In the shade of the carob trees

Photographic and environmental documentary about the Loa river basin and the Aymara community of Quillagua, the driest town on the planet (National Geographics, 2002), which suffered the most serious

Placed in the heart of the Atacama Desert, the Loa River (the longest river in Chile with almost 440 km in length) is suffering a dramatic environmental crisis. Its strategic importance is vital, as it is the only water source that reaches the sea in more than 800 km from north to south, thus generating a settlement pole of pre-Hispanic Andean cultures that have maintained a diversity of uses and forms of reciprocal relationship with this habitat.

Although the water problem is associated with a period of “natural” drought, the reality is that since 1870 the river has suffered various appropriations and contamination of its tributaries by mining activities, causing an ecological disaster that has led to the migration of its inhabitants and the disappearance of customs and ways of life.

In recent years the river has reduced its flow and only animal carcasses are found along its banks. Kilometers of pipes and dead carob trees complete the desolate landscape. In the lower part of the basin the situation is more serious: chemicals and industrial minerals have killed the soil, affecting the Aymara people of Quillagua, the last human stronghold before the river flows into the sea.

Historical background speaks of this village as prosperous. Its location positioned it as the great indigenous oasis of Atacama and a meeting point for communities coming and going from the altiplano to the sea, thus producing a rich culture with a strong connection to the river. In addition, the extraction of shrimp, the production of corn and forestry, farming and livestock products supplied the saltpetre offices in the last century.

But that is over. Quillagua is now the driest area in the world (National Geographics, 2002). The saltpeter works closed, the train and road stopped passing through the village, and the river recently suffered two of the worst contaminations in Chilean history. The final blow is being dealt by drought, privatization and the appropriation of water by the mining industry. Impoverished, with no potable water and little electricity, its young population is emigrating.

The 70 inhabitants of Quillagua are witnessing the end of its culture and an ancient relationship with the Loa River. But despite this serious condition, the community resists disappearing and continues its ancestral traditions as a sense of identity. A relationship that has been historically produced through social, territorial and water configurations in the driest desert on the planet.

Residency Bursary at Landskrona Foto:

"Asylum against oppression: Portrait, archive and territory of political exiles from Chile in Landskrona, Sweden".

Research project on political exiles in Landskrona, Sweden -after the coup d'état that led to the dictatorship of Augusto Pinochet in Chile (1973-1990)-. Making a contact prior to the residency, we hope to investigate the life and experience of this group of people who left their lives behind, developing a body of work that involves portraiture, personal archival material and record of the territory they inhabit in the city of Landskrona, Sweden.(and perhaps Malmö).

© Gaspar Abrilot - Image from the In the shade of the carob trees photography project
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The mysterious and snow-capped Miño volcano, almost 5631 MASL, is set in the heart of the Andean mountain range of the Puna de Atacama, Antofagasta Region, Chile. The Loa River rises in its foothills, and like many other giants of the north, it is recognized as a Mallku, a sacred mountain for the indigenous peoples of the region. This Mallku represents the mythical ancestors who gave rise to the communities and where their spirits still live, protecting the destiny of the Loa basin. Mamiya RZ67 and sekor z 65mm f/4 lens, Kodak portra 160 film digitized with Fuji GFX 50R camera and Rodenstock Magnagon 75mm f8 industrial lens.

© Gaspar Abrilot - Image from the In the shade of the carob trees photography project
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The Loa River –the longest in the country and the second longest in Latin America– rises in the foothills of the Miño volcano, El Loa Province, Chile. Located between the Tarapaca Region and the Antofagasta Region, it is the main watercourse of the Atacama Desert, creating a hydrographic basin of more than 33,570 km2, the largest in the country. Such is the importance of this river, as a generator of life and a border area, that the basin has been inhabited since 1500 BC by indigenous communities, since 1532 by the Spanish colony, in 1809 by the State of Bolivia and in 1883 it became part of the State of Chile. But today, along its 440 kilometre pilgrimage through ravines, fords, communities, and ancestral villages until reaching the Pacific Ocean, the Loa River is suffering a dramatic environmental crisis. Mamiya RZ67 and sekor z 65mm f/4 lens, Kodak portra 160 film digitized with Fuji GFX 50R camera and Rodenstock Magnagon 75mm f8 industrial lens.

© Gaspar Abrilot - Image from the In the shade of the carob trees photography project
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The CHILEX accumulation pond is located at the headwaters of the Salado River, the second main tributary of the Loa and close to the Atacameño Lickanantai community of Chiu Chiu, Antofagasta Region, Chile. This gigantic water abduction infrastructure (almost 25 meters high) is owned by CODELCO, a state mining company dedicated to copper extraction, and is part of a complex system of extraction, transfer, channeling and storage of water for the mining deposits from Calama. Mamiya RZ67 and sekor z 65mm f/4 lens, Kodak portra 160 film digitized with scanner Hasselblad Flextight X1.

© Gaspar Abrilot - Image from the In the shade of the carob trees photography project
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Water extraction piping in the Ojos de San Pedro salt flat, Antofagasta Region, Chile. This salt flat was an old lagoon that was drained in the late 1960s by the Radomiro Tomic and Chuquicamata mining companies, both owned by CODELCO. This piping system extracts water from the San Pedro de Inacaliri River and forms part of a network of more that 300 km. of hydric pipelines distributed at the Loa River watershed and destined in a big percentage to high production mining.

© Gaspar Abrilot - Image from the In the shade of the carob trees photography project
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Two Atacameño Likanantai leaders make a payment to the earth –an ancestral Andean offering –in a water abduction structure in the Ojos de San Pedro salt flat, Antofagasta Region, Chile. This salt flat was an ancient lagoon, drained in the late 1960s by the Radomiro Tomic and Chuquicamata mining companies, both owned by CODELCO. In a prayer they promise mother earth they will recover water from the Ojos de San Pedro lagoon for everyone since the hydric resource has been appropriated by the mining industry and private companies.

© Gaspar Abrilot - Image from the In the shade of the carob trees photography project
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The Chuquicamata Division, considered for decades as the largest open pit mine in the world, is located 15 kilometres from the city of Calama, Chile. Originally exploited by the native peoples of the area, its name –of Aimara origin– is related with the chuco or chuqui people that worked copper to create tools and weapons. Its high level of water consumption has generated a serious drought in the region, and its scarce audit has caused environmental disasters that have affected the villages of the lower Loa. Mamiya RZ67 and Sekor z 65mm f/4 lens, Kodak portra 160 film digitized with Fuji GFX 50R camera and Rodenstock Magnagon 75mm f8 industrial lens.

© Gaspar Abrilot - Image from the In the shade of the carob trees photography project
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A farming couple run their shop in the village square of San Francisco de Chiu Chiu, a small oasis located 30 km east of the city of Calama, Antofagasta Region, Chile. Their goods are grown in the area and irrigated with the water from the Loa River, despite the limited availability of water due to the strong control of water rights by the big industry. The 1981 water code, imposed by the dictatorship of Augusto Pinochet (1973 - 1990), privatized water rights and reconfigured the water landscape of these communities, altering the traditional forms of irrigation and transferring access and use of water from the agricultural sector to the mining and sanitation sectors. Mamiya RZ67 and Sekor z 65mm f/4 lens, Kodak portra 160 film digitized with Fuji GFX 50R camera and Rodenstock Magnagon 75mm f8 industrial lens.

© Gaspar Abrilot - Image from the In the shade of the carob trees photography project
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The skull and remains of a vicuña in the vicinity of Los Patos lagoon, near Ojos del Apache, a village located 11 km from the city of Calama, Region de Antofagasta, Chile. In the lagoon Los Patos, formed by subterranean waters that derive from the Loa, we can find a cave with vestiges of ancient rock art that tell the story of the water cult of the first inhabitants of the area. The surrounding area is also home to an abundance of fauna, including vicuñas, foxes, turtledoves, goldfinches, thrushes, chunchurun ducks and hummingbirds. Unfortunately, the serious water crisis in the Loa basin, due to the intense drought, the dry desert heat, and the deterioration of the ecosystem because of intense mining production, has caused the fauna in this sector to be in serious danger, resulting in the death of more than 5,000 animals a year. Mamiya RZ67 and Sekor z 65mm f/4 lens, Kodak portra 160 film digitized with Fuji GFX 50R camera and Rodenstock Magnagon 75mm f8 industrial lens.

© Gaspar Abrilot - Image from the In the shade of the carob trees photography project
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Gladys Suárez stops her daily walk to be photographed at the sunset in the streets of the Aymara village of Quillagua, Antofagasta Region, Chile. At the age of 104, Gladys is the last survivor of the former Pedro de Valdivia saltpetre works (1903 - 1956). Today she is spending her last years in Quillagua, a village considered to be the driest place on the planet (National Geographic, 2002), with an average of just 0.2 millimeters of water falling over the last 60 years.(*) Mamiya RZ67 and sekor z 65mm f/4 lens, Kodak portra 160 film digitized with Fuji GFX 50R camera and Rodenstock Magnagon 75mm f8 industrial lens. * <a href="https://www.diarioeldia.cl/sin-seccion/2016/6/13/quillagua-el-pueblo-mas-seco-del-mundo-crece-en-medio-de-un-extrano-oasis-1564.html" target="_blank">https://www.diarioeldia.cl/sin-seccion/2016/6/13/quillagua-el-pueblo-mas-seco-del-mundo-crece-en-medio-de-un-extrano-oasis-1564.html</a>

© Gaspar Abrilot - Image from the In the shade of the carob trees photography project
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Armando Sosa (61) holds an old polaroid of him, when he was 4 years old, posing in front of the village’s main bridge –visible in the background– as he tells stories of when people used to jump from that structure to dive and enjoy the waters of the Loa River in Quillagua, Antofagasta Region, Chile. During the development of this project it was usual to hear among the habitants the phrase "Cuando Quillagua era Quillagua" (When Quillagua was Quillagua) to refer to the times of abundance of the town; that time in which there was clean water, the alfalfa crops were productive and religious and festive activities were celebrated around the Loa River. After a series of pollution incidents, the village is in a complicated position but, even with this condition people keep a lifestyle related to their traditions as a sense of identity. Mamiya RZ67 and Sekor z 65mm f/4 lens, Kodak portra 160 film digitized with scanner Hasselblad Flextight X1.

© Gaspar Abrilot - Image from the In the shade of the carob trees photography project
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Ayleen Delgado (22) wears a dress inspired by a Condor –made from recycled rubbish bags– at her coronation as queen of the Quillagua Carnival in 2021, Antofagasta Region, Chile. This celebration, with a clear festive and social integration focus, would have Aymara origins and begins on a Sunday in February with the aim of uniting nearby villages with games, sports, competitions, costumes, and floats. Nowadays this festivity starts with a parade starting at the entrance of the village accompanied by singing and dancing. Upon arrival at the town square, the competition activities start where two or three groups are made among the families of the village that compete against each other. Each group participates in diverse games and tests and presents a queen candidate. After 7 days of carnival the score is counted, a winning team is acknowledged and the queen is crowned. Mamiya RZ67 and sekor z 65mm f/4 lens, Kodak portra 160 film digitized with Fuji GFX 50R camera and Rodenstock Magnagon 75mm f8 industrial lens.

© Gaspar Abrilot - Image from the In the shade of the carob trees photography project
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Inside Mariela Castro’s house –a former leader of the Aimara community of Quillagua, Antofagasta Region, Chile– is decorated with her memories and her parent’s portraits, competition trophies at the old saltpeter office and religious figures that accompany her day by day while time passes in a village that is in a slow process of extinction. Mamiya RZ67 and Sekor z 65mm f/4 lens, Kodak portra 160 film digitized with Fuji GFX 50R camera and Rodenstock Magnagon 75mm f8 industrial lens.

© Gaspar Abrilot - Image from the In the shade of the carob trees photography project
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Mariela Castro –former leader of the Aymara community– poses in front of her house, minutes before the electricity was cut off in the village of Quillagua, Antofagasta Region, Chile. Apart from the water problems that afflict this community, they also suffer from a lack of electricity. The municipality of María Elena, 93 km from Quillagua, has provided a generator that allows them to have power between 19:00 and 23:00 hrs. Mariel says that they have been fighting for years with María Elena to improve their living conditions, but they little in terms of solutions: «We went to a meeting in those years, after '83. We went to a meeting because this problem in the valley has been going on for years, water and electricity problems. And we got there, I remember: "What problem do you have? And we said: "You know, Mr. Mayor, we have water problems, the water they give us is scarce, the electricity and those things". He looked at all of us, shook his head, stopped and said: "it is cheaper for me to buy a box of bullets than to invest in you". We were paralyzed: "yes, he's right, kill us right away, take a gun and kill us right away and that way you stop warming up your head". So, it is a lot for an authority to say that». Mamiya RZ67 and sekor z 65mm f/4 lens, Kodak portra 160 film digitized with Fuji GFX 50R camera and Rodenstock Magnagon 75mm f8 industrial lens.

© Gaspar Abrilot - Image from the In the shade of the carob trees photography project
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A group of dead carob trees surround a water accumulation structure owned by the saltpetre company SQM in the vicinity of Los Arbolitos lodge, some 60 km from Quillagua, Antofagasta Region, Chile. Carobs are characteristic trees of lower Loa and, for native communities, they are sacred. Their long roots are in charge of looking for water at the deepest groundwater. These dry and dead trees signal the extreme drought that the Loa River watershed is going through and from which authorities have not dealt with even though since 1968 United Nations has been warning Chile of the disorder that high production mining has in water extraction and how this will cause an irreversible mayor environmental disaster. Mamiya RZ67 and Sekor z 65mm f/4 lens, Kodak portra 160 film digitized with Fuji GFX 50R camera and Rodenstock Magnagon 75mm f8 industrial lens.

© Gaspar Abrilot - Image from the In the shade of the carob trees photography project
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Waterless pool in the village of Quillagua, Antofagasta Region, Chile. These assemblable pools were given away by a mayor candidate to attract votes in the elections held in the municipality of María Elena, where the village of Quillagua is circumscribed. Over millenniums, the Loa River, has sustained human groups at the Atacama Desert, one of the driest of the world. For that reason, it has been fundamental for the maintenance of social relations of the area giving support to the life surrounding its watercourse. The community of Quillagua remembers when pools were formed where people could refresh from the warm afternoons of the desert. These practices were interrupted with the decrease of its watercourse and the pollution suffered that makes it impossible to use the river for the community enjoyment or agricultural labor. Buying pools establishes a new way of enjoying the warmth of summer, but it’s ironic that they can’t be used given the profound drought that the village is going through, related to the environmental disasters provoked by high production mining and the sale of water rights since the implementation of the Water Code of 1981. Mamiya RZ67 and Sekor z 65mm f/4 lens, Kodak portra 160 film digitized with Fuji GFX 50R camera and Rodenstock Magnagon 75mm f8 industrial lens.

© Gaspar Abrilot - Image from the In the shade of the carob trees photography project
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A man holds the Wiphala –the flag of the Andean peoples– during the road blockade and demonstrations in protest due to the extreme drought and neglect suffered by Quillagua, Antofagasta Region, Chile. In the context of the social uprising that occurred in Chile in October 2019 –where the country demanded a new Constitution– the Aymara community raised their voice and sparked a series of social mobilizations by cutting off access to the customs office that links the regions of Antofagasta and Iquique, located three kilometres from the village. The precariousness in which the community is immersed is worrisome. There is no more agriculture or shrimp farming, some people work in the customs office, other live from odd jobs. Children and young people only have prospects for the future in the exodus. At the beginning of September of 2022, 62% of Chileans rejected the constitutional proposal promoted by President Gabriel Boric. An avant-garde constitution that proposed a series of regulations and articles that would solve a large part of the political, economic, environmental, etc., problems existing in Chile. The text was also intended to replace the fundamental law written by the dictatorship of Augusto Pinochet (1973-1990), which turned Chile into an ultra-liberal laboratory by encouraging, among other things, the privatization of water resources. But Chile proved to be a conservative country. Even in Quillagua the rejection won with 76%.

© Gaspar Abrilot - Image from the In the shade of the carob trees photography project
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Children take the opportunity to get wet and have fun –on a day when temperatures range between 39 and 43 degrees Celsius– while a water truck waters the trees in the streets of Quillagua, Antofagasta Region, Chile. In the summer of 2022, after four weeks without water and pressured by demonstrations and roadblocks by the villagers, the municipality of María Elena sent a fleet of water trucks to counteract the extreme drought that the Aymara community of Quillagua is suffering. These trucks were in charge of filling the community water storage drums as well as watering the village’s trees and plants. Hasselblad Xpan II, Kodak Ultramax 400 film digitized with Fuji GFX 50R camera and Rodenstock Magnagon 75mm f8 industrial lens.

© Gaspar Abrilot - Image from the In the shade of the carob trees photography project
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In the background of the image, an old water tank for use in a horse-drawn cart; in the foreground, a water truck from the late 1970s; a modern water truck with a transfer capacity of 30,000 liters; and in the front, a water reception tank. Four historical methods and ways of transferring and accumulating water resources in the village of Quillagua, Antofagasta Region, Chile. As a result of extreme drought and of the appropriation of water rights by the high production mining and private companies. The business of water tanker trucks has emerged from the mid 1960’s decade as a method of supply for the villages that lack the hydric resource. Mamiya RZ67 and Sekor z 65mm f/4 lens, Kodak portra 160 film digitized with Fuji GFX 50R camera and Rodenstock Magnagon 75mm f8 industrial lens.

© Gaspar Abrilot - Image from the In the shade of the carob trees photography project
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Guillermo Velázquez is portrayed in the dunes of Calate, an area near Quillagua, Antofagasta Region, Chile. Calate was an old pre-Hispanic transit and rest sector for the habitants of Quillagua that went to the coast to do exchanges. In the 1990’s it was also a valued place for the extraction of shrimp, fundamental pillar of the economy of many families of Quillagua. It was abandoned after the subsequent chemical contaminations of the river and today stands out as a true lab where one can find elements that demonstrate the intercultural south Andean traffic. On the way to the area, Guillermo speaks frankly: "With respect to the water of the Loa River, I am categorical, we will never recover it, it was lost, period. Because what contributes to the country is mining, big mining and not agriculture in this area. So, everything that can be done or said are useless efforts. Quillagua, with the loss of the waters of the Loa River, lost something very important, it lost all its heritage. As Quillagua was, Quillagua is nothing now. Without water, Quillagua is nothing. Because, what do we get out of having the Loa? The only thing in our favor is that it is the longest river in Chile. But, as the Loa River, it is worthless here". Mamiya RZ67 and Sekor z 65mm f/4 lens, Kodak portra 160 film digitized with Fuji GFX 50R camera and Rodenstock Magnagon 75mm f8 industrial lens.

© Gaspar Abrilot - Image from the In the shade of the carob trees photography project
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A small carob tree grows in Quillagua, Antofagasta Region, Chile. Carobs are characteristic trees of lower Loa and, for native communities, they are sacred. Their long roots are in charge of looking for water at the deepest groundwater. But unfortunately, the carob trees are in danger of extinction due to the progressive water shortage and the indiscriminate felling of the forests by the old saltpetre offices. Mamiya RZ67, mamiya sekor z 65mm f/4 lens, Kodak portra 160 film digitized with Fuji GFX 50R camera and Rodenstock Magnagon 75mm f8 industrial lens.

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