Jordão, a remote municipality in the western Brazilian state of Acre, is a world away from the international art scene. Reaching this town of fewer than 10,000 people requires either a nearly two-hour flight from the state capital, Rio Branco, or a three-day journey by boat. Yet, This proves from this isolated corner of the Amazon that a collective of Indigenous artists, known as MAHKU (Movement of the Artists Huni Kuin), is gaining global recognition, challenging perceptions of Indigenous art and advocating for the preservation of their culture, and land.
Acelino Huni Kuin, one of MAHKU’s founding members, lives with his family in a small wooden house in Jordão. His journey to international acclaim began two years ago with a large-scale mural adorning the façade of a building at the Venice Biennial, a vibrant depiction of the Amazon’s flora and fauna. This marked a pivotal moment for MAHKU, transforming them from a local collective into a globally recognized artistic force.
MAHKU, currently comprised of eight members, primarily from the same family, represents the Huni Kuin people, native to this region of Brazil. Their art is not merely aesthetic expression. it’s a powerful means of sharing their Indigenous culture with the world and asserting their identity within Brazil itself.
Acelino’s life embodies this duality. He frequently travels between Jordão and Chico Curumin, his village located three hours away by fast boat. The income generated from his art has allowed him to purchase a home, a testament to MAHKU’s broader goal: to leverage art sales to acquire land and secure their future.
“This canvas means we are calling for strength,” Acelino explained, gesturing to a painting filled with vibrant depictions of fish, birds, and Indigenous people, interwoven with a serpentine form. The artwork is deeply symbolic, reflecting the spiritual and cultural beliefs of the Huni Kuin people.
Art Made with Ayahuasca
Central to MAHKU’s artistic process is the use of ayahuasca, a traditional Amazonian brew with hallucinogenic properties. The artists create their drawings and paintings after consuming ayahuasca, which they also use for rituals and healing. The experience allows them to connect with their ancestral spirits and translate their visions onto canvas.
Ibã Sales Huni Kuin, Acelino’s uncle and the founder of MAHKU, elaborated on the significance of this practice. “My father was a storyteller and musician, and I fell in love with the songs. I’m still enchanted with them today,” he said. “We don’t have writing, just memory. The pandemic took so many of us, and we have been impacted since the first rubber cycle.”
Ibã’s reference to the rubber boom of the late 19th century highlights a long history of exploitation and loss for Indigenous communities in the Amazon. The demand for rubber led to widespread violence and disease, decimating many Indigenous populations.
Today, Indigenous people constitute less than 1% of Brazil’s population, numbering around 1.7 million people. While their land has been demarcated since 1996, legal ownership remains with the federal government, leaving their rights vulnerable.
The art of MAHKU serves as a powerful reminder of this history and a call for greater recognition and protection of Indigenous rights.
YouTube Videos and International Recognition
MAHKU’s work first gained international attention through a series of YouTube videos created by anthropologist Amilton de Mattos. He began documenting Ibã’s songs and drawings in the late 2000s, recognizing the profound cultural significance of his work.
“They were little videos, Ibã would sing and explain the song showing his drawings,” Mattos recalled. These videos led to a drawing workshop and an exhibition in 2011, which caught the attention of the Cartier Foundation in Paris.
The foundation purchased around 15 drawings for less than $5,000, a figure that pales in comparison to the $10,000 to $30,000 that MAHKU’s paintings now command. This initial recognition proved transformative, allowing the group to formalize their collective in 2013.
Marc Pottier, an independent art curator, discovered MAHKU’s work at the Cartier Foundation and was immediately captivated. In 2014, he commissioned them to create a mural in São Paulo, a sprawling depiction of snakes winding through the walls of an old hospital.
Pottier believes that despite their success, Indigenous culture remains undervalued in Brazil. He also cautioned about the potential pitfalls of the art market, warning of greedy collectors and a lack of transparency.
From Museums to Cattle Country
MAHKU’s work is now prominently displayed in museums across Brazil and internationally, including the Museum of Art of São Paulo, which owns around 70 of their pieces. However, their recognition within their own state of Acre remains limited.
“There’s a denial of Indigenous culture as the basis for local traditions,” explained Fabiana Chaves, a culture producer at the Federal University of Acre. “there’s a lot of appreciation for country culture from the cattle industry that was brought here.”
The rise of cattle ranching in Acre, fueled by government policies during the military dictatorship in the 1970s, has become the state’s largest industry, often overshadowing and marginalizing Indigenous cultures.
Art as Advocacy
A new generation of Huni Kuin artists, including Ibã’s daughters, Rita and Yaka Huni Kuin, are increasingly involved in MAHKU, viewing their art as a form of advocacy.
“My voice is not only to speak about my culture, but it’s a form of protest, because we Indigenous people are seen as invisible,” said Rita, who is also a leader for Indigenous women.
“We want our work to get as far as possible, to bring respect for Indigenous people, so that People can hold on to our native land with our art,” Yaka added.
Ibã shares their sentiment, currently seeking a larger gallery to represent MAHKU internationally. Despite their success, the artists face ongoing financial challenges and a need to sustain their creative practice.
MAHKU is scheduled to create a mural at a museum in Denver in November, marking their first exhibition in the United States. Ibã hopes this opportunity will help to convey the deeper meaning behind their art, emphasizing that it is more than just aesthetic expression—it is a vital expression of their culture, history, and struggle for survival.
Support for this project was provided by a PSC-CUNY Award, jointly funded by The Professional Staff Congress and The City University of New York.
