Abstract

Photographic practices in the territories associated with production and their consequences in contemporary Chile are reviewed, including how the selection and categorization of the field were done to construct a body of study of 28 cases. Within it, a critical analysis is conducted, updating it within the ongoing discussion that places photography in tension between the production of «artwork» and of «documents», and drawing upon the «poetics of landscape photography» proposed by Santos Zunzunegui. This reveals how the aesthetic overlay on photography allows us to see, beneath it, the disturbing pain of landscape destruction, and the selected works become either artworks or documents, both to capture the viewer's gaze and, when observed, highlight the human impact on the landscape.