Groep mannen speelt een kaartspel op een plein in het Tunesische deel van de Wereldtentoonstelling van Antwerpen in 1894 1894

Curator: This photograph by Charles Bernhoeft, taken in 1894, depicts a group of men playing cards in what's labeled as the Tunisian section of the Antwerp World Fair. A striking image. Editor: My first impression is how effectively the photographer has captured a sense of casual yet ordered activity. The linear arrangement of the tables draws the eye, but the postures and garments break up that geometry, creating visual interest. Curator: It's intriguing to consider this through the lens of labor and presentation. World fairs were heavily implicated in showcasing colonial production. Consider what's included versus excluded in representing Tunisia to a Western audience. Editor: Precisely! The contrast of light and shadow in the arcade and clothing directs us to each detail: notice the arrangement of white clothing juxtaposed against the darkness of the building shadow. The figures pop against the geometry behind them. Curator: We see the performance of North African culture, carefully curated. Photography, especially at this time, played a huge role in shaping European perceptions of other parts of the world and helped secure Western power structures. This image would likely circulate back to the colonial administration. Editor: True. And while we cannot be entirely certain about Bernhoeft’s intention, we must also appreciate the internal structural harmony he was able to capture between foreground and background. These dark shapes on their lighter canvas is artful even considering its social intent. Curator: The photo offers insight into how these events not only represented colonized people but also offered a space for cultural exchange and interaction, albeit framed within a system of power imbalance. What were these materials they used for their game? Editor: Those are such insightful points. I agree this image's value is derived from understanding both composition and contextual making and display. It prompts a deep conversation on orientalism and representation in art and exhibition practices.