Abstract

This article explores poisonous images—images that both register and trouble the visibility of toxicity in Taranto, Italy, one of Europe’s most polluted cities due to the continent’s largest steel factory. Centered on photographs taken in the city’s contaminated cemetery, the essay asks how slow violence can be apprehended ethnographically when pollution remains unevenly perceptible and causally elusive. I argue that the photographic image, beyond its forensic or legal promise, functions as an ethnographic hinge between matter and meaning, visibility and refusal, foregrounding aesthetics as a political as much as a sensory problem. Through three photographic acts produced by cemetery workers, a local performance artist, and myself (as anthropologist), the article proposes “flickering” as an anthropological method—attuned to the intermittence between visible/invisible, absence/presence, and the oscillation of death in everyday life. These poisonous images do not stabilize evidence: they pulse in and out of consciousness, capturing uncertainty and unequally distributed exposures and sensibilities. The cemetery emerges as both site and figure for grasping the metamorphosis of death amid the environmental crisis, where mourning and inheritance remain perpetually unsettled.

Keywords

toxicity; aesthetics; images; photography; death; flickering; environment; intermediality; Italy

Copyright

Copyright (c) 2026 Jasmine Clotilde Pisapia

This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.