'Prospect af den nye anlagte vey uden for Stadens Nörre Port' 1747 - 1829

Curator: Editor: So, we're looking at "Prospect af den nye anlagte vey uden for Stadens Nörre Port," an engraving by Frederik Ludvig Bradt, likely created sometime between 1747 and 1829. It's a street scene, and I'm struck by how formal it feels, almost staged. What do you see in this piece that stands out? Curator: Beyond its formal composition, I see a very deliberate image crafted to convey power and progress. The avenue, perfectly lined with trees, leads our eye directly towards the city, suggesting a clear path forward. But who benefits from this "progress"? Editor: I see your point! It’s clearly a statement about urban planning, maybe even a kind of propaganda? You said “who benefits?”, well… all the people hanging out sure look affluent. Curator: Exactly. Consider who *isn't* visible here. The focus on leisure and the implied order of the city elides the labor and social stratification inherent in such projects. Where are the construction workers? The displaced communities? This image presents a curated reality, reinforcing existing power structures. The very act of naming the street after Queen Juliane Marie amplifies that. Does that give you a different perspective? Editor: Absolutely. It's easy to just see a pretty picture, but thinking about the social context – who it was made for and what it was trying to say – makes it so much more complex. Curator: It reminds us that art isn't just aesthetic; it's deeply intertwined with politics, power, and the stories we choose to tell – and not tell. It prompts us to examine whose voices are amplified and whose are silenced in the grand narratives of history. Editor: Thanks! That's something I'll definitely keep in mind moving forward.