Hindoetempel bij Sangosari 1900 - 1935

Editor: Here we have an intriguing gelatin-silver print, titled “Hindoetempel bij Sangosari,” dating from around 1900 to 1935, by Neville Keasberry. The photo has a quiet, almost melancholic feel to it, given the decaying structure and muted tones. What strikes you most when you look at this image? Curator: What immediately comes to mind is the way this photograph, created during the colonial era, might represent a particular power dynamic. Consider how images of ancient temples like this one often served to exoticize colonized lands, framing them as remnants of a glorious past now requiring external "guidance." What do you think this image says about the relationship between the photographer and the culture being depicted? Editor: That’s a very interesting point! I hadn't considered the colonial gaze at play here. Perhaps the focus on decay reinforces a narrative of European superiority. But could it also be read as a celebration of indigenous architecture, albeit framed within a colonial context? Curator: Absolutely, there are layers to unpack. Think about the act of photographing itself: who had access to the technology, and whose stories were being told? The romanticism of ruins, a popular trope in Western art, intersects with the political realities of Dutch colonial power in Indonesia. It also brings to mind the questions around cultural heritage and preservation – who decides what's worth saving and how? Editor: It’s fascinating to consider those power dynamics embedded in the image itself. This photo becomes more than just a picture of a temple. Curator: Precisely. It becomes a document reflecting the complex interactions between culture, power, and representation during that era. It reminds us that archives and images should be seen as tools that served those who had control over them, to spread certain ideologies about gender, race and social identities.