Contemporary art is increasingly reverting to notions of the index to image the slow changes and catastrophic destructions caused by climate breakdown. Looking at Gideon Mendel’s photo series Watermarks (since 2011), Tomonari Nishikawa’s short film sound of a million insects, light of a thousand stars (2014), and Santiago Sierra’s installation 52 Canvases Exposed to Mexico City’s Air (2019), the essay analyzes three positions that employ analog techniques of direct exposure to the elements and to toxicity. They use the index to (...) create artworks that function as collaborative testimonies of human and non-human witnessing work, prompting a re-reading of Rosalind Krauss’ two-part essay “Notes on the Index” (1977) for the present. Central to such a re-reading is the form the testimonies take on. I describe them as indexical abstractions, seeing in them images that are materially connected to the world yet expressing that involvement in non-mimetic ways. The works cite the idiom of abstract art not only to show that modernism has put the planet into distress but to also find a pictorial code operating beyond the confines of linear perspective. By doing so, they give expression to what Timothy Morton has called the hyperobject of climate change, creating pictures that combine image and imagination, thereby asking viewers to approach them – and the world they index – with care. (shrink)

Ponte City is a project by Mikhael Subotzky and Patrick Waterhouse that uses photographs, architectural diagrams, text, interviews, fiction, found objects, oral history, and archival material to critically explore a particular urban landscape in Johannesburg. The exhibition and book, which comprise this project, manifest in different ways, but both work together to cut across disciplines and incorporate the languages of fine art, photography, architecture, urban planning, history, economics, popular culture, and literature. The publication comprises a book of photographs and pamphlets (...) in which the artists have collaborated with former and current residents, gathered personal stories, delved into the archive, invited authors to contribute essays on a variety of topics, and worked with material found at the site. This article examines the notion of a ‘portrait of a city’ in relation to the Ponte City project, and asks the questions: What is a portrait of a city? Is it possible to take a ‘portrait of a city’, and what techniques are used when a photographer portrays places and people, or attempts to take, or make, a ‘portrait’ – of a city, a place or even a building such as Ponte? Can a building come to stand in for a city? And how have these strategies been put into play by Subotzky and Waterhouse in the Ponte City project? (shrink)

This photographic essay is about places that have the same names but are often worlds apart. Satellite Cities looks at the naming of settlements and suburbs primarily in Johannesburg and Cape Town, and their parallels in other parts of the world. It examines the possibility of relationships or connections between these disparate places, and their realities as sites of conflict and struggle, and of war, liberation, and reconciliation.

The article analyses what we term governmental ethics regimes as forms of scientific governance. Drawing from empirical research on governmental ethics regimes in Germany, Franceand the UK since the early 1980s, it argues that these governmental ethics regimes grew out of the technical model of scientific governance, but have departed from it in crucial ways. It asks whether ethics regimes can be understood as new ‘‘technologies of humility’’ and answers the question with a ‘‘yes, but’’. Yes, governmental ethics regimes have (...) incorporated features that go beyond technologies of prediction and control, but the overcoming of the technical model also bears some ambivalence that needs to be understood. The article argues that governmental ethics regimes can be understood as a form of ‘‘reflexive government’’ in that the commitment to techno-scientific innovation is stabilized not through an elitist, technocratic exclusion of non-scientific actors and knowledges or a depreciation of normative and emotional dimensions, but through their inclusion, involvement and mobilization. (shrink)