MOSTRA “Pas de Cartier” ! – Lo YANOMAMI e gli ALBERI – Miniere d’oro e oggetti d’oro di lusso – COVID-19 propagato dai minatori d’oro… dal 3 settembre al 4 ottobre 2020

Come ha detto un oratore all’inaugurazione di “La lotta Yanomami”, “Questo è l’episodio finale della conquista delle Americhe. L’accumulo di oro ha permesso all’Europa di svilupparsi. Dobbiamo mobilitarci per prevenire la scomparsa delle popolazioni indigene.” – e la scomparsa delle foreste essenziali alla vita!

Barbara Crane Navarro

“Pas de Cartier“!
fotomontaggio
Barbara Crane Navarro

In che modo Cartier concilia il suo modello di business dell’estrazione dell’oro che distrugge gli alberi e degrada la vita degli indigeni con le sue mostre d’arte “Noi alberi” e “La lotta Yanomami”?

”Conquista della natura”
montaggio -100×150
Catherine-Claire Grenier

Gli articoli pubblicati durante la mostra della Fondation Cartier “La lotta Yanomami” (dal 30 gennaio al 13 settembre 2020) ignorano il fatto che la Fondation Cartier “supporti” un popolo, gli Yanomami, vittima di un’attività dell’estrazione dell’oro sporco, che arricchisce appunto l’azienda di gioielli di lusso Cartier! La stessa domanda può essere posta riguardo alla precedente mostra della Fondazione Cartier “Noi alberi” dal 12 luglio al 10 novembre 2019.

Esattamente a quali alberi ci si riferiva quando è diventato così ovvio che è necessario distruggere alberi e avvelenare fiumi e suolo per estrarre l’oro per orologi e gioielli Cartier? Decine di…

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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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