« l’Amour des Marchandises » la forêt éviscérée par les Mineurs d’Or qui prive la vie des peuples autochtones de leur noyau essentiel !

Barbara Crane Navarro

« Ce sont les blancs qui sont gourmands et accumulent leur marchandise! Leur pensée y est tellement attachée que s’ils l’endommagent alors qu’il est encore brillant, ils deviennent tellement enragés qu’ils pleurent! Ils en sont vraiment amoureux!
Alors ils rêvent de leur voiture, de leur maison, de leur argent et de tous leurs autres biens – de ceux qu’ils possèdent déjà et de ceux qu’ils désirent encore et encore. Il en est ainsi. La marchandise les rend euphoriques et obscurcit tout le reste de leur esprit.
Si les Blancs pouvaient entendre d’autres mots que les mots de marchandise, ils ne voudraient pas manger notre forêt avec une telle voracité. »

– Porte-parole et chaman Yanomami Davi Kopenawa


Dauphin d’eau douce sautant, rio Orinoco, Amazonas, Venezuela 
Dauphin d’eau douce survolant la rivière – dessin sur papier: Meromi Yanomami

NON à la destruction par l’Arc minier de l’Orénoque par Maduro des terres…

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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 « l’Amour des Marchandises » la forêt éviscérée par les Mineurs d’Or qui prive la vie des peuples autochtones de leur noyau essentiel !

  1. Pingback: « l’Amour des Marchandises » la forêt éviscérée par les Mineurs d’Or qui prive la vie des peuples autochtones de leur noyau essentiel ! — Barbara Crane Navarro – Tiny Life

  2. Pingback:  « l’Amour des Marchandises » la forêt éviscérée par les Mineurs d’Or qui prive la vie des peuples autochtones de leur noyau essentiel ! – “The Love of Goods” the forest eviscerated by the Gold Miners which deprives the life o

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