Drie Europese leidinggevenden of eigenaren van de onderneming Batang Serangang staand voor een boom c. 1900 - 1920

Curator: Before us, we have an intriguing gelatin silver print, circa 1900-1920, titled "Three European Managers or Owners of the Batang Serangan Company Standing in Front of a Tree.” The work is currently held in the Rijksmuseum's collection. Editor: Wow, the whole scene kind of fades into the background like an old memory. It almost feels sepia-toned even though it's black and white. These three guys in their white outfits look a little… out of place amidst all that jungle. Curator: Indeed. The photograph serves as a complex visual record of colonial history, evoking discussions on identity, power dynamics, and the impact of European enterprise in Southeast Asia. Their choice to be portrayed amidst local foliage situates them geographically but perhaps raises questions of authenticity and integration. Editor: Absolutely! They are totally giving off "civilized intruders" vibes. Those pristine white suits stand out so starkly against the wild green landscape. It is a very "we brought our order to your chaos" kind of a snapshot. Do you think that was intentional, to broadcast this image of control? Curator: It’s highly probable. Dress played a pivotal role in constructing colonial identities. Their garb broadcasts not only European identity, but social standing and an inherent claim to authority within a colonial landscape. This carefully crafted image presents them as figures of control within the very land they sought to manage. Editor: Makes you think, what did the "local employees" or laborers make of this kind of display, seeing these figures set themselves apart in their blinding white attire? Must have created some really tense social dynamics. I mean, how could you forget who's in charge when they practically glow? Curator: The photograph is undoubtedly laden with such tensions. Furthermore, we should question not just what is shown, but also what’s absent. Who is behind the camera? How is the narrative influenced through that very selective gaze? Editor: It’s powerful, really. You know, looking at it, I first felt this disconnected kind of serene, because it’s visually a nice picture… but hearing the deeper context—the real stuff— completely changes how I see it now. Layers of history are so embedded within the stillness of this one image. Curator: Precisely. By critically engaging with these narratives, we can reveal the layered histories ingrained within the aesthetic surface of works such as this photograph. Editor: Thanks! It gave me quite a lot to think about!