Ada Krüseman en Edward Burch lopend op straat, Tjibeber 1932

Editor: Here we have "Ada Krüseman and Edward Burch walking on the street, Tjibeber," a gelatin silver print from 1932. It’s an intriguing street scene; almost like a snapshot. What strikes me is how the formal wear contrasts with the informal setting. What’s your perspective on this piece? Curator: This gelatin silver print highlights the relationship between artistic production and the materials readily available to the photographer. The choice of gelatin silver, a dominant photographic process of that era, is less about aesthetic preference and more about accessibility, ease of manipulation, and mass production. Do you notice how the stark monochrome emphasizes a kind of raw, documentary quality? Editor: I do see that rawness now that you mention it. It doesn’t seem overly stylized. The everyday attire, however... Ada and Edward seem elegantly dressed for just a casual walk on the street! Curator: Indeed! Now, let's think about the social context. Given the history of photography itself—consider its role in shaping and preserving social memories and realities, and the complex interactions between colonial power structures and labor relationships that are encoded within even these "casual" street photographs. These clothes are obviously not suitable for physical work and tell a lot about wealth distribution. The very act of capturing this seemingly candid moment becomes a documentation of those socio-economic realities. How do you see it now? Editor: I see the material choices as much more of a conscious statement. By emphasizing that very specific gelatin silver print process in the context of social status and labour, it exposes a power dynamic at play. So, the work is subtly questioning that hierarchy, almost by simply existing as it does. Curator: Exactly! We've peeled back the surface, examining not just what is depicted, but how the means of production shape our understanding and engage with society.