Nous mourons tous pour le luxe (littéralement)! ? Partie 2 – Les origines de Covid-19 en Chine

Barbara Crane Navarro

La pandémie de Covid-19 nous fait-elle tous devenir des «Fashion Victims», me suis-je demandé après avoir lu «Les élevages de visons sont-ils la source de Covid en Europe?» fin décembre. Un article de Yann Faure et Yves Sciama pour la revue d’écologie en ligne Reporterre a poursuivi l’enquête, interrogeant cette fois des sources en Chine.

La recherche de la cause de ce virus globe-trotter qui se transmette entre espèces se concentre sur les fermes à fourrure intensives chinoises et l’industrie frivole et barbare de la fourrure dans son ensemble en tant que coupable potentiel…

Voici leur article: «Les élevages de visons en Chine à l’origine du Covid-19? Les indices s’accumulent

Et si la pandémie était née dans des élevages intensifs d’animaux à fourrure en Chine? Le «chainon manquant» entre la chauve-souris et l’humain pourrait bien être le vison — le chien viverrin est également suspecté. Ceci expliquerait la volonté tenace…

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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 Nous mourons tous pour le luxe (littéralement)! ? Partie 2 – Les origines de Covid-19 en Chine

  1. Pingback: Nous mourons tous pour le luxe (littéralement)! ? Partie 2 – Les origines de Covid-19 en Chine — Barbara Crane Navarro – Tiny Life

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