Herdenkingsmunt '150 jaar Max Havelaar' by Koninklijke Nederlandse Munt NV

Herdenkingsmunt '150 jaar Max Havelaar' 2010

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metal, photography, wood

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studio photography

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advertising product shot

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product studio photography

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product shot

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still-life-photography

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metal

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photography

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product design photgrpaphy

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metallic object render

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product mock up

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graphic design product photography

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wood

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product photography

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product render

Copyright: Rijks Museum: Open Domain

Editor: Here we have the commemorative coin ‘150 Years Max Havelaar’ from 2010, produced by the Koninklijke Nederlandse Munt NV. The coin itself sits nestled in a velvet lined wooden box. The presentation is really striking; it elevates a coin to almost jewel-like status. What do you see in this piece, viewed as a cultural artifact? Curator: It’s fascinating how a commemorative coin, seemingly a simple object, becomes imbued with layers of socio-political meaning. Consider 'Max Havelaar', the book this coin celebrates. It exposed the abuses of Dutch colonialism in Indonesia. How does the coin, in its luxurious presentation, complicate the anti-colonial message of the book it commemorates? Editor: That’s a good question. On one hand, it's celebrating a critical text, but the luxurious packaging feels...at odds with the book's message. Curator: Exactly. Is it a celebration of social justice, or a sanitised, marketable commodity? What is the target market for this commemorative coin? And how might that impact the message being conveyed? Editor: Perhaps it's intended for collectors, investors... those with a vested interest in Dutch history, possibly overlooking its darker aspects? Curator: Precisely. It raises questions about the role of national mints and museums in shaping collective memory. Is this an attempt to acknowledge a difficult past, or to repackage it for consumption? Think about the iconography used, the careful choice of materials... Editor: So, even something as simple as a commemorative coin can open up complex discussions about colonialism, memory, and the commodification of history. Curator: Absolutely. And it reminds us to critically examine how institutions present narratives about the past.

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