Paviljoen van het Kiliç Ali Pasha Complex in Tophane, Istanboel 1861 - 1870

Editor: This is a stereoscopic photograph by Charles Gaudin, taken sometime between 1861 and 1870. It’s titled "Pavilion of the Kiliç Ali Pasha Complex in Tophane, Istanbul.” It feels very still, almost staged, despite supposedly capturing a real moment in time. How should we understand its perspective? Curator: Well, we need to consider the context of Orientalism. Photography at this time often served to reinforce Western perceptions of the East. Images like these, intended for a European audience, frequently aestheticized and romanticized Islamic architecture and life, simplifying complex realities. Notice how the light highlights the architecture while any human presence is secondary, adding to a narrative crafted for outsiders. How do you think this affects our interpretation of the ‘real’ Istanbul? Editor: So, it’s not just a photograph of a building; it's a construction of a particular idea of Istanbul? Were these photographs popular? Curator: Massively so! The popularity of stereoscopic images brought the 'exotic' into Victorian homes. It’s a carefully managed portrayal intended to promote the observer’s cultural authority, effectively telling viewers "this is how you should perceive the East." It served a colonial agenda by presenting a seemingly objective record that reinforced pre-existing beliefs. Do you think the fact that it’s presented as stereo photograph reinforces its authenticity? Editor: I see, like a three-dimensional ‘proof.’ Thinking about it now, this stillness almost feels like a performance for the camera. I'll definitely keep the Orientalist lens in mind moving forward. Curator: Absolutely, recognizing the socio-political motives of visual media like photography can help us to challenge simplified stories, enriching our understanding of both the artwork and the culture it represents.