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Download Portfolio Ignacio Acosta ... Website Traces of Nitrate Installation view Tales from the Crust. Forest of eucalyptus trees planted to absorb contaminated water from Los Pelambres mine. Los Vilos commune, Chile, 2012. Arts Catalyst, London, 2019. I am Chilean-born, London-based artist and in South America and northern Europe. I work in researcher working with photography and film, in and with documentary photography, using new places made vulnerable through the exploitation “seeing machines”, such as drones and video of ecologies by colonial intervention and intensive cameras, alongside the art practice of shooting capitalisation. I work with interconnected analogue film. I create visually complex and research projects that involve extensive fieldwork, aesthetically compelling finished pieces. Yet it is investigative analysis, audio-visual documentation the research practice that underpins my artistic and critical writing on sites and materials of work. Through thorough, investigative and symbolic significance. I focus upon resistance ethical practices, my individual research to extractivist industrial impact on valuable contributes to vibrant collaborations with other natural environments and, through technologies artists and photographers, historians and of seeing, I develop work towards the generation geographers, political activists, scientits and of meaningful visual narratives. My work as an Indigenous Peoples. artist is situated within the urgent need for artistic Collaboration is a particularly important, approaches to address critically the depleted indeed essential, part of his investigation and landscapes created by mining. the representation of sites in which I work. My Over the last ten years, I have devoted to research is distributed through exhibitions, public the understanding of sites and landscapes events, publications and online platforms. It can that, although often neglected, are of global be used as source for education, activism and significance: places of environmental degradation visual culture. Archaeology of Sacrifice 2019 ... Through the discovery of a Celtic sacrificial site Mormont Hill’s excavated objects help Archaeology of Sacrificewas created in at Mormont Hill – a limestone and marl quarry archaeologists fiction a past, though almost collaboration with film editor Lara Garcia Reyne, located in the Swiss canton of Vaud – the two- certainly, the Celts did not intend for these artists Valle Medina and Benjamin Reynolds (Pa. channel video installation with surround sound remains to be uncovered. In archaeology, LaC.E), writer Carlos Fonseca, sound designer design Archaeology of Sacrifice unveils how the formulating past beliefs involves a delicate and composer Udit Duseja, and colourist Paul notion of sacrifice has transitioned from ancient navigation between fiction and reality in which Wills. The film includes archival footage from the sacred rituals to its contemporary meaning within the lines are always blurred; the reconstruction documentary Crépuscule des Celtes (2007) by extractive capitalism. Evidence suggests the Celts will always be a representation. The project builds Stéphane Goël, Climage. It was produced as result living there during the second century BCE were on this grey area in our own moment of current of the Scholarship 2020 of the ZF Kunststiftung, experiencing a moment of crisis, perhaps linked crisis, pushing for a more earthly understanding Friedrichshafen, Germany, filmed during Principal to Germanic invasion. Thus, they buried offerings of prospective cohabitation whilst offering a Residency Program, La Becque Résidence in the form of several human and animal bodies, reflective space for an unknown future. d’artistes, La-Tour-de-Peilz, Switzerland and tools and bronze vessels to the Earth in exchange In a continuous interplay between fact, fiction with the collaboration of the Musée cantonal for guidance through the catastrophe. and scale, meditative landscapes of typically d’archéologie et d’histoire/Lausanne, Switzerland. Today, sacrifice is mediated by market inaccessible areas are juxtaposed with archival It is presented first by ZF Art Foundation at the exchange –the well-being of humans, nonhumans footage, drone views, investigative close-ups and Zeppelin Museum Friedrichshafen, and the environment has been betrayed in photogrammetry-based 3D modelling. Whilst 18.9.–6.12.2020. favour of economic growth. Sacrifice zones are acknowledging the Anthropocene is built on proliferating in areas deemed most extractable, an erasure of its racial origins, Archaeology of most exploitable – usually regions under Sacrifice reflects on the precariousness of our pressure from neoliberal policies. Here, humanity planet and its unsolicited submission to humanity. and nature are believed to be expendable and Text by Ellen Lapper and Ignacio Acosta. replaceable. Arcaeology of Sacrifice 2020 ZF Art Foundation Guest Zeppelin Museum Friedrichshafen Germany Curated by Regina Michel ... Link to ZF Art Foundation Link to Zeppelin Museum Friedrichshafen Installation view Archaeology of Sacrifice ZF Art Foundation Guest Zeppelin Museum Friedrichshafen Germany, 2020. Installation view Archaeology of Sacrifice Installation view Archaeology of Sacrifice ZF Art Foundation Guest ZF Art Foundation Guest Zeppelin Museum Friedrichshafen Zeppelin Museum Friedrichshafen Germany, 2020. Germany, 2020. Pedimento Minero [Mining Monument] 2019 ... Borders, fences and walls are constructions that the mineral resources below ground level. The Two monoliths complete the installation, mediate the relationship between humans and flora and fauna of Juncal, which has adapted to placed one inside and one outside the museum, the natural environment. They are boundary survive the extreme conditions of the high Andes, replicating to scale the stone markers set up in markers that give form to rationalising logics, is now at threat from the exploitation of copper Juncal in January 2019. to appropriation and exploitation; demarcation and gold deposits. The Juncal Mountain, which to Erected in the high mountains these survey is the action that transforms the landscape into our eyes appears an integral part of the scenery, monuments modify nature, marking the point a territory. Survey monuments of concrete and is re-framed by the socioeconomic system as a of submission of a landscape to its eventual stones mark the sites of mining exploration and container of exploitable resources, separate and exploitation. In the museum each is, instead, a exploitation concessions at Parque Andino Juncal, unconnected to the surrounding ecosystem. Seen ritual body that seeks to restore the connection located in the Valparaíso Region of Chile, where through the watchful eye of a drone, the artist between the above and below of ground level. the Aconcagua River is born. These monoliths builds a tale of vertical views, which is brought Co-produced by Arts Catalyst, Bienal de Artes have transformed a protected area into a territory together with entries collected from the logbooks Mediales de Santiago, Museo de la Solidaridad de in dispute, torn between conservation and Avistamientos de Flora y Fauna and Bitacora Salvador Allende (MSSA) and Parque exploitation, wild nature and extractivism. Mineros, in which the park rangers recorded all Andino Juncal. Pedimento Minero (2019) is a site-specific movements of both animals and miners over Supported by Arts Council England and the installation composed of a video piece, two January and February of 2019 on this protected British Council. sculptural objects and a table display of portion of the mountain. documents and photographs. Projecto Caliente presents a collection of In the video piece Bitacora Mineros, a archival materials put together in collaboration vertical and divided territory symbolises the legal with activist Tomás Dinges. The display is framework imposed in Chile through the Codigo composed of images and documents that Minero (Mining Code), a law written during the evidence the threat of mining exploitation, dictatorship that separates land ownership from revealing the violent division of the expanse of the mountain range. Pedimento Minero 2019 Bienal de Artes Mediales de Santiago The limits of the Earth Museo de Arte Contemporáneo (MAC) Parque Forestal, Santiago, Chile Curated by Catalina Valdes and Jean-Paul Felley ... Link to The Limits of the Earth ... Works Download Projecto Caliente Download Mining Lookbook and other things Installation view Pedimento Minero. The limits of the Earth. Museo de Arte Contemporáneo (MAC). Parque Forestal, Santiago, Chile, 2019. Installation view Bitacora Mineros Installation view Projecto Caliente [Hot project]. Installation view Pedimento de Mesura [Mining Logbook]. The limits of the Earth. Museo de Arte [Survey Monument]. The limits of the Earth. Museo de Arte Contemporáneo (MAC). Parque Forestal, The limits of the Earth. Museo de Arte Contemporáneo (MAC). Parque Forestal, Santiago, Chile, 2019. Contemporáneo (MAC). Parque Forestal, Santiago, Chile, 2019. Santiago, Chile, 2019. Tales from the Crust 2019 ... The ecology of extractive practices is a poisonous anti-mining movements, and address the role that digital resources mapping sites of extraction. one. In Chile as in Sámi areas in northern counter-actions can play on a planetary scale. Tales from the Crust forms part of Extractable Sweden, mining activities by multinational Through an in-depth visual and spatial Matters, Arts Catalyst’s new thematic strand corporations are both visibly and invisibly
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