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L\u0026#39;objectif premier \u0026eacute;tait la critique du syst\u0026egrave;me de navigation \u0026#39;flag of convenience\u0026#39;, cr\u0026eacute;\u0026eacute; pour \u0026eacute;viter l\u0026#39;am\u0026eacute;lioration des conditions de travail sur les oc\u0026eacute;ans.\u003c/p\u003e\r\n"}]},{"id":1429,"title":"Churn Clockwise 1 rpm","dimensions":"112.9 x 132.1 cm","date_begin":"2009-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":23,"platform_id":1,"deleted":false,"asset_count":9,"stream_count":0,"collection":"The Estate of Allan Sekula, Los Angeles","cached_tag_list":"projection","publishing_process_id":1,"annotation":"\u003cp\u003e2 projectors with syncing system, and a single rotary slide projector\u003c/p\u003e\r\n","date_end":"2010-01-01","reference":"BRAS_10","stream_count_app":62,"permalink":"churn-clockwise-1-rpm","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/002/870/large/ALLAN%20SEKULA%20Ship%20of%20Fools%20exhibition%20view%20M%20HKA_clinckx_32.jpg?1314873295","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003e\u003cb\u003eAdditional Two Slide projections to Allan Sekula \u0026mdash;\u0026nbsp;Ship of Fools (2010). C\u003c/b\u003eircular color slide in a single rotary projector for planetaria, aided by two projectors with a syncing system. Projected dimensions: 113,03 x 132,08 cm\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cb\u003eAdditional Two Slide projections to Allan Sekula \u0026mdash;\u0026nbsp;Ship of Fools (2010). C\u003c/b\u003eircular color slide in a single rotary projector for planetaria, aided by two projectors with a syncing system. Projected dimensions: 113,03 x 132,08 cm\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":7976,"title":"Working (Santos)","dimensions":"76,2 x 76,2 cm","date_begin":"2010-01-01","material":"chromogenic print mounted on alu-dibond","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":0,"stream_count":0,"collection":"The Estate of Allan Sekula, Los Angeles","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BRAS_12","stream_count_app":13,"permalink":"working-santos","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Allan Sekula","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":1823,"title":"The Forgotten Space","dimensions":"113 min","date_begin":"2010-01-01","material":"DCP, Digibeta, DV CAM, colour / black \u0026 white","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":182,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"The Estate of Allan Sekula, Los Angeles","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003e\u003cstrong\u003ehttp://www.theforgottenspace.net/ co-directed with No\u0026euml;l Burch\u003c/strong\u003e\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":50,"permalink":"the-forgotten-space","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Allan Sekula","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/004/244/large/The%20Forgotten%20Space_videostill%2001.jpg?1322770348","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003eAllan Sekula is strongly influenced by the specifically American tradition of socially engaged photography. The film \u0026quot;The Forgotten Space\u0026quot; incorporates a strong local colour: as part of its ongoing investigation of the representation of labor in and outside the social-realist tradition Sekula takes the sculptural work of Belgian artist Constantin Meunier as a starting point while the film begins and ends in Doel (a small port town near Antwerp).\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nIn co-direction with No\u0026euml;l Burch.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eIn zijn werk behandelt Allan Sekula steevast thema\u0026#39;s als klasse en arbeidsomstandigheden, die hij combineert met een scherpe kritiek op het kapitalisme. \u003cem\u003eThe Forgotten Space \u003c/em\u003eis een episch werk dat de gigantische complexiteit van globaal kapitaal aanpakt in de vorm van een documentaire, een kritische benadering die Sekula heeft geperfectioneerd doorheen zijn levenslange werk in fotografie, onderzoek, schrijven en lesgeven. De film toont de maritieme handel en volgt containervrachten aan boord van schepen, binnenvaartschepen, treinen en vrachtwagens, en geeft een stem aan werknemers, ingenieurs, planners, politici en zij die worden gemarginaliseerd door het wereldwijde transportsysteem. In het laatste deel van \u003cem\u003eThe Forgotten Space\u003c/em\u003e wordt de stad Doel bezocht, vooral bekend omwille van haar kerncentrale, die vanwege de uitbreiding van de Antwerpse haven met sloop wordt bedreigd. Daartoe wordt een reeks van verschillende beeldmaterialen gebruikt: beschrijvende documentaire, interviews, archiefstills en clips van oude films. Het resultaat is een visueel essay over een van de belangrijkste processen die ons vandaag be\u0026iuml;nvloedt, maar toch grotendeels uit het zicht blijft. Het project is een verderzetting van Sekula\u0026#39;s \u003cem\u003eFish Story \u003c/em\u003e(1989-95), dat de hedendaagse maritieme wereld probeert te begrijpen en te beschrijven in relatie tot de complexe symbolische erfenis van de zee.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eL\u0026rsquo;\u0026oelig;uvre d\u0026rsquo;Allan Sekula traite invariablement de th\u0026egrave;mes comme la classe sociale et les conditions de travail et critique vertement le capitalisme. \u003cem\u003eThe Forgotten Space\u003c/em\u003e est une \u0026oelig;uvre \u0026eacute;pique, qui s\u0026rsquo;attaque \u0026agrave; la complexit\u0026eacute; oc\u0026eacute;anique du capital global sous forme de documentaire\u0026nbsp;; une approche critique que Sekula a ma\u0026icirc;tris\u0026eacute;e tout au long d\u0026rsquo;une vie de travail partag\u0026eacute;e entre la photographie, la recherche, l\u0026rsquo;\u0026eacute;criture et l\u0026rsquo;enseignement. Le film d\u0026eacute;peint le commerce maritime contemporain et suit le p\u0026eacute;riple de conteneurs sur des navires, des barges, des trains et des camions, donne la parole \u0026agrave; des ouvriers, des ing\u0026eacute;nieurs, des organisateurs, des politiciens et ceux que le syst\u0026egrave;me de transport mondial a marginalis\u0026eacute;s. La derni\u0026egrave;re partie de \u003cem\u003eThe Forgotten Space\u003c/em\u003e visite la petite ville de Doel, surtout connue pour sa centrale nucl\u0026eacute;aire, mais par ailleurs une bourgade menac\u0026eacute;e de disparition en raison de l\u0026rsquo;expansion du port d\u0026rsquo;Anvers. Recourant au documentaire descriptif, \u0026agrave; des interviews, \u0026agrave; des images d\u0026rsquo;archives, \u0026agrave; des extraits de films anciens, cet essai visuel sur l\u0026rsquo;un des modes de transport les plus anciens et les plus importants de l\u0026rsquo;humanit\u0026eacute;, nous montre qu\u0026rsquo;aujourd\u0026rsquo;hui il nous affecte aussi le plus, bien qu\u0026rsquo;il soit en grande partie cach\u0026eacute;. Le projet s\u0026rsquo;inscrit dans le prolongement de \u003cem\u003eFish Story\u003c/em\u003e (1989-1995), cherchant \u0026agrave; comprendre et \u0026agrave; d\u0026eacute;crire le monde maritime contemporain par rapport \u0026agrave; l\u0026rsquo;h\u0026eacute;ritage symbolique complexe de la mer.\u003c/p\u003e\r\n"}]},{"id":14342,"title":"Middle Passage, Chapter 3 from Fish Story (1990 - 1993)","dimensions":"variable dimensions ","date_begin":"1990-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":22,"stream_count":0,"collection":"National Museum of Contemporary Art, Athens","cached_tag_list":"installatie","publishing_process_id":1,"annotation":"","date_end":"1993-01-01","reference":"217/02","stream_count_app":73,"permalink":"middle-passage-chapter-3-from-fish-story","description_ru":"","description_de":"\u003cp\u003e\u003cem\u003eFish Story ist das dritte Werk in einem Zyklus rund um die imagin\u0026auml;re und materielle Geographie in einer fortgeschrittenen, kapitalistischen Welt. \u003c/em\u003e\u003cem\u003eSketch for a Geography Lesson (1983)\u003c/em\u003e \u003cem\u003ezeigt eine Beziehung zwischen dem Bildraum der deutschen Romantik und dem verr\u0026auml;terischen Terrain des Kalten Krieges auf. Canadian Notes (1986) untersucht die Verbindung zwischen dem Bereich der mineralgewinnenden Industrie, der Architektur der Banken und der Ikonographie des bedruckten Geldes und zwischen einer Bank, die sich als Landschaft verh\u0026uuml;llte, und einer Industrielandschaft, die sich als eine Bank verh\u0026uuml;llte.\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eMit der Verschiebung der statischen Landschaften hin zu den fl\u0026uuml;ssigen Meeresfl\u0026auml;chen und mit der Destabilisierung der geopolitischen Weltbilanz Anfang des Jahres 1989 schien die Unsicherheit und Leidenschaft eines umfangreichen laufenden Werkes passend. Es wurden Orte aufgrund ihres sonderbaren und thematischen Charakters ausgew\u0026auml;hlt. Im Allgemeinen lag die Wahl einer Suche nach Zentren maritimer Macht aus der Gegenwart und der Vergangenheit sowie nach peripher gelegenen Gebieten, die oft einer alleinherrschenden Macht unterworfen waren, wie in Mexiko, oder nach Gebieten, die in der Vergangenheit zwischen gr\u0026ouml;\u0026szlig;eren M\u0026auml;chten eingeschlossen waren, wie Korea und Polen, zugrunde.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eSeit dem Beginn wird das Projekt sowohl als Ausstellung als auch als Buch mit \u0026bdquo;Kapiteln\u0026ldquo;, die in einer bestimmten Reihenfolge pr\u0026auml;sentiert werden, entwickelt. Die endg\u0026uuml;ltige Reihenfolge der Kapitel und der Fotos in den Kapiteln ist sowohl in der Ausstellung als auch im Buch nahezu identisch. In der Ausstellung werden 105 Farbfotos in einer bestimmten Reihenfolge an mehreren W\u0026auml;nden in verschiedenen R\u0026auml;umen aufgeh\u0026auml;ngt und wechseln sich mit 26 Texttafeln ab, die in verschiedenen Abst\u0026auml;nden zu den Fotos h\u0026auml;ngen. Aus grafischer Sicht sind die Texttafeln die schwarz-wei\u0026szlig;en fotografischen Begleiter der Farbfotos. Die r\u0026auml;umliche Beziehung von Bild zu Bild, Bild zu Text und Text zu Text erhalten unweigerlich eine andere Form auf den Seiten eines Buches. Dar\u0026uuml;ber hinaus erm\u0026ouml;glicht das Buch die Hinzuf\u0026uuml;gung eines anderen, parallelen Textes und wird dadurch zu einem ganz anderen Gegenstand \u0026hellip;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eDie Ausstellung Fish Story enth\u0026auml;lt ebenfalls zwei Diaprojektionen. Diese Projektionen sind nicht im Buch enthalten, obwohl die Prologe von beiden zusammengef\u0026uuml;gt wurden, um den Prolog des Buches zu bilden. Die Projektionen wurden als Einf\u0026uuml;hrung einer auff\u0026auml;llig unterschiedlichen, zeitgebundenen und darstellenden Erfahrung im Vergleich zu jenen, die mit den Abbildungen und Texten an der Wand aufgerufen werden, entworfen. Jede Diaprojektion umfasst 80 Dias, die fortw\u0026auml;hrend, mit einer Pause von f\u0026uuml;nfzehn Sekunden, hintereinander in einem getrennten Diazimmer mit Titeln und einem Begleittext, der in einem Buch au\u0026szlig;erhalb des Zimmers verf\u0026uuml;gbar ist, gezeigt \u0026hellip;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eAllan Sekula\u003c/p\u003e\r\n","description_es":"","description_el":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026Tau;\u0026omicron; έ\u0026rho;\u0026gamma;\u0026omicron; Fish Story [\u0026Iota;\u0026sigma;\u0026tau;\u0026omicron;\u0026rho;ί\u0026alpha; \u0026iota;\u0026chi;\u0026theta;ύ\u0026omega;\u0026nu;] \u0026epsilon;ί\u0026nu;\u0026alpha;\u0026iota; \u0026tau;\u0026omicron; \u0026tau;\u0026rho;ί\u0026tau;\u0026omicron; \u0026epsilon;\u0026nu;ό\u0026sigmaf; \u0026kappa;ύ\u0026kappa;\u0026lambda;\u0026omicron;\u0026upsilon; \u0026mu;\u0026epsilon; \u0026theta;έ\u0026mu;\u0026alpha; \u0026tau;\u0026eta; \u0026phi;\u0026alpha;\u0026nu;\u0026tau;\u0026alpha;\u0026sigma;\u0026tau;\u0026iota;\u0026kappa;ή \u0026kappa;\u0026alpha;\u0026iota; \u0026pi;\u0026rho;\u0026alpha;\u0026gamma;\u0026mu;\u0026alpha;\u0026tau;\u0026iota;\u0026kappa;ή \u0026gamma;\u0026epsilon;\u0026omega;\u0026gamma;\u0026rho;\u0026alpha;\u0026phi;ί\u0026alpha; \u0026tau;\u0026omicron;\u0026upsilon; \u0026kappa;ό\u0026sigma;\u0026mu;\u0026omicron;\u0026upsilon;, \u0026sigma;\u0026epsilon; \u0026sigma;\u0026tau;ά\u0026delta;\u0026iota;\u0026omicron; \u0026pi;\u0026rho;\u0026omicron;ϊό\u0026nu;\u0026tau;\u0026omicron;\u0026sigmaf; \u0026kappa;\u0026alpha;\u0026pi;\u0026iota;\u0026tau;\u0026alpha;\u0026lambda;\u0026iota;\u0026sigma;\u0026mu;\u0026omicron;ύ. To Sketch for a Geography Lesson [\u0026Sigma;\u0026chi;έ\u0026delta;\u0026iota;\u0026omicron; \u0026gamma;\u0026iota;\u0026alpha; \u0026mu;ά\u0026theta;\u0026eta;\u0026mu;\u0026alpha; \u0026gamma;\u0026epsilon;\u0026omega;\u0026gamma;\u0026rho;\u0026alpha;\u0026phi;ί\u0026alpha;\u0026sigmaf;] (1983) \u0026pi;\u0026alpha;\u0026rho;\u0026alpha;\u0026kappa;\u0026omicron;\u0026lambda;\u0026omicron;\u0026upsilon;\u0026theta;\u0026omicron;ύ\u0026sigma;\u0026epsilon; \u0026tau;\u0026eta; \u0026sigma;\u0026chi;έ\u0026sigma;\u0026eta; \u0026tau;\u0026omicron;\u0026upsilon; \u0026epsilon;\u0026iota;\u0026kappa;\u0026alpha;\u0026sigma;\u0026tau;\u0026iota;\u0026kappa;\u0026omicron;ύ \u0026chi;ώ\u0026rho;\u0026omicron;\u0026upsilon; \u0026tau;\u0026omicron;\u0026upsilon; \u0026gamma;\u0026epsilon;\u0026rho;\u0026mu;\u0026alpha;\u0026nu;\u0026iota;\u0026kappa;\u0026omicron;ύ \u0026Rho;\u0026omicron;\u0026mu;\u0026alpha;\u0026nu;\u0026tau;\u0026iota;\u0026sigma;\u0026mu;\u0026omicron;ύ \u0026kappa;\u0026alpha;\u0026iota; \u0026tau;\u0026omega;\u0026nu; \u0026phi;\u0026rho;\u0026alpha;\u0026gamma;\u0026mu;έ\u0026nu;\u0026omega;\u0026nu; \u0026mu;\u0026epsilon; \u0026sigma;\u0026upsilon;\u0026rho;\u0026mu;\u0026alpha;\u0026tau;ό\u0026pi;\u0026lambda;\u0026epsilon;\u0026gamma;\u0026mu;\u0026alpha; \u0026sigma;\u0026upsilon;\u0026nu;ό\u0026rho;\u0026omega;\u0026nu; \u0026tau;\u0026eta;\u0026sigmaf; \u0026alpha;\u0026rho;έ\u0026nu;\u0026alpha;\u0026sigmaf; \u0026tau;\u0026omicron;\u0026upsilon; \u0026Psi;\u0026upsilon;\u0026chi;\u0026rho;\u0026omicron;ύ \u0026Pi;\u0026omicron;\u0026lambda;έ\u0026mu;\u0026omicron;\u0026upsilon;. \u0026Omicron;\u0026iota; Canadian Notes [\u0026Kappa;\u0026alpha;\u0026nu;\u0026alpha;\u0026delta;\u0026iota;\u0026kappa;έ\u0026sigmaf; \u0026sigma;\u0026eta;\u0026mu;\u0026epsilon;\u0026iota;ώ\u0026sigma;\u0026epsilon;\u0026iota;\u0026sigmaf;] (1986) \u0026epsilon;\u0026xi;έ\u0026tau;\u0026alpha;\u0026zeta;\u0026alpha;\u0026nu; \u0026tau;\u0026eta; \u0026sigma;\u0026chi;έ\u0026sigma;\u0026eta; \u0026tau;\u0026omicron;\u0026upsilon; \u0026tau;\u0026omicron;\u0026pi;ί\u0026omicron;\u0026upsilon; \u0026tau;\u0026omega;\u0026nu; \u0026mu;\u0026epsilon;\u0026tau;\u0026alpha;\u0026lambda;\u0026lambda;\u0026epsilon;\u0026upsilon;\u0026tau;\u0026iota;\u0026kappa;ώ\u0026nu; \u0026beta;\u0026iota;\u0026omicron;\u0026mu;\u0026eta;\u0026chi;\u0026alpha;\u0026nu;\u0026iota;ώ\u0026nu;, \u0026tau;\u0026eta;\u0026sigmaf; \u0026alpha;\u0026rho;\u0026chi;\u0026iota;\u0026tau;\u0026epsilon;\u0026kappa;\u0026tau;\u0026omicron;\u0026nu;\u0026iota;\u0026kappa;ή\u0026sigmaf; \u0026tau;\u0026omega;\u0026nu; \u0026tau;\u0026rho;\u0026alpha;\u0026pi;\u0026epsilon;\u0026zeta;ώ\u0026nu; \u0026kappa;\u0026alpha;\u0026iota; \u0026tau;\u0026eta;\u0026sigmaf; \u0026epsilon;\u0026iota;\u0026kappa;\u0026omicron;\u0026nu;\u0026omicron;\u0026gamma;\u0026rho;\u0026alpha;\u0026phi;ί\u0026alpha;\u0026sigmaf; \u0026tau;\u0026omicron;\u0026upsilon; \u0026tau;\u0026upsilon;\u0026pi;\u0026omega;\u0026mu;έ\u0026nu;\u0026omicron;\u0026upsilon; \u0026chi;\u0026rho;ή\u0026mu;\u0026alpha;\u0026tau;\u0026omicron;\u0026sigmaf;, \u0026kappa;\u0026iota;\u0026nu;\u0026omicron;ύ\u0026mu;\u0026epsilon;\u0026nu;\u0026epsilon;\u0026sigmaf; \u0026alpha;\u0026nu;ά\u0026mu;\u0026epsilon;\u0026sigma;\u0026alpha; \u0026sigma;\u0026epsilon; \u0026mu;\u0026iota;\u0026alpha; \u0026tau;\u0026rho;ά\u0026pi;\u0026epsilon;\u0026zeta;\u0026alpha; \u0026mu;\u0026epsilon;\u0026tau;\u0026alpha;\u0026mu;\u0026phi;\u0026iota;\u0026epsilon;\u0026sigma;\u0026mu;έ\u0026nu;\u0026eta; \u0026sigma;\u0026epsilon; \u0026tau;\u0026omicron;\u0026pi;ί\u0026omicron; \u0026kappa;\u0026alpha;\u0026iota; έ\u0026nu;\u0026alpha; \u0026beta;\u0026iota;\u0026omicron;\u0026mu;\u0026eta;\u0026chi;\u0026alpha;\u0026nu;\u0026iota;\u0026kappa;ό \u0026tau;\u0026omicron;\u0026pi;ί\u0026omicron; \u0026mu;\u0026epsilon;\u0026tau;\u0026alpha;\u0026mu;\u0026phi;\u0026iota;\u0026epsilon;\u0026sigma;\u0026mu;έ\u0026nu;\u0026omicron; \u0026sigma;\u0026epsilon; \u0026tau;\u0026rho;ά\u0026pi;\u0026epsilon;\u0026zeta;\u0026alpha;.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026Mu;\u0026epsilon; \u0026tau;\u0026omicron; \u0026pi;έ\u0026rho;\u0026alpha;\u0026sigma;\u0026mu;\u0026alpha; \u0026alpha;\u0026pi;ό \u0026tau;\u0026eta; \u0026sigma;\u0026tau;\u0026alpha;\u0026theta;\u0026epsilon;\u0026rho;ό\u0026tau;\u0026eta;\u0026tau;\u0026alpha; \u0026tau;\u0026omicron;\u0026upsilon; \u0026gamma;ή\u0026iota;\u0026nu;\u0026omicron;\u0026upsilon; \u0026tau;\u0026omicron;\u0026pi;ί\u0026omicron;\u0026upsilon; \u0026sigma;\u0026tau;\u0026eta; \u0026rho;\u0026epsilon;\u0026upsilon;\u0026sigma;\u0026tau;ό\u0026tau;\u0026eta;\u0026tau;\u0026alpha; \u0026tau;\u0026eta;\u0026sigmaf; \u0026theta;ά\u0026lambda;\u0026alpha;\u0026sigma;\u0026sigma;\u0026alpha;\u0026sigmaf; \u0026kappa;\u0026alpha;\u0026iota; \u0026tau;\u0026eta;\u0026nu; \u0026alpha;\u0026pi;\u0026omicron;\u0026sigma;\u0026tau;\u0026alpha;\u0026theta;\u0026epsilon;\u0026rho;\u0026omicron;\u0026pi;\u0026omicron;ί\u0026eta;\u0026sigma;\u0026eta; \u0026tau;\u0026eta;\u0026sigmaf; \u0026gamma;\u0026epsilon;\u0026omega;\u0026pi;\u0026omicron;\u0026lambda;\u0026iota;\u0026tau;\u0026iota;\u0026kappa;ή\u0026sigmaf; \u0026iota;\u0026sigma;\u0026omicron;\u0026rho;\u0026rho;\u0026omicron;\u0026pi;ί\u0026alpha;\u0026sigmaf; \u0026tau;\u0026omicron;\u0026upsilon; \u0026kappa;ό\u0026sigma;\u0026mu;\u0026omicron;\u0026upsilon;, \u0026eta; \u0026omicron;\u0026pi;\u0026omicron;ί\u0026alpha; \u0026xi;\u0026epsilon;\u0026kappa;\u0026iota;\u0026nu;ά \u0026tau;\u0026omicron; 1989, \u0026eta; \u0026alpha;\u0026nu;ά\u0026pi;\u0026tau;\u0026upsilon;\u0026xi;\u0026eta; \u0026kappa;\u0026alpha;\u0026iota; \u0026eta; \u0026alpha;\u0026beta;\u0026epsilon;\u0026beta;\u0026alpha;\u0026iota;ό\u0026tau;\u0026eta;\u0026tau;\u0026alpha; \u0026epsilon;\u0026nu;ό\u0026sigmaf; \u0026mu;\u0026epsilon;\u0026gamma;ά\u0026lambda;\u0026omicron;\u0026upsilon; έ\u0026rho;\u0026gamma;\u0026omicron;\u0026upsilon; \u0026sigma;\u0026epsilon; \u0026epsilon;\u0026xi;έ\u0026lambda;\u0026iota;\u0026xi;\u0026eta; ή\u0026tau;\u0026alpha;\u0026nu; \u0026theta;\u0026epsilon;\u0026mu;\u0026iota;\u0026tau;ή. \u0026Omicron;\u0026iota; \u0026chi;ώ\u0026rho;\u0026omicron;\u0026iota; \u0026epsilon;\u0026pi;\u0026iota;\u0026lambda;έ\u0026chi;\u0026theta;\u0026eta;\u0026kappa;\u0026alpha;\u0026nu; \u0026mu;\u0026epsilon; \u0026kappa;\u0026rho;\u0026iota;\u0026tau;ή\u0026rho;\u0026iota;\u0026alpha; \u0026phi;\u0026iota;\u0026lambda;\u0026omicron;\u0026pi;\u0026alpha;ί\u0026gamma;\u0026mu;\u0026omicron;\u0026nu;\u0026alpha; \u0026alpha;\u0026lambda;\u0026lambda;ά \u0026kappa;\u0026alpha;\u0026iota; \u0026theta;\u0026epsilon;\u0026mu;\u0026alpha;\u0026tau;\u0026iota;\u0026kappa;ά. \u0026Omicron;\u0026iota; \u0026epsilon;\u0026pi;\u0026iota;\u0026lambda;\u0026omicron;\u0026gamma;έ\u0026sigmaf; \u0026kappa;\u0026alpha;\u0026theta;\u0026omicron;\u0026rho;ί\u0026sigma;\u0026tau;\u0026eta;\u0026kappa;\u0026alpha;\u0026nu; \u0026gamma;\u0026epsilon;\u0026nu;\u0026iota;\u0026kappa;ά \u0026alpha;\u0026pi;ό \u0026tau;\u0026eta;\u0026nu; \u0026alpha;\u0026nu;\u0026alpha;\u0026zeta;ή\u0026tau;\u0026eta;\u0026sigma;\u0026eta; \u0026pi;\u0026alpha;\u0026rho;\u0026epsilon;\u0026lambda;\u0026theta;ό\u0026nu;\u0026tau;\u0026omega;\u0026nu; \u0026kappa;\u0026alpha;\u0026iota; \u0026sigma;ύ\u0026gamma;\u0026chi;\u0026rho;\u0026omicron;\u0026nu;\u0026omega;\u0026nu; \u0026kappa;έ\u0026nu;\u0026tau;\u0026rho;\u0026omega;\u0026nu; \u0026nu;\u0026alpha;\u0026upsilon;\u0026tau;\u0026iota;\u0026kappa;ή\u0026sigmaf; \u0026epsilon;\u0026xi;\u0026omicron;\u0026upsilon;\u0026sigma;ί\u0026alpha;\u0026sigmaf; \u0026alpha;\u0026lambda;\u0026lambda;ά \u0026kappa;\u0026alpha;\u0026iota; \u0026pi;\u0026epsilon;\u0026rho;\u0026iota;\u0026phi;\u0026epsilon;\u0026rho;\u0026epsilon;\u0026iota;\u0026alpha;\u0026kappa;ώ\u0026nu; \u0026zeta;\u0026omega;\u0026nu;ώ\u0026nu;, \u0026omicron;\u0026iota; \u0026omicron;\u0026pi;\u0026omicron;ί\u0026epsilon;\u0026sigmaf; \u0026upsilon;\u0026pi;\u0026omicron;\u0026tau;ά\u0026chi;\u0026theta;\u0026eta;\u0026kappa;\u0026alpha;\u0026nu; \u0026sigma;\u0026epsilon; \u0026mu;ί\u0026alpha; \u0026kappa;\u0026alpha;\u0026iota; \u0026mu;ό\u0026nu;\u0026eta; \u0026kappa;\u0026upsilon;\u0026rho;\u0026iota;\u0026alpha;\u0026rho;\u0026chi;ί\u0026alpha;, ό\u0026pi;\u0026omega;\u0026sigmaf; \u0026eta; \u0026pi;\u0026epsilon;\u0026rho;ί\u0026pi;\u0026tau;\u0026omega;\u0026sigma;\u0026eta; \u0026tau;\u0026omicron;\u0026upsilon; \u0026Mu;\u0026epsilon;\u0026xi;\u0026iota;\u0026kappa;\u0026omicron;ύ, ή \u0026epsilon;\u0026kappa;\u0026epsilon;ί\u0026nu;\u0026omega;\u0026nu; \u0026omicron;\u0026iota; \u0026omicron;\u0026pi;\u0026omicron;ί\u0026epsilon;\u0026sigmaf; \u0026pi;\u0026alpha;\u0026gamma;\u0026iota;\u0026delta;\u0026epsilon;ύ\u0026tau;\u0026eta;\u0026kappa;\u0026alpha;\u0026nu; \u0026alpha;\u0026nu;ά\u0026mu;\u0026epsilon;\u0026sigma;\u0026alpha; \u0026sigma;\u0026epsilon; \u0026iota;\u0026sigma;\u0026chi;\u0026upsilon;\u0026rho;ά \u0026kappa;έ\u0026nu;\u0026tau;\u0026rho;\u0026alpha; \u0026epsilon;\u0026xi;\u0026omicron;\u0026upsilon;\u0026sigma;ί\u0026alpha;\u0026sigmaf;, ό\u0026pi;\u0026omega;\u0026sigmaf; \u0026eta; \u0026Kappa;\u0026omicron;\u0026rho;έ\u0026alpha; \u0026kappa;\u0026alpha;\u0026iota; \u0026eta; \u0026Pi;\u0026omicron;\u0026lambda;\u0026omega;\u0026nu;ί\u0026alpha;.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026Eta; \u0026sigma;ύ\u0026lambda;\u0026lambda;\u0026eta;\u0026psi;\u0026eta; \u0026tau;\u0026omicron;\u0026upsilon; έ\u0026rho;\u0026gamma;\u0026omicron;\u0026upsilon; \u0026tau;\u0026omicron; \u0026pi;\u0026rho;\u0026omicron;ό\u0026rho;\u0026iota;\u0026zeta;\u0026epsilon; \u0026epsilon;\u0026xi;\u0026alpha;\u0026rho;\u0026chi;ή\u0026sigmaf; \u0026gamma;\u0026iota;\u0026alpha; έ\u0026kappa;\u0026theta;\u0026epsilon;\u0026sigma;\u0026eta; \u0026alpha;\u0026lambda;\u0026lambda;ά \u0026kappa;\u0026alpha;\u0026iota; \u0026gamma;\u0026iota;\u0026alpha; \u0026beta;\u0026iota;\u0026beta;\u0026lambda;ί\u0026omicron;, \u0026mu;\u0026epsilon; \u0026epsilon;\u0026xi;\u0026epsilon;\u0026lambda;\u0026iota;\u0026sigma;\u0026sigma;ό\u0026mu;\u0026epsilon;\u0026nu;\u0026alpha; \u0026laquo;\u0026kappa;\u0026epsilon;\u0026phi;ά\u0026lambda;\u0026alpha;\u0026iota;\u0026alpha;\u0026raquo;. \u0026Eta; \u0026tau;\u0026epsilon;\u0026lambda;\u0026iota;\u0026kappa;ή \u0026alpha;\u0026lambda;\u0026lambda;\u0026eta;\u0026lambda;\u0026omicron;\u0026upsilon;\u0026chi;ί\u0026alpha; \u0026tau;\u0026omega;\u0026nu; \u0026kappa;\u0026epsilon;\u0026phi;\u0026alpha;\u0026lambda;\u0026alpha;ί\u0026omega;\u0026nu;, \u0026tau;\u0026omega;\u0026nu; \u0026epsilon;\u0026iota;\u0026kappa;ό\u0026nu;\u0026omega;\u0026nu; \u0026kappa;\u0026alpha;\u0026iota; \u0026kappa;\u0026epsilon;\u0026iota;\u0026mu;έ\u0026nu;\u0026omega;\u0026nu; \u0026mu;έ\u0026sigma;\u0026alpha; \u0026sigma;\u0026epsilon; \u0026alpha;\u0026upsilon;\u0026tau;ά, \u0026tau;\u0026alpha;\u0026upsilon;\u0026tau;ί\u0026zeta;\u0026epsilon;\u0026tau;\u0026alpha;\u0026iota; \u0026sigma;\u0026chi;\u0026epsilon;\u0026delta;ό\u0026nu; \u0026alpha;\u0026pi;ό\u0026lambda;\u0026upsilon;\u0026tau;\u0026alpha; \u0026sigma;\u0026tau;\u0026eta;\u0026nu; έ\u0026kappa;\u0026theta;\u0026epsilon;\u0026sigma;\u0026eta; \u0026kappa;\u0026alpha;\u0026iota; \u0026sigma;\u0026tau;\u0026omicron; \u0026beta;\u0026iota;\u0026beta;\u0026lambda;ί\u0026omicron;. \u0026Sigma;\u0026tau;\u0026eta;\u0026nu; έ\u0026kappa;\u0026theta;\u0026epsilon;\u0026sigma;\u0026eta; \u0026pi;\u0026alpha;\u0026rho;\u0026omicron;\u0026upsilon;\u0026sigma;\u0026iota;ά\u0026zeta;\u0026omicron;\u0026nu;\u0026tau;\u0026alpha;\u0026iota; 105 έ\u0026gamma;\u0026chi;\u0026rho;\u0026omega;\u0026mu;\u0026epsilon;\u0026sigmaf; \u0026phi;\u0026omega;\u0026tau;\u0026omicron;\u0026gamma;\u0026rho;\u0026alpha;\u0026phi;ί\u0026epsilon;\u0026sigmaf;, \u0026delta;\u0026iota;\u0026alpha;\u0026tau;\u0026epsilon;\u0026tau;\u0026alpha;\u0026gamma;\u0026mu;έ\u0026nu;\u0026epsilon;\u0026sigmaf; \u0026sigma;\u0026tau;\u0026omicron;\u0026upsilon;\u0026sigmaf; \u0026tau;\u0026omicron;ί\u0026chi;\u0026omicron;\u0026upsilon;\u0026sigmaf; \u0026tau;\u0026omicron;\u0026upsilon; \u0026epsilon;\u0026kappa;\u0026theta;\u0026epsilon;\u0026sigma;\u0026iota;\u0026alpha;\u0026kappa;\u0026omicron;ύ \u0026chi;ώ\u0026rho;\u0026omicron;\u0026upsilon;. 26 \u0026tau;\u0026alpha;\u0026mu;\u0026pi;\u0026lambda;ό \u0026mu;\u0026epsilon; \u0026kappa;\u0026epsilon;ί\u0026mu;\u0026epsilon;\u0026nu;\u0026alpha; \u0026pi;\u0026alpha;\u0026rho;\u0026alpha;\u0026tau;ί\u0026theta;\u0026epsilon;\u0026nu;\u0026tau;\u0026alpha;\u0026iota; \u0026alpha;\u0026nu;ά \u0026pi;\u0026omicron;\u0026iota;\u0026kappa;ί\u0026lambda;\u0026alpha; \u0026delta;\u0026iota;\u0026alpha;\u0026sigma;\u0026tau;ή\u0026mu;\u0026alpha;\u0026tau;\u0026alpha; \u0026ndash; \u0026tau;\u0026alpha; \u0026kappa;\u0026epsilon;ί\u0026mu;\u0026epsilon;\u0026nu;\u0026alpha; \u0026alpha;\u0026upsilon;\u0026tau;ά \u0026epsilon;ί\u0026nu;\u0026alpha;\u0026iota; \u0026omicron;\u0026iota; \u0026mu;\u0026alpha;\u0026upsilon;\u0026rho;ό\u0026alpha;\u0026sigma;\u0026pi;\u0026rho;\u0026epsilon;\u0026sigmaf; \u0026phi;\u0026omega;\u0026tau;\u0026omicron;\u0026gamma;\u0026rho;\u0026alpha;\u0026phi;ί\u0026epsilon;\u0026sigmaf;, \u0026omicron;\u0026iota; \u0026omicron;\u0026pi;\u0026omicron;ί\u0026epsilon;\u0026sigmaf; \u0026sigma;\u0026upsilon;\u0026nu;\u0026omicron;\u0026delta;\u0026epsilon;ύ\u0026omicron;\u0026upsilon;\u0026nu; \u0026tau;\u0026iota;\u0026sigmaf; έ\u0026gamma;\u0026chi;\u0026rho;\u0026omega;\u0026mu;\u0026epsilon;\u0026sigmaf;. \u0026Eta; \u0026sigma;\u0026chi;έ\u0026sigma;\u0026eta; \u0026sigma;\u0026tau;\u0026omicron;\u0026nu; \u0026chi;ώ\u0026rho;\u0026omicron; \u0026epsilon;\u0026iota;\u0026kappa;ό\u0026nu;\u0026alpha;\u0026sigmaf; \u0026mu;\u0026epsilon; \u0026epsilon;\u0026iota;\u0026kappa;ό\u0026nu;\u0026alpha;, \u0026epsilon;\u0026iota;\u0026kappa;ό\u0026nu;\u0026alpha;\u0026sigmaf;-\u0026kappa;\u0026epsilon;\u0026iota;\u0026mu;έ\u0026nu;\u0026omicron;\u0026upsilon;, \u0026kappa;\u0026epsilon;\u0026iota;\u0026mu;έ\u0026nu;\u0026omicron;\u0026upsilon; \u0026pi;\u0026rho;\u0026omicron;\u0026sigmaf; \u0026kappa;\u0026epsilon;ί\u0026mu;\u0026epsilon;\u0026nu;\u0026omicron; \u0026alpha;\u0026pi;\u0026omicron;\u0026kappa;\u0026tau;ά, \u0026alpha;\u0026nu;\u0026alpha;\u0026gamma;\u0026kappa;\u0026alpha;\u0026sigma;\u0026tau;\u0026iota;\u0026kappa;ά, \u0026delta;\u0026iota;\u0026alpha;\u0026phi;\u0026omicron;\u0026rho;\u0026epsilon;\u0026tau;\u0026iota;\u0026kappa;ή \u0026mu;\u0026omicron;\u0026rho;\u0026phi;ή \u0026sigma;\u0026tau;\u0026iota;\u0026sigmaf; \u0026sigma;\u0026epsilon;\u0026lambda;ί\u0026delta;\u0026epsilon;\u0026sigmaf; \u0026epsilon;\u0026nu;ό\u0026sigmaf; \u0026beta;\u0026iota;\u0026beta;\u0026lambda;ί\u0026omicron;\u0026upsilon;. \u0026Epsilon;\u0026pi;\u0026iota;\u0026pi;\u0026lambda;έ\u0026omicron;\u0026nu;, \u0026tau;\u0026omicron; \u0026beta;\u0026iota;\u0026beta;\u0026lambda;ί\u0026omicron; \u0026epsilon;\u0026pi;\u0026iota;\u0026tau;\u0026rho;έ\u0026pi;\u0026epsilon;\u0026iota; \u0026nu;\u0026alpha; \u0026sigma;\u0026upsilon;\u0026mu;\u0026pi;\u0026epsilon;\u0026rho;\u0026iota;\u0026lambda;\u0026eta;\u0026phi;\u0026theta;\u0026epsilon;ί έ\u0026nu;\u0026alpha; \u0026delta;\u0026epsilon;ύ\u0026tau;\u0026epsilon;\u0026rho;\u0026omicron;, \u0026pi;\u0026alpha;\u0026rho;ά\u0026lambda;\u0026lambda;\u0026eta;\u0026lambda;\u0026omicron; \u0026kappa;\u0026epsilon;ί\u0026mu;\u0026epsilon;\u0026nu;\u0026omicron; \u0026kappa;\u0026alpha;\u0026iota; έ\u0026tau;\u0026sigma;\u0026iota; \u0026mu;\u0026epsilon;\u0026tau;\u0026alpha;\u0026tau;\u0026rho;έ\u0026pi;\u0026epsilon;\u0026tau;\u0026alpha;\u0026iota; \u0026sigma;\u0026epsilon; έ\u0026nu;\u0026alpha; \u0026epsilon;\u0026nu;\u0026tau;\u0026epsilon;\u0026lambda;ώ\u0026sigmaf; \u0026delta;\u0026iota;\u0026alpha;\u0026phi;\u0026omicron;\u0026rho;\u0026epsilon;\u0026tau;\u0026iota;\u0026kappa;ό έ\u0026rho;\u0026gamma;\u0026omicron;. \u0026hellip;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026Eta; έ\u0026kappa;\u0026theta;\u0026epsilon;\u0026sigma;\u0026eta; Fish Story \u0026pi;\u0026epsilon;\u0026rho;\u0026iota;\u0026lambda;\u0026alpha;\u0026mu;\u0026beta;ά\u0026nu;\u0026epsilon;\u0026iota; \u0026epsilon;\u0026pi;ί\u0026sigma;\u0026eta;\u0026sigmaf; \u0026delta;ύ\u0026omicron; \u0026pi;\u0026rho;\u0026omicron;\u0026beta;\u0026omicron;\u0026lambda;έ\u0026sigmaf; \u0026delta;\u0026iota;\u0026alpha;\u0026phi;\u0026alpha;\u0026nu;\u0026epsilon;\u0026iota;ώ\u0026nu;. \u0026Omicron;\u0026iota; \u0026delta;\u0026iota;\u0026alpha;\u0026phi;ά\u0026nu;\u0026epsilon;\u0026iota;\u0026epsilon;\u0026sigmaf; \u0026delta;\u0026epsilon;\u0026nu; \u0026sigma;\u0026upsilon;\u0026mu;\u0026pi;\u0026epsilon;\u0026rho;\u0026iota;\u0026lambda;\u0026alpha;\u0026mu;\u0026beta;ά\u0026nu;\u0026omicron;\u0026nu;\u0026tau;\u0026alpha;\u0026iota; \u0026sigma;\u0026tau;\u0026omicron; \u0026beta;\u0026iota;\u0026beta;\u0026lambda;ί\u0026omicron;, \u0026alpha;\u0026nu; \u0026kappa;\u0026alpha;\u0026iota; \u0026omicron;\u0026iota; \u0026pi;\u0026rho;ό\u0026lambda;\u0026omicron;\u0026gamma;\u0026omicron;ί \u0026tau;\u0026omicron;\u0026upsilon;\u0026sigmaf; \u0026sigma;\u0026chi;\u0026eta;\u0026mu;\u0026alpha;\u0026tau;ί\u0026zeta;\u0026omicron;\u0026upsilon;\u0026nu; \u0026epsilon;\u0026delta;ώ \u0026tau;\u0026omicron;\u0026nu; \u0026epsilon;\u0026pi;ί\u0026lambda;\u0026omicron;\u0026gamma;\u0026omicron;. \u0026Omicron;\u0026iota; \u0026pi;\u0026rho;\u0026omicron;\u0026beta;\u0026omicron;\u0026lambda;έ\u0026sigmaf; \u0026sigma;\u0026chi;\u0026epsilon;\u0026delta;\u0026iota;ά\u0026sigma;\u0026tau;\u0026eta;\u0026kappa;\u0026alpha;\u0026nu; \u0026mu;\u0026epsilon; \u0026sigma;\u0026tau;ό\u0026chi;\u0026omicron; \u0026nu;\u0026alpha; \u0026pi;\u0026alpha;\u0026rho;ά\u0026sigma;\u0026chi;\u0026omicron;\u0026upsilon;\u0026nu; \u0026mu;\u0026iota;\u0026alpha; \u0026xi;\u0026epsilon;\u0026chi;\u0026omega;\u0026rho;\u0026iota;\u0026sigma;\u0026tau;ή \u0026chi;\u0026rho;\u0026omicron;\u0026nu;\u0026iota;\u0026kappa;ή \u0026kappa;\u0026alpha;\u0026iota; \u0026epsilon;\u0026iota;\u0026kappa;\u0026alpha;\u0026sigma;\u0026tau;\u0026iota;\u0026kappa;ή \u0026epsilon;\u0026mu;\u0026pi;\u0026epsilon;\u0026iota;\u0026rho;ί\u0026alpha; \u0026alpha;\u0026pi;ό \u0026epsilon;\u0026kappa;\u0026epsilon;ί\u0026nu;\u0026eta; \u0026pi;\u0026omicron;\u0026upsilon; \u0026pi;\u0026rho;\u0026omicron;\u0026kappa;\u0026alpha;\u0026lambda;\u0026omicron;ύ\u0026nu; \u0026omicron;\u0026iota; \u0026epsilon;\u0026iota;\u0026kappa;ό\u0026nu;\u0026epsilon;\u0026sigmaf; \u0026kappa;\u0026alpha;\u0026iota; \u0026tau;\u0026alpha; \u0026kappa;\u0026epsilon;ί\u0026mu;\u0026epsilon;\u0026nu;\u0026alpha; \u0026sigma;\u0026tau;\u0026omicron;\u0026upsilon;\u0026sigmaf; \u0026tau;\u0026omicron;ί\u0026chi;\u0026omicron;\u0026upsilon;\u0026sigmaf;. \u0026Kappa;ά\u0026theta;\u0026epsilon; \u0026pi;\u0026rho;\u0026omicron;\u0026beta;\u0026omicron;\u0026lambda;ή \u0026alpha;\u0026pi;\u0026omicron;\u0026tau;\u0026epsilon;\u0026lambda;\u0026epsilon;ί\u0026tau;\u0026alpha;\u0026iota; \u0026alpha;\u0026pi;ό 80 \u0026delta;\u0026iota;\u0026alpha;\u0026phi;ά\u0026nu;\u0026epsilon;\u0026iota;\u0026epsilon;\u0026sigmaf; \u0026pi;\u0026omicron;\u0026upsilon; \u0026pi;\u0026rho;\u0026omicron;\u0026beta;ά\u0026lambda;\u0026lambda;\u0026omicron;\u0026nu;\u0026tau;\u0026alpha;\u0026iota; \u0026kappa;ά\u0026theta;\u0026epsilon; \u0026delta;\u0026epsilon;\u0026kappa;\u0026alpha;\u0026pi;έ\u0026nu;\u0026tau;\u0026epsilon; \u0026delta;\u0026epsilon;\u0026upsilon;\u0026tau;\u0026epsilon;\u0026rho;ό\u0026lambda;\u0026epsilon;\u0026pi;\u0026tau;\u0026alpha; \u0026kappa;\u0026alpha;\u0026iota; \u0026sigma;\u0026epsilon; ά\u0026lambda;\u0026lambda;\u0026eta; \u0026alpha;ί\u0026theta;\u0026omicron;\u0026upsilon;\u0026sigma;\u0026alpha; \u0026pi;\u0026rho;\u0026omicron;\u0026beta;\u0026omicron;\u0026lambda;ή\u0026sigmaf;, \u0026mu;\u0026epsilon; \u0026lambda;\u0026epsilon;\u0026zeta;ά\u0026nu;\u0026tau;\u0026epsilon;\u0026sigmaf; \u0026kappa;\u0026alpha;\u0026iota; \u0026sigma;\u0026upsilon;\u0026nu;\u0026omicron;\u0026delta;\u0026epsilon;\u0026upsilon;\u0026tau;\u0026iota;\u0026kappa;ό \u0026kappa;\u0026epsilon;ί\u0026mu;\u0026epsilon;\u0026nu;\u0026omicron; \u0026tau;\u0026omicron; \u0026omicron;\u0026pi;\u0026omicron;ί\u0026omicron; \u0026delta;\u0026iota;\u0026alpha;\u0026tau;ί\u0026theta;\u0026epsilon;\u0026tau;\u0026alpha;\u0026iota; \u0026sigma;\u0026epsilon; \u0026phi;\u0026upsilon;\u0026lambda;\u0026lambda;ά\u0026delta;\u0026iota;\u0026omicron; έ\u0026xi;\u0026omega; \u0026alpha;\u0026pi;ό \u0026tau;\u0026omicron;\u0026nu; \u0026chi;ώ\u0026rho;\u0026omicron;.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eΆ\u0026lambda;\u0026alpha;\u0026nu; \u0026Sigma;\u0026epsilon;\u0026kappa;\u0026omicron;ύ\u0026lambda;\u0026alpha;\u003c/p\u003e\r\n","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/684/large/PHA217.1_02.jpg?1470055575","poster_credits":"(c)photo: Allan Sekula","translations":[{"locale":"en","description":"\u003cp\u003eEd. 2/5, Purchased in 2002\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eFish Story is het derde werk in een cyclus rond de denkbeeldige en materi\u0026euml;le geografie in een vergevorderde kapitalistische wereld. Sketch for a Geography Lesson (1983) brengt een relatie tussen de beeldruimte van de Duitse romantiek en het verraderlijke terrein van de Koude Oorlog in kaart. Canadian Notes (1986) onderzocht de link tussen het domein van winningsindustrie\u0026euml;n, de architectuur van banken en de iconografie van gedrukt geld en schipperde tussen een bank die zich verhulde als landschap en een industrieel landschap dat zich verhulde als een bank.\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eMet de verschuiving van de statische landschappen naar de vloeibare zeevlakken en met de destabilisering van de geopolitieke wereldbalans aan het begin van 1989 leek de onzekerheid en passie van een omvangrijk werk in uitvoering wel gepast. Locaties werden uitgekozen voor hun grillige en thematische karakter. In het algemeen waren de keuzes gebaseerd op een zoektocht naar centra van maritieme macht uit het heden en verleden, evenals naar meer perifere zones die vaak onderworpen waren geweest aan een alleen heersende macht, zoals in Mexico, of naar gebieden die in het verleden gevangen zaten tussen hogere machten, zoals Korea en Polen.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eVanaf het begin wordt het project ontwikkeld als zowel een tentoonstelling als een boek met \u0026ldquo;hoofdstukken\u0026rdquo; die op volgorde worden gepresenteerd. De definitieve volgorde van de hoofdstukken en van de foto\u0026rsquo;s en teksten binnen de hoofdstukken is vrijwel identiek in zowel de tentoonstelling als het boek. In de tentoonstelling worden 105 kleurenfoto\u0026rsquo;s in volgorde geplaatst over enkele muren en ruimtes en worden ze afgewisseld met 26 tekstpanelen die op verschillende afstanden van de foto\u0026rsquo;s hangen. Op grafisch niveau zijn die tekstpanelen de zwart-witte fotografische metgezellen van de kleurenfoto\u0026rsquo;s. De ruimtelijke relatie van beeld tot beeld, beeld tot tekst, en tekst tot tekst krijgt onvermijdelijk een andere vorm binnen de pagina\u0026rsquo;s van een boek. Bovendien maakt het boek de toevoeging van een andere, parallelle tekst mogelijk en wordt het hierdoor een geheel ander object \u0026hellip;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eDe tentoonstelling Fish Story bevat ook twee diaprojecties. Die projecties zijn niet opgenomen in het boek hoewel de prologen van beide zijn samengevoegd om de epiloog van het boek te vormen. De projecties werden ontworpen als een introductie van een opvallend verschillende tijdsgebonden en beeldende ervaring vergeleken met die opgeroepen door de afbeeldingen en teksten op de muur. Elke diaprojectie bevat 80 dia\u0026rsquo;s die voortdurend met een pauze van vijftien seconden achter elkaar getoond worden in een aparte diakamer, met opschriften en begeleidende tekst beschikbaar in een boekje buiten de kamer \u0026hellip;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eAllan Sekula\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eFish Story est la troisi\u0026egrave;me oeuvre d\u0026#39;un cycle sur la g\u0026eacute;ographique imaginaire et mat\u0026eacute;rielle dans un monde capitaliste avanc\u0026eacute;. Sketch for a Geography Lesson (1983) passe en revue un lien entre l\u0026#39;espace imaginaire du romantisme allemand et le terrain insidieux de la Guerre froide. Canadian Notes (1986) a \u0026eacute;tudi\u0026eacute; le lien entre le domaine des industries d\u0026#39;extraction, l\u0026#39;architecture de banques et l\u0026#39;iconographie de l\u0026#39;argent imprim\u0026eacute; et a louvoy\u0026eacute; entre une banque qui se dissimulait dans un paysage et un paysage industriel qui se dissimulait dans une banque.\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eAvec le glissement des paysages statiques aux \u0026eacute;tendues marines liquides et avec la d\u0026eacute;stabilisation de l\u0026#39;\u0026eacute;quilibre g\u0026eacute;opolitique mondial au d\u0026eacute;but de l\u0026#39;ann\u0026eacute;e 1989, l\u0026#39;incertitude et la passion d\u0026#39;une vaste oeuvre en cours d\u0026#39;ex\u0026eacute;cution semblaient \u0026agrave; leur place. Les lieux ont \u0026eacute;t\u0026eacute; choisis pour leur caract\u0026egrave;re fantasque et th\u0026eacute;matique. En g\u0026eacute;n\u0026eacute;ral, les choix ont \u0026eacute;t\u0026eacute; bas\u0026eacute;s sur une recherche de centres de puissance maritime pr\u0026eacute;sents et pass\u0026eacute;s, ainsi que de zones plus p\u0026eacute;riph\u0026eacute;riques souvent soumises \u0026agrave; une seule puissance dominante, comme au Mexique, ou de r\u0026eacute;gions qui \u0026eacute;taient autrefois coinc\u0026eacute;es entre des puissances sup\u0026eacute;rieures comme la Cor\u0026eacute;e et la Pologne.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eD\u0026egrave;s le d\u0026eacute;but, le projet est con\u0026ccedil;u \u0026agrave; la fois en tant qu\u0026#39;exposition et en tant que livre avec des \u0026laquo;\u0026nbsp;chapitres\u0026nbsp;\u0026raquo; pr\u0026eacute;sent\u0026eacute;s dans l\u0026#39;ordre. L\u0026#39;ordre d\u0026eacute;finitif des chapitres et des photos et textes au sein des chapitres est quasiment identique dans l\u0026#39;exposition et dans le livre. Dans l\u0026#39;exposition, 105 photos en couleur sont plac\u0026eacute;es dans l\u0026#39;ordre sur quelques murs et espaces et elles alternent avec 26 panneaux textuels accroch\u0026eacute;s \u0026agrave; diff\u0026eacute;rentes distances des photos. Au niveau graphique, ces panneaux textuels sont les compagnons photographiques en noir et blanc des photos en couleur. La relation spatiale de l\u0026#39;image \u0026agrave; l\u0026#39;image, de l\u0026#39;image au texte et du texte au texte prend in\u0026eacute;vitablement une autre forme dans les pages d\u0026#39;un livre. En outre, le livre permet l\u0026#39;ajout d\u0026#39;un autre texte parall\u0026egrave;le et il devient ainsi un tout autre objet...\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eL\u0026#39;exposition Fish Story comprend \u0026eacute;galement deux projections de diapositives. Ces projections n\u0026#39;ont pas \u0026eacute;t\u0026eacute; reprises dans le livre, bien que les deux prologues aient \u0026eacute;t\u0026eacute; r\u0026eacute;unis pour former l\u0026#39;\u0026eacute;pilogue du livre. Les projections ont \u0026eacute;t\u0026eacute; con\u0026ccedil;ues comme une introduction \u0026agrave; une exp\u0026eacute;rience singuli\u0026egrave;re, diff\u0026eacute;rente, li\u0026eacute;e au temps et imag\u0026eacute;e par rapport \u0026agrave; celle \u0026eacute;voqu\u0026eacute;e par les illustrations et les textes au mur. Chaque projection comprend 80 diapositives pr\u0026eacute;sent\u0026eacute;es en permanence avec une pause de quinze secondes entre chacune, dans une salle de projection \u0026agrave; part, avec des inscriptions et un texte d\u0026#39;accompagnement disponibles dans un livret en dehors de la pi\u0026egrave;ce...\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eAllan Sekula\u003c/p\u003e\r\n"}]},{"id":15691,"title":"Lottery of the Sea","dimensions":"03:00:00","date_begin":"2006-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":0,"stream_count":0,"collection":"Courtesy of the Artist","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003e2006 | 180 minutes, colour, sound | English, Spanish, Galician, with Spanish subtitles | Direction, camera, narration: Allan Sekula | Editing: Elizabeth Hesik\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":3,"permalink":"lottery-of-the-sea","description_ru":"","description_de":"","description_es":"\u003cp style=\"text-align: justify;\"\u003e\u003cstrong\u003e2006 | 180 minutos, color, sonido | Ingl\u0026eacute;s, espa\u0026ntilde;ol y gallego, con subt\u0026iacute;tulos en castellano | Direcci\u0026oacute;n, c\u0026aacute;mara y narraci\u0026oacute;n: Allan Sekula | Montaje: Elizabeth Hesik\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eLottery of the Sea\u003c/em\u003e toma su t\u0026iacute;tulo de Adam Smith, quien comparaba la vida del marinero con las apuestas en su c\u0026eacute;lebre \u003cem\u003eThe Wealth of Nations\u003c/em\u003e (1776). De ese modo, Smith introdujo la noci\u0026oacute;n de riesgo por medio de una alegor\u0026iacute;a de los peligros del mar, sobre todo para quienes realizaban la tarea m\u0026aacute;s dura, aunque tambi\u0026eacute;n, en menor medida, para quienes invert\u0026iacute;an en nav\u0026iacute;os y mercanc\u0026iacute;as.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eEl film inquiere: \u0026ldquo;\u0026iquest;existe una relaci\u0026oacute;n entre el m\u0026aacute;s pavoroso y temible concepto en econom\u0026iacute;a, el \u0026laquo;riesgo\u0026raquo;, y la categor\u0026iacute;a de lo sublime en est\u0026eacute;tica?\u0026rdquo; Sabemos que el mar es una fuente primordial de sublimidad, especialmente en el siglo xviii.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eEste film es un ins\u0026oacute;lito diario que abarca desde el verano presuntamente inocente de 2001 hasta la actual \u0026ldquo;guerra contra el terror\u0026rdquo;, a trav\u0026eacute;s de un serpenteante viaje ensay\u0026iacute;stico de puerto en puerto, de ribera en ribera, de costa en costa.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026iquest;Qu\u0026eacute; significa ser una naci\u0026oacute;n mar\u0026iacute;tima? \u0026iquest;Gobernar las olas? \u0026iquest;Cosechar el mar?\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eUn submarino estadounidense colisiona con un pesquero japon\u0026eacute;s en pr\u0026aacute;cticas.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026iquest;Qu\u0026eacute; sugiere este hecho acerca de la divisi\u0026oacute;n del trabajo en el Pac\u0026iacute;fico? \u0026iquest;C\u0026oacute;mo recordamos al antiguo emperador? \u0026iquest;C\u0026oacute;mo recodamos a un general montado sobre su caballo? \u0026iquest;C\u0026oacute;mo recordamos a un bi\u0026oacute;logo marino mirando a trav\u0026eacute;s de su microscopio? \u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003ePanam\u0026aacute; decide si aumentar la anchura de su canal, sobre el cual ahora ejerce un moderado grado de soberan\u0026iacute;a.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026iquest;C\u0026oacute;mo es que un submarinista ser\u0026iacute;a el m\u0026aacute;s preparado para cuestionar este enorme barrido de la cuenca de la selva?\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eGalicia recibe un regalo indeseado de fuel, lo que produce subsiguientes e importantes cuestiones sobre la monoman\u0026iacute;a de unos gobiernos incapaces de concebir el peligro m\u0026aacute;s que en una \u0026uacute;nica dimensi\u0026oacute;n. \u0026iquest;Qu\u0026eacute; podemos aprender de la capacidad de la gente para autoorganizarse frente al desastre y la indiferencia del gobierno? \u003cem\u003e\u0026iquest;Qu\u0026eacute; tienen que decir los pescadores de Bueu, embadurnados de fuel?\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eBarcelona vuelve de nuevo a su frente mar\u0026iacute;timo, creando una esfera pseudop\u0026uacute;blica y consiguiendo una revalorizaci\u0026oacute;n inmobiliaria hacia el norte, a\u0026uacute;n mayor eficiencia log\u0026iacute;stica mar\u0026iacute;tima hacia el sur. \u003cem\u003e\u0026iquest;Qu\u0026eacute; tienen que decir sobre la democracia los invisibles trabajadores portuarios de la ciudad desde su puesto autodefinido como \u0026ldquo;gueto\u0026rdquo;?\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eY, en medio de todo ello, visitamos ventiscas y manifestaciones en Nueva York, mastodontes prehist\u0026oacute;ricos a la deriva en Los \u0026Aacute;ngeles, percusionistas militantes y desconcertados obreros de la construcci\u0026oacute;n en Lisboa, millonarios o imitadores de millonarios (\u0026iquest;qui\u0026eacute;n puede estar seguro de distinguirlos?) en Amsterdam y perros callejeros en Atenas, todo con la idea de considerar detalladamente una imagen del mar, el mercado y la democracia.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cbr /\u003e\r\nAllan Sekula,\u003cbr /\u003e\r\nnoviembre de 2004\u003c/p\u003e\r\n","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"\u003cp style=\"text-align: justify;\"\u003e\u003cstrong\u003e2006 | 180 minuts, color, so | Angl\u0026egrave;s, castell\u0026agrave; i gallec, amb subt\u0026iacute;tols en castell\u0026agrave; | Direcci\u0026oacute;, c\u0026agrave;mera i narraci\u0026oacute;: Allan Sekula | Muntatge: Elizabeth Hesik\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eLottery of the Sea\u003c/em\u003e pren el t\u0026iacute;tol d\u0026rsquo;Adam Smith, el qual comparava la vida del mariner amb les apostes a la c\u0026egrave;lebre \u003cem\u003eThe Wealth of Nations\u003c/em\u003e (1776). D\u0026rsquo;aquesta manera, Smith va introduir la noci\u0026oacute; de risc mitjan\u0026ccedil;ant una al\u0026middot;legoria dels perills del mar, sobretot pels qui realitzaven la tasca m\u0026eacute;s dura, encara que tamb\u0026eacute; en menor mesura pels qui invertien en navilis i mercaderies.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eEl film inquireix: \u0026laquo;hi ha una relaci\u0026oacute; entre el m\u0026eacute;s paor\u0026oacute;s i temible concepte en economia, el \u0026ldquo;risc\u0026rdquo;, i la categoria del sublim en est\u0026egrave;tica?\u0026raquo; Sabem que el mar \u0026eacute;s una font primordial de sublimitat, especialment al segle xviii.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eAquest film \u0026eacute;s un diari ins\u0026ograve;lit que abasta des de l\u0026rsquo;estiu presumptament innocent del 2001 fins a l\u0026rsquo;actual \u0026laquo;guerra contra el terror\u0026raquo;, a trav\u0026eacute;s d\u0026rsquo;un serpejant viatge assag\u0026iacute;stic de port en port, de riba en riba, de costa en costa.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eQu\u0026egrave; significa ser una naci\u0026oacute; mar\u0026iacute;tima? Governar les ones? Fer la collita del mar? \u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eUn submar\u0026iacute; nord-americ\u0026agrave; col\u0026middot;lideix amb un pesquer japon\u0026egrave;s en pr\u0026agrave;ctiques. Qu\u0026egrave; suggereix, aquest fet, sobre la divisi\u0026oacute; del treball al Pac\u0026iacute;fic? Com recordem a l\u0026rsquo;antic emperador? Com recordem a un general muntat sobre el cavall?\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eCom recordem a un bi\u0026ograve;leg mar\u0026iacute; mirant a trav\u0026eacute;s del microscopi?\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003ePanam\u0026agrave; decideix si ha d\u0026rsquo;augmentar l\u0026rsquo;ampl\u0026agrave;ria del seu canal, sobre el qual exerceix un moderat grau de sobirania. \u003cem\u003eCom \u0026eacute;s que un submarinista seria la persona m\u0026eacute;s preparada per q\u0026uuml;estionar aquest enorme escombratge de la conca de la selva?\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eGal\u0026iacute;cia rep un regal indesitjat de fuel, la qual cosa produeix subseg\u0026uuml;ents i importants q\u0026uuml;estions sobre la monomania d\u0026rsquo;uns governs incapa\u0026ccedil;os de concebre el perill m\u0026eacute;s que en una \u0026uacute;nica dimensi\u0026oacute;. \u003cem\u003eQu\u0026egrave; podem aprendre de la capacitat de la gent per autoorganitzarse enfront del desastre i de la indifer\u0026egrave;ncia del govern? Qu\u0026egrave; han de dir els pescadors de Bueu, empastifats de fuel?\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eBarcelona torna de nou al front mar\u0026iacute;tim, creant una esfera pseudop\u0026uacute;blica i aconseguint una revaloraci\u0026oacute; immobili\u0026agrave;ria cap al nord, encara major efici\u0026egrave;ncia log\u0026iacute;stica mar\u0026iacute;tima cap al sud. \u003cem\u003eQu\u0026egrave; han de dir sobre la democr\u0026agrave;cia els invisibles treballadors portuaris de la ciutat des del seu lloc autodefinit com a \u0026laquo;gueto\u0026raquo;?\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eI, enmig de tot aix\u0026ograve;, visitem torbs i manifestacions a Nova York, mastodonts prehist\u0026ograve;rics a la deriva a Los Angeles, percussionistes militants i obrers de la construcci\u0026oacute; desconcertats a Lisboa, milionaris o imitadors de milionaris (qui pot estar segur de distingir-los?) a Amsterdam i gossos de carrer a Atenes, tot amb la idea de considerar detalladament una imatge del mar, el mercat i la democr\u0026agrave;cia.\u003c/p\u003e\r\n\r\n\u003cp\u003eAllan Sekula,\u003cbr /\u003e\r\nnovembre del 2004\u003c/p\u003e\r\n","short_description_ca":"","description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cstrong\u003e2006 | 180 minutes, colour, sound | English, Spanish, Galician, with Spanish subtitles | Direction, camera, narration: Allan Sekula | Editing: Elizabeth Hesik\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eLottery of the Sea\u003c/em\u003e takes its title from Adam Smith, who, in his famous \u003cem\u003eWealth of Nations\u003c/em\u003e (1776), compared the life of the sailor to a lottery. Thus Smith introduces the notion of risk by means of an allegory of the dangers of the sea, especially for those who perform the hardest tasks, although also, to a lesser extent, for those who invest in ships and goods.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eThe film inquires \u0026lsquo;is there a relation between the most dreadful and fearful concept in economics\u0026mdash;that of risk\u0026mdash;and the category of the sublime in aesthetics?\u0026rsquo; We know that the sea is a primordial source of the sublime, especially in the eighteenth century.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eThe film is an unusual diary that ranges from the presumed innocent summer of 2001 to the current \u0026lsquo;war on terror,\u0026rsquo; through a meandering essayistic journey from port to port, shore to shore, and coast to coast.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eWhat does it mean to be a maritime nation? To govern the waves? Or to harvest the sea?\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eAn American submarine collides with a Japanese trawler. What does this suggest about the division of labour in the Pacific?\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eHow do we remember the old emperor? As a general mounted on his horse? Or as a marine biologist looking through his microscope?\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003ePanama decides whether to increase the width of its canal, over which it now exerts a moderate degree of sovereignty.\u003cem\u003e How come a diver is better prepared to question this huge swath cutting through the jungle?\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eGalicia receives an unwanted gift of crude oil, which provokes subsequent and important questions about the monomania of governments incapable of conceptualising danger in more than one dimension. What can we learn from people\u0026rsquo;s ability to self-organise in the face of disaster and government indifference? \u003cem\u003eWhat can the fishermen of Bueu,- smeared in oil, tell us about it?\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eOnce again, Barcelona returns to its seafront, creating a pseudo-public sphere: in the north, property prices rise, while in the south even greater maritime logistics efficiency is achieved. \u003cem\u003eWhat do the invisible port workers of the city have to say about democracy from their self-defined position as a \u0026lsquo;ghetto\u0026rsquo;?\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eAnd in the middle of it all we visit blizzards and demonstrations in New York, prehistoric mastodons drifting in Los Angeles, militant percussionists and bewildered construction workers in Lisbon, millionaires or millionaire clones (who can tell them apart?) in Amsterdam and street dogs in Athens, all with the idea of considering in detail an image of the sea, the market and democracy.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cbr /\u003e\r\nAllan Sekula\u003cbr /\u003e\r\nNovember 2004\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003e2006 | 180 minutes, colour, sound | English, Spanish, Galician, with Spanish subtitles | Direction, camera, narration: Allan Sekula | Editing: Elizabeth Hesik\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eLottery of the Sea\u003c/em\u003e takes its title from Adam Smith, who, in his famous \u003cem\u003eWealth of Nations\u003c/em\u003e (1776), compared the life of the sailor to a lottery. Thus Smith introduces the notion of risk by means of an allegory of the dangers of the sea, especially for those who perform the hardest tasks, although also, to a lesser extent, for those who invest in ships and goods.\u003c/p\u003e\r\n\r\n\u003cp\u003eThe film inquires \u0026lsquo;is there a relation between the most dreadful and fearful concept in economics\u0026mdash;that of risk\u0026mdash;and the category of the sublime in aesthetics?\u0026rsquo; We know that the sea is a primordial source of the sublime, especially in the eighteenth century.\u003c/p\u003e\r\n\r\n\u003cp\u003eThe film is an unusual diary that ranges from the presumed innocent summer of 2001 to the current \u0026lsquo;war on terror,\u0026rsquo; through a meandering essayistic journey from port to port, shore to shore, and coast to coast.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eWhat does it mean to be a maritime nation? To govern the waves? Or to harvest the sea?\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eAn American submarine collides with a Japanese trawler. What does this suggest about the division of labour in the Pacific?\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eHow do we remember the old emperor? As a general mounted on his horse? Or as a marine biologist looking through his microscope?\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003ePanama decides whether to increase the width of its canal, over which it now exerts a moderate degree of sovereignty.\u003cem\u003e How come a diver is better prepared to question this huge swath cutting through the jungle?\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eGalicia receives an unwanted gift of crude oil, which provokes subsequent and important questions about the monomania of governments incapable of conceptualising danger in more than one dimension. What can we learn from people\u0026rsquo;s ability to self-organise in the face of disaster and government indifference? \u003cem\u003eWhat can the fishermen of Bueu,- smeared in oil, tell us about it?\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eOnce again, Barcelona returns to its seafront, creating a pseudo-public sphere: in the north, property prices rise, while in the south even greater maritime logistics efficiency is achieved. \u003cem\u003eWhat do the invisible port workers of the city have to say about democracy from their self-defined position as a \u0026lsquo;ghetto\u0026rsquo;?\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eAnd in the middle of it all we visit blizzards and demonstrations in New York, prehistoric mastodons drifting in Los Angeles, militant percussionists and bewildered construction workers in Lisbon, millionaires or millionaire clones (who can tell them apart?) in Amsterdam and street dogs in Athens, all with the idea of considering in detail an image of the sea, the market and democracy.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cbr /\u003e\r\nAllan Sekula\u003cbr /\u003e\r\nNovember 2004\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":15692,"title":"Fish Story","dimensions":"Dimensions variable","date_begin":"1989-01-01","material":"Cibachrome","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":0,"stream_count":0,"collection":"Collection Fonds régional d'art contemporain Bretagne, Rennes","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"1995-01-01","reference":"","stream_count_app":3,"permalink":"fish-story","description_ru":"","description_de":"","description_es":"\u003cp\u003e\u003cem\u003eFish Story\u003c/em\u003e, chapt. 1st, 1989-1995. 18 cibachrome prints \u0026amp; 2 text panels. Collection Fonds r\u0026eacute;gional d\u0026#39;art contemporain Bretagne, Rennes.\u003c/p\u003e\r\n","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"\u003cp\u003e\u003cem\u003eFish Story\u003c/em\u003e, chapt. 1st, 1989-1995. 18 cibachrome prints \u0026amp; 2 text panels. Collection Fonds r\u0026eacute;gional d\u0026#39;art contemporain Bretagne, Rennes.\u003c/p\u003e\r\n","short_description_ca":"","description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003eFish Story\u003c/em\u003e, chapt. 1st, 1989-1995. 18 cibachrome prints \u0026amp; 2 text panels. Collection Fonds r\u0026eacute;gional d\u0026#39;art contemporain Bretagne, Rennes.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003eFish Story\u003c/em\u003e, chapt. 1st, 1989-1995. 18 cibachrome prints \u0026amp; 2 text panels. Collection Fonds r\u0026eacute;gional d\u0026#39;art contemporain Bretagne, Rennes.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":15693,"title":"Fish Story. Loaves and Fishes","dimensions":"Dimensions variable","date_begin":"1989-01-01","material":"Cibachrome","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":0,"stream_count":0,"collection":"Collection Michel Rein, Paris","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"1995-01-01","reference":"","stream_count_app":3,"permalink":"fish-story-loaves-and-fishes","description_ru":"","description_de":"","description_es":"\u003cp\u003e\u003cem\u003eFish Story. Loaves and Fishes\u003c/em\u003e, chapt. 2nd, 1989-1995. 8 cibachrome prints \u0026amp; 2 text panels. Collection Michel Rein, Paris.\u0026nbsp;\u003c/p\u003e\r\n","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"\u003cp\u003e\u003cem\u003eFish Story. Loaves and Fishes\u003c/em\u003e, chapt. 2nd, 1989-1995. 8 cibachrome prints \u0026amp; 2 text panels. Collection Michel Rein, Paris.\u0026nbsp;\u003c/p\u003e\r\n","short_description_ca":"","description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003eFish Story. Loaves and Fishes\u003c/em\u003e, chapt. 2nd, 1989-1995. 8 cibachrome prints \u0026amp; 2 text panels. Collection Michel Rein, Paris.\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003eFish Story. Loaves and Fishes\u003c/em\u003e, chapt. 2nd, 1989-1995. 8 cibachrome prints \u0026amp; 2 text panels. Collection Michel Rein, Paris.\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":15694,"title":"Fish Story. Message in a Bottle","dimensions":"Dimensions variable","date_begin":"1994-01-01","material":"Cibachrome","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":0,"stream_count":0,"collection":"Thyssen-Bornemisza Art Contemporary Collection, Vienna","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":3,"permalink":"fish-story-message-in-a-bottle","description_ru":"","description_de":"","description_es":"\u003cp\u003e\u003cem\u003eFish Story. Message in a Botte\u003c/em\u003e, chapt. 5, 1994. 7 cibachrome prints \u0026amp; 2 text panels. Thyssen-Bornemisza Art Contemporary Collection, Vienna.\u003c/p\u003e\r\n","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"\u003cp\u003e\u003cem\u003eFish Story. Message in a Botte\u003c/em\u003e, chapt. 5, 1994. 7 cibachrome prints \u0026amp; 2 text panels. Thyssen-Bornemisza Art Contemporary Collection, Vienna.\u003c/p\u003e\r\n","short_description_ca":"","description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003eFish Story. Message in a Botte\u003c/em\u003e, chapt. 5, 1994. 7 cibachrome prints \u0026amp; 2 text panels. Thyssen-Bornemisza Art Contemporary Collection, Vienna.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003eFish Story. Message in a Botte\u003c/em\u003e, chapt. 5, 1994. 7 cibachrome prints \u0026amp; 2 text panels. Thyssen-Bornemisza Art Contemporary Collection, Vienna.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":15695,"title":"Deep Six / Passer au bleu","dimensions":"Dimensions variable","date_begin":"1996-01-01","material":"Cibachrome","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":0,"stream_count":0,"collection":"Collection Musée des Beaux-Arts, Calais","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"1998-01-01","reference":"","stream_count_app":6,"permalink":"deep-six-passer-au-bleu","description_ru":"","description_de":"","description_es":"\u003cp\u003eDeep Six / Passer au bleu, 1996/98. 33 cibachrome prints. Mus\u0026eacute;e des Beaux-Arts, Calais.\u0026nbsp;\u003c/p\u003e\r\n","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"\u003cp\u003eDeep Six / Passer au bleu, 1996/98. 33 cibachrome prints. Mus\u0026eacute;e des Beaux-Arts, Calais.\u0026nbsp;\u003c/p\u003e\r\n","short_description_ca":"","description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003eDeep Six / Passer au bleu, 1996/98. 33 cibachrome prints. Mus\u0026eacute;e des Beaux-Arts, Calais.\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDeep Six / Passer au bleu, 1996/98. 33 cibachrome prints. Mus\u0026eacute;e des Beaux-Arts, Calais.\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":3011,"title":"Ship of Fools","dimensions":"","date_begin":null,"material":"","short_description":"","art_status_id":48,"legal_status_id":12,"category_id":25,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":19,"permalink":"ship-of-fools","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/051/189/medium_500/TEST.png?1580913669","cached_actor_names":"Allan Sekula","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/051/189/large/TEST.png?1580913669","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003eShip of Fools\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e1. The Floating Family\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eNot long ago I was able to see the recently restored traveling exhibition version of The Family of Man at its permanent home, the Ch\u0026acirc;teau de Clervaux in Luxembourg, near the site of the Battle of the Ardennes. An old US Army Sherman tank, presumably a relic of that battle, welcomes the visitor at the entrance to the castle. What was most striking about the meticulous reconstruction undertaken by Edward Steichen\u0026rsquo;s natal country is that now one can see how modest and slow paced the spectacle\u003cbr /\u003e\r\nculture of the 1950s was by contrast with the Hollywood blockbusters, mega exhibitions and digital image streams of today.\u003c/p\u003e\r\n\r\n\u003cp\u003eBy current standards, the scale of the photographs is far from superhuman, and I saw a group of German high school students slipping into a kind of solemn, attentive reverie as they moved patiently among the monochromatic panels, as if this were very different from their experience of going to the movies, playing a computer game, or clicking on a web link. Perhaps this is the ultimate museological destiny of The Family of Man: to become the immobilized relic of a global road show that provided the model for the traveling museum blockbusters of today. Does the very obsolescence of The Family of Man open up a plethora of possibilities?\u003c/p\u003e\r\n\r\n\u003cp\u003eJust for a moment, imagine that the restored Family of Man had been installed instead aboard a ship, and that the ship sailed around the world, visiting all the port cities that had originally taken the exhibition, from New York to Cape Town to Jakarta, and maybe a few others that weren\u0026rsquo;t on the original itinerary. In some cities, a rich menu of competing cultural choices combined with general urban indifference to the waterfront would bring few visitors: maybe no more than fifty people in New York, despite the free admission. In others cities, maybe in Karachi, the ship would be so swamped with visitors that it would almost heel over and capsize at the dock: an audience of thirty thousand in one day. In the richer countries, caps and T shirts would be sold; in poor countries these would be give way to free souvenirs. It would be a simple no frills cargo ship, so there would be none of the connotations of protected luxury that accrue to a ch\u0026acirc;teau or to the cruise vessel commandeered in Genoa by the frightened leaders of the rich nations. In many cities, dissident and human rights groups would be invited to convene public forums in a conference room built into one of the holds. These same groups would provide hospitality for the crew. A web site would track the vessel\u0026rsquo;s progress. The ship would fly the flag of landlocked Luxembourg, or maybe that of the United Nations, or perhaps an unrecognizable flag, unrelated to any known sovereign entity, perhaps bearing a portrait of Steichen\u0026rsquo;s mother holding a freshly baked apple pie. It would not fly the flag of the United States, nor would it display the ensign of the Museum of Modern Art, and there would be no Sherman tank lashed to the hatch covers.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e2. Churning the Waters\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eThis would be the ghost ship imagined by the New York Times: the aging cargo ship in the age of e mail. What I am describing here, taking only modest license, is the 1998 2000 circumnavigation of the Global Mariner, an 18,000 deadweight ton general cargo vessel carrying in its converted holds a remarkable exhibition about working conditions at sea, and-in a broader sense -about the hidden social costs and probable consequences of corporate globalization. Sponsored by the International Transport Workers Federation, a London based umbrella organization of over 450 transport workers\u0026rsquo; unions around the world, the ship was actually the brainchild of a group of German and British seafarer activists who also happened to be disaffected veterans of Greenpeace, interested in the problem of an international linkage of labor and environmental struggles. Their primary concern was the system of flag of convenience shipping, a lawerly ruse invented by American shippers in the mid 1940s that allows wealthy ship owners to register their vessels in poor nations offering what is often termed paper sovereignty: a flag for a fee. The system is rife with abuses, and indeed its very purpose is abuse: shielding exploitative labor conditions and substandard vessels behind a bewildering legal maze. The ITF has been waging a campaign against this system for fifty years, trying to enforce minimum standards of pay and safety for seafarers. The solution of the ITF activists was to connect this venerable and not always very successful fight to the broader campaign against corporate globalization. Here it is worth noting that since 1995 key working class resistances to neoliberal policies -reduced social security, casualization of work in the name of \u0026ldquo;flexibility,\u0026rdquo; union busting, and privatization of public infrastructure -have come from workers in the transport sector: railway workers in France, dockers in Australia, Chile and Brazil, bus drivers and airline crews in Mexico, delivery drivers in the United States.\u003c/p\u003e\r\n\r\n\u003cp\u003eThese battles against the doctrine of the untrammeled market predate Seattle.\u003c/p\u003e\r\n\r\n\u003cp\u003eThe Global Mariner was a floating version of the agit train, reconceived in the context of an eclectic and decidedly post Bolshevik left wing politics. (The ITF had its origins in solidarity actions linking Dutch and British dockers and seafarers at the end of the nineteenth century, and remained close to the traditions of the old socialist Second International for much of its history.) The quixotic agit ship was nonetheless indebted to the experiments of radical productivist art in the young Soviet Union, and also to the photomontages of John Heartfield and the workers\u0026rsquo; theatre of Erwin Piscator. Remember that Steichen had already borrowed from the big scale presentational techniques of Russian designers and photographers of the 1920s for his thematic photo exhibitions of the 1940s and fifties: there are ghostly shadows of El Lissitsky and Rodchenko in The Family of Man. Having witnessed the absorption of these once radical devices into the toolkit of corporate liberalism and advertising, one could say that now the Global Mariner has reappropriated this tradition to forge a new old weapon against the neoliberalism of the twenty first century.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e3. Renaming of Names\u003c/strong\u003e\u003cbr /\u003e\r\nBut before the exhibition, with its big computer-\u0026not;generated photomurals and its eerie post\u0026not;- Stockhausen soundtrack, there is the fact of the ship and the voyage in and of themselves, readymade-\u0026not;like in the subtlety of their ambiguous status as already existing but transformed object and context.\u003c/p\u003e\r\n\r\n\u003cp\u003eThe Lady Rebecca (as \u0026ldquo;she\u0026rdquo; had been\u0026nbsp; christened two decades before on the North Sea coast of Britain) had gone through five names, a series of superimposed reinscriptions of bow and stern, each prior name an increasingly obscure trace beneath the bright white paint announcing the new identity. The calculated amnesia of the world of international shipping offers a lesson to those who celebrate the postmodern flux of identity. One of the stranger stories of this common practice: in mid passage a captain receives a telex noting that the ship has been sold and must be renamed. The captain politely asks the new name and is told to send a crewman over the side -risky business when underway -to paint out every other letter of the old name. What would Mallarm\u0026eacute; make of this? The concrete poetry of the contemporary maritime world, the nominative magic worked out between the telex machine and the paint locker: here we return to Melville\u0026rsquo;s Benito Cereno, but confront not the ambiguities of insurrection and mutiny but a mastery that disguises itself. Whose ship? Which ship? A palimpsest of disguises and deceits, a deliberate muddying of the waters. Nearing the end of its/her working life, the ship formerly known as the Lady Rebecca entered a state of dangerous decrepitude, owned by a Hong Kong shipping company, flagged, I believe, to Panama, crewed by Filipinos, and finally -at the literal end of her ropes -moored at offshore anchorage in the bustling port of Pusan, on the southeast coast of Korea, waiting. For what? A shady buyer willing to squeeze out the last bit of profit from the laborious and plodding and dangerous journeys of an aging vessel, a death ship in the making. Or, the owner makes the final blunt decision, almost that of a farmer in its frank brutality, though less intimate than one based on veterinary observation, since this is a decision made at a distance -in Hong Kong or London or Zurich -without poking at the rust breeding on the ladders and the hatch coaming, or poking at the cracks in the hull, or reading the engine room log with its depressing catalog of failing valves and pumps. From the pasture of the anchorage, the ship embarks on the long voyage to the rendering plant. Send \u0026ldquo;her\u0026rdquo; to the gently-\u0026not;sloping beaches of India, to be run ashore at high tide by a skeleton crew: engines full ahead onto the oily sand, to be broken by the sledges and cutting torches of vast crews of gaunt laborers, the abattoir of the maritime world, the ship re manned for the last time by the last toiling victims in the cycle of oceanic exploitation.\u003c/p\u003e\r\n\r\n\u003cp\u003eThen miraculously -although here other metaphors, those of rescue and redemption, are also to be used as if this were fiction -the ship was purchased by the International Transport Workers Federation in the summer of 1998, reflagged to Britain and arduously refitted at the Mipo dockyards of Hyundai, just north of Pusan, and then sailed by a Croatian crew to the German port of Bremerhaven, where it was further fitted out with the exhibition, and then, only a few months after the initial purchase -all this was done at breakneck pace -it embarked with a new name on a twenty month circumnavigation, setting out to visit 83 cities around the world. The crew was a polygot mix: English, German, Icelandic, Filipino, Burmese, Scottish, Croatian, New Zealander, Ukrainian, Russian, Japanese, Dutch, Irish.\u003c/p\u003e\r\n\r\n\u003cp\u003eDepending on the political situation of the local unions who invited the ship, the visits could be militant and combative. For example, the crew joined the dockers of Valparaiso in their fight against Chilean government plans for port privatization, demonstrated alongside exiled Burmese seafarers and other democracy campaigners outside the Myanmar embassy in Bangkok, and staged a protest in support of striking American shipyard workers in New Orleans.\u003c/p\u003e\r\n\r\n\u003cp\u003eTwo fast launches were stowed on top of the rear hatch cover, and these allowed for rapid, Greenpeace style actions. In other instances, the ship was isolated from public contact by unsympathetic governments, as happened in Hong Kong, a city whose crypto \u0026ldquo;market Stalinist\u0026rdquo; chief executive happens to be the former head of an international container shipping line. A invitation to Greece scheduled for the very last day of the millennium was rescinded at the eleventh hour by a seafarers\u0026rsquo; union unwilling to challenge powerful Greek shipowners. Faraway political events could change the tenor of the ship\u0026rsquo;s reception, as happened in Istanbul a few weeks after the Seattle protests against the World Trade Organization. For the first time, the ship was greeted at the dock by workers bearing banners specifically denouncing globalization. And indeed the ship\u0026rsquo;s visit to Seattle in the spring of 1999 had been one of a number of local events leading up to the November protests.\u003c/p\u003e\r\n\r\n\u003cp\u003eIf, as Michel Foucault has suggested, ships are the very exemplar of heterotopias (real spaces that call other spaces into question), the Global Mariner was the heterotopia of heterotopias. Or if you want, this was a meta ship, representing and figuring within itself, within the exhibition that was its only cargo, all the other invisible, ignored and silent ships of the world. The Global Mariner had to be real ship functioning in an exemplary way, to be the Good Ship that social justice demanded other ships should and could be, but it was also an empty vessel carrying nothing but ballast and a message. This \u0026ldquo;emptiness\u0026rdquo; may have provoked the\u0026nbsp;hostile captain of one substandard vessel targeted by the ITF to refer to the Global Mariner as a \u0026ldquo;toy ship\u0026rdquo; as if it had been de realized by the absence of heavy cargo. And yet this was a vessel of old fashioned self sufficiency, equipped with onboard cranes that allowed it to load and discharge cargo at terminals without dockside equipment, the sort of vessel commonly seen trading in more remote third world ports. The Global Mariner functioned in marked contrast to the specialized container and bulk ships of today\u0026rsquo;s shipping world, which only work by being integrated into a larger machine ensemble of dockside cranes and conveyors. Its functional autonomy and versatility allowed the Global Mariner to become a large mobile art space that could efficiently install, transport, and display its exhibition.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e4. Magellan in Reverse\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eThe Global Mariner was also embarked on what can only be seen as an ironic, counter enactment of an older project dating back to the very origins of modem imperial dominion, namely the first circumnavigation of the globe by Magellan. This was Magellan in reverse. Indeed, the ritual significance of circumnavigation should not be under emphasized. These epochal voyages were first re-enacted in the epoch of high imperialism, serving as theatrical assertions of a naval power\u0026rsquo;s emergence on the world stage, as was the case with the circumnavigation of Admiral Dewey\u0026rsquo;s \u0026ldquo;White Fleet\u0026rdquo; after the decisive American victory over Spain in Manila Bay in 1898. In the American case, the grand, global naval parade, showing the flag, in naval parlance, put the muscle behind the geostrategic ambition expressed by the naval theorist\u003cbr /\u003e\r\nAlfred Thayer Mahan.\u003c/p\u003e\r\n\r\n\u003cp\u003eIn the later twentieth century, the solo circumnavigator ritually revitalizes the individualist underpinnings of the capitalist spirit of adventure, while simultaneously obscuring through the drama of solitary endeavor and extreme self sufficiecy \u0026not;the industrial and social dimension of the world\u0026not;-spanning project. The fascination with such voyages, manifested in the tragically ill fated work of Bas Jan Ader, or more recently in a number of intriguing projects by Tacita Dean, is entirely consistent with a return to a seemingly exhausted romanticism, and an effort to divorce adventure from its historical linkage with plunder and conquest. That romanticism should only seek its survival in oceanic immersion, hyper solitude, and the extreme extra territoriality of the middle passage is a sign of the desperation encountered in its rescue from generalized cultural debasement. Today this postmodern, quasi romantic \u0026ldquo;return\u0026rdquo; to the sea must be understood as fundamentally different from its Byronic precedent, since it contends with a sea that is both depleted of resources and sublimely threatening in a new way with the advent of global warming, a sea that kills and is being killed, a sea that is also subject -in the developed world -to a ubiquitous variety of hyper\u0026not;real representations, from aquatic theme parks to the species rich aquariums that have become a fixture of every urban waterfront leisure complex.\u003c/p\u003e\r\n\r\n\u003cp\u003eThe Global Mariner insisted, on the contrary, in its plodding ordinary way on the return to social questions. Speaking with the caution of a Cold War liberal, Steichen had claimed that The Family of Man was about \u0026ldquo;human consciousness, not social consciousness.\u0026rdquo;\u0026nbsp;The great strength of the Global Mariner experiment was to raise the question of society from the very space that is imagined to be beyond society. Nothing special: a ship like many others, so ordinary that one Seattle resident, seeing the ship being ceremoniously welcomed by the fireboats of that strong union city, wondered what the fuss was all about. In other words, here was the sort of welcome one would expect for an aircraft carrier or the QE2, but not for an old \u0026lsquo;tween decker, presumably carrying coffee or pulp paper, or some other anonymous bulk commodity.\u003c/p\u003e\r\n\r\n\u003cp\u003eIt is all the more profound that this ship should seek to represent the workings of empire at a time when the global economy is assumed to be entirely virtual in its connectedness, magically independent of the slow maritime movement of heavy things. The arrogant conceit of the cyber economy, for that matter of the very idea of the post industrial era, is that we disavow our dim but nagging awareness that nearly all energy -whether converted to electricity or derived from direct combustion -comes from oil or other hydrocarbon fossil fuels, or on fissionable uranium refined from yellow cake ore: solids, liquids and gases that are extracted from the earth and transported in bulk. The very slowness of the Global Mariner\u0026rsquo;s voyage, the twenty months of its circumnavigation, reminds us of the duration of early modern seafaring under sail, and also of the contemporary persistence of slow, heavy transport flows.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e5. Anti-Titanic\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eThis was the anti Titanic. The Glaswegian quartermaster aboard the Global Mariner, a wiry veteran seafarer by the name of Jimmy McCauley, made the point very succinctly, referring to the steady aggregate loss of life at sea, crews of twenty at a time on bulk ore carriers that mysteriously break in half, sometimes in calm seas, or the myriad Filipino passengers crammed onto decrepit ferries that capsize or burn in the Sulu Sea: \u0026ldquo;A Titanic happens every year, but no one hears about it.\u0026rdquo; The exhibition itself brought this home with a narrative program that took the visitor from a happy and optimistic view of seafaring -a mix of shipping industry propaganda and tourist fantasy -to an increasingly dark and dismal view of calamities and dangers at sea, culminating in a meticulous model of the ill fated Swedish ferry Estonia underwater in a fish tank vitrine, this last amounted to a morbid seafarers\u0026rsquo; joke on the display techniques of maritime museums. As one descended from upper to lower holds, and moved forward toward the bow of the ship, the use of archival images -of injured seafarers and atrocious living conditions, of shipwrecks, fires and oil spills -became more and more insistent, until one climbed to the upper hold dedicated to public discussion and debate. Many of the photographs used were taken by the ITF\u0026rsquo;s\u003cbr /\u003e\r\nship inspectors in ports around the world, who are themselves dockers and seafarers. This documentary imperative brings openness to an industry traditionally veiled in secrecy. In fact, the current tendency to extend forensic investigations to non military shipwrecks, using deep submersibles when necessary, is largely traceable to precedents set by the ITF.\u003c/p\u003e\r\n\r\n\u003cp\u003eMiren del Olmo, chief mate aboard the Global Mariner, told me a story. A Basque from a poor fishing village on the outskirts of Bilbao, daughter of a retired shipyard worker, she recalled having crossed the Nervi\u0026oacute;n river on her way to English class one Saturday in the late 1980s, preparing for the lingua franca of a life at sea. Hearing commotion in the distance, she glanced back at the bridge, just next to the soon to be closed shipyard that would ten years later provide the site for Frank Gehry\u0026rsquo;s Guggenheim. The roadway and pylons suddenly disappeared in a fog of tear gas.\u003c/p\u003e\r\n\r\n\u003cp\u003eDisplaced welders and shipwrights -her father\u0026rsquo;s comrades- were battling with the riot squads of the National Police. She told the story as she stood watch late one December night on another sort ofbridge, as the Global Mariner made its way west across the Black Sea. It occurred to me that we were doubtless crossing the course taken almost a century earlier by the mutinous battleship Potemkin, as it zig zagged from Odessa to Constanza seeking shelter from the Tsarist fleet.\u003c/p\u003e\r\n\r\n\u003cp\u003eThe ship shuddered through heavy winter swells, seemingly going nowhere. After a long silence, broken only by the intermittent crackle of radio voices speaking the terse and variably accented English of the sea lanes, Miren remarked that she had yet to spend enough time at home in Bilbao to be able to visit the new museum. But in her unprofessional opinion, speaking frankly to an American, it looked like it had been built from every can of Coke drunk in Bilbao.\u0026rdquo;\u003c/p\u003e\r\n\r\n\u003cp\u003eAs Melville\u0026rsquo;s Bartelby, broken by the post office, put it to his boss: \u0026ldquo;I would prefer not to.\u0026rdquo; On August 3, 2000, having completed its mission as a good ship, an exemplary ship, a ship representing all the other invisible ships of the world, the Global Mariner, bearing a cargo of steel coil, was rammed and sunk at the mouth of the Orinoco River in Venezuela, not far from the fictional refuge of Robinson Crusoe, a shipwrecked isolato from an earlier mercantile era. Thanks to Bill Gates and his minions, I received this news by e mail, but not in writing. Instead, without warning, a startling picture rolled downward on the screen of my computer: a ship I knew well, sinking, photographed from a lifeboat by one of the crew.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003e\u003cstrong\u003eThis text is a revised extract from Allan Sekula, TITANIC\u0026rsquo;s wake (Cherbourg: Le Point du Jour \u0026Eacute;diteur, 2003). First published as part of \u0026ldquo;Between the Net and the Deep Blue Sea: Rethinking the Traffic in Photographs\u0026rdquo;, October 102 (Fall 2002), pp. 3-34. The text was first revised as a part of Allan Sekula\u0026rsquo;s solo exhibition \u003cem\u003eShip of Fools\u003c/em\u003e (28.05-05.09.10). This exhibition was organized by M HKA, Museum of Contemporary Art, Antwerp, Belgium, and presented in FOMU, Photo Museum, Antwerp.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eThe text is made available to visitors of \u003cem\u003e\u0026ldquo;Mermaid Honeymoon. A curatorial reflection on Allan Sekula\u0026rsquo;s Ship of Fools / The Dockers\u0026rsquo; Museum (2010-2013)\u0026rdquo;\u003c/em\u003e (18.01-26.04.20). This presentation is one of the concluding outcomes of a PhD in Curatorial Research, as part of the research project Art Against the Grain of \u0026ldquo;Collective Sisyphus\u0026rdquo;: The Case of Allan Sekula\u0026rsquo;s \u003cem\u003eShip of Fools / The Dockers\u0026rsquo; Museum\u003c/em\u003e (2010-2013), jointly developed by M HKA and the Lieven Gevaert Centre at KU Leuven and UCLouvain, with professor Hilde Van Gelder as promotor. With the support of the Research Fund KU Leuven, the Research Foundation-Flanders (FWO) and the Allan Sekula Studio.\u003c/strong\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":7637,"title":"Sugar Gang (Santos)","dimensions":"6 x (77.5 x 77.5 x 2 cm)","date_begin":"1999-01-01","material":"chromogenic prints mounted on alu-dibond and framed","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"2010-01-01","reference":"BK009485_08","stream_count_app":32,"permalink":"sugar-gang-santos","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Allan Sekula","hide_from_json":false,"prev_platform_id":null,"description_uk":"\u003cp\u003e\u003cmeta charset=\"utf-8\" /\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eУ своїй творчості Алан Секула постійно звертався до теми суспільних класів та умов праці, натхненно та влучно критикуючи сучасний капіталізм. В його фотографіях відсутня героїзація персонажів, натомість є сюжети, що відображають складні соціально-економічні процеси. Протягом усієї своєї кар\u0026rsquo;єри він неодноразово повертався до мотиву морських перевезень, підкреслюючи, що саме з них почалася глобалізація: можливість реєстрації кораблів у країнах з нерозвиненим трудовим законодавством дозволяла власникам недоплачувати команді і так зробила морський транспорт неймовірно дешевим. Спільно з Міжнародною федерацією працівників транспорту Секула організував навколосвітню подорож, в ході якої возив по різних країнах експозицію, що розповідала про умови праці у сфері перевезень. Саме в цій мандрівці він відзняв матеріал для своєї останньої великої фотосерії під назвою \u0026laquo;Корабель дурнів\u0026raquo;.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026laquo;Цукрова банда\u0026raquo; \u0026ndash; частина цієї серії. На фото ми бачимо, як група портових робітників вантажить цукор у порту міста Сантоса, найбільшому в Латинській Америці. Світ об\u0026rsquo;єднаний мережею шляхів, і ці шляхи переважно морські, та вони не функціонували б без злагодженої праці багатьох людей.\u003c/p\u003e\r\n","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/017/408/large/Sugar_Gang_%28Santos%29.jpg?1369226319","poster_credits":"(c)Allan Sekula","translations":[{"locale":"en","description":"\u003cp\u003eIn his artistic practice, Allan Sekula has consistently addressed questions of class and the conditions of labour, in tandem with a spirited and rigorous critique of contemporary capitalism. His work avoids the heroic, favouring instead sequences of images which plot complex economic and social processes. During his career, Sekula has repeatedly returned to the theme of maritime space, pointing out that globalisation started there with the de-flagging of ships and transport, thus becoming extremely cheap because of undercompensated labour. His last major photo ensemble \u003cem\u003eShip of Fools\u003c/em\u003e is based upon a trip around the world of a ship of The International Transport Workers Federation to create awareness of this issue through an exhibition, travelling from port to port.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eSugar Gang\u003c/em\u003e is part of this series. It presents a group of dockers from Santos, the largest harbour of Latin-America, loading sugar. The world is linked up and it is linked up primarily through the sea, but it is always the people and their solidarity who embody and materialise these links.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":3009,"title":"Dockers' Museum","dimensions":"variable dimensions","date_begin":"2010-01-01","material":"mixed media","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":58,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"objects flags woodcuts engravings figurines medaillons fabric uniform patches","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BRAS_08","stream_count_app":134,"permalink":"dockers-museum","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/086/871/medium_500/SEKULA__Allan_Dockers_Museum_atomic_bomb_section___diamond_section_BRAS_09_3.jpg?1663172945","cached_actor_names":"Allan Sekula","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/086/870/large/SEKULA__Allan_Dockers_Museum_atomic_bomb_section___diamond_section_BRAS_10.jpg?1663171964","poster_credits":"Photo: MHKA","translations":[{"locale":"en","description":"\u003cp\u003eThe Dockers\u0026rsquo; Museum\u0026nbsp;is a collection of minor artefacts that create an understanding of how the fundamental position of seafarers and port workers can be thought. They live between land and sea, one location and the whole world. This is also a prime example of Sekula\u0026rsquo;s \u0026lsquo;thinking-together\u0026rsquo;; objects, images and documents \u0026ndash; and his critical \u0026lsquo;thinking together\u0026rsquo; with viewers. M HKA owns the \u003cem\u003eobjects\u003c/em\u003e, Allan Sekula the \u003cem\u003ethinking\u003c/em\u003e. These collected \u0026laquo;objects of interest\u0026raquo; are not to be understood as artworks, but they contextualize Sekula\u0026rsquo;s photography, while these in turn contextualize Sekula\u0026rsquo;s ongoing activity of collecting these items. Sekula finds his \u0026laquo;objects of interest\u0026raquo; at online auction houses, contrasting the mystical \u0026laquo;speed of light\u0026raquo; of the Internet with the slow movement of cargo, of which 90 per cent is moved by sea.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026#39;\u003cem\u003eIn a certain way the key factor of the museum is the sarceness, or its limits, that\u0026#39;s the critical element, it is lapidary quality and the specificity of that lapidarity\u003c/em\u003e\u0026#39; -\u0026nbsp;Allan Sekula, 2011\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003eThe Dockers\u0026#39;\u0026nbsp;Museum\u003c/em\u003e\u0026nbsp;is een verzameling van kleine voorwerpen die inzicht bieden in de fundamentele positie van zeelui en havenwerkers. Ze leven tussen land en zee, een vaste plek en ook hele wereld. Deze installatie is een goed voorbeeld van Sekula\u0026#39;s \u0026#39;samen-denken\u0026#39;; objecten, beelden en documenten - gecombiveerd met zijn kritische \u0026#39;meedenken\u0026#39; en het public. M HKA is eigenaar van de \u003cem\u003eobjecten\u003c/em\u003e, Allan Sekula van het \u003cem\u003edenken\u003c/em\u003e. Deze verzamelde \u0026#39;voorwerpen\u0026#39; worden niet opgevat als kunstwerken, maar ze contextualiseren Sekula\u0026#39;s fotografie, terwijl deze op hun beurt Sekula\u0026#39;s voortdurende activiteit van het verzamelen contextualiseren. Sekula vindt zijn \u0026#39;voorwerpen\u0026#39; bij online veilinghuizen, in contrast tot de mystieke snelheid van het internet en het langzame transport, waarvan 90 procent gebeurt via de zee.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u0026#39;In a certain way the key factor of the museum is the sarceness, or its limits, that\u0026#39;s the critical element, it is lapidary quality and the specificity of that lapidarity\u0026#39;\u003c/em\u003e\u0026nbsp;-\u0026nbsp;Allan Sekula, 2011\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]}]