Interieur van de kapittelzaal van de Kathedraal van York 1899

Curator: Ah, there's a real chill in the bones with this one, isn’t there? Editor: Indeed. This gelatin-silver print captures the Chapter House interior of York Cathedral, dating back to 1899 and created by James Valentine. It’s currently held in the Rijksmuseum. What strikes you most immediately? Curator: Those windows, all geometry and light – like heavenly graph paper. I feel strangely small and inspired all at once. As if all the solutions to everything are just hanging there in the stained glass, waiting to be decoded. It also looks absolutely freezing, I’m not going to lie. Editor: That juxtaposition of grandeur and perceived vulnerability resonates with the cathedral's history as a center of power, but also as a place of refuge, especially for those marginalized by society. I'm particularly drawn to the sculptural details running along the lower walls. There’s something almost confrontational in its starkness. Curator: Absolutely. They seem to keep a careful, watchful guard. Though, it also reminds me a bit of ornate dragon's teeth, slumbering, poised. Imagine all those robed figures, centuries of whispers and shuffling feet... Editor: The architectural detail amplifies the narrative of institutional authority – built both literally and figuratively on rigid structures of belief and often, exclusion. How might a space like this affect one’s sense of self and belonging? Curator: Good question, which goes against the awe it seeks. I'd guess there are many answers to that depending on your circumstances in society. On another level, it feels like a moment captured, but frozen. No sounds. Still. Peaceful in a way. I get a strange sense of timelessness that’s quite soothing. It pulls me outside of current news cycles, anyway! Editor: And the very act of photographing, especially at that time, imposed a particular viewpoint, a claim to ownership of space and its story. A Gothic cathedral, mediated through the lens of Victorian sensibilities... It’s ripe for deconstruction! Curator: I'll admit, I see only the beauty – and want to sink into its history. However, I take your point. Looking at the image more thoughtfully, one also wants to unravel all the social and class power that's interwoven with all the artistic splendor on display. It leaves more food for thought. Editor: Indeed. It's an artwork that invites endless perspectives. Curator: Right? Just when you think you have it figured out, there’s always something else to unearth, always something else to be unveiled!