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"Gelder, Hilde van"
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Allan Sekula : ship of fools / the dockers' museum
This is the project on which the North American artist and writer Allan Sekula worked during the last three years of his life (2010-2013). The work consists, first, of a corpus of thirty-three framed photographs and two slide projections of in total over one hundred images, all made by the artist (Ship of Fools); second, it contains a gigantic collection of various objects, graphic images, postcards, and prints which the artist purchased, mostly online (The Dockers' Museum). Sekula dedicated this work to both historical and contemporary labor solidarity in and around the docks. At the time of his sad passing in the Summer of 2013, Allan Sekula was in the midst of collaborating on this publication with all four contributing authors: Gail Day, Steve Edwards, Alberto Toscano, and Hilde Van Gelder, each of whom he had asked to write essays. This volume, which includes a representative ensemble of images and objects that are part of Ship of Fools / The Dockers' Museum, follows as closely as possible the instructions given by the artist and is the first substantial scholarly analysis of this impressive project. It contains a preface by Jèurgen Bock and Bart De Baere, who both curated exhibited installations of the work during the artist's lifetime. The volume also includes draft text materials written by the artist himself, as well as selections from the multitude of unpublished interviews, public debates, and lectures that Allan Sekula delivered between 2010 and 2012. Finally, this publication includes a moving essay on the project by the artist's widow, Sally Stein.
Book
W.G. Sebald's Artistic Legacies
When the mind turns more than one would wish towards questions of - as W.G. Sebald puts it - the \"natural history of destruction\", comparative consideration by artists and interdisciplinary scholars is directed to the interstices between images, novel, essay, (auto)biography, memorial and travelogue. Artists have been among Sebald's most prolific interpreters - as they are among the more fearless and holistic researchers on questions concerning what it means never to be able to fix an identity, to tell a migrant's story, or to know where a historical trauma ends. Sebald has - as this book attests - also given artists and scholars a means to write with images, to embrace ambiguity, and to turn to today's migrants with empathy and responsibility; as well as to let academic research, creation and institutional engagement blend into or substantially inform one another in order to account for and enable such necessary work in the most diverse contexts.
eBook
Allan Sekula's \Ship of Fools / The Dockers' Museum\
Allan Sekula's project 'Ship of fools/The docker's museum' (2010-13; illus.) which he worked on during his last years consists of photographs and slide projections, its subject is a marine expedition with an educational and political slant which took place between 1998 and 2000. Sekula was focusing on the theme of labour in the project with a special emphais on the work of the docker, and it is also a commentary on the contribution made by the internet to a pervading sense of unreality.
Journal Article
As a Dog Finds a Spear
AbstractIn an interview shortly before his untimely death in 2001, W.G. Sebald shed light on how he pursued research: in a diffuse manner. Proudly he clarified that for refining his approach he had been contemplating at length how dogs run through a field. His was a way of proceeding exactly as a dog searches: to and fro, back and forth, sometimes slowly and at times fast until, eventually, there is a find. When, two years later, Susan Sontag paid tribute to her departed friend (in Regarding the Pain of Others), she emphasized Sebald’s extraordinary capacity for remembering, not by means of recalling a story but instead by calling up a picture. It was, according to Sontag, through seeding his narratives with photographs that he became the militant elegist we now continue to praise. Sebald, she added, actively wanted the reader to remember almost alongside with him, that which he himself still seemed in the process of gathering together with regard to lost lives, lost nature, and lost cityscapes. On both of these levels, Sebald’s artistic legacy has been a source of inspiration for writing my forthcoming book, Ground Sea. Photography and the Right to Be Reborn (Leuven University Press, 2020). The outcome of a decadelong investigation of the infamously called “migrant crisis” in Calais, France, this project started out as a classical study in photography theory (including case studies from the work of Allan Sekula, Sylvain George, and Bruno Serralongue among others). Encouraged by Sebald’s embedded way of working, however, reiterated field trips to the maquis of Calais and its vicinity proved necessary soon after the forceful eviction—between October 24 and 27, 2016—of 6,500 inhabitants from what French Government officials euphemistically called the “camp de la Lande.” From then on my art historical approach transformed into a creative practice geared toward turning cosmic vision, in the sense of Édouard Glissant in Philosophie de la relation (2009), into political ideas.Keywords: Trans-generational, Visual, Sculpture, Tautological, RevolutionaryAugust the 2nd was a peaceful day. I sat at a table near the open terrace door, my papers and notes spread out around me, drawing connections between events that lay far apart but which seemed to me to be of the same order.
Book Chapter
Allan Sekula (1951-)
In 2010, Allan Sekula and Noël Burch completed The Forgotten Space. This essay film builds on Sekula's book and travelling exhibition project Fish Story (1989-1995), in which he represents the sea as the 'forgotten space' of third millennial global capitalism (
Sekula 1995: 50). The Forgotten Space is the provisional final piece, bringing full circle almost four decades of prolific discursive activity on photography. Sekula focuses on 'economic and social themes' from 'work and unemployment, to schooling and the military-industrial complex' (Sekula 2011). This he combines with sharp analyses of (mainly) Western conventions of family life, including his own autobiography. It is his intention to talk 'with words and images about both the system and our lives within the system' (
Sekula 1999: 147). He points strongly at post-war imperialist enterprises, particularly that of the US, his home country, in relation to the former Eastern Bloc and China.
Book Chapter