Deutsche Börse Photography Foundation Prize 2025 @ the Photographers’ Gallery

The annual Deutsche Börse Photography Foundation Prize is awarded to the best photography exhibition staged, or the best photography book published, in Europe, in the preceding twelve months. Obviously they start with a long list, then select a short list, from which are chosen four finalists, and it’s the four finalists’ work which features in this annual exhibition at the Photographer’s Gallery. The winner is announced on 15 May and will be awarded a handsome £30,000 prize, with the other finalists each receiving £5,000.

As usual, each of the four photographers are represented by projects or books which usually take a bit of explaining. Each photographer has a room each devoted to their project. This year’s four finalists are (in alphabetical order):

  • Cristina De Middel
  • Rahim Fortune
  • Tarrah Krajnak
  • Lindokuhle Sobekwa

1. Cristina De Middel (b. 1975, Spain)

De Middel’s project is titled ‘Journey to the Centre’. It’s a photographic testament to the migrants who cross Mexico from South America with the aim of getting into the United States. So it starts off from Tapachula, a town on the southern border of Mexico (with Guatemala) and then covers the trail heading north until it reaches the famous Trump wall, just this side of the border, across from an American town with the ironic name of Felicity.

First off what strikes you about Middel’s room is that it is dominated by a massive orange metal frame on which hang some of her images, presumably representing the Trump Wall.

Installation view of ‘Journey to the Centre’ by Cristina De Middel at the Photographers’ Gallery (photo by the author)

Next thing you notice is that the photos are interspersed by what appear to be picture cards from a game I’m not familiar with.

Installation view of ‘Journey to the Centre’ by Cristina De Middel at the Photographers’ Gallery (photo by the author)

When you look closer you see that the images in the cards are recreated or strongly echoed in the photos placed alongside them. So in this installation view the big picture of the sun is echoed on its left by a photo of a woman holding her hand up to protect herself from the sun, while the red figure of El Diablo is echoed on its right by a man wearing a bright red cloak. This parallelism between the big bright cards and Middel’s clear bright photos is much more obvious than the rather more muted and obscure references to the Jules Verne novel.

The card-photo juxtaposition is also, you come to realise, funny.

Next thing you quickly notice is how classically Middel’s photos are framed and composed. The subjects are in the middle, shot very cleanly and crisply in perfect focus, with a nice space all around, giving a classic, almost studio effect, although all of them are clearly shot on location.

Installation view of ‘Journey to the Centre’ by Cristina De Middel at the Photographers’ Gallery (photo by the author)

In this (admittedly not great) installation shot, you can see at the top-left how the single boot, abandoned and half buried in the desert sand, is shot at just the right distance, square on, with plenty of space around it, so that it almost looks like an image from a surreal ad.

Same with the guy apparently preparing to pole vault over Trump’s Wall – the wall itself is framed carefully so that we fully see its continuation into the sea, while the high jumper himself is set as squarely in the middle of the shot as possible.

These are not casual shots. They have all been carefully composed and framed. And it’s the resultant timeless, classic effect which makes them so appealing. As I’ve said, almost every one looks like an ad for something, whether a commercial product or a charity, but all with a kind of classic, commercial perfectness.

Installation view of ‘Journey to the Centre’ by Cristina De Middel at the Photographers’ Gallery (photo by the author)

Finally, as you can see in this installation view, there’s also a display case showing some of the bric-a-brac Middel came across in her pilgrimage across Mexico, abandoned shoes and the like.

It was only after I’d been round the room three or four times that I realised something else, something connected to the advertisement-style finish, which is the absence of people. Certainly about half of the images feature a person, but only one. Whereas of the ten photos hanging on the frame in my first installation view, only one or two of them feature a human being at all, the other eight or nine are bereft of people – stark but beautifully composed and shot images of the desert, of cacti and scrubland, an ancient pyramid, a Welcome tourists sign, a vivid one of a burned-out car, and so on.

Now when I’ve seen news footage of migrants trekking north through Mexico to try and reach the United States, it’s generally been in family groups, sometimes in big crowds. The curators claim that Middel’s work is challenging stereotypes about the migrants who trek across Mexico to reach America, but the impression I had is that she’s more or less erased those migrants in order to be left with consciously poignant images of emptiness and abandonment.

2. Rahim Fortune

From one project about America to another. Rahim Fortune is a young American Black man. His room doesn’t have a big metal frame or any props, just the old-fashioned thing of 30 or so crisp black-and-white photos depicting aspects of Black culture and community from his home state of Texas and the American South.

His project is titled ‘Hardtack’ which requires a word of explanation.

Hardtack is an unleavened bread made with flour, water and salt that was typical of the southern states of America during the Civil War era. Due to its extremely long shelf life, hardtack is long associated with survivalism and land migration. Fortune draws on this as a metaphor for the enduring nature of Black culture and traditions.

All his photos are great, beautifully framed and beautifully shot, classic, very achieved. But, I’m afraid to say, I feel like I’ve seen them all before. Old Black guys who look like they’ve had a hard life, sweet Black bridesmaids dressed in white at a wedding, the Revivalist meeting, the worn old clapperboard Baptist chapels, random people on horseback emphasising the rural backwardness of the region, I feel like I’ve seen them all before.

Praise Dancers in Edna, Texas by Rahim Fortune (2022) © Rahim Fortune

I felt guilty thinking this but then I came across Fortune himself articulating the thought in the three-minute interview he gave the gallery.

Interview with Rahim Fortune

In his own words:

“There’s a lot of baggage that comes with photographing in the American South. There’s so much photographic fog and fodder and it’s a place that’s been so heavily photographed.”

Well, like I say, all his images are beautifully composed and shot, displaying wonderful technique, and I really liked quite a few of them, it’s just that… I feel like I’ve seen many of them, or shots very like them, lots of times before.

Windmill House by Rahim Fortune © Rahim Fortune

And America again! The rules of the competition are that the prize is awarded to an outstanding exhibition held in Europe so why are these finalists from or about America? Are we seriously to believe that no photography exhibition and no photography book by any European photographer merited inclusion?

3. Tarrah Krajnak

This oppressive sense of American cultural dominance continues with the third finalist, Tarrah Krajnak. Krajnak was born in an orphanage in Lima, Peru, in 1979 and adopted by Slovak-Americans. She is now an American citizen who lives and works in Eugene, Oregon, USA. The curators explain that she subverts this and interrogates that, but the one thing she isn’t interrogating is the American cultural dominance of this exhibition.

In the Krajnak room there’s a massive blue painting and a video but the real meat is two series of black and white works on opposite walls. One of them is titled ‘Self-Portrait as Weston’ which needs a word of explanation: in 1977 a book was published collecting together the the best of the stylised studies of the female nude which classic American photographer Edward Weston had made during his long career (1886 to 1958). So Krajnak (an Associate Professor of Photography at the University of Oregon and so well-versed in the canon) had the bright idea of taking photos of herself nude re-enacting the same poses as the classic Weston poses, with the Weston book placed in shot, open to the relevant image she is recreating or pastiching or subverting.

Self-Portrait as Weston #4 by Tarrah Krajnak © Tarrah Krajnak

You can almost hear Krajnak explaining that she is subverting the male gaze and interrogating the male canon and asserting women’s agency. You can feel her saying ‘This is what a real woman looks like’, her own naked body being a realistic, common-or-garden human shape rather than the svelte and sexy women Weston (sexistly) featured in his studies.

Installation view of ‘Self-Portrait as Weston’ by Tarrah Krajnak at the Photographers’ Gallery (photo by the author)

There are 16 of these homages/subversions, all neatly laid out in rows on the bare white gallery wall. You can see how the walls in the photos are grubby and have a developing world vibe, more like Peru or Mexico than the spick and span studios of the University of Oregon.

I also think the prints have been treated in some way to make them appear agèd, maybe this is what the curators mean when they refer to Krajnak’s use of ‘pigment prints’ and other technical processes. I assume this is all an attempt to recreate the atmosphere of the original Weston photos, some of which date from the 1920s and ’30s.

I dare say Krajnak is interrogating the male gaze and subverting the canon of dead white males, asserting her agency and all the other buzzwords of feminist academia, but it seems like a tired trope to me. As recently as a month ago I visited the exhibitions of Mickalene Thomas and Linder who have both, for decades, been depicting half-naked women in a bid to subvert the male gaze and assert female agency and interrogate the canon of white male art and so on. I do get the idea and am pretty bored by it. Subverting the male gaze isn’t nowadays a radical strategy, if it ever was one, but more a well-established genre like photographs of flowers or village fetes.

My wife, a feminist businesswoman, didn’t like the series because of its obvious and formulaic preachiness; she far preferred the other series in the room, ‘Rock, Paper, Sun’ from 2023.

Installation view of ‘Rock, Paper, Sun’ by Tarrah Krajnak at the Photographers’ Gallery (photo by the author)

Also black-and-white images which have been treated or printed to give the effect of age and depth, this is a series of images of Krajnak holding rocks of different shapes, placed next to photos of her notebook in which she’s sketched each rock and described her feelings about it.

My wife particularly liked the idea that if you hold the rocks long enough, they start to talk to you, to communicate their stories. We both liked that very much.

On the third wall was a smaller set which in a sense combines the best of the other two, in that they are again self portraits, of her whole body (though fully dressed, this time) engaging with rocks. They’re lovely images of her curling up and cuddling rocks and boulders.

‘Sister Rock/Rock that Tries to Forget (from Automatic Rocks/Excavation)’ by Tarrah Kjanak (2020) © Tarrah Krajnak

These feel sweet and lovely and genuinely do convey some sense of harmony between humans and the environment. They’re beautiful because they sweetly convey a beautiful sentiment. They’re gentle. They suggest closure and harmony in a way not many of the other images in the show do.

(The rock hugging reminded me a bit of the tree hugging Chipko movement of women from the villages of the Garhwal Hills in the Himalayas in Uttarakhand as photographed by Pamela Singh and featured in the Barbican exhibition RE/SISTERS: A Lens on Gender and Ecology.)

4. Lindokuhle Sobekwa

The fourth and final entrant is not from or about America, which makes a nice change, although it is from another over-familiar country, South Africa. It’s a room devoted to the highly personal project of the South African (male) photographer Lindokuhle Sobekwa titled ‘I carry Her photo with Me’. Like the others, this needs some explanation.

The project began when Sobekwa found a family portrait with his older sister Ziyanda’s face cut out. It remains the only photograph he has of her. One day when the siblings were seven and thirteen, she chased him and he was hit by a car and badly injured. She disappeared hours later, only returning a decade later, ill. By this time Sobekwa had become a photographer. He tried to take her portrait, but stopped when she reacted angrily. Ziyanda died soon after.

Tragic story of a broken family. The display combines family photographs, handwritten notes, sketches and drawings, as well as photos of the wider environment around Sobekwa’s home, to create a scrapbook-like effect which is deeply rooted in his family but reaches out, as it were, to portray the crushing poverty deeply embedded in South African society to this day.

Again, as with the technically perfect images of Rahim Fortune, many of the photos here are wonderful – an old woman labouring a ploughed field in a vast derelict expanse, a dejected Black woman sitting in a shiny bathroom (the poster image for the whole show) and the one I liked best, a middle-aged Black woman in what looks like a shanty shack, reading by candlelight.

From ‘I carry Her photo with Me’ by Lindokuhle Sobekwa

But, well, like the Fortune set, I feel I know the outline of this story, in fact I am over-familiar with it. Apartheid was terrible. Thirty five years after its fall, there’s still crushing poverty in South Africa. None of this is news. I’m sure I’ve seen loads of photojournalism about grim lives in South Africa, in fact all I had to do was look up last year’s Deutsche Börse Photography Foundation Prize to discover that it, also, featured the work of a Black South African photographer chronicling Black poverty, Lebohang Kganye. Maybe there’s a clause in the competition saying there always has to be an entry from South Africa – and that the curators have to mention the world ‘colonialism’ at least once in every exhibition.

Interview with Lindokuhle Sobekwa

Sobekwa’s personal story and the inclusion of many pages from his scrapbooks, complete with scribbled text and rough drawings projected onto one wall, give this room a distinctive flavour – but then I’m sure I’ve seen the inclusion of a photographer’s scrapbooks and notebooks in at least two other photography exhibitions in the past few years.

In fact arguably the most distinctive thing about his room was the very beautiful, calm if slightly sentimental piano music playing in it. This, we learn, was composed specially for the exhibition, ‘Meditations for Ziyanda’ by Nduduzo Makhathini. This lovely lulling music makes the Sobekwa room the nicest one to linger in, although the actual imagery is (deliberately) the most scrappy and fragmented.

Thoughts: Old

If there’s one thing my kids, now in their early 20s, have taught me, it’s that I’m completely out of date. My entire worldview of what is radical or strange, what is politically or culturally important, what music, films, art or photography I like, not only seem out of date to them, but irrelevant to their tastes and concerns and anxieties.

They live in a hyper-digital age where billions of images and videos about everything are available all the time and they are continually adding to the vast pile by sending each other Snapchat, Whatsapp and TikTok images and texts and sounds all the time.

Even the idea of going to an art or photography gallery seems to them like an incredibly out-of-date, Stone Age thing to do. Why bother when all the art you could ever want to see and much more is available at the touch of a finger?

It’s with this in mind that my overall feeling about the show was how old it all seemed, how old and tired and clichéd so many of the images and earnest concerns seemed.

1. Oh the poor migrants trekking across Mexico to smuggle themselves into America, how long has that being going on? I remember liking the Jack Nicholson movie ‘The Border’, about the US border patrol and the misery of migrants trying to cross into rich America, and that dates from 1982.

2. Similarly, I remember protesting against apartheid South Africa as a student, the radical press swimming in images of the poverty-stricken townships, in the 1980s.

3. I grew up in the 1970s amid the backwash of images from the American Civil Rights movement and pictures of poor rural Blacks in the American South abounded in Sunday supplement photo-essays, in books and posters and movies, half a century ago.

4. Hugging trees and rocks may be a little more recent but concern for the environment likewise dates back to the 1970s when Friends of the Earth and Greenpeace and all the others were founded. I’ve always loved the land art of Richard Long, featuring immaculate photos of rocks and boulders similar to the ones in Krajnak’s work, and he started doing that in the late 1960s.

So, completely contrary to the curators’ claim that these works are somehow cutting edge, state-of-the-art and addressing bang up-to-date issues, I felt the exact opposite. All of them seemed to me to be not only 1) addressing issues which were old and familiar before some of these photographers were even born but 2) in a curiously static, classic and old-fashioned aesthetic which also feels very dated.

Where’s the photography which captures the all-enveloping digital realm all of us live in these days, and register the complex effect that’s had on our perceptions of ‘reality’ and value? Not here, not by a long shot. All four photographers here soak us in the warm and comforting ambience of well-worn and familiar and easily assimilable issues, presented in reassuringly familiar styles.

Making America great again

I know I bang on about it but the inclusion of three projects about or America or the American border made me wonder: were there really no photographers from Europe, no European photography projects, no European photography books, covering European subjects, worthy of inclusion among the finalists?

No photography exhibitions anywhere in Europe about the war in Ukraine, about refugees, about the long afterglow of the wars in Yugoslavia, about the rise of right-wing parties in Italy, Germany, about the bombs and gang warfare in Sweden. No stories and no photographers from Europe? Apparently not. America again. And again. And again.

It feels like the curators, despite all their progressive rhetoric, despite all their conscious intentions, despite Donald Trump demonstrating to the whole world that America is nobody’s friend and should be nobody’s icon, and the obvious fact that we need to consciously decouple – politically, militarily and culturally – from a country which chose authoritarian mobster rule, cannot shake off the dead hand of American cultural imperialism.

Who do you think should win?

From what I’ve shown you and what you can see for yourselves on the links I’ve provided, who do you think should win? Obviously they’re all highly accomplished and technically adept. For me it’s a toss-up between Middel’s advert-slick images of the Mexican desert and the humour of juxtaposing her images with those big colourful playing cards – and Krajnak’s images of her hands holding rocks or herself cuddling a big boulder, for their gentleness and sweetness. Tricky choice. Who would you vote for?

Promo video


Related links

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Peru: a journey in time @ the British Museum

This is a magnificent exhibition. I think the British Museum is my favourite museum/gallery in London, not only because of the beauty of the building, its sense of size and spaciousness, the awesome breadth and range of its holdings – but because it also combines two of my favourite subjects, art and deep history: art in the widest sense, from the high art of imperial courts to the folk art of Inuit or African tribes; and ‘history’ meaning 50 or 100 years ago, but 5,000 or even 50,000 years ago, the full depth and breadth of all human history.

Copper and shell funerary mask, Peru, Moche, AD 100 to 800. Museo de Arte de Lima, Peru. Donated by James Reid

What

In fact the quality of the objects on display in this exhibition is one of its most striking points. I’ve been to scores of exhibitions about ancient cultures and often the curators are forced, through lack of archaeological evidence, to display shards of pottery or fragments of swords and so on and reconstruct their appearance.

By striking contrast, I don’t think I’ve ever been to an exhibition where the quality of every single piece on display was so high. Peru: a journey in time is an exhibition of physically complete, highly finished and dazzling masterpieces!

Kero drinking vessel with a painted scene showing a human figure wearing both Western and Inca attire, Colonial 18th century. © 2021 The Trustees of the British Museum

I was fascinated to learn that this is in large part because of the dry desert conditions of coastal Peru where a lot of its ancient cities were sited meant that all objects, even rugs and tapestries, remained beautifully preserved in the sand for centuries. Apparently these deserts are among the driest in the world, and the exhibition opens with a huge 4-minute video projected onto the wall showing aerial shots of (presumably a helicopter) flying over Amazon jungle, then the breath-taking Andes mountains, through winding river valleys and then, finally across the beautiful bone dry deserts and so to the sandy shoreline. I sat and watched the whole thing several times. It’s awesome.

The exhibition brings together over 40 objects transported from nine museums across Peru to join 80 other pieces from the British Museum’s own collection, many of them rarely if ever exhibited before, including beautiful pots and ceramics, gold headpieces and gauntlets, highly decorated fabrics used to wrap royal corpses and much more.

So it really is a once-in-a-lifetime opportunity to see such an extensive exhibition of such wonderful, beautiful objects from remote and ancient cultures most of us have never heard of.

Where

So where are talking? Right at the start the show features a big map showing the borders of modern Peru. I can’t find it anywhere online and this is the least worst available alternative. In the centre is the modern state of Peru with key archaeological sites highlighted. To the north is Ecuador, the north-east Colombia, to the east Brazil, to the south-east Bolivia.

Map of ancient sites in Peru

But the point is that, until a few hundred years ago, until the arrival of the Spanish conquistadores in the 1530s, all the South American states didn’t exist, in fact the modern state of Peru didn’t come into existence until 200 years ago (and the Museum does point out that the exhibition is by way of celebrating Peru’s bicentennary).

Before the 1530s the central part of the west coast of South America was ruled by a succession of native states and empires, the mountains of the Andes were more sparsely populated, though containing some towns and holy sites, and the Amazon rainforest was inhabited by countless indigenous tribes who have left little or no trace.

When

As to when, the big, big revelation of this show is that the Incas, who most of us have heard about, were only the last and relatively short-lived of a whole series of empires which rose to eminence and ruled various parts of the mountain and coastal regions of what we now call Peru for centuries, the first empires dating from thousands of years BC.

As the co-curator of the exhibition, Cecilia Pardo, puts it:

‘While the Incas are one of the most well-known civilisations from Peru, they were actually relatively recent in terms of the long history of this region. We’ll be taking visitors back many thousands of years earlier.’

The Museum provides an illustrated timeline:

And the exhibition is arranged in simple chronological order, with a room (or, since the spaces are actually marked off by fine bead curtaining) a ‘space’ assigned to the six most important empires or cultures. Each one is introduced by a wall label giving a brief overview of the culture’s dates, rise and extent, cultural practices, a map showing that particular culture’s centres, ritual sites, and one or more big big photos of a key site.

The wall labels are just the right length, but it still requires an effort to get the timeline clear in your head, to try and remember the names of the successive cultures and then to remember the cultural practices associated with each.

Pottery vessel in the shape of a contorted body, Peru, Cupisnique,1200 to 500 BC. Museo de Arte de Lima. Donated by Petrus and Verónica Fernandini. Photo by Daniel Giannoni

The timeline can be summarised as:

  • 15,000 BC first humans arrive in South America
  • 2,500 to 1,800 BC first pottery remains
  • 1,200 to 200 BC Chavin culture
  • 900 to 200 BC Paracas culture
  • 200 BC to 650 AD Nasca culture
  • 100 to 800 AD Mosca
  • 600 to 900 AD Wari
  • 900 to 1400 AD coastal kingdom of Chimú
  • 1400 to 1533 Inca Empire

So the Inca ‘room’ is the last one in the show (well, there’s a kind of epilogue showing how some of the practices, patterns and designs of the earlier cultures linger on among peasants or high-end artists in modern Peru), and it goes heavy on the famous ruined city of Machu Picchu, with the usual breath-taking photos, architectural diagrams showing its structure and layout and so on. But we know about Macchu Picchu sitting atop its mountain, 8,000 feet above the tropical forest and the spectacular views which we routinely see in screensavers or travel brochures. (I’m always disappointed to be reminded that Machu Picchu, from the Quechua Indian language, simply means ‘old mountain’. As so often, the foreign words are so much more evocative than the bald English translation.)

But it’s the other spaces, devoted to the other cultures, which are the real revelation. Here they are in order with a few of the outstanding highlights.

1. Living landscapes

Introduction to the breath-taking but challenging environments of Peru, rainforest in the east, high Andes mountains, and desert down to the coast. Introduces ideas from the various cultures, suggesting how the peoples lived in tune with nature, developed agriculture, commerce and art, and their own theories of time and history, and of death and the afterlife.

2. Early cultures and the Chavin (1200 to 500 BC)

3. Life and death in the desert

How the Paracas and Nasca peoples lived along the south coast of Peru, one of the most arid places on the planet. the most outstanding achievement of the Nasca people couldn’t be included in the exhibition because it is the huge ‘geoglyphs’, outline shapes of animals which they carved in the desert. They did this by removing the top layer of earth and exposing the lighter sediment beneath to create stylised depictions of animals and other natural objects. And there aren’t just a handful: to date between nearly 100 new figures had been found with the use of drones and archaeologists believe there are more yet to be discovered.

The Monkey geoglyph, Nasca, Peru. ©Walter Wust / PROMPERÚ.

As to the Paracas, the standout thing here was their cult of severed heads. One of the biggest exhibits is a big tapestry aid flat in a case which you can stroll round. At first I took that busy pattern to be of stylised figures, a bit reminiscent of the early video game, Space Invaders.

Mantle depicting mythical beings holding severed heads. Museo de Arte de Lima. Prado Family Bequest. Restored with a grant from the Bank of America Art Conservation Project.

It was only when I looked closer that I realised every single one these figures was carrying in their hand a severed head. At first I thought this was a gruesome proof of human sacrifice comparable to the Aztec cult of cutting human hearts out of the defeated in battle. This seemed to be confirmed when in realised several of the pots in this section also depicted figures holding a rope tied to the top of a severed human head.

And then saw a set of wood carvings (rare survivals from the period which have been in the British Museum vaults for over a century, apparently, and never before been put on public display). These were of naked figures (we know they are naked because they had prominent wooden penises) again with thick rope around their necks.

The curator explained it all. In most societies war means unbridled violence between large armies, all too often rampaging across territory and considering it a valid war aim to kill all civilians, destroy all buildings and agriculture. Not so the Paracas. According to the curator, if conflict arose between groups, representatives were chosen to take part in something more like the games in the Roman amphitheatre. The losers were not killed there and then but submitted to this ritual of abasement and execution. The penises are important not as symbols of fertility but because they emphasise the captors’ naked status.

The losers were taken by boat to a holy island just off the coast, where were priests or religious officials who performed the beheading according to rituals. This explains why this section of the exhibition included a beautifully complete and detailed ceramic of a boat being sailed, with a fully dressed sailor at the tiller and several naked captives on deck, all with the stylised short thick rope round their necks.

To return to the funerary wrapping, the curator now explained that the 70 or so figures depicted are gods or protective spirits of the afterlife, and the head each one is holding by a rope represents an ancestor of the person being wrapped in this covering. So, by the end of his presentation, I realised what a precious object this was and how highly charged with religious and ritual symbolism.

(The exhibition features half a dozen or so videos, each devoted to particular exhibits, and this funeral cloth was accompanied by a video showing exactly how it would have been used to wrap the body of its high status owner.)

4. The Moche (AD 100 to 800) and the Chimu (AD 1000 to 1400)

These two cultures dominated along the coast and inland valleys of northern Peru. The outstanding artefacts from the Moche period were the stunningly finished and lifelike pottery heads and figurines.

Painted pottery vessel in the form of a warrior holding a club and a shield, Peru, Moche AD 100 to 600. © 2021 The Trustees of the British Museum

This is what I meant when I said that the exhibits are in astonishing condition. If these pots were from ancient Greece or Rome, you’d put up with half the decoration being scratched off, chips and fragments. But all the pottery heads and figurine included in the exhibition were in immaculate condition. They looked like they’d been made and glazed last month instead of two thousand years ago.

You might have expected that the portrait heads and figurines were stylised and stereotyped or standardised. But the curator pointed out that archaeologists have discovered a set of pottery heads depicting a man with a distinctive facial disfiguration, and the three pots clearly show him as a youth, a mature man and an old man. In other words, these ceramic heads are portraits of real people. I found that breath-taking.

5. The Wari (AD 600 to 900) and Inca (AD 1400 to 1532)

The two great empires of the highlands of the Central Andes, this part of the exhibition overshadowed, as mentioned above, by stunning images of Machu Picchu.

6. The Andean legacy

The final part of the Inca space shows Western influences impinging on native traditions, Christianity apparently wiping out native religions and rituals, books written entirely by Spanish clerics (all the cultures listed above were illiterate so we can never know the detail of their beliefs or practices) giving a very one-sided account of the native peoples, often misunderstanding or distorting their beliefs and traditions.

Kero drinking vessel with a painted scene showing a human figure wearing both Western and Inca attire, Colonial 18th century. © 2021 The Trustees of the British Museum

But then the final (small) space is devoted to a more optimistic vision, showing how many of the native traditions, despite Spanish attempts at obliteration, survived and went underground, emerging centuries later in enduring traditions of arts and crafts, in native words and traditions kept alive in rural areas..

Why

Why go? Because it is a magnificent exhibition. All the exhibits are in stunningly good condition. The photos of the Peruvian landscape are breath-taking, made me want to jump on a plane and go see for myself. The sense of history it gives, of how deep history works, of the growth and overlap and intermingling of distinct cultures over long periods of time on similar or adjacent territories, fire the historical imagination.

If you like images of severed heads, this is the exhibition for you! And I haven’t even mentioned the frequency of other images and motifs taken from the natural world, such as the recurring motifs of pumas or panthers, and the sly presence of snakes in many images. For example, the stunning 2,500-year-old gold headdress and pair of ear plates decorated with embossed motifs of human faces with feline fangs and snakes’ appendages, part of an elite burial found at Kuntur Wasi.

It’s a feast for the eyes and the mind. Go.

A video review

Here’s a rather home-made but accurate depiction of what the exhibition looks like, made by Visiting London Guide.


Related links

More British Museum exhibition reviews

The Penguin History of Latin America by Edwin Williamson (revised edition 2009) (1)

Because it comes with the bright orange and white spine of the new-style Penguin histories, and because it said ‘New Edition’ on the front cover, I hadn’t quite grasped that the main body of this hefty 700-page history of Latin America was completed by 1990, 35  years ago.

The new edition is ‘new’ because it tacks a 40-page chapter onto the end of the unedited main text, summarising events in Latin America between 1990 and 2008. Obviously quite a lot of water has flowed under the bridge since 2008, so I probably need to supplement reading this with a modern, modern history of Latin America.

The text is divided into three big parts:

  • The Age of Empire, pages 3 to 192 (189 pages)
  • The Challenge of the Modern World, pages 195 to 310 (115 pages)
  • The Twentieth Century, pages 313 to 566 (253 pages)

Note how the section on the 20th century, plus the forty pages of the ‘new’ chapter, is as long as the first two parts put together. Here, as everywhere, the more recent the history, the more of it there is, the more people there have been and the more records have been kept, until we reach the present age when every phone call, every text and every photograph anyone in the world takes is being recorded and stored. Soon we will drown in data.

The conquest of the Aztecs and Incas

Williamson dives right in with the early, legendary history of the Aztecs, when they were a group of nomads traipsing round central Mexico, before they established the largest empire in pre-Colombian America around 1400. Their only rival was the Inca Empire, down in modern-day Peru.

There is, of course, a lot to say about both, but the thing that struck me was the way both of them were empires carved out by one particular tribe or ethnic group which subjugated all their neighbours, and demanded tribute in food, precious metals and slaves (some then offered up as grisly human sacrifices).

Both empires generated complex religious ideologies accompanied by fascinating and complex theories of time – that it moved in cycles and was marked by moments of great significance – but the bottom line was that both the Aztec ruler and the Inca emperor believed they derived their authority from the gods, and were backed up in this conviction by the classes of priests and warriors which justified and defended them.

Of course the vast majority of the population was peasants, mostly living in abject serfhood, who slaved away for their short, unhealthy lives, producing the surpluses which paid for the elaborate costumes and rituals and treasures sported by their rulers. Which was also the fate of entire populations of conquered tribes, for both the Aztecs and Incas lived by war, by conquering, subjugating and exploiting neighbouring peoples.

The other striking thing was their backwardness. Both Aztecs and Incas, and all the hundreds of other tribes scattered across central and south America, were illiterate. The Aztecs and Incas had no written language, just a primitive system of markers – the important knowledge about the stars and the gods was handed down by word of mouth, hence the semi-divine regard for the caste of priests who, alone, knew this vital celestial information.

They didn’t have the wheel, nor beasts of burden – no horses or donkeys or camels or bullocks. Therefore they had to carry everything by hand. It is staggering to realise that the awesome Inca city of Machu Picchu was built by massive stones, carried 2,430 metres above sea level, by human power alone.

All this was doomed to come crashing to an end when the Europeans arrived. Williamson describes in detail the four successive voyages of Christopher Columbus, his first landfall in 1492, the chaotic mismanagement of the first islands he and his men settled – Hispaniola – the slow, establishment of colonies, the extension of Spanish rule onto neighbouring islands, and then, 27 years later, Cortez’s expedition to the mainland against the Aztecs (1519 to 1521).

The eeriest thing about Cortes’s conquest of the Aztec Empire, and then Francisco Pizarro’s conquest of Peru in 1532, is the idea that the rulers of both empires were too puzzled and confused by the invaders to respond adequately. They couldn’t believe that these little gangs of a few hundred men were serious about planning to overthrow their empires of tens of thousands of warriors – but they couldn’t figure out what it was they really wanted. Williamson attributes the conquistadors’ success partly to guns and horses but shows that in both cases, the conquerors really had very few of them – when Pizarro finally met with the Inca emperor Atahualpa, in nothern Peru, he had a force of just 110-foot soldiers, 67 cavalry, three arquebuses and two falconets.

More decisive was the Europeans’ superior grasp of strategy, in particular realising that the empires they were encountering were themselves highly stressed, riven by faction fights or stretched by the continual need to control their subject peoples. The Spanish made alliances with enemies and groups wishing to be liberated. They were good at building coalitions.

Williamson doesn’t say it in so many words, but the idea emerges that the Europeans triumphed because they were just more intelligent about strategy and warcraft.

The role of European diseases

Then there’s our old friend disease. As explained at length in Jared Diamond’s classic 1997 study Guns, Germs and Steel, wherever European explorers went they took with them the infectious diseases which, over thousands of years, they had built up immunity to – but which ravaged the native populations which had no immunity to them.

This view is reinforced by the revisionist history of America told by Alan Taylor in his brilliant American Colonies: The Settling of North America (2001). Taylor explains how the entire native civilisation of the Mississippi valley was wiped out by diseases, most probably smallpox, brought by a few shipwrecked Spanish sailors to the mouth of the Mississippi delta, which then spread catastrophically so that when, a century later, the first Anglo-Saxon explorers entered the region, they discovered entire cities with complex layouts, large palaces and temples and canals… all abandoned and overgrown by forest.

Indeed, Pizzaro’s job of conquering the Incas was made easier because the Incas were themselves in the middle of a bloody civil war, which was complicated by the fact that not one but two rival claimants to the throne had died from smallpox. Over the decades after the Spanish arrived, there was a catastrophic collapse in native populations caused by the invaders’ diseases. Some experts estimate as much as 90% of the native population of Mexico was killed by European disease within fifty years.

Still, Williamson is always at hand to say that in this, as in everything else, the reality on the ground, and across such vast areas as all of Mexico, Central America and Peru, were far more complex and uneven than contemporaries and many historians realise. Many other areas of the continent remained relatively untouched and life went on in the same old way, only now you had to pay a tribute of your produce to a new boss, who wore armour and rode a horse.

The geographic limits of Spanish settlement

The book is packed with thought-provoking ideas and insights. I was fascinated to understand more about the geographic limits to the spread of Spanish rule.

When the Anglo settlers arrived in North America in the 1600s they found it relatively easy to spread out into New England and all along the Atlantic coast. But the Spanish, having established their key centres of administration in Mexico City and Lima a century earlier, with waystations and ports in the Caribbean, found it difficult to expand beyond them. Why?

North of Tenochtitlan, the Aztec capital which the invaders had renamed Mexico City, lies a vast area of arid desert – the territory which centuries later would become Arizona and New Mexico – where the Spanish explorers discovered nothing but impoverished villages of Indians surviving on subsistence agriculture.

Over to the East there were repeated attempts to explore the peninsula they named ‘Florida’, but the Spanish found it consisted of endless everglades with few settlements and nothing to plunder.

Heading south, the Spanish took over the coastal strip west of the Andes, conquering the Inca empire, but found the Andes mountains themselves too high to settle. Only a handful of expeditions went over the Andes to explore east. Williamson describes some of these expeditions, which got lost in the vast Amazon rainforests, and encountered only the most primitive tribespeople, if, indeed, they lived to tell the tale.

So, in a nutshell, central and south America were more difficult for the Spanish to settle than North America would turn out to be for the Anglos. And this explains the quite startling fact that some parts of South America – Williamson singles out much of the interior of what is now called Argentina – weren’t really settled at all until the 20th century.

The other factor which limited the area of settlement was the Spaniards’ motivation. The conquistadors were adventurers, often from the very lowest parts of society. No nobles or aristocrats ventured their lives in the New World. Poor youngest sons of noble families led gangs of criminals and proles. None of them were the type of people who wanted to stake a claim and build a farmhouse and work the land – as the Anglo settlers were to do up north a hundred years later.

Instead, the Spanish wanted to exploit and loot as much wealth as they could from the New World before returning home and buying land, a house and a title. They came to loot. And here’s the important thing – you can only loot people who are already rich. The Spanish took over the two big empires, the Aztec in Mexico and the Inca in Peru, because an infrastructure was already in place whereby the native emperors and the upper class exploited large numbers of peasants in a well-organised system. The Spaniards simply took over the system, co-opting the best of the agricultural produce and all the treasure and artefacts for themselves.

It is this factor – the Spanish approach to colonisation – which explains the limited and very patchy nature of Spanish settlement. In the deserts of north Mexico, and in the south of the area they named California, were only desert dwellers, scraping a subsistence living from the soil by dint of elaborate water works. Nothing to steal. In Florida, endless swamps inhabited by scattered villagers. Nothing to steal, and no ‘society’ worth taking over. Ditto the Amazon rainforests. Nothing like an organised society whose power structures and tributes they could simply appropriate.

The Spanish only settled where there were established and relatively advanced societies which they could parasitise.

How Spain applied the Reconquista to the New World

Williamson lays out with beautiful logic and clarity just how that imperialist approach to colonisation had arisen in Spain.

It is an enormous historical coincidence that the year that Columbus made landfall in the Bahamas, 1492, just happened to be the very same year that – after nearly 800 years of war and crusade – the Spanish finally kicked the very last Muslim Moorish presence out of the south of Spain.

(Muslim forces had crossed the Straits of Gibraltar to seize Spanish territory way back in 711 – the fightback is traditionally dated to their first defeat by Christian forces, in 718 – and it took nearly another 800 years, of slow painstaking battles and piecemeal conquest, for native Christians, sometimes fighting alongside Christian warriors from the rest of Europe attracted by the periodic ‘crusades’ against the Muslims – to finally expel all the Muslim chiefs, emirs and so on from the final southern enclaves.)

The point of this historical background is that expelling the Muslims from Spain wasn’t achieved by a modern-style mass army and in a few years of continuous campaigning – but by ad hoc campaigns led by local Spanish warriors and adventuring knights, which liberated bits and pieces of territory, over a very long period of time.

As and when they seized territory from the Muslims, these adventurers applied to the king to rule it. (Spain itself was a very fractured entity, with a number of different kingdoms. It was only as the Reconquista reached its conclusion that the marriage of King Ferdinand of Aragon with Queen Isabella of Castile united most of Spain’s territory to form the basis of one unified Spanish monarchy.)

Sometimes large areas of land would be conquered and the new lords were granted what were known as latifundia, originally a Roman word describing a vast agricultural estate. The new owners co-opted the existing inhabitants as serfs to work the land, but often much of the original or Muslim population had fled and so the lords had difficulty filling them with workers and had to advertise for new workers to come in.

The point is that the Reconquista of Spain established a model for settling new lands, freshly conquered from the infidel, which was then applied wholesale to the new territory discovered by Columbus and his Viceroys across the ocean, and by the conquistadors and adventurers who followed them.

The Reconquista established the pattern of the monarch granting complete control over large swathes of territory, and all the people on it, to the conqueror or adelantado who had seized it. This resulted in a handful of rich swaggering lords riding among large populations of impoverished peasants working vast areas of land. In the New World it became known as the encomienda system and the grant holders encomenderos.

In fact it was a bit more complicated than that: the native Indians remained, nominally, free subjects of the Crown, which awarded encomenderos the right to enforce labour from the natives, but not complete power of life and death over them. That was the theory, anyway.

Williamson – once he has reported the main military and political events of the conquest – moves briskly on to discuss in considerable detail, this and all the other legal and administrative measures which the Spanish implemented in their new lands.

In fact, the ‘excitement’ of the narrative of Columbus’s voyages and the initial conquests of the Aztecs and the Incas which open the text, might give the reader quite a misleading impression of the book. Williamson is much more a historian of constitutional and administrative systems than he is a chronicler of exciting battles and against-the-odds expeditions. A lot of this book is quite dry. But he develops the constitutional and legal aspects of the conquest in such detail that, to my surprise, the conflicts between the settlers, and in particular between the Viceroys appointed to govern the new provinces and the monarchy back in Spain – and between both of them and Catholic church – at moments become quite gripping.

The Crown protects the Indians 

One counter-intuitive learning is that the Spanish crown, right from the start, was concerned about protecting the rights of the native Indians, indeed became their chief protector.

As Spanish adventurers opened up new territory and conquered more and more native peoples, the monarchs became concerned to make sure they were not simply enslaved. Queen Isabella personally forbade the enslavement of the natives, and a series of ‘Laws of the Indies’ tried to stem abuses wherever they were found. Encomenderos may have enjoyed almost complete power over the populations of their vast estates, but Spanish laws commanded them to also set up schools and hospitals, to educate the Indians, protect them from wars and raids, and to enact justice. This effort continued for the rest of the 16th century, for example with the ‘New Laws of the Indies for the Good Treatment and Preservation of the Indians’ of 1547, which explicitly forbade all forms of enslaving the native population. The New Laws prompted violent opposition among the oligarchies of Spanish settlers.

The Church takes the Indians’ side

It’s also surprising to read about the broadly sympathetic line taken by the Catholic Church. The Pope and the Catholic organisations which sent cohorts of missionaries out to the New World took the line that these were people made in God’s image, like us, with souls that needed saving. Certainly, some of the first cohort of priests accompanying the conquistadors helped in the wholesale destruction of priceless documents and artefacts which they considered pagan and devilish. But within a generation, a new wave of clerics began for all kinds of reasons to take the native Indians’ side, deploring their brutal exploitation by amoral Spanish lords.

On a pragmatic note, they also realised they couldn’t convert the natives by preaching at them in Latin or Spanish, and undertaking ‘mass baptisms’ where the Indians didn’t have a clue what was going on. So a whole project was undertaken to learn more about the natives’ languages, which quickly extended into documenting their histories and beliefs. Most of what we know about native Indian religion and history derives from these records taken down by Christian missionaries.

The classic man of this type was Bartolomé de las Casas, initially a coloniser himself, who became a Dominican friar and spent the last 50 years of his life fighting slavery and the colonial abuse of indigenous peoples. He was appointed by the Spanish crown the first ‘Protector of the Indians’, an administrative office responsible for attending to the wellbeing of the native populations, a function he enthusiastically carried out and which included speaking on their behalf in law courts and even reporting back to the King of Spain in person.

In 1550, Bartolomé participated in the Valladolid debate, in which Juan Ginés de Sepúlveda (the noted Spanish Renaissance ‘humanist’, philosopher, theologian and… er… proponent of colonial slavery) argued that the Indians were less than human and required Spanish masters in order to become civilized. Las Casas maintained that the Indians were fully human and that forcefully subjugating them was morally, legally, and theologically, unjustifiable. Las Casas is a hero (not a perfect hero, but by the standards of his own time a brave and determined protector of the people.)

Williamson gives a long and detailed account of the numerous legal initiatives launched by the Crown to try and protect the Indians from exploitation, but in the end they all failed. No amount of legal or theological argumentation could avoid the fact that the Spanish remained the ruling caste with one law for them, while the Indians remained a separate caste, subject to completely different laws. Williamson calls them the Republic of the Spaniards and the Republic of the Indians.

And nothing could alter the simple fact that, on the ground, most of the laws designed to protect the Indians were ignored by the settlers, who looked after each other’s interests.

Theories of conquest and bureaucratic structures

I could have done with more about where the silver was discovered in the New World, and the technology of how it is mined and purified. We are told that mercury was vital to the purification process, but not really how or why. I had to google it to find out. He does eventually have three pages on the silver mines (with two on gold-mining), but in general Williamson is light on that kind of thing, on technology, and on the diverse resources of the region.

Instead, as the book settles into its stride, you realise that Williamson is going to devote most of his energy to the legal and theological justifications of Spanish rule along with detailed descriptions of the bureaucratic structures the Spanish set up.

Thus there is a long passage explaining how the theory of monarchy evolved in Spain from its late-medieval form to the theory which underpinned the role of Philip II as head of an empire which stretched from California to Sicily. He explains the role of the Catholic Church as a vital prop to royal authority, and gives long explanations of the laws and the administrative structures set up to run the colonies.

He explains the main theories by which the Spanish justified their conquests, both to themselves and to the rest of the world (especially to their critical opponents in the Protestant world). There were two main ones:

  1. The well-established Law of Conquest, by which one ruler conquers another and is allowed to seize his land and titles, which had been worked out over long centuries of theological and legal debate during the Middle Ages.
  2. The more modern notion that the Crown of Spain had a ‘right’ to rule the Indians because the Europeans would convert the natives to Christianity and so save their souls. This was accompanied by a kind of sub-argument, which many missionaries put forward: that the New World represented an opportunity for Christianity – which had, by the early 1500s become widely associated with corruption and worldly ambition – to start again. Here, in the Garden of Eden, were a new kind of Adam and Eve, a First People uncorrupted by the Old World, and one thread of early colonisation is the devout wishes of the early missionaries to create a Christian Paradise on earth. Of course it was not to turn out that way; the secular settlers – and the terrible European diseases – made sure of that.

How the silver was squandered

Williamson does, however, clarify something which has always puzzled me, which is: if the Spanish monarchy began receiving ever-increasing amounts of silver from the New World (as the result of great silver strikes in North Mexico and Peru in the 1540s), how come Spain steadily declined in power and influence in the century and a half after the conquest?

Indeed, Williamson points out that by the death of Philip II in 1598, Spain was technically bankrupt and had experienced state bankruptcies (i.e. been unable to repay its debts) in 1557, 1560, 1569, 1575, and 1596!

Where did the Spanish silver go? The answer turns out to be simple: paying for Spain’s wars.

Even though it never accounted for more than 20 per cent of imperial revenues, silver was the fuel that drove the Spanish war machine. (p.106)

Philip II’s father had been Holy Roman Emperor and when Philip came to the throne in 1556, he inherited responsibility for territory in every continent known to Europeans – from the extensive empire in Central and South America to the newly conquered territory of the Phillippines, from the kingdom of Naples and Sicily in Italy, to the Seventeen Provinces of the Netherlands which began a protracted war of independence against Spanish rule in 1568. Not only this, but Philip saw himself as the defender of all Christendom in its wars against the Ottoman Turks in the East. He it was who organised ‘the Holy League’, bringing together ships from Spain, the Republic of Venice, the Republic of Genoa, the Papal States, the Duchy of Savoy and the Knights of Malta, to inflict a decisive defeat on the Ottomans at the naval Battle of Lepanto in 1567.

Philip also saw himself as the defender of Catholic orthodoxy against the shocking new Protestant heresy. Thus Philip gave large financial support to the Catholic League fighting the Protestants in France, and then went directly to war with the French King Henry IV, an intervention which secured the future of France as a Catholic country.

Last but not least, as we Brits know, Philip II built, armed, provisioned and manned an enormous armada which was designed, with the blessing of the pope, to conquer England, overthrow the Tudor dynasty and the Church of England, and impose Philip as the Catholic ruler of a Catholic Britain.

So that’s where the silver endedup going – hacked out of dangerous and unhealthy mines in the New World by Indian slaves and serfs, perilously shipped back to the main entrepot at Seville, then frittered away funding the impossible ambitions of the over-extended Spanish monarchy.

Spain went into decline because of proliferating military commitments for which it could not pay. (p.116)


Credit

The Penguin History of Latin America by Edwin Williamson, revised edition, was published by Penguin Books in 2009.

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