l’art subversionné: Pas de Cartier !

Les articles publiés lors de l’exposition de la Fondation Cartier “La Lutte Yanomami” n’ont pas tenu compte du fait que la Fondation Cartier “soutient” un peuple, les Yanomami, victime d’une activité, l’extraction d’or de sang sale, qui enrichit précisément l’entreprise Cartier de bijoux de luxe!

Barbara Crane Navarro

La Fondation Cartier présente l’exposition “La lutte des Yanomami” tandis que les Yanomami luttent actuellement contre l’industrie de l’or qui détruit leur territoire!

Plutôt que de prononcé des discours à l’intérieur pendant le vernissage le 30 Janvier 2019, les représentants de Survival et je cite: “Nous luttons pour la survie des peuples autochtones. Nous empêchons les bûcherons, les chercheurs d’or et les compagnies pétrolières de détruire la terre, la vie et l’avenir des peuples autochtones à travers le monde” aurait dû être à l’extérieur de la Fondation Cartier pour protester avec des pancartes telles que “Arrêtez l’éco-blanchiment d’or et de diamants de sang !” et “Pas de Cartier!”…

Leur dernière exposition était “Nous les Arbres” et je me demande de quels arbres exactement ils faisait référence quand il est nécessaire de déraciner les arbres et d’empoisonner les rivières et le sol afin d’extraire de l’or pour les montres et…

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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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