Leden van de WA Possibly 1943 - 1944

Curator: Here we have a gelatin-silver print photograph titled "Leden van de WA," or "Members of the WA," possibly created between 1943 and 1944 by an anonymous artist. It's currently held at the Rijksmuseum. Editor: It strikes me as an incredibly stark and rather unsettling image. The men, arranged so deliberately, convey a sense of unsettling composure, don't you think? There is almost a sense of boredom on some of their faces. Curator: It’s undoubtedly a powerful image, laden with historical weight. The WA, or Weerbaarheidsafdeling, was the paramilitary branch of the Nationaal-Socialistische Beweging, the Dutch Nazi party. So the photograph serves as a chilling reminder of the Netherlands under Nazi occupation. Editor: Knowing the likely date and that gelatin silver was a widely used process in the early to mid 20th century gives this photo a particular weight. What specific materials were accessible, who controlled the means of production, those are questions this image immediately evokes for me. Were materials rationed? What paper stock was available? And who was in control of the photograph development itself? Curator: That's a fascinating point. The materiality absolutely influences how this propaganda—or, perhaps, a private memento—was crafted and disseminated during a time of intense social and political upheaval. The decision to use photography at all carries its own weight. Editor: The repetitive posture and near nudity create an immediate objectification of these men, a dehumanization of sorts. This has such strong implications of both how the members viewed themselves and wished to be seen by others. Were these prints shared? Kept secret? Burned after the liberation of the Netherlands? Curator: These men belonged to a highly controversial, publicly visible organization during wartime. It represents not just individual choices, but an ideology with dire consequences. It is also presented very professionally, very clearly. One would almost think it's staged given that some members are sitting topless. Editor: It's troubling to ponder all that labour and production condensed into this little artifact. The tangible process really highlights for me the dangerous physical and material legacy that oppressive ideologies leave behind. Curator: It’s certainly a complex image, prompting reflections on individual and collective identity, the power of representation, and the dark chapters of history that continue to resonate today. Editor: Absolutely, and thinking about the nuts and bolts, so to speak, it underlines that the insidious nature of the artwork has many material angles.