Gabriela Bettini (Madrid, 1977) explores the relationship between landscape, memory and violence through a body of work that questions how nature has been depicted, narrated and utilised throughout history. Her work examines the visual frameworks of extractivism: images, narratives and forms of representation that accompanied colonial and industrial expansion and reinforced certain progress archetypes regarding territories and their natural resources.

Chuquicamata II (2021), presented at the Climate Biennial, depicts the gigantic open-cast mine located in northern Chile through a system of superimposed images that allows viewers to observe different time-frames of the landscape simultaneously. By combining contemporary photographic archives with references to colonial Andean landscapes, Bettini links historical extractive economies with new ecological transition narratives, in which strategic minerals such as copper are once again taking centre stage in contemporary industry.