Wereldtentoonstelling te Londen 1862 1862

Editor: This is a bronze medal from 1862, commemorating the World Exhibition in London. It feels very…official, very much a product of its time. I’m particularly drawn to the figures on one side, under the flags. What do you see in this piece? Curator: It’s crucial to consider these World’s Fairs in their socio-political context. Who benefitted from these events, and at whose expense? The figures beneath the British and American flags might initially suggest unity, but consider the imperial reach of both nations at this time. What populations were excluded or exploited to create the wealth displayed at this "international" exhibition? Editor: That’s… a perspective I hadn’t fully considered. The flags made me think of collaboration, not necessarily empire. But I see what you mean, especially thinking about it now. Curator: Precisely. The architecture on the reverse—that imposing building—represents progress, but for whom? Was this progress evenly distributed, or did it further entrench existing power structures? It prompts us to examine how these supposedly celebratory objects often mask uncomfortable truths about colonialism and industrial capitalism. Think about who *isn’t* represented here. Editor: It really does change the way I look at it. Now I’m wondering about the artists involved. Pinches... what were their politics? How conscious were they of these power dynamics when designing this medal? Curator: Those are vital questions to ask. We should consider the medal not as a neutral record of an event but as a carefully constructed representation of power, one that reflects and reinforces dominant ideologies. It’s about looking beyond the surface and interrogating the narratives being presented. Editor: I’m going to have to rethink my initial assessment entirely. It’s amazing how much historical context can shift your perspective. Curator: Indeed. Art is never created in a vacuum.