Un mensaje urgente para Davi Kopenawa, Claudia Andujar y Survival:

El episodio de Netflix de “Dirty Money” – “Oro sucio” un documental sobre la industria del oro utilizado para el lavado de dinero por parte de los carteles de la droga, menciona a Cartier tres veces. ¡Detrás de las enormes cantidades de oro que se mueven en el mundo se esconde una red enredada de lavado de dinero, extracción ilegal y destrucción del medio ambiente !!!

Barbara Crane Navarro

Cuando el cacique Raoni Metuktire estaba en París, pidió a los europeos que dejaran de comer carne para proteger a la gente de Xingu de la destrucción de su territorio por la agroindustria. En la misma línea de pensamiento, todos ustedes, hablando en nombre de los Yanomami, deberían pedir a los europeos que dejen de comprar, vender y usar oro para proteger el territorio Yanomami.

Cartier, la compañía de relojes y joyas de lujo que lo invita a venir a París para hablar sobre los Yanomami, gana dinero gracias a la simpatía de los franceses por los Yanomami y lo utiliza como regalos promocionales para lavar su participación en la industria minera del oro. La exposición “La lucha Yanomami” es presentada por la industria que está causando la destrucción del bosque y la vida de los Yanomami. Cartier opera más de 300 tiendas en 125 países y en 2018 fue…

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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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