{"id":15494,"title":"Allan Sekula in Leuven (2005): Staging a Tidal Wave, for a \"Meditation\" on Today's \"Workers' Struggles\"","dimensions":"","date_begin":null,"material":"","art_status_id":13,"legal_status_id":47,"category_id":25,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"","cached_tag_list":"Allan Sekula","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":8,"permalink":"allan-sekula-in-leuven-2005-staging-a-tidal-wave-for-a-meditation-on-today-s-workers-struggles","description_ca":"\u003cp style=\"text-align: justify;\"\u003e[\u0026hellip;]\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cb\u003eESCENOGRAFIA 1: ARENBERG, ESTIU DEL 2005\u003c/b\u003e. Entre l\u0026rsquo;1 i el 8 de setembre del 2005, al Cinema Zed de Lovaina cada nit es projectava una pel\u0026middot;l\u0026iacute;cula. L\u0026rsquo;entrada era lliure. El programa, titulat \u0026ldquo;Meunier en di\u0026agrave;leg\u0026rdquo;, estava dissenyat per Allan Sekula. Va comen\u0026ccedil;ar amb \u003ci\u003eTsukiji\u003c/i\u003e (2001) de Sekula, i l\u0026rsquo;endem\u0026agrave; va continuar amb \u003ci\u003eThe Lottery of the Sea\u003c/i\u003e\u003csup\u003e2\u003c/sup\u003e. Les projeccions seg\u0026uuml;ents, que inclo\u0026iuml;en entre altres \u003ci\u003eMis\u0026egrave;re au Borinage\u003c/i\u003e (1933) de Henri Storck i Joris Ivens i \u003ci\u003eAmerican Dream\u003c/i\u003e (1990) de Barbara Kopple, van completar la selecci\u0026oacute; de pel\u0026middot;l\u0026iacute;cules representatives sobre la hist\u0026ograve;ria de les \u0026ldquo;lluites obreres\u0026rdquo; (Sekula, correu electr\u0026ograve;nic, 30 de juny del 2005). Amb aquesta seq\u0026uuml;\u0026egrave;ncia de films, Sekula va crear un discurs m\u0026eacute;s ampli al voltant de la molt aplaudida exposici\u0026oacute; de la seq\u0026uuml;\u0026egrave;ncia de cartells de grans dimensions \u003ci\u003eShipwreck and Workers (Version 2 for Leuven)\u003c/i\u003e, que va penjar en diverses parets del Centre d\u0026rsquo;Arts STUK del 22 d\u0026rsquo;agost al 25 de setembre del 2005. [...]\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cb\u003eESCENOGRAFIA 2 (FLASHBACK): ARENBERG, ESTIU DEL 1909\u003c/b\u003e. Exactament el 1909, va tenir lloc a Lovaina la primera exposici\u0026oacute; retrospectiva p\u0026ograve;stuma de les obres de Meunier. Organitzada al mateix empla\u0026ccedil;ament de l\u0026rsquo;Institut Qu\u0026iacute;mic, llavors nou de trinca, va ser justament aqu\u0026iacute; que es van mostrar p\u0026uacute;blicament per primera vegada els guixos per al \u003ci\u003eMonument al Treball\u003c/i\u003e de Meunier, en qu\u0026egrave; havia estat treballant ininterrompudament des del 1880 i fins a la seva mort el 1905\u003csup\u003e4\u003c/sup\u003e. Aix\u0026iacute;, quasi un segle despr\u0026eacute;s, Sekula va realitzar, al mateix lloc, una instal\u0026middot;laci\u0026oacute; monumental, que es va afanyar a identificar bastant cr\u0026iacute;pticament com \u0026ldquo;una mena d\u0026rsquo;\u0026lsquo;antimonument\u0026rsquo; p\u0026uacute;blic al treball (des del moment que avui tota empresa capitalista \u0026eacute;s un monument a l\u0026rsquo;\u0026lsquo;antitreball\u0026rsquo;)\u0026rdquo; (correu electr\u0026ograve;nic, 4 d\u0026rsquo;agost del 2005).\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e[...]\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eCom a artista, escriptor i activista, a Sekula l\u0026rsquo;angoixava enormement el coneixement que tenia de primera m\u0026agrave; de les condicions laborals contempor\u0026agrave;nies, que fan que els treballadors continu\u0026iuml;n executant la seva feina sense poder permetre\u0026rsquo;s \u0026ldquo;pensar\u0026rdquo;. Per aquest motiu, Sekula va seleccionar fotografies de treballadors de la seq\u0026uuml;\u0026egrave;ncia \u003ci\u003eShipwreck and Workers\u003c/i\u003e \u0026ldquo;o b\u0026eacute; absorbits pel treball o b\u0026eacute; posant a la pausa, breu\u0026rdquo;\u003csup\u003e5\u003c/sup\u003e.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eSekula esperava que \u003ci\u003eShipwreck and Workers\u003c/i\u003e, que anava acompanyada de peus de foto de la seva pr\u0026ograve;pia m\u0026agrave;, pogu\u0026eacute;s \u0026ldquo;aportar una meditaci\u0026oacute; sobre el realisme social i el llegat de Constantin Meunier\u0026rdquo; (Sekula, \u0026ldquo;Proposta d\u0026rsquo;exposici\u0026oacute; per a l\u0026rsquo;STUK, agost-setembre del 2005\u0026rdquo;, text in\u0026egrave;dit, 23 de febrer del 2005).\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cb\u003eEL DI\u0026Agrave;LEG.\u003c/b\u003e L\u0026rsquo;ocasi\u0026oacute; per a aquest comprom\u0026iacute;s intens de Sekula amb Meunier va ser una iniciativa de l\u0026rsquo;antic Museu de la Ciutat de Lovaina (ara M\u0026ndash;Museum Leuven) per commemorar el centenari de la mort de Constantin Meunier, a la qual el Lieven Gevaert Centre (LGC), acabat de fundar, es va afegir com a col\u0026middot;laborador. Meunier va ensenyar pintura hist\u0026ograve;rica a l\u0026rsquo;escola d\u0026rsquo;arts de Lovaina de 1887 a 1897, i va anar deixant per la ciutat rastres d\u0026rsquo;aquesta d\u0026egrave;cada tan productiva. Per complementar una exposici\u0026oacute; que destaca la pres\u0026egrave;ncia de les seves obres als espais p\u0026uacute;blics i privats de la ciutat, el comit\u0026egrave; organitzador del projecte es va adre\u0026ccedil;ar espec\u0026iacute;ficament a Allan Sekula. En la seva resposta inicial a la carta d\u0026rsquo;invitaci\u0026oacute;, Sekula de seguida va expressar afecte per l\u0026rsquo;obra de Meunier: \u0026ldquo;Gr\u0026agrave;cies per aquesta proposta tan interessant. \u0026hellip; Conec i aprecio l\u0026rsquo;obra de Meunier, per\u0026ograve; \u0026ograve;bviament estaria encantat d\u0026rsquo;implicar-m\u0026rsquo;hi m\u0026eacute;s directament\u0026rdquo; (correu electr\u0026ograve;nic, 7 de maig del 2004).\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eAl final, la \u0026ldquo;implicaci\u0026oacute; m\u0026eacute;s directa\u0026rdquo; de Sekula amb Meunier va anar molt m\u0026eacute;s enll\u0026agrave; de la \u0026ldquo;meditaci\u0026oacute;\u0026rdquo; iniciada amb \u003ci\u003eShipwreck and Workers\u003c/i\u003e. Sekula va quedar fascinat amb el lloc de treball de Meunier a Lovaina, un antic amfiteatre anat\u0026ograve;mic de la universitat\u003csup\u003e6\u003c/sup\u003e.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e[...]\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eSituat al cor del barri popular de classe obrera de Lovaina, est\u0026agrave; a quatre passes de Schapenstraat, on Sekula havia instal\u0026middot;lat \u003ci\u003eShipwreck and Workers\u003c/i\u003e \u0026ndash;el seu tsunami. Per tal d\u0026rsquo;\u0026ldquo;implicar-se m\u0026eacute;s directament\u0026rdquo; amb el lloc on Meunier s\u0026rsquo;havia vist en una cat\u0026agrave;strofe semblant, Sekula va desenvolupar el tema de les aig\u0026uuml;es diluvials i la gent ofegada penjant a la reixa de la tanca que envolta el lloc la seva obra fototextual \u003ci\u003eDear Bill Gates\u003c/i\u003e (1999), com una instal\u0026middot;laci\u0026oacute; de p\u0026ograve;sters a l\u0026rsquo;aire lliure. En relaci\u0026oacute; amb aquesta disposici\u0026oacute;, va insistir que \u003ci\u003eDear Bill Gates\u003c/i\u003e, que es va poder veure del 5 d\u0026rsquo;abril al 25 de setembre del 2005, s\u0026rsquo;havia de presentar com si fos un onatge. A trav\u0026eacute;s d\u0026rsquo;aquesta intervenci\u0026oacute;, molt delimitada, que inclo\u0026iuml;a un dels seus (rars) autoretrats, Sekula va comen\u0026ccedil;ar un di\u0026agrave;leg m\u0026eacute;s personal amb la biografia de Meunier.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e[...]\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eA molts nivells d\u0026rsquo;interpretaci\u0026oacute;, Sekula considerava que la seva obra anava com l\u0026rsquo;anell al dit a un di\u0026agrave;leg visual no nom\u0026eacute;s amb el que va ser la principal trag\u0026egrave;dia de la vida de Meunier \u0026ndash;la p\u0026egrave;rdua dels seus fills\u0026ndash; sin\u0026oacute; tamb\u0026eacute; amb el dest\u0026iacute; de l\u0026rsquo;escultor en la hist\u0026ograve;ria de l\u0026rsquo;art. Al plaf\u0026oacute; de text penjat a la paret de l\u0026rsquo;escenari del teatre a l\u0026rsquo;aire lliure de l\u0026rsquo;STUK a qu\u0026egrave; ens hem referit abans, Sekula recorda amb lucidesa que les obres de Meunier, al moment de la primera exposici\u0026oacute; retrospectiva (p\u0026ograve;stuma) als EUA a l\u0026rsquo;Albrigt Museum de Buffalo, ja havien estat recuperades pels barons de l\u0026rsquo;acer, que van patrocinar la mostra. Despr\u0026eacute;s d\u0026rsquo;aix\u0026ograve;, Meunier va ser \u0026ldquo;oblidat completament per una civilitzaci\u0026oacute; que es basa en el negoci i que s\u0026rsquo;enorgulleix en abstracte de la \u0026lsquo;feina dura\u0026rsquo;\u0026rdquo;. Amb tristesa, afegeix: \u0026ldquo;Em sorpr\u0026egrave;n que sigui tan poc reconegut pels artistes contemporanis\u0026rdquo; (Sekula a Baetens i Van Gelder, 2008, 186). Amb tota seguretat\u003ci\u003e, \u003c/i\u003eSekula va voler expressar la consci\u0026egrave;ncia que la seva obra, de clara implicaci\u0026oacute; social, amb el temps podia patir un dest\u0026iacute; similar, ser arrasada per una onada d\u0026rsquo;oblit.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cb\u003eEL DI\u0026Agrave;LEG CONTINUAT / ESCENOGRAFIA 3: EL TEATRE ANAT\u0026Ograve;MIC, TARDOR DEL 2016. \u003c/b\u003eQu\u0026egrave; hi havia en l\u0026rsquo;imaginari art\u0026iacute;stic de Meunier que tant va atreure Sekula? Aqu\u0026iacute; hi ha un element que mereix ser desenvolupat. No \u0026eacute;s casual que els dos artistes se centrin en els estibadors, els mariners i els miners. El que tenen en com\u0026uacute; aquestes professions \u0026eacute;s el perill permanent a qu\u0026egrave; s\u0026rsquo;exposa l\u0026rsquo;individu quan est\u0026agrave; en plena feina. [...] En el cas de Sekula, representar el m\u0026oacute;n diari d\u0026rsquo;aquests treballadors volia dir coneixe\u0026rsquo;l profundament per haver-lo experimentat. Per a \u003ci\u003eShipwreck and Workers\u003c/i\u003e, s\u0026rsquo;havia assegurat de quedar personalment amb cada individu abans de retratar-los fotogr\u0026agrave;ficament. Per la manera relaxada de posar, es pot veure com simpatitzen amb ell com \u0026ldquo;un dels seus\u0026rdquo;. Per molt que els treballadors, amb el pas del temps, hagin pogut sentir-se tra\u0026iuml;ts en la seva confian\u0026ccedil;a\u003ci\u003e \u003c/i\u003e\u0026ndash;i encara s\u0026rsquo;hi sentin\u0026ndash;, aqu\u0026iacute; Sekula advoca per no abandonar, reconstruir la cadena de confian\u0026ccedil;a entre individus que, respectuosament, es consideren uns als altres iguals en els seus drets civils. Per a ell, aquest podria ser un punt de parten\u0026ccedil;a fonamental per refer un teixit social viable. Meunier compartia aquestes opinions. Ell tamb\u0026eacute; va triar amb cura els seus models: eren individus que coneixia personalment i amb els quals podia empatitzar. [...] Seleccionant un conegut activista de la classe obrera de Lovaina com a model d\u0026rsquo;estibador d\u0026rsquo;Anvers \u0026ndash;els estibadors d\u0026rsquo;Anvers tamb\u0026eacute; havien adquirit, el 1893, una s\u0026ograve;lida reputaci\u0026oacute; per la predisposici\u0026oacute; a la vaga\u0026ndash;, Meunier, fidel a l\u0026rsquo;esperit de la Internacional, va establir deliberadament una connexi\u0026oacute; m\u0026eacute;s global entre les lluites de treballadors d\u0026rsquo;arreu. Com es va assenyalar el 1930 \u0026ndash;no sense ironia:\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003ci\u003eper tant, el fam\u0026oacute;s estibador d\u0026rsquo;Anvers, parlant amb propietat, no \u0026eacute;s m\u0026eacute;s que un \u0026lsquo;estibador de Lovaina\u0026rsquo;. Per\u0026ograve; com que un dels somnis dels habitants de Lovaina sempre ha estat veure la seva ciutat com a \u0026lsquo;port mar\u0026iacute;tim\u0026rsquo;, Constantin Meunier, indirectament, ha donat satisfacci\u0026oacute; a aquesta lloable i honesta vanitat.\u003c/i\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eA petici\u0026oacute; de Sekula, l\u0026rsquo;M HKA va adquirir, per incloure\u0026rsquo;l al seu \u0026uacute;ltim projecte, \u003ci\u003eThe Dockers\u0026rsquo; Museum\u003c/i\u003e, un petit motllo de bronze de \u003ci\u003eL\u0026rsquo;estibador\u003c/i\u003e de Meunier. Ara conegut com a TDM 40, Sekula es referiria enigm\u0026agrave;ticament a \u003ci\u003eL\u0026rsquo;estibador\u003c/i\u003e com un \u0026ldquo;jugador per compte propi\u0026rdquo;. Amb aquest rol, Sekula el va fer actuar com a actor clau en el marc de diverses exposicions de \u003ci\u003eShip of Fools\u003c/i\u003e / \u003ci\u003eThe Dockers\u0026rsquo; Museum\u003c/i\u003e al llarg de la seva vida\u003csup\u003e9\u003c/sup\u003e. Una reproducci\u0026oacute; impresa d\u0026rsquo;aquesta obra, que tamb\u0026eacute; forma part de \u003ci\u003eThe Dockers\u0026rsquo; Museum\u003c/i\u003e (TDM 11), es pot veure al Teatre Anat\u0026ograve;mic durant la tardor del 2016\u003csup\u003e10\u003c/sup\u003e. Torna a portar un cop m\u0026eacute;s les marees d\u0026rsquo;Anvers a Lovaina. Com el 2005, al darrere deixen un advertiment: ning\u0026uacute;, especialment als centres d\u0026rsquo;intel\u0026middot;ligu\u0026egrave;ntsia que inevitablement s\u0026oacute;n les ciutats universit\u0026agrave;ries, hauria de tancar els ulls als molt poc reconeguts esfor\u0026ccedil;os del treball hum\u0026agrave; al mar o a les mines, que \u0026eacute;s el que forneix el combustible necessari perqu\u0026egrave; el motor de cilindres de la nostra economia global segueixi funcionant.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eHilde van Gelder\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003csup\u003e2\u003c/sup\u003e Aquest esdeveniment va ser el tret de sortida d\u0026rsquo;una trobada internacional de cap de setmana al voltant de l\u0026rsquo;obra de Sekula. \u003ci\u003eCritical Realism in Contemporary Art: Around Allan Sekula\u0026rsquo;s Photography\u003c/i\u003e va tenir lloc del 2 al 4 de setembre del 2005 a l\u0026rsquo;auditori de la universitat adjacent al Cinema Zed, en l\u0026rsquo;empla\u0026ccedil;ament de l\u0026rsquo;antic Institut Qu\u0026iacute;mic (Arenberginstituut) acabat de reconvertir aleshores.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003csup\u003e4\u003c/sup\u003e Cf. S. Levine, \u0026ldquo;Constantin Meunier\u0026rsquo;s Monument to Labour at the 1909 Exhibition in Leuven\u0026rdquo;, a H. Van Gelder (ed.), \u003ci\u003eConstantin Meunier. A Dialogue with Allan Sekula\u003c/i\u003e (Leuven: Leuven University Press, 2005), pp. 11-18.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003csup\u003e5\u003c/sup\u003e K. Ruchel-Stockmans, \u0026ldquo;Interview with Allan Sekula,\u0026rdquo; a Baetens i Van Gelder, 2006, p. 143.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003csup\u003e6\u003c/sup\u003e Amb motiu de l\u0026rsquo;exposici\u0026oacute; \u003ci\u003eMeunier In Dialog\u003c/i\u003e [\u003ci\u003eMeunier en di\u0026agrave;leg\u003c/i\u003e], del 2005, Vincent Meessen va exposar la seva obra de v\u0026iacute;deo N12\u0026deg; 13.062\u0026rsquo; / W001 \u0026deg;32.619 Extended (2005) a l\u0026rsquo;antic amfiteatre anat\u0026ograve;mic de la universitat. \u0026Eacute;s una obra que representa obrers de Ouagadougou (Burkina Faso), fabricant maons que s\u0026rsquo;utilitzarien en la construcci\u0026oacute; il\u0026middot;legal en zones pobres de la ciutat.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003csup\u003e9\u003c/sup\u003e Per a m\u0026eacute;s informaci\u0026oacute;, cf. H. Van Gelder (ed.), \u003ci\u003eAllan Sekula. \u003c/i\u003e\u003ci\u003eShip of Fools / The Dockers\u0026rsquo; Museum\u003c/i\u003e (Leuven: Leuven University Press, 2015).\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003csup\u003e10\u003c/sup\u003e A part d\u0026rsquo;aquestes dues obres, \u003ci\u003eThe Dockers\u0026rsquo; Museum\u003c/i\u003e cont\u0026eacute; dues c\u0026ograve;pies de bronze de la \u003ci\u003ePlaca d\u0026rsquo;un miner per a un comerciant de carb\u0026oacute; d\u0026rsquo;Anvers (Edouard Taymans)\u003c/i\u003e, 1904,\u0026nbsp; de Meunier (una ja s\u0026rsquo;ha identificat com a TDM 65). Tamb\u0026eacute; s\u0026rsquo;inclouen en la col\u0026middot;lecci\u0026oacute; una postal sense data de \u003ci\u003eThe Puddler\u003c/i\u003e de Meunier (14 \u0026times; 9 cm) i una fotografia de premsa del 1981 en qu\u0026egrave; es veu \u003ci\u003eThe Crouching Miner\u003c/i\u003e (ca. 1890/1903) tamb\u0026eacute; de Meunier juntament amb Lech Walesa, titulat a la part del darrere \u0026ldquo;Lech Walesa said Hello to Geneva Worker\u0026rdquo; [\u0026ldquo;Lech Walesa va dir hola a obrer de Ginebra\u0026rdquo;] (17,7 \u0026times; 23,9 cm). Finalment hi ha el \u003ci\u003ePortrait of Constantin Meunier\u003c/i\u003e (1904) de Pierre Vibert, una xilografia en paper encolada en cart\u0026oacute;, 1904, 25,7 \u0026times; 18 cm (TDM 76).\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eExtracte de Hilde Van Gelder, \u0026ldquo;Allan Sekula in Leuven (2005): Staging a Tidal Wave, for a \u0026lsquo;Meditation\u0026rsquo; on Today\u0026rsquo;s \u0026lsquo;Workers Struggles\u0026rsquo;\u0026rdquo;, a Nicola Setari i Hilde Van Gelder (eds.), \u003ci\u003eAllan Sekula Mining Section (\u003c/i\u003eBureau des Mines\u003ci\u003e). \u003c/i\u003e\u003ci\u003eCollaborative Notes\u003c/i\u003e (Ghent: AraMER, 2016), pp. 14-28.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e(Translation to Spanish by Ernesto Rubio)\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,"category":{"en":"Text","nl":"Tekst","fr":"Texte"},"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/034/941/large/TEST.png?1487069246","poster_credits":null,"translations":[{"locale":"en","short_description":"","description":"\u003cp\u003e[\u0026hellip;]\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eSTAGE SETTING 1: THE ARENBERG SITE, SUMMER 2005\u003c/strong\u003e. Between 1 and 8 September 2005, each night a film was screened at Cinema Zed in Leuven. Entrance was free. The program, entitled \u0026ldquo;Meunier in Dialogue,\u0026rdquo; was composed by Allan Sekula. Starting with Sekula\u0026rsquo;s \u003cem\u003eTsukiji\u003c/em\u003e (2001), it was followed the next evening by his \u003cem\u003eThe Lottery of the Sea\u003c/em\u003e.\u003csup\u003e2\u003c/sup\u003e The subsequent screenings, including among others Henri Storck and Joris Ivens\u0026rsquo; \u003cem\u003eMis\u0026egrave;re au Borinage\u003c/em\u003e (1933) and Barbara Kopple\u0026rsquo;s \u003cem\u003eAmerican Dream\u003c/em\u003e (1990), completed Sekula\u0026rsquo;s representative sample selection of movies addressing the history of \u0026ldquo;workers struggles.\u0026rdquo; (Sekula, email, 30 June 2005) With this film sequence, Sekula created a broader discourse around his highly acclaimed exhibition of the large-size billboard sequence \u003cem\u003eShipwreck and Workers (Version 2 for Leuven)\u003c/em\u003e, which he attached on various outside walls of the STUK Arts Centre from 22 August until 25 September 2005. [\u0026hellip;]\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eSTAGE SETTING 2 (FLASHBACK): THE ARENBERG SITE, SUMMER 1909\u003c/strong\u003e. Exactly in 1909, the first posthumous retrospective exhibition of Meunier\u0026rsquo;s works was held in Leuven. Organized on the very same site of the, back then, still brand new Chemical Institute, it was there that the plasters for Meunier\u0026rsquo;s \u003cem\u003eMonument to Labor\u003c/em\u003e \u0026mdash; on which he had been steadily working from 1880 onwards until his death in 1905 \u0026mdash; were publicly shown for the first time.\u003csup\u003e4\u003c/sup\u003e Thus, almost a century later, Sekula realized, on the same location, a monumental installation, which he hurried to rather cryptically identify as \u0026ldquo;a kind of public \u0026lsquo;anti-monument\u0026rsquo; to labor. (Since every capitalist enterprise today is a monument to \u0026lsquo;anti-labor\u0026rsquo;).\u0026rdquo; (email, 4 August 2005)\u003c/p\u003e\r\n\r\n\u003cp\u003e[\u0026hellip;]\u003c/p\u003e\r\n\r\n\u003cp\u003eAs an artist, writer, and activist, Sekula felt extremely troubled by his first-hand knowledge of contemporary labor conditions in which workers continue to execute their job without being able to allow themselves to \u0026ldquo;think.\u0026rdquo; For that reason, Sekula selected photographs of workers in the \u003cem\u003eShipwreck and Workers\u003c/em\u003e sequence \u0026ldquo;either absorbed in work or posing at rest, even if only for a brief moment.\u0026rdquo;\u003csup\u003e5\u003c/sup\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e[\u0026hellip;] Accompanied by explanatory captions of his own hand, Sekula hoped that \u003cem\u003eShipwreck and Workers\u003c/em\u003e could \u0026ldquo;amount to a meditation on social realism and the legacy of Constantin Meunier\u0026rdquo;.\u0026nbsp; (Sekula, \u0026ldquo;Exhibition Proposal for STUK, August-September 2005,\u0026rdquo; unpublished text, 23 February 2005)\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eTHE DIALOG.\u003c/strong\u003e The concrete occasion for this intense engagement by Sekula with Meunier was an initiative of the former City Museum of Leuven (now M \u0026ndash; Museum Leuven) to commemorate the centenary of Constantin Meunier\u0026rsquo;s death, in which the then recently founded Lieven Gevaert Centre (LGC) joined as a partner. Meunier taught history painting at the Leuven Art Academy from 1887 until 1897, leaving many traces of that productive decade throughout town. To complement an exhibition highlighting the presence of his works in the city\u0026rsquo;s public and private spaces, the project\u0026rsquo;s organizing committee specifically approached Allan Sekula. In his initial response to the invitation letter, Sekula readily expressed esteem for Meunier\u0026rsquo;s work: \u0026ldquo;Thank you for this very interesting proposal. \u0026hellip; I know and appreciate the work of Meunier, but of course would relish the opportunity to engage more directly.\u0026rdquo; (email, 7 May 2004)\u003c/p\u003e\r\n\r\n\u003cp\u003eEventually, Sekula\u0026rsquo;s \u0026ldquo;more direct engagement\u0026rdquo; with Meunier went far beyond the \u0026ldquo;meditation\u0026rdquo; initiated by Shipwreck and Workers. He also became fascinated with Meunier\u0026rsquo;s Leuven workplace, a former anatomy amphitheater of the university.\u003csup\u003e6\u003c/sup\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e[\u0026hellip;]\u003c/p\u003e\r\n\r\n\u003cp\u003eSituated at the heart of the lower, working-class district of Leuven, it is but a very short walk from there to the Schapenstraat, where Sekula had installed \u003cem\u003eShipwreck and Workers\u003c/em\u003e \u0026mdash; his \u0026ldquo;tidal wave.\u0026rdquo; In order to \u0026ldquo;engage more directly\u0026rdquo; with the place where Meunier had seen himself through such a catastrophe, Sekula elaborated further on the theme of flooding waters and drowning people by attaching to the grille of the fence enclosing the site his photo-textual work \u003cem\u003eDear Bill Gates\u003c/em\u003e (1999) as an outdoor poster installation. With regard to its display, he insisted that \u003cem\u003eDear Bill Gates\u003c/em\u003e, on view from 5 April until 25 September 2005, imperatively be presented in the form of a continuously rippling wave. Through this very focused intervention, including one of his own (actually rare) self-portraits, Sekula here started a more personal dialog with Meunier\u0026rsquo;s biography.\u003c/p\u003e\r\n\r\n\u003cp\u003e[\u0026hellip;]\u003c/p\u003e\r\n\r\n\u003cp\u003eOn many levels of interpretation, Sekula esteemed this work to be a perfect fit for a visual dialog not only with what was the principal tragedy of Meunier\u0026rsquo;s life \u0026mdash; the loss of his sons \u0026mdash; but also with the sculptor\u0026rsquo;s own fate in the history of art. In the above-discussed text panel that he attached on the stage wall of STUK\u0026rsquo;s outdoor theater, Sekula sharply brings to mind that the works of Meunier, by the time he received his first (posthumous) US retrospective exhibition in 1913 at the Albright Museum in Buffalo, had already been recuperated by the American steel barons, who sponsored the show. After that, Meunier became \u0026ldquo;largely forgotten by a business civilization that takes abstract pride in \u0026lsquo;hard work.\u0026rsquo;\u0026rdquo; Sadly, he adds: \u0026ldquo;I\u0026rsquo;m surprised at how infrequently contemporary artists recognize his name.\u0026rdquo; (Sekula in Baetens and Van Gelder, 2006, 186) For sure, Sekula wanted to express awareness that his own, overtly socially committed oeuvre might eventually suffer a similar fate of being flooded by a wave of oblivion.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eTHE CONTINUED DIALOG / STAGE SETTING 3: THE ANATOMICAL THEATER, FALL 2016.\u003c/strong\u003e What was it in Meunier\u0026rsquo;s artistic imaginary that so much attracted Sekula? One element deserves elaboration here. It is no coincidence that both artists focus on dock laborers, seafarers, and miners. What connects these professions is the permanent danger each individual is exposed to while being on the job. [\u0026hellip;] For Sekula, depicting the daily world of these workers meant to profoundly know it from having experienced it. For \u003cem\u003eShipwreck and Workers\u003c/em\u003e, he had made sure to personally meet each individual before photographically portraying them. From the ease of their poses, one may observe how they sympathize with him as \u0026ldquo;one of theirs.\u0026rdquo; However much workers, over time, may have been feeling betrayed in their trust \u0026mdash; and still are today, Sekula here pleas for not giving up, for rebuilding a chain of confidence between individuals who respectfully consider one another true equals in their civil rights. That, for him, could be a fundamental point of departure for re-constructing a viable social fabric. Meunier shared these opinions. He as well chose his models carefully: they were individuals he personally knew and whom he could empathize with. [\u0026hellip;] By selecting a well-known working- class activist from Leuven to stand model for an Antwerp dock hand \u0026mdash; the Antwerp dockers as well in 1893 had already established a firm reputation for their willingness to strike \u0026mdash; Meunier, true to the spirit of the Internationale, deliberately installed a more global connection between the struggles of workers everywhere. As was pointed out in 1930 \u0026mdash; not without irony:\u003c/p\u003e\r\n\r\n\u003cp style=\"margin-left: 40px;\"\u003e\u003cem\u003ethe famous Antwerp docker therefore is, properly spoken, but a \u0026lsquo;docker from Leuven.\u0026rsquo; But since one of the dreams of the inhabitants of Leuven has always been to see their city as a \u0026lsquo;sea port,\u0026rsquo; Constantin Meunier has, in this indirect way, given satisfaction to their laudable and honest vanity.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eFor inclusion in his ultimate project, \u003cem\u003eThe Dockers\u0026rsquo; Museum\u003c/em\u003e, M HKA purchased at Sekula\u0026rsquo;s request a small bronze cast of Meunier\u0026rsquo;s \u003cem\u003eThe Docker\u003c/em\u003e. Now known as TDM 40, Sekula would enigmatically refer to The Docker as a \u0026ldquo;player on his own behalf.\u0026rdquo; In that capacity, Sekula made him perform as a key actor within several exhibitions of \u003cem\u003eShip of Fools / The Dockers\u0026rsquo; Museum\u003c/em\u003e during his lifetime.\u003csup\u003e9\u003c/sup\u003e A printed reproduction of this work, also part of \u003cem\u003eThe Dockers\u0026rsquo; Museum\u003c/em\u003e (TDM 11), is on view during Fall 2016 in the Anatomical Theater.\u003csup\u003e10\u003c/sup\u003e It symbolically brings back in once again the tidal waters of Antwerp to Leuven. As in 2005, a warning comes in its wake: no one, especially in the centers of intelligentsia that university towns inevitably are, should close their eyes for the much-unacknowledged efforts of human labor at sea or in the mines, as they provide the necessary fuel to keep the cylindrical motor of our global economy going.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026ndash; Hilde Van Gelder\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cspan style=\"font-size:11px;\"\u003e\u003csup\u003e2.\u003c/sup\u003e That event kicked off a weekendlong international conference around Sekula\u0026rsquo;s work. Critical Realism in Contemporary Art: Around Allan Sekula\u0026rsquo;s Photography took place from 2 to 4 September 2005 in the university auditorium adjacent to Cinema Zed, on the then recently reconverted site of the former Chemical Institute (Arenberginstituut).\u003c/span\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cspan style=\"font-size:11px;\"\u003e\u003csup\u003e4.\u003c/sup\u003e Cf. S. Levine, \u0026ldquo;Constantin Meunier\u0026rsquo;s Monument to Labour at the 1909 Exhibition in Leuven,\u0026rdquo; in H. Van Gelder (ed.), Constantin Meunier. A Dialogue with Allan Sekula (Leuven: Leuven University Press, 2005), pp. 11-18.\u003c/span\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cspan style=\"font-size:11px;\"\u003e\u003csup\u003e5.\u003c/sup\u003e K. Ruchel-Stockmans, \u0026ldquo;Interview with Allan Sekula,\u0026rdquo; in Baetens and Van Gelder, 2006, p. 143.\u003c/span\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cspan style=\"font-size:11px;\"\u003e\u003csup\u003e6.\u003c/sup\u003e On the occasion of the 2005 exhibition Meunier in Dialogue, Vincent Meessen exhibited his video work N12\u0026deg; 13.062\u0026rsquo; / W001 \u0026deg;32.619 Extended (2005) in the university\u0026rsquo;s former anatomy amfitheater. It is a work that depicts stonemasons in Ouagadougou (Burkina Faso), fabricating bricks to be used for illegal construction in poor areas of\u0026nbsp; the city.\u003c/span\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cspan style=\"font-size:11px;\"\u003e\u003csup\u003e9.\u003c/sup\u003e For more information, cf. H. Van Gelder (ed.), Allan Sekula. Ship of Fools / The Dockers\u0026rsquo; Museum (Leuven: Leuven University Press, 2015).\u003c/span\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cspan style=\"font-size:11px;\"\u003e\u003csup\u003e10.\u003c/sup\u003e Aside from these two works, \u003cem\u003eThe Dockers\u0026rsquo; Museum\u003c/em\u003e contains two bronze copies of Meunier\u0026rsquo;s \u003cem\u003ePlaque of a Miner Made for an Antwerp Coal Merchant (Edouard Taymans)\u003c/em\u003e, 1904 (one already identified as TDM 65). Also included in the collection are an undated postcard of Meunier\u0026rsquo;s The Puddler (14 \u0026times; 9 cm); and a press photograph from 1981, showing Meunier\u0026rsquo;s The Crouching Miner (ca. 1890/1903) together with Lech Walesa, titled on the back side \u0026ldquo;Lech Walesa said Hello to Geneva Worker\u0026rdquo; (17,7 \u0026times; 23,9 cm). Finally there is Pierre Vibert\u0026rsquo;s \u003cem\u003ePortrait of Constantin Meunier\u003c/em\u003e (1904), a woodcut on paper glued on cardboard, 1904, 25,7 \u0026times; 18 cm (TDM 76).\u003c/span\u003e\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eExcerpt from Hilde Van Gelder, \u0026ldquo;Allan Sekula in Leuven (2005): Staging a Tidal Wave, for a \u0026lsquo;Meditation\u0026rsquo; on Today\u0026rsquo;s \u0026lsquo;Workers Struggles\u0026rsquo;,\u0026rdquo; in Nicola Setari and Hilde Van Gelder (eds), \u003cem\u003eAllan Sekula Mining Section (\u003c/em\u003eBureau des Mines\u003cem\u003e). Collaborative Notes\u003c/em\u003e (Ghent: AraMER, 2016): pp. 14-28.\u003c/p\u003e\r\n"},{"locale":"nl","short_description":"","description":"\u003cp\u003e[\u0026hellip;]\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eSTAGE SETTING 1: THE ARENBERG SITE, SUMMER 2005\u003c/strong\u003e. Between 1 and 8 September 2005, each night a film was screened at Cinema Zed in Leuven. Entrance was free. The program, entitled \u0026ldquo;Meunier in Dialogue,\u0026rdquo; was composed by Allan Sekula. Starting with Sekula\u0026rsquo;s \u003cem\u003eTsukiji\u003c/em\u003e (2001), it was followed the next evening by his \u003cem\u003eThe Lottery of the Sea\u003c/em\u003e.\u003csup\u003e2\u003c/sup\u003e The subsequent screenings, including among others Henri Storck and Joris Ivens\u0026rsquo; \u003cem\u003eMis\u0026egrave;re au Borinage\u003c/em\u003e (1933) and Barbara Kopple\u0026rsquo;s \u003cem\u003eAmerican Dream\u003c/em\u003e (1990), completed Sekula\u0026rsquo;s representative sample selection of movies addressing the history of \u0026ldquo;workers struggles.\u0026rdquo; (Sekula, email, 30 June 2005) With this film sequence, Sekula created a broader discourse around his highly acclaimed exhibition of the large-size billboard sequence \u003cem\u003eShipwreck and Workers (Version 2 for Leuven)\u003c/em\u003e, which he attached on various outside walls of the STUK Arts Centre from 22 August until 25 September 2005. [\u0026hellip;]\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eSTAGE SETTING 2 (FLASHBACK): THE ARENBERG SITE, SUMMER 1909\u003c/strong\u003e. Exactly in 1909, the first posthumous retrospective exhibition of Meunier\u0026rsquo;s works was held in Leuven. Organized on the very same site of the, back then, still brand new Chemical Institute, it was there that the plasters for Meunier\u0026rsquo;s \u003cem\u003eMonument to Labor\u003c/em\u003e \u0026mdash; on which he had been steadily working from 1880 onwards until his death in 1905 \u0026mdash; were publicly shown for the first time.\u003csup\u003e4\u003c/sup\u003e Thus, almost a century later, Sekula realized, on the same location, a monumental installation, which he hurried to rather cryptically identify as \u0026ldquo;a kind of public \u0026lsquo;anti-monument\u0026rsquo; to labor. (Since every capitalist enterprise today is a monument to \u0026lsquo;anti-labor\u0026rsquo;).\u0026rdquo; (email, 4 August 2005)\u003c/p\u003e\r\n\r\n\u003cp\u003e[\u0026hellip;]\u003c/p\u003e\r\n\r\n\u003cp\u003eAs an artist, writer, and activist, Sekula felt extremely troubled by his first-hand knowledge of contemporary labor conditions in which workers continue to execute their job without being able to allow themselves to \u0026ldquo;think.\u0026rdquo; For that reason, Sekula selected photographs of workers in the \u003cem\u003eShipwreck and Workers\u003c/em\u003e sequence \u0026ldquo;either absorbed in work or posing at rest, even if only for a brief moment.\u0026rdquo;\u003csup\u003e5\u003c/sup\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e[\u0026hellip;] Accompanied by explanatory captions of his own hand, Sekula hoped that \u003cem\u003eShipwreck and Workers\u003c/em\u003e could \u0026ldquo;amount to a meditation on social realism and the legacy of Constantin Meunier\u0026rdquo;.\u0026nbsp; (Sekula, \u0026ldquo;Exhibition Proposal for STUK, August-September 2005,\u0026rdquo; unpublished text, 23 February 2005)\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eTHE DIALOG.\u003c/strong\u003e The concrete occasion for this intense engagement by Sekula with Meunier was an initiative of the former City Museum of Leuven (now M \u0026ndash; Museum Leuven) to commemorate the centenary of Constantin Meunier\u0026rsquo;s death, in which the then recently founded Lieven Gevaert Centre (LGC) joined as a partner. Meunier taught history painting at the Leuven Art Academy from 1887 until 1897, leaving many traces of that productive decade throughout town. To complement an exhibition highlighting the presence of his works in the city\u0026rsquo;s public and private spaces, the project\u0026rsquo;s organizing committee specifically approached Allan Sekula. In his initial response to the invitation letter, Sekula readily expressed esteem for Meunier\u0026rsquo;s work: \u0026ldquo;Thank you for this very interesting proposal. \u0026hellip; I know and appreciate the work of Meunier, but of course would relish the opportunity to engage more directly.\u0026rdquo; (email, 7 May 2004)\u003c/p\u003e\r\n\r\n\u003cp\u003eEventually, Sekula\u0026rsquo;s \u0026ldquo;more direct engagement\u0026rdquo; with Meunier went far beyond the \u0026ldquo;meditation\u0026rdquo; initiated by Shipwreck and Workers. He also became fascinated with Meunier\u0026rsquo;s Leuven workplace, a former anatomy amphitheater of the university.\u003csup\u003e6\u003c/sup\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e[\u0026hellip;]\u003c/p\u003e\r\n\r\n\u003cp\u003eSituated at the heart of the lower, working-class district of Leuven, it is but a very short walk from there to the Schapenstraat, where Sekula had installed \u003cem\u003eShipwreck and Workers\u003c/em\u003e \u0026mdash; his \u0026ldquo;tidal wave.\u0026rdquo; In order to \u0026ldquo;engage more directly\u0026rdquo; with the place where Meunier had seen himself through such a catastrophe, Sekula elaborated further on the theme of flooding waters and drowning people by attaching to the grille of the fence enclosing the site his photo-textual work \u003cem\u003eDear Bill Gates\u003c/em\u003e (1999) as an outdoor poster installation. With regard to its display, he insisted that \u003cem\u003eDear Bill Gates\u003c/em\u003e, on view from 5 April until 25 September 2005, imperatively be presented in the form of a continuously rippling wave. Through this very focused intervention, including one of his own (actually rare) self-portraits, Sekula here started a more personal dialog with Meunier\u0026rsquo;s biography.\u003c/p\u003e\r\n\r\n\u003cp\u003e[\u0026hellip;]\u003c/p\u003e\r\n\r\n\u003cp\u003eOn many levels of interpretation, Sekula esteemed this work to be a perfect fit for a visual dialog not only with what was the principal tragedy of Meunier\u0026rsquo;s life \u0026mdash; the loss of his sons \u0026mdash; but also with the sculptor\u0026rsquo;s own fate in the history of art. In the above-discussed text panel that he attached on the stage wall of STUK\u0026rsquo;s outdoor theater, Sekula sharply brings to mind that the works of Meunier, by the time he received his first (posthumous) US retrospective exhibition in 1913 at the Albright Museum in Buffalo, had already been recuperated by the American steel barons, who sponsored the show. After that, Meunier became \u0026ldquo;largely forgotten by a business civilization that takes abstract pride in \u0026lsquo;hard work.\u0026rsquo;\u0026rdquo; Sadly, he adds: \u0026ldquo;I\u0026rsquo;m surprised at how infrequently contemporary artists recognize his name.\u0026rdquo; (Sekula in Baetens and Van Gelder, 2006, 186) For sure, Sekula wanted to express awareness that his own, overtly socially committed oeuvre might eventually suffer a similar fate of being flooded by a wave of oblivion.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eTHE CONTINUED DIALOG / STAGE SETTING 3: THE ANATOMICAL THEATER, FALL 2016.\u003c/strong\u003e What was it in Meunier\u0026rsquo;s artistic imaginary that so much attracted Sekula? One element deserves elaboration here. It is no coincidence that both artists focus on dock laborers, seafarers, and miners. What connects these professions is the permanent danger each individual is exposed to while being on the job. [\u0026hellip;] For Sekula, depicting the daily world of these workers meant to profoundly know it from having experienced it. For \u003cem\u003eShipwreck and Workers\u003c/em\u003e, he had made sure to personally meet each individual before photographically portraying them. From the ease of their poses, one may observe how they sympathize with him as \u0026ldquo;one of theirs.\u0026rdquo; However much workers, over time, may have been feeling betrayed in their trust \u0026mdash; and still are today, Sekula here pleas for not giving up, for rebuilding a chain of confidence between individuals who respectfully consider one another true equals in their civil rights. That, for him, could be a fundamental point of departure for re-constructing a viable social fabric. Meunier shared these opinions. He as well chose his models carefully: they were individuals he personally knew and whom he could empathize with. [\u0026hellip;] By selecting a well-known working- class activist from Leuven to stand model for an Antwerp dock hand \u0026mdash; the Antwerp dockers as well in 1893 had already established a firm reputation for their willingness to strike \u0026mdash; Meunier, true to the spirit of the Internationale, deliberately installed a more global connection between the struggles of workers everywhere. As was pointed out in 1930 \u0026mdash; not without irony:\u003c/p\u003e\r\n\r\n\u003cp style=\"margin-left: 40px;\"\u003e\u003cem\u003ethe famous Antwerp docker therefore is, properly spoken, but a \u0026lsquo;docker from Leuven.\u0026rsquo; But since one of the dreams of the inhabitants of Leuven has always been to see their city as a \u0026lsquo;sea port,\u0026rsquo; Constantin Meunier has, in this indirect way, given satisfaction to their laudable and honest vanity.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eFor inclusion in his ultimate project, \u003cem\u003eThe Dockers\u0026rsquo; Museum\u003c/em\u003e, M HKA purchased at Sekula\u0026rsquo;s request a small bronze cast of Meunier\u0026rsquo;s \u003cem\u003eThe Docker\u003c/em\u003e. Now known as TDM 40, Sekula would enigmatically refer to The Docker as a \u0026ldquo;player on his own behalf.\u0026rdquo; In that capacity, Sekula made him perform as a key actor within several exhibitions of \u003cem\u003eShip of Fools / The Dockers\u0026rsquo; Museum\u003c/em\u003e during his lifetime.\u003csup\u003e9\u003c/sup\u003e A printed reproduction of this work, also part of \u003cem\u003eThe Dockers\u0026rsquo; Museum\u003c/em\u003e (TDM 11), is on view during Fall 2016 in the Anatomical Theater.\u003csup\u003e10\u003c/sup\u003e It symbolically brings back in once again the tidal waters of Antwerp to Leuven. As in 2005, a warning comes in its wake: no one, especially in the centers of intelligentsia that university towns inevitably are, should close their eyes for the much-unacknowledged efforts of human labor at sea or in the mines, as they provide the necessary fuel to keep the cylindrical motor of our global economy going.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026ndash; Hilde Van Gelder\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cspan style=\"font-size:11px;\"\u003e\u003csup\u003e2.\u003c/sup\u003e That event kicked off a weekendlong international conference around Sekula\u0026rsquo;s work. Critical Realism in Contemporary Art: Around Allan Sekula\u0026rsquo;s Photography took place from 2 to 4 September 2005 in the university auditorium adjacent to Cinema Zed, on the then recently reconverted site of the former Chemical Institute (Arenberginstituut).\u003c/span\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cspan style=\"font-size:11px;\"\u003e\u003csup\u003e4.\u003c/sup\u003e Cf. S. Levine, \u0026ldquo;Constantin Meunier\u0026rsquo;s Monument to Labour at the 1909 Exhibition in Leuven,\u0026rdquo; in H. Van Gelder (ed.), Constantin Meunier. A Dialogue with Allan Sekula (Leuven: Leuven University Press, 2005), pp. 11-18.\u003c/span\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cspan style=\"font-size:11px;\"\u003e\u003csup\u003e5.\u003c/sup\u003e K. Ruchel-Stockmans, \u0026ldquo;Interview with Allan Sekula,\u0026rdquo; in Baetens and Van Gelder, 2006, p. 143.\u003c/span\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cspan style=\"font-size:11px;\"\u003e\u003csup\u003e6.\u003c/sup\u003e On the occasion of the 2005 exhibition Meunier in Dialogue, Vincent Meessen exhibited his video work N12\u0026deg; 13.062\u0026rsquo; / W001 \u0026deg;32.619 Extended (2005) in the university\u0026rsquo;s former anatomy amfitheater. It is a work that depicts stonemasons in Ouagadougou (Burkina Faso), fabricating bricks to be used for illegal construction in poor areas of\u0026nbsp; the city.\u003c/span\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cspan style=\"font-size:11px;\"\u003e\u003csup\u003e9.\u003c/sup\u003e For more information, cf. H. Van Gelder (ed.), Allan Sekula. Ship of Fools / The Dockers\u0026rsquo; Museum (Leuven: Leuven University Press, 2015).\u003c/span\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cspan style=\"font-size:11px;\"\u003e\u003csup\u003e10.\u003c/sup\u003e Aside from these two works, \u003cem\u003eThe Dockers\u0026rsquo; Museum\u003c/em\u003e contains two bronze copies of Meunier\u0026rsquo;s \u003cem\u003ePlaque of a Miner Made for an Antwerp Coal Merchant (Edouard Taymans)\u003c/em\u003e, 1904 (one already identified as TDM 65). Also included in the collection are an undated postcard of Meunier\u0026rsquo;s The Puddler (14 \u0026times; 9 cm); and a press photograph from 1981, showing Meunier\u0026rsquo;s The Crouching Miner (ca. 1890/1903) together with Lech Walesa, titled on the back side \u0026ldquo;Lech Walesa said Hello to Geneva Worker\u0026rdquo; (17,7 \u0026times; 23,9 cm). Finally there is Pierre Vibert\u0026rsquo;s \u003cem\u003ePortrait of Constantin Meunier\u003c/em\u003e (1904), a woodcut on paper glued on cardboard, 1904, 25,7 \u0026times; 18 cm (TDM 76).\u003c/span\u003e\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eExcerpt from Hilde Van Gelder, \u0026ldquo;Allan Sekula in Leuven (2005): Staging a Tidal Wave, for a \u0026lsquo;Meditation\u0026rsquo; on Today\u0026rsquo;s \u0026lsquo;Workers Struggles\u0026rsquo;,\u0026rdquo; in Nicola Setari and Hilde Van Gelder (eds), \u003cem\u003eAllan Sekula Mining Section (\u003c/em\u003eBureau des Mines\u003cem\u003e). Collaborative Notes\u003c/em\u003e (Ghent: AraMER, 2016): pp. 14-28.\u003c/p\u003e\r\n"},{"locale":"fr","short_description":"","description":""},{"locale":"ru","short_description":"","description":""},{"locale":"de","short_description":"","description":""},{"locale":"es","short_description":"","description":"\u003cp style=\"text-align: justify;\"\u003e[\u0026hellip;]\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cb\u003eESCENOGRAF\u0026Iacute;A 1: ARENBERG, VERANO DE 2005\u003c/b\u003e. Cada noche, entre el 1 y el 8 de septiembre del 2005, en el Cinema Zed de Lovaina se proyectaba una pel\u0026iacute;cula. La entrada era gratuita. El programa, titulado \u0026ldquo;Un di\u0026aacute;logo con Meunier\u0026rdquo;, estaba dise\u0026ntilde;ado por Allan Sekula. Comenz\u0026oacute; con \u003ci\u003eTsukiji\u003c/i\u003e (2001), de Sekula, y continu\u0026oacute; al d\u0026iacute;a siguiente con \u003ci\u003eThe Lottery of the Sea\u003c/i\u003e\u003csup\u003e2\u003c/sup\u003e. Las posteriores proyecciones, entre las que se encontraban \u003ci\u003eMis\u0026egrave;re au Borinage\u003c/i\u003e (1933), de Henri Storck y Joris Ivens, y \u003ci\u003eAmerican Dream\u003c/i\u003e (1990), de Barbara Kopple, completaron la selecci\u0026oacute;n de pel\u0026iacute;culas representativas de la historia de las \u0026ldquo;luchas obreras\u0026rdquo; (Sekula, correo electr\u0026oacute;nico, 30 de junio de 2005).\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eCon esta secuencia de pel\u0026iacute;culas, Sekula gener\u0026oacute; un discurso m\u0026aacute;s amplio en torno a su muy aplaudida exposici\u0026oacute;n de carteles de gran tama\u0026ntilde;o \u003ci\u003eShipwreck and Workers (Version 2 for Leuven)\u003c/i\u003e, que colg\u0026oacute; en los muros del STUK Arts Centre del 22 de agosto al 25 de septiembre de 2005.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e[...]\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cb\u003eESCENOGRAF\u0026Iacute;A 2 (FLASHBACK): ARENBERG, VERANO DE 1909\u003c/b\u003e. Exactamente en 1909 tuvo lugar en Lovaina la primera exposici\u0026oacute;n retrospectiva y p\u0026oacute;stuma de las obras de Meunier. Se organiz\u0026oacute; justo en el mismo sitio donde se encontraba el entonces reci\u0026eacute;n estrenado Instituto de Qu\u0026iacute;mica y fue all\u0026iacute; donde se mostraron p\u0026uacute;blicamente por primera vez los yesos del \u003ci\u003eMonumento al Trabajo \u003c/i\u003ede Meunier, en los cuales hab\u0026iacute;a estado trabajando de forma ininterrumpida desde 1880 hasta su muerte en 1905\u003csup\u003e4\u003c/sup\u003e. As\u0026iacute; que Sekula llev\u0026oacute; a cabo en el mismo lugar, casi un siglo despu\u0026eacute;s, una instalaci\u0026oacute;n monumental que se apresur\u0026oacute; a calificar de forma bastante cr\u0026iacute;ptica como \u0026ldquo;una especie de antimonumento p\u0026uacute;blico al trabajo (dado que hoy toda empresa capitalista es un monumento al antitrabajo)\u0026rdquo; (correo electr\u0026oacute;nico, 4 de agosto de 2005).\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e[...]\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eComo artista, escritor y activista, a Sekula le inquietaba enormemente el conocimiento de primera mano que ten\u0026iacute;a de las condiciones laborales contempor\u0026aacute;neas, seg\u0026uacute;n las cuales los trabajadores contin\u0026uacute;an ejecutando su trabajo sin poder permitirse \u0026ldquo;pensar\u0026rdquo;. Por este motivo, para la secuencia de \u003ci\u003eShipwreck and Workers,\u003c/i\u003e Sekula seleccion\u0026oacute; fotograf\u0026iacute;as de trabajadores \u0026ldquo;bien absortos en el trabajo o bien posando mientras descansan, aunque solo sea un momento\u0026rdquo;\u003csup\u003e5\u003c/sup\u003e.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e[\u0026hellip;]\u003cbr /\u003e\r\nSekula esperaba que \u003ci\u003eShipwreck and Workers\u003c/i\u003e, que iba acompa\u0026ntilde;ada por pies de foto escritos por \u0026eacute;l mismo, pudiese \u0026ldquo;aportar una meditaci\u0026oacute;n sobre el realismo social y el legado de Constantin Meunier\u0026rdquo; (Sekula, \u0026ldquo;Exhibition Proposal for STUK, August-September 2005\u0026rdquo;, texto in\u0026eacute;dito, 23 de febrero de 2005).\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cb\u003eEL DI\u0026Aacute;LOGO.\u003c/b\u003e La ocasi\u0026oacute;n concreta para que Sekula estableciese una relaci\u0026oacute;n m\u0026aacute;s intensa con Meunier vino dada por una iniciativa del antiguo Museo de la Ciudad de Lovaina (ahora M\u0026ndash;Museum Leuven) para conmemorar el centenario de la muerte de Constantin Meunier, a la cual se incorpor\u0026oacute; como colaborador el entonces reci\u0026eacute;n fundado Lieven Gevaert Centre (LGC). Meunier dio clases de pintura hist\u0026oacute;rica en la escuela de artes de Lovaina entre 1887 y 1897, y por toda la ciudad fueron quedando rastros de esta d\u0026eacute;cada tan productiva. Para complementar una exposici\u0026oacute;n en la que se quer\u0026iacute;a resaltar la presencia de estas obras en los espacios p\u0026uacute;blicos y privados de la ciudad, el comit\u0026eacute; organizador del proyecto se dirigi\u0026oacute; a Allan Sekula. En su respuesta inicial a la carta de invitaci\u0026oacute;n, Sekula expres\u0026oacute; enseguida el aprecio que sent\u0026iacute;a\u003cb\u003e \u003c/b\u003epor la obra de Meunier: \u0026ldquo;Gracias por esta propuesta tan interesante\u0026hellip; Conozco y aprecio la obra de Meunier, pero desde luego estar\u0026iacute;a encantado de tener la oportunidad de participar de una forma m\u0026aacute;s directa\u0026rdquo; (correo electr\u0026oacute;nico, 7 de mayo de 2004).\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eAl final, esta \u0026ldquo;participaci\u0026oacute;n m\u0026aacute;s directa\u0026rdquo; de Sekula con Meunier fue mucho\u003cb\u003e \u003c/b\u003em\u0026aacute;s all\u0026aacute; de la \u0026ldquo;meditaci\u0026oacute;n\u0026rdquo; iniciada con \u003ci\u003eShipwreck and Workers\u003c/i\u003e. A Sekula le fascin\u0026oacute; tambi\u0026eacute;n el lugar de trabajo de Meunier en Lovaina, un antiguo anfiteatro anat\u0026oacute;mico en la universidad.\u003csup\u003e 6\u003c/sup\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e[...]\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eSe encontraba en el coraz\u0026oacute;n del barrio popular de clase obrera de Lovaina, a solo un paseo de Schapenstraat, donde Sekula hab\u0026iacute;a instalado \u003ci\u003eShipwreck and Workers,\u003c/i\u003e su particular maremoto. Para \u0026quot;implicarse m\u0026aacute;s directamente\u0026quot; con el lugar donde Meunier se hab\u0026iacute;a enfrentado a una cat\u0026aacute;strofe como aquella, Sekula desarroll\u0026oacute; el tema de las inundaciones y los ahogados colgando en la verja que rodeaba el lugar su obra fototextual \u003ci\u003eDear Bill Gates\u003c/i\u003e (1999) en forma de instalaci\u0026oacute;n de carteles al aire libre. A prop\u0026oacute;sito de esta exposici\u0026oacute;n, Sekula hizo hincapi\u0026eacute; en que \u003ci\u003eDear Bill Gates\u003c/i\u003e, que se pudo ver del 5 de abril al 25 de septiembre de 2005, ten\u0026iacute;a que ser presentada como si se tratase de una oleaje incesante\u003cb\u003e. \u003c/b\u003eA trav\u0026eacute;s de esta intervenci\u0026oacute;n tan delimitada, que inclu\u0026iacute;a uno de sus (poco habituales) autorretratos, Sekula comenz\u0026oacute; un di\u0026aacute;logo m\u0026aacute;s personal con la biograf\u0026iacute;a de Meunier.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e[...]\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eEn muchos niveles de interpretaci\u0026oacute;n, Sekula consideraba que su obra funcionaba como anillo al dedo a la hora de establecer un di\u0026aacute;logo visual no solo con lo que fue la tragedia principal de la vida de Meunier \u0026mdash;la p\u0026eacute;rdida de sus hijos\u0026mdash; sino tambi\u0026eacute;n con el destino del escultor dentro de la historia del arte. En el texto que colg\u0026oacute; de la pared del escenario del teatro al aire libre del STUK, y al que nos hemos referido antes,\u003cb\u003e \u003c/b\u003eSekula recuerda con agudeza que las obras de Meunier, cuando le hicieron su primera retrospectiva (p\u0026oacute;stuma) en los EE. UU., en el Albrigt Museum de Buffalo, ya hab\u0026iacute;an sido recuperadas por los barones del acero, que fueron quienes patrocinaron la muestra. Despu\u0026eacute;s de esto, Meunier cay\u0026oacute; \u0026ldquo;en el m\u0026aacute;s profundo de los olvidos por parte de una civilizaci\u0026oacute;n basada en el negocio que se enorgullece en abstracto del \u0026lsquo;trabajo duro\u0026rsquo;\u0026rdquo;. Sekula a\u0026ntilde;ade, con tristeza: \u0026ldquo;Me sorprende lo poco reconocido que es entre los artistas contempor\u0026aacute;neos\u0026rdquo; (Sekula a Baetens y Van Gelder, 2008, 186). Con toda seguridad, Sekula quiso expresar que \u0026eacute;l mismo era consciente de que su propia obra, de claro car\u0026aacute;cter social, con el tiempo podr\u0026iacute;a sufrir un destino similar y ser barrida por una oleada de olvido.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cb\u003eEL DI\u0026Aacute;LOGO CONTINUADO / ESCENOGRAF\u0026Iacute;A 3: EL TEATRO ANAT\u0026Oacute;MICO, OTO\u0026Ntilde;O DE 2016.\u003c/b\u003e \u0026iquest;Qu\u0026eacute; hab\u0026iacute;a en el imaginario art\u0026iacute;stico de Meunier que atrajo tanto a Sekula? Aqu\u0026iacute; hay un elemento que merece la pena ser desarrollado. No es casualidad que los dos artistas se centren en los estibadores, los marineros y los mineros. Lo que tienen en com\u0026uacute;n estas profesiones es el peligro permanente al que se expone el individuo mientras trabaja. [...] En el caso de Sekula, representar el mundo diario de estos trabajadores supon\u0026iacute;a conocerlo en profundidad por el hecho de haberlo experimentado. En \u003ci\u003eShipwreck and Workers\u003c/i\u003e, se asegur\u0026oacute; de conocer personalmente a cada individuo antes de retratarlos fotogr\u0026aacute;ficamente. Por la forma relajada con la que posan se puede ver que simpatizan con \u0026eacute;l y lo consideran \u0026ldquo;uno de los suyos\u0026rdquo;. Por mucho que los trabajadores, con el paso del tiempo, hayan podido sentir traicionada su confianza \u0026ndash;y todav\u0026iacute;a la sientan\u0026ndash;, Sekula aboga por no abandonar, por reconstruir una cadena de confianza entre individuos que se respetan y se consideran iguales en sus derechos civiles. Para \u0026eacute;l, este podr\u0026iacute;a ser un punto de partida fundamental para rehacer un posible tejido social. Meunier compart\u0026iacute;a estas opiniones. \u0026Eacute;l tambi\u0026eacute;n eligi\u0026oacute; con cuidado a sus modelos: eran individuos a los que conoc\u0026iacute;a personalmente y con los que pod\u0026iacute;a empatizar. [...] Al seleccionar a un conocido activista de la clase obrera de Lovaina como modelo para estibador de Amberes \u0026mdash;los estibadores de Amberes ten\u0026iacute;an ya en 1893 una s\u0026oacute;lida reputaci\u0026oacute;n por su predisposici\u0026oacute;n a la huelga\u0026mdash;, Meunier, fiel al esp\u0026iacute;ritu de la Internacional, estableci\u0026oacute; deliberadamente una conexi\u0026oacute;n m\u0026aacute;s global entre las luchas de trabajadores de distintos lugares. Tal y como se se\u0026ntilde;al\u0026oacute; en 1930, y no sin iron\u0026iacute;a:\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003ci\u003epor lo tanto, hablando con propiedad, el famoso estibador de Amberes no es m\u0026aacute;s que un \u0026ldquo;estibador de Lovaina\u0026rdquo;. Pero como uno de los sue\u0026ntilde;os de los habitantes de Lovaina siempre ha sido que su ciudad fuese un \u0026ldquo;puerto mar\u0026iacute;timo\u0026rdquo;, Constantin Meunier, indirectamente, ha satisfecho esta loable y honesta vanidad.\u003c/i\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003ePor petici\u0026oacute;n de Sekula, el M HKA adquiri\u0026oacute;, para incluirlo en su \u0026uacute;ltimo proyecto, \u003ci\u003eThe Dockers\u0026rsquo; Museum, \u003c/i\u003eun peque\u0026ntilde;o molde de bronce de \u003ci\u003eEl estibador \u003c/i\u003ede Meunier. Conocido ahora como TDM 40, Sekula llamaba enigm\u0026aacute;ticamente al Estibador \u0026ldquo;un jugador por cuenta propia\u0026rdquo;. Con ese rol, Sekula lo hizo actuar como actor principal en el marco de varias exposiciones de \u003ci\u003eShip of Fools / The Dockers\u0026rsquo; Museum \u003c/i\u003ea lo largo de su vida\u003csup\u003e9\u003c/sup\u003e. Una reproducci\u0026oacute;n impresa de esta obra, que forma parte tambi\u0026eacute;n del \u003ci\u003eDockers\u0026rsquo; Museum \u003c/i\u003e(TDM 11), se pudo ver en el Teatro Anat\u0026oacute;mico durante el oto\u0026ntilde;o de 2016\u003csup\u003e10\u003c/sup\u003e. De forma simb\u0026oacute;lica, hizo que las mareas de Amberes volviesen una vez m\u0026aacute;s a Lovaina. Al igual que en 2005, estas dejan tras de s\u0026iacute; una advertencia: nadie, especialmente en los centros intelectuales que inevitablemente son las ciudades universitarias, deber\u0026iacute;a cerrar los ojos ante el poco reconocido esfuerzo del trabajo en el mar o en las minas, que es el que abastece del combustible necesario al motor de cilindros de nuestra econom\u0026iacute;a global para que esta siga funcionando.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eHilde van Gelder\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003csup\u003e2\u003c/sup\u003e Estas proyecciones fueron el pistoletazo de salida de un encuentro internacional alrededor de la obra de Sekula que dur\u0026oacute; un fin de semana. \u003ci\u003eEl realismo cr\u0026iacute;tico en el arte contempor\u0026aacute;neo: en torno a la fotograf\u0026iacute;a de Allan Sekula \u003c/i\u003etuvo lugar del 2 al 4 de septiembre de 2005 en el auditorio de la universidad junto al cine Zed, en el lugar donde antes se encontraba el antiguo Instituto de Qu\u0026iacute;mica (Arenberginstituut), que acababa de ser reconvertido.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003csup\u003e4\u003c/sup\u003e Cf. S. Levine, \u0026ldquo;Constantin Meunier\u0026rsquo;s Monument to Labour at the 1909 Exhibition in Leuven\u0026rdquo;, en H. Van Gelder (ed.), \u003ci\u003eConstantin Meunier. A Dialogue with Allan Sekula\u003c/i\u003e (Leuven: Leuven University Press, 2005), pp. 11-18.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003csup\u003e5\u003c/sup\u003e K. Ruchel-Stockmans, \u0026ldquo;Interview with Allan Sekula\u0026rdquo;, en Baetens y Van Gelder, 2006, p. 143.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003csup\u003e6\u003c/sup\u003e Con motivo de la exposici\u0026oacute;n Meunier In Dialog [Di\u0026aacute;logo con Meunier], de 2005, Vincent Meessen expuso su obra de v\u0026iacute;deo N12\u0026deg; 13.062\u0026rsquo; / W001 \u0026deg;32.619 Extended (2005) en el antiguo anfiteatro anat\u0026oacute;mico de la universidad. En ella aparecen alba\u0026ntilde;iles de Uagadug\u0026uacute; (Burkina Faso) fabricando ladrillos destinados a la construcci\u0026oacute;n ilegal en zonas pobres de la ciudad.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003csup\u003e9\u003c/sup\u003e Para m\u0026aacute;s informaci\u0026oacute;n, cf. H. Van Gelder (ed.), Allan Sekula. \u003ci\u003eShip of Fools / The Dockers\u0026rsquo; Museum\u003c/i\u003e (Leuven: Leuven University Press, 2015).\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003csup\u003e10\u003c/sup\u003e Aparte de estas dos obras, \u003ci\u003eThe Dockers\u0026rsquo; Museum \u003c/i\u003econtiene dos copias de bronce de la \u003ci\u003ePlaca de un minero para un comerciante de carb\u0026oacute;n de Amberes (Edouard Taymans)\u003c/i\u003e, 1904, de Meunier (ya se ha identificado como TDM 65). Tambi\u0026eacute;n se incluyen en la colecci\u0026oacute;n una postal sin fecha de \u003ci\u003eThe Puddler \u003c/i\u003ede Meunier (14 \u0026times; 9 cm) y una fotograf\u0026iacute;a de prensa de 1981 en la que se ve \u003ci\u003eThe Crouching Miner \u003c/i\u003e(ca. 1890/1903) tambi\u0026eacute;n de Meunier, junto a Lech Walesa, titulada por la parte de atr\u0026aacute;s \u0026ldquo;Lech Walesa said Hello to Geneva Worker\u0026rdquo; [\u0026ldquo;Lech Walesa dijo hola al obrero de Ginebra\u0026rdquo;] (17,7 \u0026times; 23,9 cm). Finalmente est\u0026aacute; el \u003ci\u003ePortrait of Constantin Meunier \u003c/i\u003e(1904) de Pierre Vibert, una xilograf\u0026iacute;a en papel encolada sobre cart\u0026oacute;n, 1904, 25,7 \u0026times; 18 cm (TDM 76).\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eExtracto de \u0026ldquo;Allan Sekula in Leuven (2005): Staging a Tidal Wave, for a \u0026lsquo;Meditation\u0026rsquo; on Today\u0026rsquo;s \u0026lsquo;Workers Struggles\u0026rsquo;\u0026rdquo;, de Hilde Van Gelder, en Nicola Setari y Hilde Van Gelder (eds.), \u003ci\u003eAllan Sekula Mining Section (\u003c/i\u003eBureau des Mines\u003ci\u003e). \u003c/i\u003e\u003ci\u003eCollaborative Notes\u003c/i\u003e (Ghent: AraMER, 2016), pp. 14-28.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e(Translation to Spanish by Ernesto Rubio)\u003c/p\u003e\r\n"},{"locale":"el","short_description":"","description":""}],"actors":[]}