Bazin. Claudius dit César. 36 ans, né à Chatillon (Ain). Mécanicien. Anarchiste. 11/3/94. 1894

Editor: This is a photograph taken by Alphonse Bertillon in 1894, entitled "Bazin. Claudius dit César. 36 ans, né à Chatillon (Ain). Mécanicien. Anarchiste. 11/3/94." It’s a gelatin-silver print. It feels so stark and direct. What do you see in this piece? Curator: This image is powerful because it embodies the intersection of identity, politics, and power. Bertillon's photographs weren’t made as art. They were produced using an early system of criminal identification. Look at the meticulous documentation—name, age, profession, affiliation. He's cataloging more than just a physical presence. He's labeling a perceived threat to the established social order. Editor: So, it's a document, not just a portrait. Does his classification as "anarchist" impact how we view him? Curator: Absolutely. It positions him within a network of individuals deemed dangerous by the state. Think about the anxieties of the late 19th century, a period of intense social upheaval, rising labor movements, and fear of radical politics. This image, taken within that context, serves as a tool of surveillance and control. The question becomes, what narrative is constructed, and who gets to control it? How might Bazin have defined himself? Editor: I never thought of it that way. Seeing the piece in its historical context definitely adds another layer of interpretation. It is both a portrait and a statement. Curator: Precisely. By acknowledging these photographs as social and political artifacts, we engage with art history, contemporary theory, and intersectional narratives about identity, race, and politics, inviting critical engagement and promoting a deeper understanding of the complexities inherent within a single, seemingly straightforward image.