Le vrai coût des bijoux de luxe: les cartels blanchissent l’argent de la drogue en vendant l’or de sang à Cartier et à d’autres dans l’industrie du luxe et les Yanomami et autres peuples indigènes en paient le prix – actualisé!

75% de l’or extrait de la terre chaque année est utilisé pour les bijoux, les montres et autres symboles de statut inutiles vendus par l’industrie du luxe. La frénésie de posséder et de porter des ornements en or incite à la destruction de l’environnement et à la dégradation des vies indigènes par les mineurs d’or ainsi que le crime organisé, non seulement en Amazonie, mais dans le monde entier.

Barbara Crane Navarro

L’or illégal est le moyen le plus lucratif pour les cartels de la drogue, les groupes terroristes, les trafiquants d’armes, la mafia, les banquiers sans scrupules ainsi que les négociants et les courtiers internationaux en or de blanchir de l’argent parce que, contrairement à la cocaïne, l’or qui est “légal” ressemble exactement à l’or illégal. Les consommateurs participent au sommet de la chaîne du blanchiment d’argent lorsqu’ils achètent des montres et des bijoux en or dans des boutiques de luxe, contribuant sans le savoir à la déforestation, à la pollution et à la violence; l’ecocide et l’ethnocide dans les territoires autochtones.

montage photo: série “Pas de Cartier” – Barbara Crane Navarro – avec publicité pour Cartier et photo João Laet

Depuis 2007, l’or illégal a remplacé la drogue comme principale source de revenu du crime organisé et la demande croissante d’or a généré un commerce illicite et violent plus…

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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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