El verdadero costo de las joyas de lujo: los carteles lavan dinero de las drogas vendiendo oro en sangre a Cartier y a otros en la industria del lujo, y los Yanomami y otros comunidades indígenas están pagando el precio – actualizado!

El 75% del oro extraído de la tierra cada año se usa para joyas, relojes y otros símbolos de estado innecesarios vendidos por la industria del lujo. El frenesí de poseer y usar adornos de oro incita la destrucción del medio ambiente y la degradación de las vidas indígenas por parte de los mineros de oro, así como el crimen organizado, no solo en la Amazonía, sino en todo el mundo.

Barbara Crane Navarro

El oro ilegal es la forma más lucrativa para que los carteles de la droga, los grupos terroristas, los traficantes de armas, la mafia, los banqueros sin escrúpulos y los comerciantes y corredores internacionales de oro puedan lavar dinero. porque a diferencia de la cocaína, el oro que es “legal” se ve exactamente como el oro ilegal. Los consumidores participan en la parte superior de la cadena de lavado de dinero cuando compran relojes y joyas de oro en boutiques de lujo, contribuyendo sin saberlo a la deforestación, la contaminación y la violencia; ecocidio y etnocidio en territorios indígenas.

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

Desde 2007, el oro ilegal ha reemplazado a las drogas como la principal fuente de ingresos para el crimen organizado, y la creciente demanda de oro ha generado un comercio…

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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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2 Responses to El verdadero costo de las joyas de lujo: los carteles lavan dinero de las drogas vendiendo oro en sangre a Cartier y a otros en la industria del lujo, y los Yanomami y otros comunidades indígenas están pagando el precio – actualizado!

  1. bertri13340 says:

    Très intéressant. Vraiment. Bravo !

    Liked by 1 person

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