the expropriation of Indigenous ways of life by foreign and violent technologies for- eign to these territories. Baniwa comments, “The Western world produces fictitious alien attacks that destroy peoples and cities because that is what they have been doing over time, and they fear a historical revenge.” Figure 10 – Denilson Baniwa, O arqueiro digital, (“Digital Archer”), 2017, digital collage. Source: Prêmio PIPA, https://www.pipaprize.com/denilson-baniwa/. In the digital collage, “O Arqueiro Digital” (“Digital Ar- cher”) (2017), Baniwa reinterprets Jean-Baptiste Debret’s 1834 engraving “Caboclo” (“Indigenous”) by adding a “WiFi” icon in the form of a bow, poignantly evidencing the civilizational shock. The image encapsulates the concept of a “terrestrial” Internet
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