EXHIBITION “Pas de Cartier !” – Yanomami and Trees – Gold Mining and Gold Luxury items / COVID-19 propagated by gold miners… September 3 through October 4 2020

As a speaker at the inauguration of “The Yanomami Struggle” said: “This is the ultimate episode of the conquest of the Americas. The accumulation of gold permitted Europe to develop. We must mobilize to avoid the disappearance of indigenous peoples.” – and the disappearance of the forests essential to life!

Barbara Crane Navarro

”Pas de Cartier !”
photo montage
Barbara Crane Navarro

How does Cartier reconcile their gold extraction business model that destroys trees and degrades indigenous lives with their art exhibitions “We the Trees” and “The Yanomami Struggle” ?

“Conquest of Nature”
assemblage – 100×150
Catherine-Claire Grenier

Articles published during the Fondation Cartier’s exhibition “The Yanomami Struggle” (January 30 to September 13, 2020) ignore the fact that the Cartier Foundation “supports” a people, the Yanomami, who are victim of an activity, dirty gold extraction, which precisely enriches the Cartier luxury jewelry company!

The same can be asked of the Cartier Foundation’s precedent exhibition “We the Trees” (July 12 through 10 November 2019). Which trees, exactly, were they referring to when it’s so obviously necessary to uproot the trees and poison the rivers and soil in order to extract gold for Cartier watches, jewelry and accessories? Tens of thousands of rainforest trees…

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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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1 Response to EXHIBITION “Pas de Cartier !” – Yanomami and Trees – Gold Mining and Gold Luxury items / COVID-19 propagated by gold miners… September 3 through October 4 2020

  1. Pingback: EXHIBITION “Pas de Cartier !” – Yanomami and Trees – Gold Mining and Gold Luxury items / COVID-19 propagated by gold miners… September 3 through October 4 2020 — Barbara Crane Navarro | Ned Hamson's Second Line View of the News

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