Resequencing the Logic of the Tillema Collections. Engaging Otherwise with the Colonial Archive

artistic research

Hygeia factory hall in Semarang, production of carbonated beverages of the brand “Hygeia”, 1924-1932 (Tillema Collection, NMVW RV-A440-z-2)

“The threat, especially as modern cities were emerging in the Indies, was in fluidity. In semen and blood untamed, as Bath Veth described it, in water— polluted, dripping, leaking, or flowing unregulated. We have seen what water could do to the modern roads in the Indies. To rule the colony, to become modern there, to stay, meant to confine the flow.”
—Rudolf Mrázek, 2002

Hendrik Freerk Tillema (1870–1952) was a Dutch pharmacist, entrepreneur, self-taught ethnographer and photographer, lobbyist and advocate for hygienic standards in the colonies, who lived in the Dutch Indies for twenty years of his life up until WWI. The photographs and films that Tillema produced or collected during his time in colonial Indonesia are located in the archives of the Museum voor Volkenkunde, the Tropenmuseum and the Eye filmmuseum. With the several cholera epidemics in the background, in Semarang, he built the first purified and bottled water factory in the Dutch East Indies. This enterprise made him rich; it opened for him the doors to exclusive industrialists’ clubs and local and national politics. Importantly, it directly supported his expeditions, observations and publications. However, his entrepreneurial and propaganda activities are rarely taken into account when talking about his ethnographic photography and film work.

Resequencing the Logic of the Tillema Collections. Engaging Otherwise with the Colonial Archive is an artistic and archival research project in collaboration with Paolo Patelli.

The project is funded by the Creative Industries Fund in the Netherlands and collaborates with the Research Center for Material Culture, Eye filmmuseum, and Nederlands Instituut voor Beeld en Geluid.

Hygeia advertisement in De Preanger bode of August 9, 1912
Hendrik Freerk Tillema demonstrating how to pour Hygeia
mineral water, 1924-1932 (Tillema Collection, NMVW RV-A440-z-6)
Spread from Hendrik Freerk Tillema’s ‘Kromoblanda, Over ’t vraagstuk van “het Wonen” in Kromo’s groote land’, Boek I, 1915-16  

After the 1910 cholera epidemic in Semarang, Tillema began what was to become his lifelong crusade: to make the Dutch government aware of the dangers of the unhygienic conditions in the kampongs. Tillema wrote numerous publications on hygiene and urbanism in the colony, among others the six-volume publication Kromoblanda (1915-23). His ideas fit the broader modern scientific and medical discourse on hygiene, amplifying spatial and racial segregation through fear for contamination, through environmental and bodily pollution.

Coupled houses on the Gergadji in Semarang, 1924-1932 (Tillema Collection,
NMVW RV-A440-aa-36)
Slum dwellings with the household goods at the entrance 1924-1932 (Tillema Collection, NMVW RV-A440-z-42)
Tweewielige kar met drie werknemers van de stadsreiniging van Semarang (Tillema Collection, NMVW RV-A440-aa-175)
Spread from Hendrik Freerk Tillema’s ‘Apo Kajan, een filmreis naar en door Centraal-Borneo met 336 afbeeldingen’, 1938
Fragments of the Colonial Mind, 2019. Lecture performance on the Tillema Collection in collaboration with Paolo Patelli and Simon Stewart. Het Nieuwe Instituut, Rotterdam

With the Tillema Collection as a case study, the project intends to develop new narratives through the artistic and rigorous mobilisation of archival materials, while tracing the origins of fragmented knowledge and reflecting on systems and values with regard to the preservation of heritage. The aim is to contribute meaningfully to the debate on the decolonisation of archives, and to promote their public accessibility and outreach. By developing and deploying innovative methods and tools at the intersection of information design, critical documentary and the humanities, the project will mobilise knowledges and concerns through an open, generative process that will unfold through internal workshops, public participatory sessions, performance lectures and a video essay.