Gezicht op de tombes van de kaliefen te Caïro, Egypte 1864 - 1867

Editor: Here we have "View of the Tombs of the Caliphs in Cairo, Egypt," a gelatin-silver print made between 1864 and 1867 by Ferrier Père-Fils et Soulier. I find the image quite striking in its depiction of monumental architecture seemingly adrift in the landscape. What's your interpretation? Curator: This photograph, beyond its aesthetic appeal, acts as a document deeply embedded within the political and cultural context of 19th-century Orientalism. It presents us with a vision of Cairo framed through a colonial lens. Note the way the photographer emphasizes the 'exotic' – the camels, the 'ruined' grandeur. How might this imagery have shaped European perceptions of the Middle East at the time, and even now? Editor: That’s interesting! I hadn’t really considered it beyond just being a historical document of the architecture itself. Curator: Consider, too, the power dynamics at play. Photography itself was a technology brought to Egypt by Europeans. Who gets to represent whom, and for what purpose? Think about Edward Said's concept of Orientalism, and how images like this contribute to the construction of the 'Other.' The photograph is not merely a neutral depiction; it's an active participant in a complex web of power, knowledge, and representation. What do you make of the figures dwarfed by the architecture? Editor: It highlights, perhaps, the perceived insignificance of the local population within the grand narrative the photographer wants to convey? The picture isn’t really about them. Curator: Precisely! This piece, like many others from the period, forces us to question the gaze, the power structures, and the ongoing impact of these historical representations. It makes you think about responsibility. Editor: This has given me a totally different way to approach looking at photography! Curator: Excellent! Always question the story an image tells, and who benefits from its telling.