The Human Cost of Agrotoxins

Pablo Ernesto Piovano (1981)

Health and environmental consequences arising from agrochemical dependence in Argentina’s northeastern rural regions.

Description

In The Human Cost of Agrotoxins (Spanish: El costo humano de los agrotóxicos), Argentine photographer Pablo Ernesto Piovano documents the severe consequences of intensive agrochemical use on rural communities across Argentina, particularly focusing on the northeastern provinces of Entre Ríos, Chaco, and Misiones. Initiated in 2014, the project emerged against the backdrop of Argentina’s rapid adoption of genetically modified crops and glyphosate-based herbicides, sanctioned by minimal governmental oversight. By the mid-2010s, agrochemical use had surged, contributing to elevated rates of cancer, birth defects, neurological disorders, and other health issues in rural populations. Piovano’s work addresses this alarming yet largely overlooked humanitarian crisis.

His photographs capture the physical and emotional toll on individuals often marginalized or ignored in mainstream narratives. Themes such as environmental degradation, social injustice, and the interconnectedness of human and ecological health run through the images, positioning the project as a critique of the agro-industrial complex.

Visually, The Human Cost of Agrotoxins utilizes stark black-and-white imagery to intensify emotional impact and minimize distractions, emphasizing the personal stories and visible afflictions caused by agrotoxins. Natural lighting highlights textures and reinforces the severity of the depicted realities. The aesthetic approach results in an overall somber and gritty tone, underscoring the harsh conditions faced by these communities.

Presented widely in Argentina and Europe, The Human Cost of Agrotoxins has shown at the Palais de Glace (Buenos Aires), Willy-Brandt-Haus (Berlin), the Festival of Ethical Photography (Lodi), LuganoPhotoDays, and in The Hague alongside the People’s Assembly/Monsanto Tribunal; a monograph was published by Kehrer (2017). Major honors include the Manuel Rivera-Ortiz Foundation Grant (Arles, 2015), a Special Jury Prize at Days Japan, and the Sustainability Award at the LUMIX Festival (Hanover), with further recognitions such as a Gabo Award shortlist.

Behind the work

Piovano’s equipment for the project consisted of his usual DSLR, paired with either a 35mm prime or a 28–70mm zoom lens. His journey, covering over 15,000 kilometers, involved building trust with families to document their realities faithfully.

Initially, Piovano undertook this significant project without any formal assignment or financial backing, funding his initial research and travels himself.

Piovano began his journey for The Human Cost of Agrotoxins by visiting Fabián Tomasi, a farmworker from Basavilbaso whose body bore the long-term effects of pesticide exposure. Introduced through activist channels, Tomasi provided both a compelling visual testimony and crucial connections to other affected communities.

Piovano's photographs from The Human Cost of Agrotoxins have transcended the traditional gallery space, being utilised as placards during protests against politicians, incorporated into sculptures, and even forming part of academic theses.

Quotes by the photographer

"I photograph to document the memories of humanity. But I am also a little romantic, like Don Quixote, and hope that my work leads to changes in society and to a reflection on how we treat our environment."

"If major corporations have control over seeds and food production, they also have control over our health and our freedom."

"This work has been driven by my love and tribute to Mother Nature. A critical view of bad use of knowledge and technology that over time drags the "civilization" into losing memory on our ancient sacred relationship with nature."

"As an Argentinian, this project is not just a documentary, it is a denouncement of nearly two decades of toxic poisoning and neglect."

"Although the pain of the other is not our pain, there is a fiber that moves, it touches us all and if you are close you can see it. Despite the pain, all the work is traversed by the love of the mother. This work, in its core, is a prayer to Mother Earth."

"The people I visited for the project realised that my concern was sincere, and they agreed. I knocked on the doors of around 100 affected people, and they all opened their doors to me. I then sat on the sofa in their homes, and we talked to each other."

Tags and context

Credits: Jorge Mónaco (curator). Suggest an Edit