Un message urgent pour Davi Kopenawa, Claudia Andujar et Survival:

L’épisode Netflix de “Dirty Money” – “L’or sale” – un documentaire sur l’industrie de l’or utilisée pour le blanchiment d’argent par les cartels de la drogue, mentionne trois fois Cartier. Derrière les énormes quantités d’or qui se déplacent dans le monde se cache un réseau enchevêtré de blanchiment d’argent, d’extraction illégale et de destruction de l’environnement !!!

Barbara Crane Navarro

Lorsque le cacique Raoni Metuktire était à Paris, il a demandé aux Européens d’arrêter de manger de la viande afin de protéger les peuples du Xingu de la destruction de leur territoire par l’agro-industrie. Dans la même ligne de penser, vous tous, parlant au nom des Yanomami, devrait demander aux Européens d’arrêter d’acheter, de vendre et de porter de l’or afin de protéger le territoire Yanomami.

Cartier, la société de montres et de bijoux en or de luxe vous invitant à venir à Paris pour parler des Yanomami, gagne de l’argent grâce à la sympathie des Français pour les Yanomami et vous utilise comme cadeaux promotionnels pour blanchir leur implication dans l’industrie extractiviste de l’or. L’exposition “La lutte Yanomami” est présentée par l’industrie même qui cause la destruction de la forêt et des vies des Yanomami. Cartier exploite plus de 300 magasins dans 125 pays et en 2018 a été…

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About Barbara Crane Navarro - Rainforest Art Project

I'm a French artist living near Paris. From 1968 to 1973 I studied at Rhode Island School of Design in Providence, Rhode Island, then at the San Francisco Art Institute in San Francisco, California, for my BFA. My work for many decades has been informed and inspired by time spent with indigenous communities. Various study trips devoted to the exploration of techniques and natural pigments took me originally to the Dogon of Mali, West Africa, and subsequently to Yanomami communities in Venezuela and Brazil. Over many years, during the winters, I studied the techniques of traditional Bogolan painting. Hand woven fabric is dyed with boiled bark from the Wolo tree or crushed leaves from other trees, then painted with mud from the Niger river which oxidizes in contact with the dye. Through the Dogon and the Yanomami, my interest in the multiplicity of techniques and supports for aesthetic expression influenced my artistic practice. The voyages to the Amazon Rainforest have informed several series of paintings created while living among the Yanomami. The support used is roughly woven canvas prepared with acrylic medium then textured with a mixture of sand from the river bank and lava. This supple canvas is then rolled and transported on expeditions into the forest. They are then painted using a mixture of acrylic colors and Achiote and Genipap, the vegetal pigments used by the Yanomami for their ritual body paintings and on practical and shamanic implements. My concern for the ongoing devastation of the Amazon Rainforest has inspired my films and installation projects. Since 2005, I've created a perfomance and film project - Fire Sculpture - to bring urgent attention to Rainforest issues. To protest against the continuing destruction, I've publicly set fire to my totemic sculptures. These burning sculptures symbolize the degradation of nature and the annihilation of indigenous cultures that depend on the forest for their survival.
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