Zwitserse plaatsen Flims-Dorf en Flims-Waldhaus, tijdens een vakantie van de familie Wachenheimer, augustus 1936, Zwitserland 1936 - 1938

Editor: We're looking at "Zwitserse plaatsen Flims-Dorf en Flims-Waldhaus, tijdens een vakantie van de familie Wachenheimer, augustus 1936, Zwitserland," a photograph likely taken between 1936 and 1938. It seems to be a page from a family album, with four gelatin silver prints showing landscape views. There’s a nostalgic feeling to these little windows into the past. What stories do you see in this piece? Curator: These photographs, seemingly simple snapshots, are loaded with complex social and historical context. Looking at these carefully positioned landscapes of Flims, we can think about who had access to leisure travel and photography in the 1930s, especially with the looming shadow of the Second World War. What does it mean to document and preserve these scenes of idyllic vacation for a family named Wachenheimer during a time of increasing political turmoil and the rise of anti-Semitism in Europe? Editor: That's a compelling point. I was initially drawn to the aesthetic of the landscape, but considering the Wachenheimer family and the date, it definitely shifts my understanding. Were they perhaps seeking refuge, or just trying to maintain a sense of normalcy? Curator: Exactly. The act of photographing, creating, and cherishing these images becomes a powerful assertion of identity and belonging, a visual resistance against erasure. It compels us to consider whose stories are told, whose are left out, and the politics embedded in seemingly innocuous family memories. Does the format of the album itself speak to this idea of curated identity? Editor: That's a great question. It feels like the album format highlights the intentionality of creating and controlling a specific narrative. This was far from a spontaneous social media share! Curator: Precisely! And thinking critically about why this family chose these specific views, how they framed their experience – these are crucial entry points for a more nuanced understanding of art and history. Editor: This makes me think differently about family photographs in general; there’s often so much more than initially meets the eye. Curator: Indeed. Every artwork is a product of its time, reflecting the complexities of its social, political, and cultural landscape. Looking closely helps us unpack those layers and foster more meaningful engagement.