Gezicht op Manneken Pis in Brussel 1857 - 1863

Editor: This is a gelatin-silver print from sometime between 1857 and 1863, by Athanase Clouzard, titled "View of the Manneken Pis in Brussels." The print itself is a stereo image. I can't help but think that the humor of this very small statue seems lost here, or perhaps emphasized by its austere architectural context. What strikes you? Curator: It is a fantastic starting point to reflect on the representation of marginalized bodies, and the political agency inherent in everyday acts, right? The "Manneken Pis," a seemingly innocent, even comical symbol, takes on deeper meaning when viewed through the lens of civic identity. Editor: How so? I guess I had never thought of it being “marginalized” but I can see how it might represent "the people," writ small. Curator: Think about it. The figure is defiant in its vulnerability, an exposure enacted publicly and explicitly in a way that disrupts bourgeois expectations. This fountain then challenges notions of respectability tied to class and behavior in 19th century Brussels. It also challenges a notion of national identity. Can a country be represented by this small boy making such an unabashed gesture? Editor: I didn't consider that connection to social disruption, but that's so interesting. It's almost punk, really, or at least proto-punk! Now I'm seeing a different kind of commentary! Curator: Exactly! Clouzard’s choice to capture this scene in early photography offers another layer of complexity. The then-novel medium, associated with scientific objectivity, here turns towards a cultural icon, elevating it. What might have motivated that association? Editor: Perhaps, as a documentary tool, early photography democratized the way this sort of symbol was disseminated and considered. It suddenly became portable, sharable, even collectible. Thank you! Curator: My pleasure. Hopefully this encourages you to ask these questions as you encounter other seemingly straightforward imagery!