Summary

Much of Juan Downey’s pioneering video work critiques the purported objectivity of ethnographic observation and documentation. To produce The Circle of Fires, the artist lived with his wife and stepdaughter among the Yanomami indigenous group in the Venezuelan Amazon for seven months; inviting the Yanomami to both make and watch videos of themselves, Downey inverted the conventional roles of observer and observed. Likely seeing themselves in this medium for the first time, the subjects are presented with a new vision of themselves through the screen’s alternate reality.