Portret van Mohammed III as-Sadiq, bey van Tunis 1859 - 1882

Editor: This is a photograph of Mohammed III as-Sadiq, Bey of Tunis, taken sometime between 1859 and 1882 by André-Adolphe-Eugène Disdéri. It's interesting how formal he appears, almost Western in his attire despite his position. What's your interpretation of this portrait, especially considering the context of its creation? Curator: Well, let's think about who Disdéri was and when this was taken. Disdéri was a popular photographer, catering to the European fascination with the ‘Orient.’ This image is, in many ways, a product of that fascination and the colonial gaze. What do you notice about the way the Bey is presented? Is it how he would necessarily choose to portray himself? Editor: That's a great point. Now that you mention it, there's a certain constructed exoticism, I suppose. The Bey's fez, while traditional, feels almost emphasized. It almost feels like he is being put on display, but I would never come up with that myself. What does it mean for a work like this to be "Orientalist" today? Curator: It compels us to examine the power dynamics inherent in representation. Photography, particularly during this era, was instrumental in shaping Western perceptions of other cultures. We need to consider whose story is being told, and for whom. This photograph would have circulated widely, influencing ideas, whether consciously or unconsciously, of North Africa. Are museums and galleries now complicit in furthering colonial ideologies by showing works such as this without context? Editor: I see, so it's not just about the image itself, but how it participates in a broader system of representation and power. I guess every photograph tells a story, intended or not. Thanks! Curator: Precisely! Examining this photography raises important questions about historical narratives and the museum's role in presenting them, even today. Thank you, it has been fun discussing this portrait!