The Cartier Foundation epitomizes the insidious practice of using an “art” foundation to seduce the public into believing that its merchandise and business model is actually the opposite of its true relationship with nature and indigenous peoples’ interests…

“The Cartier Foundation’s True Relationship with Nature” – photomontage: Barbara Crane Navarro  
photos: Fondation Cartier “We the Trees” exhibition – Luc Boegly / gold mining site – João Laet

Corporations pretending to have “disinterested generosity” while “sponsoring” the very indigenous people & biospheres their business model destroys are dubious…as are the NGOs and others enabling them.

Claudia Andujar, La Lutte Yanomami, 2020, Fondation Cartier, Paris. LUC BOEGLY 2020 (detail)

Cartier is the only luxury goods corporation using the Yanomami as spokesmen (salesmen?) for their gold and diamond trinket commerce.  But you…If you buy gold and diamond jewelry, watches and accessories from Cartier and others in the luxury industry, or gold and diamond merchandise from outlets or discount shops, you are also complicit in the destruction of tropical forests and the degradation of indigenous peoples’ lives. 

Please say NO to gold!

Photo: Gold mining destruction in the Amazon Rainforest (detail) – Edsjio
“The gold miners are destroying the forest” – drawing on paper – Namowë Yanomami

As the Yanomami spokesman Davi Kopenawa says in the chapter “Metal Smoke” of his book “The Falling Sky”:  “It was by becoming spirit … that I learned to know the gold epidemic, which we call oru a xawara. … The xawara epidemic thrives in the places where white people make their merchandise and accumulate it. Its smoke emanates from these goods and from the factories where the minerals from which they are made are cooked. … My father-in-law often tells me: ‘You must tell the white people that! They must know that we are dying one after another because of this evil smoke from the things they tear out of the ground’ This is what I am now trying to explain to those who will listen to my words. Maybe it will make them wiser? But it is true that if they continue to follow this path we will all perish. This already happened to many other people of the forest on this land of Brazil, but this time I think that even the white people will not survive.”

https://barbara-navarro.com/2020/04/24/the-true-cost-of-luxury-jewelry-cartels-launder-drug-money-selling-blood-gold-to-cartier-and-others-in-the-luxury-industry-and-indigenous-people-pay-the-price/

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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3 Responses to The Cartier Foundation epitomizes the insidious practice of using an “art” foundation to seduce the public into believing that its merchandise and business model is actually the opposite of its true relationship with nature and indigenous peoples’ interests…

  1. Pingback: The Cartier Foundation epitomizes the insidious practice of using an « art » foundation to seduce the public into believing that its merchandise and business model is actually the opposite of its true relationship with nature and indigenous peoples’

  2. Pingback: The Cartier Foundation epitomizes the insidious practice of using an “art” foundation to seduce the public into believing that its merchandise and business model is actually the opposite of its true relationship with nature and indigenous peoples’ i

  3. Pingback: Merchandise Love – The Value the white people give the Gold they covet so much | Barbara Crane Navarro

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