Matrozen 1940 - 1943

Curator: This photograph, "Matrozen," which translates to "Sailors," comes to us from the period of 1940 to 1943. The photographer is, as yet, unknown. It's a gelatin silver print and forms part of the Rijksmuseum collection. What’s your initial impression? Editor: There’s an immediate sense of formality, of uniformity, even anonymity. All those dark silhouettes lined up against the stark backdrop. The composition feels rigid, controlled. It projects such a somber tone. Curator: I find that interesting, because viewed through the lens of the period, this photograph potentially captures a specific moment during the Nazi occupation. It might well have been employed in propaganda, aiming to present an image of order and conformity. The question arises, what role does this image play in the wider cultural and political discourse? Editor: Exactly. Uniformity can often mask individuality, silencing dissenting voices. The fact it's a group portrait—these men effectively being turned into cogs—highlights a collective identity potentially imposed rather than chosen. It's about power, the power of the state and who gets to control representation. And what about the people who resisted, whose stories weren’t part of that carefully curated narrative? Curator: Yes, and that plays into the power structures in cultural institutions, in this instance with the photographer remaining anonymous. Who decides which voices are heard, which stories are told, and, equally crucially, which are forgotten? The image presents as Realism, but whose reality are we seeing? Editor: This photograph forces us to confront uncomfortable truths about war and how it permeates into all aspects of society. Images like this can be weaponized, normalizing oppression, erasure of self, the cult of the group... so it’s important to approach them critically, acknowledging the complex and problematic power dynamics. Curator: Well, examining "Matrozen" provides a moment of consideration, prompting a valuable critical exploration into the complexities of historical images and their relevance in a socio-political sense. Editor: Agreed, a vital perspective shift, moving from passively viewing art to actively engaging with its power.