Interesting Things
How to look at photographs while witnessing a genocide? The work Interesting Things is an insight into ongoing conversations that deal with images from Palestine (1921-1923), which were labelled Des Choses Intéressantes – Interesting Things – by the photographer.
I, too, feel connected to these images, existing as matter, as photographs in exile, so close by. That is why, in the video essay, I chose to be present in front of the camera myself: handling the negatives and reciting the voice-over. By inverting the video footage – thereby turning the negatives into positives – the essay engages with the political act of looking. Who gazes at whom, and what power dynamics are at play?
When thinking of Palestine as a land under colonial and imperial rule, a line can be traced, connecting Orientalism’s patronizing depictions of an “empty land” to the current genocide, to the organised destruction of a people. A line runs from Zionism’s urge to erase Palestinian lives from the archives to the scattered photographic heritage today. A line runs from Palestine under British Mandate to the current oppression. A line runs from Frank Scholten’s images to today’s gazes.
I, too, feel connected to these images, existing as matter, as photographs in exile, so close by. That is why, in the video essay, I chose to be present in front of the camera myself: handling the negatives and reciting the voice-over. By inverting the video footage – thereby turning the negatives into positives – the essay engages with the political act of looking. Who gazes at whom, and what power dynamics are at play?
When thinking of Palestine as a land under colonial and imperial rule, a line can be traced, connecting Orientalism’s patronizing depictions of an “empty land” to the current genocide, to the organised destruction of a people. A line runs from Zionism’s urge to erase Palestinian lives from the archives to the scattered photographic heritage today. A line runs from Palestine under British Mandate to the current oppression. A line runs from Frank Scholten’s images to today’s gazes.
But narratives are not inherent to photographs; they are constantly in flux. This is especially apparent in the liminal space between photographs and annotations. The book Interesting Things is an attempt to deal collectively with these images that are ambiguous, political, historical and urgent at the same time. Therefore, I invited collaborators to add a new context to Frank Scholten‘s more than 100-years-old photographs. I also include captions and keywords that stem from Frank Scholten himself or were attributed by staff at Leiden University Libraries. It is a comment on the many ways archival processes create and change narratives – it is a comment on the permeability of the record. What can be retrieved, what meanings can be infused, what should be added? The book wants to collectively deconstructs notions of knowledge and narrations of Euro-Christian hegemony.
When looking at Frank Scholten’s photographs, there are many “others” to encounter, and the installation Interesting Things provides a space to both explore these relations, and to position oneself in them. We are not mere spectators; everyone is involved in imperialist projects that continue to intersect in Palestine.
When looking at Frank Scholten’s photographs, there are many “others” to encounter, and the installation Interesting Things provides a space to both explore these relations, and to position oneself in them. We are not mere spectators; everyone is involved in imperialist projects that continue to intersect in Palestine.
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