Fish Story, Sekula’s magnum opus, underscores photography’s role in labor history and in working class responses to globalization. The project has seven. First published in , Allan Sekula’s Fish Story is regarded as a seminal early critique of global capitalism and landmark body of work that challenged. Fish Story [Allan Sekula] on *FREE* shipping on qualifying offers.

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Allan Sekula: Fish Story

Often absent, obscured or incidental, sometimes central, mostly at work on specific tasks, and occasionally dwarfed by some hulking industrial apparatus, the subjects include welders, dockers, market traders, scavengers, rescue workers and fishermen, as well as the unemployed, children and families.

Witte de With Contemporary Art. But by the s this postmodern critique had hardened into the opposite doxa, namely that social knowledge was irrecoverable by photography, and that realism was a defunct project. From —, Sekula spent seven years photographing harbours and major port cities around the world. Overall, the sequences formed a circular movement.

However, large sections of the art world of the s, basking in the glow of commodity aesthetics, had done little to effectively counter these myths that is, where a similar investment had not, at least tacitly, been made.

Allan Sekula Fish Seoula — Chapter 8: Buchloh, in Rishseku,a. This is true enough of advertising and the mass media. More information is also available about the film collection and the Circulating Film and Video Library.

Allan Sekula — Fish Story – Exhibitions – Program – Witte de With

Sekula here offers a model of photographic visibility that, by recognising its own inescapable inadequacy, thereby strives to be adequate to the magnitude and complexity of the subject at hand. Installation views We used machine learning to identify this work in photos from our exhibition history. Fish StorySekula’s magnum opus, underscores photography’s role in labor history and in working class responses to globalization.

There are microscopic close-ups as well as panoramas and, between the two, there are highly detailed and carefully composed views of a variety of oceanic, coastal, factory and shipyard scenes. Beyond this, a critical realism must, above all, be self-critical, and alert to the inevitable limitations of its attempt to apprehend the enigma of capital as a relation that exists only in and as movement.


Courtesy Estate of Allan Sekula. Fish Story was his third project in a related cycle of works that deal with the imaginary and actual geography of the advanced capitalistic world. All requests to license audio or video footage produced by MoMA should be addressed to Scala Archives at firenze scalarchives.

Tourism itself and, by extension, the rise of the service industries in general cannot accommodate, nor can the touristic view disguise, the impoverishment of post-industrial decline, of which evidence abounds in Fish Storyfrom the scavengers of Los Angeles harbour to the long queues of a Gdansk unemployment office. Nudging the view a little to the right, the second image reveals a pocket of urban dereliction just across the river, shielded from the museum by a row of apartments.

The conveniences of a raised standard of living and the twin impositions sgory Fordist work and leisure are here inseparable. Social Suffering in Contemporary Societytrans.

Though there is a long artistic tradition of depicting harbors, ships and coastlines, few contemporary artists are continuing it. The photographs and slide installations were combined with text panels, which commented on the project.

A key issue in Fish Story ifsh the connection between containerized cargo movement and the growing internationalization of the world industrial economy, with its effects on the actual social space of ports.

Allan Sekula — Fish Story

This paper is a revised version of an article originally published in immediationsDecemberpp. It shows the Staten Island Ferry binoculars, minus the boy, directed through the window of the deck towards another ship in the hazy middle distance, the metallic sheen of the casing reflected in the same window back towards the viewer.

If you have additional information or spotted an error, please send feedback to digital moma.

Sekula, in Risbergp. The trilogy continued in —6, with Geography Lesson: In Fish Story Sekula picked up this tradition, demonstrating the history and future of maritime space not only as a visual space but also as a socio-economic one. In sum, the admittance of contingency and subjectivity are integral to the critical realism of Fish Story. See Gerti Fietzek ed.


As part of research for this project she travelled onboard containerships and visited ports throughout the wekula Indian Ocean. But if the institutions of the art world have, in the last two decades, proven more than amenable to critical documentary practices, and happy to shape them to sekul discourse with little friction, what strength of challenge to the sejula ideologies of that world do they in fact present? For licensing motion picture film footage it is advised to apply directly to the copyright holders.

See Jean Baudrillard, Simulationstrans.

She is the author of Dialectical Passions: Fish Story was completed and first exhibited in Januarybefore the wave of general strikes in France that occurred between November and December that year. Allan Sekula — was a renowned photographer, filmmaker, theorist, photography historian and critic.

ICA | On Allan Sekula’s Fish Story

Tate Papers ISSN sekuls a peer-reviewed research journal that publishes articles on British and modern international art, and on museum practice today. Does the sea become fixed sstory the land fluid? The photographs constitute a unique record of unemployment and dilapidation allsn the old industrial powers, the capitalist pursuit of cheap labor around the globe, and the strenuous work of seafaring.

Main menu additional Become a Member Shop. Two Years After Closing. Allan Sekula, Fish Story The exhibition in Witte de With consisted of 7 sequences or chapters, incorporating framed color photographs: In short, the boundaries of that institutional field are clearly more porous than Buchloh is here willing to admit, and with his help, Fish Story becomes legible within the artistic field precisely as a contravention of the dominant terms of post-Conceptual photographic practice.

In doing this, a number of contemporary and historic routes were traced and questioned.