Onze Buren: de Hr & Mw Poggie 1900 - 1905

Editor: This gelatin-silver print, "Onze Buren: de Hr & Mw Poggie," taken by Eugen Klein between 1900 and 1905, feels like a glimpse into another world. The sepia tones and the intimate portrait of this couple evoke a sense of quiet domesticity. What stands out to you when you look at this photograph? Curator: What strikes me is the inherent tension between the apparent tranquility and the colonial context from which this image emerges. Given that Klein lived and worked in Suriname, we must consider how race, class, and colonial power dynamics are at play in this seemingly benign portrayal of "Our Neighbors, Mr. & Mrs. Poggie". Who were the Poggies in relation to Klein, and what was their position in Surinamese society at the time? Editor: That's something I hadn't fully considered. So, by understanding the social hierarchy of that time, we can better interpret this image? Curator: Precisely. Photography, especially during this period, was not a neutral act. It had the power to shape narratives and reinforce social structures. The way the Poggies are framed, their clothing, their environment—all of these details contribute to a larger narrative about identity and belonging within a colonial framework. What does their domestic setting reveal about their identity in relation to the history and geography of Paramaribo? Editor: So, even a seemingly straightforward portrait like this holds layers of meaning about the power dynamics of the era. Curator: Exactly. It encourages us to question the photographer’s intent, the subjects’ agency, and the broader historical context shaping their lives. It requires us to confront difficult aspects of colonial history and consider its lasting impact. Editor: This gives me a lot to think about, it's so interesting how art can hold complex narratives. Curator: Indeed, it is these layered stories that encourage continuous discourse and understanding.