Ruïnes rond de brug bij de Kolk te Rotterdam c. 1940 - 1945

Editor: So, this gelatin silver print by J. Nolte, titled "Ruins Around the Bridge at the Kolk in Rotterdam" and taken sometime between 1940 and 1945, it’s…bleak. You see the wreckage mirrored in the water. What stands out to you about this piece? Curator: What strikes me is how this image, beyond simply documenting the destruction, acts as a potent historical witness. Nolte doesn't just show us ruins, they offer a glimpse into the human cost of conflict, the social disruption, and the reshaping of urban identities. It forces us to confront the consequences of war and power imbalances. What is not represented becomes almost as important as what is; we do not know about the social identity of who is in this photograph. Editor: That’s powerful. So it’s more than just a cityscape then? It tells a story about people too? Curator: Absolutely. This image engages with questions of collective memory. How do we, as a society, remember and represent traumatic events like the bombing of Rotterdam? What role does photography play in shaping our understanding of history and in constructing narratives around national identity and resilience? Are we seeing an exercise in realism or propaganda? Editor: It’s making me think about the narratives we create around historical events. I never considered it that way before, I’ve now seen it as art in isolation. Curator: Consider that the photographer’s position, their gaze, influences our perception. Who is authorized to document this kind of devastation? What perspectives might be missing? Exploring those questions will always allow us to connect and understand history within a contemporary framework. Editor: That’s a really helpful way to think about it, actually. Thanks for making it so clear. Curator: My pleasure! Remember, art is not created or viewed in a vacuum, its interpretation constantly shifting with social and cultural discourse. It’s about applying these concepts to see art more critically.