O verdadeiro custo das jóias de luxo: os cartéis lavam dinheiro com drogas vendendo ouro para Cartier e outros no setor de luxo, e os Yanomami e outros povos indígenas estão pagando o preço – atualizado!

75% do ouro extraído da terra a cada ano é usado para jóias, relógios e outros símbolos de status desnecessários vendidos pela indústria de luxo. O frenesi de possuir e usar ornamentos de ouro incita a destruição do meio ambiente e a degradação das vidas indígenas dos garimpeiros, além do crime organizado, não apenas na Amazônia, mas em todo o mundo.

Barbara Crane Navarro

O ouro ilegal é a maneira mais lucrativa para cartéis de drogas, grupos terroristas, traficantes de armas, a máfia, banqueiros inescrupulosos e comerciantes e corretores internacionais de ouro para lavar dinheiro porque, diferentemente da cocaína, o ouro “legal” se parece exatamente com o ouro ilegal. Os consumidores participam do topo da cadeia de lavagem de dinheiro quando compram relógios e jóias de ouro em butiques de luxo, contribuindo sem saber para o desmatamento, poluição e violência; ecocídio e etnocídio em territórios indígenas.

montaje fotográfico: serie “Pas de Cartier” – Barbara Crane Navarro – con publicidad de Cartier y foto de João Laet

Desde 2007, o ouro ilegal substituiu as drogas como principal fonte de renda para o crime organizado, e a crescente demanda por ouro gerou um comércio ilícito e violento mais difícil de detectar do que as drogas. Esses atores brutais se infiltraram em todos os aspectos da…

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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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