unaulutu: Pebbles in the Sand

A rare artist’s book from East Germany

Artists’ book standing upright, opened to a print featuring white mythical creatures against a dark background; opposite of the print is the title page unaulutu Steinchen im Sand

Unaulutu, 1986, Frieder Heinze and Olaf Wegewitz. Paper, reed grass, various printing techniques, 19.5in., width: 70in. © Frieder Heinze and Olaf Wegewitz. Getty Research Institute, 2998-635. Photo © J. Paul Getty Trust

By Isotta Poggi, Ava Hoeller-Lacerda

Aug 15, 2024

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The Getty houses an impressive collection of artists’ books that blur the line between traditional books and contemporary works of art.

One of the most special is unaulutu. It embodies the limitless possibilities of what a book can be: a portable, sensory exhibition capable of overcoming boundaries of space and time.

The title is a word from the Karaja, a central-Brazilian Indigenous tribe. It translates to “pebbles in the sand,” a phrase meant to inspire the reader to look closely at the world and recognize its beauty.

The Discovery of a Sketchbook

unaulutu was created in 1985 by two artists from the German Democratic Republic—Olaf Wegewitz and Frieder Heinze—in Leipzig, the epicenter of the country’s book art.

The creation of unaulutu began when Wegewitz discovered a sketchbook in the archives of the Leipzig Museum of Ethnography. It contained the fieldwork of German anthropologist Fritz Krause from his work amongst the Karaja.

It also contained drawings made by the Karaja tribespeople that demonstrated their deep connection to their environment and craftsmanship. Wegewitz and Heinze became interested in the collaborative process Krause used during his fieldwork.

When Karaja tribespeople were asked to draw specific objects into Krause’s notebook, these patterns were immediately understood by other Karaja community members, as they related to basket-weaving designs that carried specific meanings. For example, the diagonal zig-zag lines in the left image below represent ‘bat’, the animal.

Sepia-tone reproduction of notebook page with red and black sketches of animals, masks and basket weaving patterns; opposite page is an abstract print with geometric patterns and various black shapes

[left plate] Karaja-Dorf 13 / Karaja Village 13, 1908-1909, Karaja. Offset print, 16 3/4 x 10 1/2 in. Getty Research Institute, 2998-635. Photo © J. Paul Getty Trust [right plate] 15/12/84, 1984, Olaf Wegewitz. Etching, 13 1/2 x 9 3/4 in. © Olaf Wegewitz. Getty Research Institute, 2998-635. Photo © J. Paul Getty Trust

In unaulutu, Wegewitz and Heinze juxtaposed sketches from the Karaja notebook with their own original works. The result is a dynamic dialogue across time and space, between two East German artists in the mid-1980s and Karaja tribespeople in the early 1900s.

Above, Wegewitz incorporated geometric patterns into his work, much like the basket-weaving patterns of the Karaja. The original title of the plate was the Karaja word koju, meaning "magic doctor." Wegewitz later replaced many of the Karaja titles of his plates with the date of their creation.

The use of full, unedited pages from the sketchbook, which include notes from the anthropologist, demonstrates how the artists contextualized the history of the sketches—adding another layer of complexity to unaulutu.

Print featuring mythical creatures covering the entirety of the left side; the right side is a continuation of the print featuring abstractions and geometric patterns

Labyrinth and Labyrinth, zerstört / Labyrinth, and Labyrinth destroyed, 1983, Frieder Heinze and Olaf Wegewitz. Hand colored etching, 19 x 28 in. © Frieder Heinze and Olaf Wegewitz. Getty Research Institute, 2998-635. Photo © J. Paul Getty Trust

Wegewitz and Heinze addressed the impact of colonization on Indigenous communities, and explored these themes through their artwork and a selection of pre-colonial stories, poems, and prayers.

The above work, Labyrinth and Labyrinth, zerstӧrt, is a collaboration of the two artists. The left side, by Heinze, depicts a peaceful scene of fantastical creatures; whereas the work on the right by Wegewitz alludes to something darker, the destruction of a labyrinth space, incorporating Karaja weaving patterns on the upper right side.

Black ink print on tissue paper, depicting a mythical creature standing on top of a crouching figure; opposite page features the Incan prayer “Gebet des Manco Cápac” in black ink on white paper

[left plate] Aggression, 1984, Frieder Heinze. Woodcut print, 14 x 9 1/2 in. © Frieder Heinze. Getty Research Institute, 2998-635. Photo © J. Paul Getty Trust [right plate] Ketschua-Lyrik / Quechua Poem. 14 x 9 1/2 in. Getty Research Institute, 2998-635. Photo © J. Paul Getty Trust

unaulutu also features a selection of Incan prayers, like the Prayer of Manco Cápac, which honors the legendary founder of the Inca Empire.

Karaja Inspiration: Connection to the Natural Environment

The Karaja also inspired the artists’ art-making process, which required them to physically interact with their environment to create both the book’s tactile elements as well as its intricate construction.

Blueprint of the construction of the artists’ book explaining the various ways in which it can be taken apart

Blätterhilfe/Buchkonstruktion / Book Construction, 1984, Frieder Heinze and Olaf Wegewitz. Zincograph, 18 3/4 x 28 1/4 in. © Frieder Heinze and Olaf Wegewitz. Getty Research Institute, 2998-635. Photo © J. Paul Getty Trust

unaulutu was made to be touched and taken apart, allowing readers to curate their own experience.

The work below features haptic and playful elements. The artists were inspired by the Karaja basket-weaving traditions when they created the woven palm-leaf braid (on the bottom left page), using palm leaves sourced from the Leipzig botanical garden. They also created a bullroarer: a spinning sound-making device often found in Latin America, made of natural elements such as birch tree bark and bamboo.

Various interactive elements made of natural materials, such as braided palm leaves, a bullroarer made of bamboo, twine and birch tree bark, and a collage of a heart made of thin paper and twine

Kulturvergleich I / Cultural Comparison I, 1984, Frieder Heinze and Olaf Wegewitz. Braided palm leaves, bullroarer, birch tree bark, paper collage, 19 x 28 in. © Frieder Heinze and Olaf Wegewitz. Getty Research Institute, 2998-635. Photo © J. Paul Getty Trust

Besides its tactile dimensions, the artists have presented special moments of their cultural encounters in beautiful, colorful prints.

A series of four prints: the top print features a central shape in black recalling the silhouette of a bat or an owl on gray-bluish background; the center left features an abstract print composed of v

(top) 24/2/84, 1984, Olaf Wegewitz. Getty Research Institute, 2998-635. © Olaf Wegewitz. Photo J. Paul Getty Trust (center left) Kopf I / Head I, 1984, Olaf Wegewitz. Getty Research Institute, 2998-635. © Olaf Wegewitz. Photo J. Paul Getty Trust (center right) Begegnung / Encounter, 1983, Frieder Heinze. Getty Research Institute, 2998-635. © Frieder Heinze. Photo J. Paul Getty Trust (bottom) Flucht / Fleeing, 1984, Frieder Heinze. Getty Research Institute, 2998-635. © Frieder Heinze. Photo J. Paul Getty Trust

The left print features white geometric shapes against a backdrop of colorful geometric elements and the right print features three mythical creatures positioned side-by-side against a black backgroun

(left) Wetterleuchten / Silent Lightning, 1983, Frieder Heinze. Getty Research Institute, 2998-635. © Frieder Heinze. Photo J. Paul Getty Trust (right) Stille / Silence, 1984, Frieder Heinze. Getty Research Institute, 2998-635. © Frieder Heinze. Photo J. Paul Getty Trust

The two prints above by Heinze address the perception of silence in unaulutu. The title of the print on the left is Wetterleuchten, meaning silent lightning, and the print on the right is called Stille, meaning silence.

Sound is an important theme in unaulutu. To further experience this artist’s book, find a silent space for yourself, and listen to the many sounds of unaulutu’s covers, papers, materials, and textures in this ASMR video:

To explore unaulutu, flip through some pages of the book. For more art by East German artists, including other artists’ books, check out the Getty’s research project On the Eve of Revolution: The East German Artist in the 1980’s: On the Eve of Revolution: The East German Artist in the 1980s | Getty Projects

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