Zes foto's van een reis naar Griekenland en Napels 1927

Editor: So, this is "Six Photos of a Trip to Greece and Naples," from 1927, by Carolina Frederika Onnen. They’re albumen prints in a photo album. I’m immediately struck by how these postcard-sized images, of what appear to be ancient sites and landscapes, become more personal when seen together in this layout. What do you see in this collection? Curator: It is a very intimate glimpse into travel and visual culture during that time. Consider how Onnen chooses to document these iconic locations. It’s not just about showcasing grand architecture or picturesque scenery. It's about personal experience mediated through the lens of photography. Notice how the handwriting beneath each image seems to anchor the view to that specific moment and site. Who was this album for? What story was Onnen trying to tell through the curation of these images? Editor: I suppose it would have been a different experience from seeing them as a mass-produced postcard. It feels less about national pride and more about individual memory. Curator: Precisely. And thinking about the broader historical context – the interwar period – travel was becoming increasingly accessible to a wider audience. How does Onnen's travel account relate to the history of tourism and the commodification of cultural heritage? Does this album reinforce or subvert these narratives? Editor: That’s interesting. I hadn't considered the economics or the politics of who got to see these places at that time. Perhaps, this is an invitation to understand this work, as Onnen might be revealing her perspective of a quickly changing global culture of leisure? Curator: Exactly. I think this highlights the power of photography, not only in capturing a moment in time but also in shaping our understanding of history and culture. We could perhaps consider how the sequencing of images tells its own silent narrative. Editor: Absolutely. I hadn’t considered the role of the personal archive, it’s almost like social media before social media. I now appreciate the value in understanding that a collection like this might capture wider dynamics than its intimate scope might initially indicate.