L’arte è solo un altro oggetto di lusso? No Cartier!

Gli articoli pubblicati durante la mostra della Fondazione Cartier “La lotta
Yanomami” non hanno tenuto conto del fatto che la Fondazione Cartier “sostiene” un popolo, gli Yanomami, vittime di un’attività, l’estrazione dell’oro di sangue sporco, che arricchisce il business di Cartier con gioielli di lusso!

Barbara Crane Navarro

La Fondazione Cartier presenta la mostra “La lotta degli Yanomami” mentre gli Yanomami stanno attualmente lottando contro l’industria dell’oro che sta distruggendo il loro territorio.

Invece di tenere discorsi all’interno durante l’apertura dell’arte il 30 gennaio 2019, i rappresentanti di Survival e io citiamo: “Stiamo combattendo per la sopravvivenza delle popolazioni indigene. Evitiamo taglialegna, minatori d’oro e aziende le compagnie petrolifere distruggono la terra, la vita e il futuro delle popolazioni indigene nel mondo” avrebbero dovuto essere al di fuori della Fondazione Cartier per protestare con striscioni come “Stop al riciclaggio ecologico di oro e diamanti di sangue!” e “Pas de Cartier!”…

La precedente mostra a Cartier era “Noi gli alberi” e mi chiedo a quali alberi si riferissero esattamente quando è necessario sradicare gli alberi e avvelenare i fiumi e il suolo per estrarre oro per orologi e gioielli Cartier.

Nessuno dei suoi ornamenti d’oro di lusso…

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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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