ACOSTA, Ignacio

Ignacio Acosta (born in Valparaíso, Chile, 1976) is an artist based in London working with photography. Acosta explores the relationship between mobility and geography, constructing an imaginary landscape that express the impact of economic imperialism.

Acosta is particularly interested in creating frameworks to reveal invisible network between sites geographically disparate but historically connected by flows and matters. Through the production of images, diverse forms of mapping and writing, he attempts to make visible the geo-political forces that shape them.

His current practice-based Ph.D titled ‘Copper Geographies’ explores links between distressed ecologies of resource exploitation in the Atacama Desert, Chile and global centres of consumption and trade in Britain.

FIELDWORK Q&A – July 2015

How is fieldwork part of your practice?
The notion of fieldwork is deeply rooted to who I am and where I come from. I grew up in the Chile, a strip of land where the Andes Cordillera crashes with the Pacific Ocean. Chile is part of the ‘Pacific Ring of Fire’, here the Pacific plates dive below the continent, it is heated, melted and chemically differentiated. On its way up to the crust of the earth, liquid magma comes into contact with water, producing a zone of high temperature, prone to volcanoes and earthquakes. This geological phenomena makes minerals come closer to the crust of the earth, reason why Chile holds large mineral deposits, amongst them, the world’s largest reserves of copper. As such, geological forces are constantly re-shaping the extraordinarily diverse landscape, which ranges from the Atacama Desert, one of the driest places on earth, all the way through to the cold forests and icebergs of the south, near Antarctica.

My most vivid memories of childhood are connected to field-explorations through the extreme landscapes of Chile. My parents moved to Punta Arenas, in the Strait of Magellan. Luckily, they have always been very keen explorers, and we used to go on long road-trips though the open spaces of Patagonia, a place that has filled the imagination of many artists and writers, such as Bruce Chatwin, as the ‘farthest place on earth’. Then, as a teenager we moved to the other end, the costal city of Iquique, in the northern territories of the Atacama Desert, another sparsely populated region, most famous for its rich mineral deposits, and place of a series of political and environmental disputes over the last centuries. At the time, I begun to travel through the vast landscape of the Atacama and soon my explorations extended to Argentina, Perú and Bolivia. Initially, I started to use photography as a way of recording my expeditions and secondly as means of understanding the territory.

Today, the landscape Chile is a major source of work, which I explore through fieldwork. The notion of travel and discovering continues to be a fundamental part of my practice. The difference between those early exploration days and today is that I strongly engage with the biographies of place, their social, spatial and historical contexts. Additionally, I am interested in looking for connection between the remote geographies of Latin America with Britain and other European countries.

How would you describe your fieldwork activity?
Firstly, the sites where my fieldwork is conducted are chosen carefully for their historical and geographical significance. I am interested in sites and location that have been impacted by capitalist ventures; such as extraction and manufacture processes or banking and trade activities.

Secondly, I explore the politics of landscape through thorough archival research and literature review. I engage with the biographies of place, their historical, social and spatial context. These bodies of knowledge help me to understand the geo-political forces that shape the landscape.

Thirdly, there is my journey to the sites of the fieldwork. Most of the time, this involves different modes of transport, such as planes, trains, cars and walking. Although my journey remains hidden to the viewer, it is a crucial part of the work.

Finally, I contact local people, such as activists and historians who help me to connect my research with local knowledge. Listening to others memories of place is very important. These exchanges and dialogues with locals are very important and shape the way of perceiving a place and therefore, the way it is represented.

While in conducing fieldwork, walking around the site in order to understand spatial configuration is crucial. My work responds to each site and working intuitively is very important, for which, I try to arrive without pre-conceived ideas of how to make the photographs. Some sites require extensive walking while others need a more detailed examination. I use analogue large format cameras and medium format cameras. The use of a tripod allows me to slow down and carefully consider every the aspect of the frame. The post-production of the images as well as the thinking, editing and distribution of them is a key part of the work.

How are you currently sharing your fieldwork?
Through conference talks, residencies, radical walking tours, exhibitions and publications. The main space for sharing and discussing fieldwork is through the research project I am part of: Traces of Nitrate: Mining, History and Photography between Britain and Chile, an AHRC funded project based at the University of Brighton, which was initiated by the photographer Xavier Ribas alongside the Art and Design historian Louise Purbrick and myself. I am also part of ‘PH: Photography Research Network’, a collective of scholars working with photography who meet once at month at The Photographers’ Gallery to discuss work in progress. I recently presented my work-in-progress ‘Intuitive Projects’ in UNDERWAY, a monthly event that brings together artist and curators for a series of informal discussions, performances and screenings, initiated by my dear friend, the artist Corinne Silva at the Archive and Research Centre (PARC), LCC. I am very exited about TSOEG as a new really interesting platform to exchange ideas with other artists and curators working on landscape through fieldwork.

Copper Geographies
Sulphuric Acid Route