Un messaggio urgente per Davi Kopenawa, Claudia Andujar e Survival:

L’episodio di “Dirty Money” di Netflix – “Oro sporco” un documentario sull’industria dell’oro utilizzata per il riciclaggio di denaro sporco dai cartelli della droga, menziona Cartier tre volte. Dietro le enormi quantità di oro che si muovono nel mondo si nasconde una rete aggrovigliata di riciclaggio di denaro, estrazione illegale e distruzione dell’ambiente !!!

Barbara Crane Navarro

Quando il cacique Raoni Metuktire era a Parigi, chiese agli europei di smettere di mangiare carne per proteggere il popolo di Xingu dalla distruzione del loro territorio da parte dell’agroindustria. Nella stessa linea di pensiero, tutti voi, parlando a nome degli Yanomami, dovreste chiedere agli europei di smettere di comprare, vendere e trasportare oro per proteggere il territorio Yanomami.

Cartier, la società di orologi e gioielli di lusso che ti invita a venire a Parigi per parlare dello Yanomami, guadagna soldi grazie alla simpatia dei francesi per lo Yanomami e ti usa come regali promozionali riciclare il loro coinvolgimento nel settore minerario dell’oro. La mostra “La lotta Yanomami” è presentata dall’industria che sta causando la distruzione della foresta e la vita degli Yanomami. Cartier gestisce oltre 300 negozi in 125 paesi e nel 2018 è stato classificato da Forbes come il 59 ° marchio più ricco e prezioso al mondo.

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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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