Quiulacocha es un ensayo visual que utiliza la alquimia fotográfica como medio y metáfora para abordar el impacto de la minería en la salud de la población de la ciudad de Cerro de Pasco, epicentro de la actividad minera en el Perú y uno de los lugares más contaminados del mundo.

Marco Garro, fotógrafo peruano que ha trabajado historias sobre la extracción de minerales en diversas zonas del país y que lleva más de 15 años visitando Cerro de Pasco, recogió muestras de los relaves vertidos en la laguna Quiulacocha. Luego, los utilizó en el revelado de las fotografías que había producido del entorno y de la población afectada.

Los relaves dejaron marcas y texturas en las imágenes que imitan, desde su equivalencia simbólica, el deterioro del cuerpo al tener contacto con los metales pesados, los cuales han sido detectados en diversos análisis de sangre de la población.

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Quiulacocha is a visual essay that uses photographic alchemy as a medium and metaphor to address the impact of mining on the health of people in Cerro de Pasco, the epicenter of mining activity in Peru and one of the most polluted places in the world.

Marco Garro, a Peruvian photographer who has worked on stories about mineral extraction in various parts of the country and who has visited Cerro de Pasco for more than 15 years, collected samples of the tailings dumped in Quiulacocha Lake. He then used them in developing the photographs he took of the environment and people affected by pollution in Cerro de Pasco.

The tailings left marks and textures on the images that imitate, from their symbolic equivalence, the deterioration of the body when in contact with heavy metals, which have been detected in various blood tests of the population.

 

 

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Quiulacocha

I first visited Cerro de Pasco, the oldest mining settlement in Peru, two decades ago. I have returned more than a dozen times. The city was built amid mountains laden with silver, copper and zinc in a frigid corner of the central Andes, at a dizzying elevation of 4,300 meters. For most of its history, Cerro de Pasco was the crown jewel in Peru’s voracious mining industry, a place where Spanish conquistadors and American magnates made fortunes that trickled down to the city’s wealthy enclaves.

By the time I arrived, on assignment as a photojournalist for a newspaper in the capital Lima, the city had been in decline for decades. The blighted landscape resembled a battlefield. A massive open mining pit spiraled endlessly into the earth, evoking the concentric circles of Dante’s inferno. Along its edge, houses crumbled in abandoned neighborhoods. In others, life went on amid heaps of toxic waste, offering a dystopian glimpse of a future of environmental ruin.

I soon learned the city was home to clusters of sick children. They suffered from stunted growth, leukemia, debilitating learning disabilities and daily nose bleeds. Parents said the mine was polluting their blood. Eventually. Health authorities found hundreds of children had unsafe levels of lead, arsenic and mercury running through their veins. But that did little to change their situation. Families have had to fight for access to even basic health care for their children. Doctors ask them to move away to avoid the source of pollution, but few can afford to leave the city for good.

Cerro de Pasco embodies a paradox at the heart of mining in Peru. Mining powers the national economy, but it also devastates life in places where it takes place. Centuries of mining have turned much of Cerro de Pasco into a toxic waste site. The ongoing search for metals in dwindling deposits keeps the city alive, even as it locks in more pollution for the future. Each time I visited Cerro de Pasco, the gaping pit in the middle of it grew a little bigger and the list of sick children a little longer. And yet, most Peruvians were unaware of their cases.

I got the idea for this project at Lake Quiulacocha in Cerro de Pasco. Named in Quechua for the Andean gulls that once flocked to its shores from the Pacific coast, no sign of life survives in it today. Instead, puffs of foam crown orange waters that soak more than 600,000 cubic meters of mining waste left behind by the mine’s operators, including the U.S. company Cerro de Pasco Copper Corporation and the state-owned Centromin Perú S.A. The heavy metals that seep into the watershed at the unlined bottom of the lake read like a list of toxic substances: lead, mercury, cadmium, arsenic, aluminum, boron, copper, cobalt, iron, manganese, selenium.

Three years ago, I started collecting samples of water from Lake Quiulacocha to use in developing photographs I take in Cerro de Pasco. The acidic liquid produces stains and hues that manifest unpredictably across faces and landscapes, mimicking the indelible imprint of pollution on life. It was—and is—an attempt to expose the corrosive impacts of mining on people and the environment that aren’t always evident—to make visible what society prefers remain invisible.

Mining pollution is such a widespread problem in Peru that it is rarely covered in local media. Thousands of contaminated sites are on a waiting list for clean-up. Health impacts can take years to manifest, and often go unnoticed. Even today, despite growing awareness of the problem, authorities have done little to support the sick children of Cerro de Pasco. I still wonder if it is possible to truly transmit their plight in a visceral way through photography.

I’ve taken thousands of pictures in Cerro de Pasco, which still proudly calls itself “the capital of mining in Peru.” Some neighborhoods I once walked through are now rubble. Some of the children I profiled are now young adults who still struggle with chronic and incurable illnesses. One has died. This is a sample of what I have witnessed. An attempt, perhaps insufficient, to reflect the true cost of mining.