Dr. Saygin Salgirli mines the hidden link between four early modern empires, in a 17th century Painting of Silver Labourers in Potosí, Bolivia.
In a peaceful mountain landscape, three labourers in colourful turbans and tunics mine silver together in a metric, obedient rhythm. Likely painted for the first non-European text on the Americas, this idyllic depiction of labour has a more complicated past. Its novel, imagined imperial ideal of work is unlocatable to any specific context. Instead, it speaks to the interconnected economies of the Ottoman and Spanish Empires, South Asia, and Safavid Iran - all of which restructured their labour forces to mine silver or to produce goods to trade for it - and how wealth was really generated.
Previously part of the Inca Empire, Bolivia's silver output drastically increased under Spanish imperial rule. With widescale extraction, harsh economic reforms, and coercive and slave labour, Potosí’s silver mines became the gossip of global imperial capitals, as imported metals flooded their markets. 'No longer workers, but the human shapes of wage-labour,' these figures reveal the overlooked connections between these newly globalised markets, the abstraction of labour rather than art, and how labour and land were reorganised to meet demand in new, capitalist modes of production.
PRESENTER: Dr. Saygin Salgirli, Assistant Professor of Art History in the Department of Art History, Visual Art & Theory at the University of British Columbia.
ART: Painting of Silver Labourers in Potosí, Bolivia, from Translation of the History of the New World (c. 17th Century).
IMAGE: 'Mining Silver in Potosí (Bolivia)'.
SOUNDS: CLOUDWARMER.
PRODUCER: Jelena Sofronijevic.

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