{"id":15505,"title":"The Dockers' Museum – Lumiar Cité, Maumaus, Lisboa, 2013","dimensions":"","date_begin":null,"material":"","art_status_id":13,"legal_status_id":47,"category_id":58,"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":17,"permalink":"the-dockers-museum-maumaus-escola-de-artes-visuais-lisboa-2013","description_ca":"\u003cp style=\"text-align: justify;\"\u003e\u003cstrong\u003e07 February 2013\u0026nbsp;\u0026mdash;31 March 2013\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eAllan Sekula is a renowned photographer, theorist, photography historian and writer. Using colour photographs in conjunction with text, Allan Sekula\u0026rsquo;s work focuses on economic systems, a subject often considered incompatible with the field of art. Cultural critics frequently see the economy to be a problematic issue that is of little interest for arts practitioners, although many artworks are under the unmistakable influence of market forces.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eFor Sekula, it is irrelevant that photography has finally been acknowledged as an artistic medium like any other, alongside painting or sculpture. He considers the modesty of the medium, and the possibility it offers to attain knowledge through keen observation, to be a more interesting characteristic. Relying on its ability to describe aspects of economic systems within the framework of the visual arts, through what is commonly called \u0026lsquo;documentary\u0026rsquo; practice, Sekula attempts to offer a clear alternative to the kind of photography usually shown by the contemporary system of museum and galleries. According to the artist this system in essence prepares the work for an \u0026lsquo;antiquarian future\u0026rsquo;, which condemns art to conform with the museum\u0026rsquo;s relics of the past.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eIn recent years, Sekula has worked on long documentary projects inspired by contemporary political events. These projects have given rise to sequences and major series that often culminate in the publication of a book. In these publications, the photographs are contextualised by the artist\u0026rsquo;s texts - which are always present in his exhibitions - which emphasizes the fact that Sekula\u0026rsquo;s practice also encompasses writing, alongside the production of visual work. Sekula calibrates each exhibition through a careful selection of photographs and objects specific to the context of the given place, thus \u0026lsquo;re-writing\u0026rsquo; his own narrative via the re-arrangement of work. By developing his exhibitions from venue to venue, they in effect connect cities and harbours, which evokes the production and flow of goods via complex network relationships of harbour cities, the subject of Sekula\u0026rsquo;s practice.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eLumiar Cit\u0026eacute; in Lisbon now presents the exhibition The Dockers\u0026rsquo; Museum. Photographs from the series \u0026lsquo;Ship of Fools\u0026rsquo; and the film \u0026lsquo;The Forgotten Space\u0026rsquo; (Allan Sekula, No\u0026euml;l Burch) constitute part of the exhibition. The configuration of the exhibition is defined through an emphasis on cartoons and objects related to the world of dockers and seafarers, reflected in the exhibition title. The \u0026lsquo;objects of interest\u0026rsquo; collected by the artist and the cartoons appropriated by him are not to be understood as artworks, but instead contextualize Sekula\u0026rsquo;s photography and film, while these in turn contextualize Sekula\u0026rsquo;s ongoing activity of collecting these items. Sekula finds his \u0026lsquo;objects of interest\u0026rsquo; at online auction houses, contrasting the mystical \u0026lsquo;speed of light\u0026rsquo; of the Internet with the slow movement of cargo, 90 per cent of which is moved by sea.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eThrough taking the \u0026lsquo;forgotten space\u0026rsquo; of the sea with its 100,000 ships and 1,500,000 workers as the subject for his work, Allan Sekula reflects on the effects of current neoliberal ideologies. His work questions their promises of a painless, endless flow of goods and capital with the emphasis on consumption and negating the work and working conditions behind it. It reveals the far-reaching impact of globalization on people\u0026rsquo;s lives.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eAllan Sekula (USA) lives and works at Los Angeles as an activist, artist, writer and critic. His work comprises, since the beginning of the 1970\u0026rsquo;s, the history and theory of photography, as well several projects focused on economical and geopolitical thematic. His books include: \u0026lsquo;Photography against the Grain: Essays and Photo Works 1973-1983\u0026rsquo;, \u0026lsquo;Fish Story\u0026rsquo;, \u0026lsquo;Geography Lesson: Canadian Notes\u0026rsquo;, \u0026lsquo;Dismal Science: Photo Works 1972-1996\u0026rsquo;, \u0026lsquo;Allan Sekula: Dead Letter Office\u0026rsquo;, \u0026lsquo;Deep Six/Passer au bleu\u0026rsquo; and \u0026lsquo;TITANIC\u0026#39;s wake\u0026rsquo; (Portuguese version published by Maumaus). He is also co-author of \u0026lsquo;Five Days That Shook the World: Seattle and Beyond\u0026rsquo;. Sekula has participated in numerous individual and collective exhibitions, including the 50th Venice Biennial, Documenta X, XI and XII in Kassel, and the 29th S\u0026atilde;o Paulo Biennial. He is a professor at the California Institute of the Arts (Cal Arts), in Valencia (USA).\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eThe exhibition \u003cem\u003eThe Dockers\u0026rsquo; Museum\u003c/em\u003e is curated by J\u0026uuml;rgen Bock and is being presented under the partnership between the Lumiar Cit\u0026eacute; exhibition space and the La Cri\u0026eacute;e centre d\u0026rsquo;art contemporain (Rennes, France) in collaboration with M HKA (Antwerp, Belgium) and Stills - Scotland\u0026#39;s Centre for Photography (Edinburgh, UK).\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":"Installation","nl":"Installatie","fr":"Installation"},"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/034/957/large/lisbon1_%283%29.jpg?1487077391","poster_credits":"© Photo: DMF Fotografia, Lisbon. © Allan Sekula Studio. Courtesy Maumaus/Lumiar Cité.","translations":[{"locale":"en","short_description":"","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cstrong\u003e07 February 2013\u0026nbsp;\u0026mdash;31 March 2013\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eAllan Sekula is a renowned photographer, theorist, photography historian and writer. Using colour photographs in conjunction with text, Allan Sekula\u0026rsquo;s work focuses on economic systems, a subject often considered incompatible with the field of art. Cultural critics frequently see the economy to be a problematic issue that is of little interest for arts practitioners, although many artworks are under the unmistakable influence of market forces.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eFor Sekula, it is irrelevant that photography has finally been acknowledged as an artistic medium like any other, alongside painting or sculpture. He considers the modesty of the medium, and the possibility it offers to attain knowledge through keen observation, to be a more interesting characteristic. Relying on its ability to describe aspects of economic systems within the framework of the visual arts, through what is commonly called \u0026lsquo;documentary\u0026rsquo; practice, Sekula attempts to offer a clear alternative to the kind of photography usually shown by the contemporary system of museum and galleries. According to the artist this system in essence prepares the work for an \u0026lsquo;antiquarian future\u0026rsquo;, which condemns art to conform with the museum\u0026rsquo;s relics of the past.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eIn recent years, Sekula has worked on long documentary projects inspired by contemporary political events. These projects have given rise to sequences and major series that often culminate in the publication of a book. In these publications, the photographs are contextualised by the artist\u0026rsquo;s texts - which are always present in his exhibitions - which emphasizes the fact that Sekula\u0026rsquo;s practice also encompasses writing, alongside the production of visual work. Sekula calibrates each exhibition through a careful selection of photographs and objects specific to the context of the given place, thus \u0026lsquo;re-writing\u0026rsquo; his own narrative via the re-arrangement of work. By developing his exhibitions from venue to venue, they in effect connect cities and harbours, which evokes the production and flow of goods via complex network relationships of harbour cities, the subject of Sekula\u0026rsquo;s practice.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eLumiar Cit\u0026eacute; in Lisbon now presents the exhibition The Dockers\u0026rsquo; Museum. Photographs from the series \u0026lsquo;Ship of Fools\u0026rsquo; and the film \u0026lsquo;The Forgotten Space\u0026rsquo; (Allan Sekula, No\u0026euml;l Burch) constitute part of the exhibition. The configuration of the exhibition is defined through an emphasis on cartoons and objects related to the world of dockers and seafarers, reflected in the exhibition title. The \u0026lsquo;objects of interest\u0026rsquo; collected by the artist and the cartoons appropriated by him are not to be understood as artworks, but instead contextualize Sekula\u0026rsquo;s photography and film, while these in turn contextualize Sekula\u0026rsquo;s ongoing activity of collecting these items. Sekula finds his \u0026lsquo;objects of interest\u0026rsquo; at online auction houses, contrasting the mystical \u0026lsquo;speed of light\u0026rsquo; of the Internet with the slow movement of cargo, 90 per cent of which is moved by sea.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eThrough taking the \u0026lsquo;forgotten space\u0026rsquo; of the sea with its 100,000 ships and 1,500,000 workers as the subject for his work, Allan Sekula reflects on the effects of current neoliberal ideologies. His work questions their promises of a painless, endless flow of goods and capital with the emphasis on consumption and negating the work and working conditions behind it. It reveals the far-reaching impact of globalization on people\u0026rsquo;s lives.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eAllan Sekula (USA) lives and works at Los Angeles as an activist, artist, writer and critic. His work comprises, since the beginning of the 1970\u0026rsquo;s, the history and theory of photography, as well several projects focused on economical and geopolitical thematic. His books include: \u0026lsquo;Photography against the Grain: Essays and Photo Works 1973-1983\u0026rsquo;, \u0026lsquo;Fish Story\u0026rsquo;, \u0026lsquo;Geography Lesson: Canadian Notes\u0026rsquo;, \u0026lsquo;Dismal Science: Photo Works 1972-1996\u0026rsquo;, \u0026lsquo;Allan Sekula: Dead Letter Office\u0026rsquo;, \u0026lsquo;Deep Six/Passer au bleu\u0026rsquo; and \u0026lsquo;TITANIC\u0026#39;s wake\u0026rsquo; (Portuguese version published by Maumaus). He is also co-author of \u0026lsquo;Five Days That Shook the World: Seattle and Beyond\u0026rsquo;. Sekula has participated in numerous individual and collective exhibitions, including the 50th Venice Biennial, Documenta X, XI and XII in Kassel, and the 29th S\u0026atilde;o Paulo Biennial. He is a professor at the California Institute of the Arts (Cal Arts), in Valencia (USA).\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eThe exhibition \u003cem\u003eThe Dockers\u0026rsquo; Museum\u003c/em\u003e is curated by J\u0026uuml;rgen Bock and is being presented under the partnership between the Lumiar Cit\u0026eacute; exhibition space and the La Cri\u0026eacute;e centre d\u0026rsquo;art contemporain (Rennes, France) in collaboration with M HKA (Antwerp, Belgium) and Stills - Scotland\u0026#39;s Centre for Photography (Edinburgh, UK).\u003c/p\u003e\r\n"},{"locale":"nl","short_description":"","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cstrong\u003e07 februari\u0026nbsp;2013\u0026nbsp;\u0026mdash;31 maart\u0026nbsp;2010\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eAllan Sekula is een gerenommeerd fotograaf, theoreticus, fotohistoricus en auteur. Allan Sekula focust op economische systemen, een thema dat meestal wordt beschouwd als onverenigbaar met het domein van de kunst, en maakt daarvoor gebruik van kleurenfotografie in combinatie met tekst. Culturele critici zien de economie vaak als een niet erg interessante, problematische kwestie voor kunstenaars, hoewel vele kunstwerken zelf onmiskenbaar zijn be\u0026iuml;nvloed door marktmechanismen.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eVoor Sekula is het niet relevant dat fotografie uiteindelijk werd erkend als een ge\u0026euml;mancipeerd artistiek medium naast schilder- en beeldhouwkunst. Hij vindt de bescheidenheid van het medium interessanter, en de mogelijkheid die het biedt om kennis te verwerven door scherpe observatie. Fotografie heeft\u0026nbsp;het bijzondere vermogen om aspecten van economische systemen te beschrijven binnen de parameters van de beeldende kunst, door middel van wat gewoonlijk de \u0026#39;documentaire\u0026#39; wordt genoemd. Sekula probeert hier een duidelijk alternatief te bieden voor de fotografiecultuur waaraan het hedendaagse systeem van musea en galerie\u0026euml;n zich wijdt, dat volgens de kunstenaar in wezen de voorbereidingen treft voor een \u0026#39;antiquarische toekomst\u0026#39; waarin kunst gedoemd is om overeen te stemmen met de museumrelicten uit het verleden.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDe afgelopen jaren werkte Sekula aan lange documentaire projecten die ge\u0026iuml;nspireerd zijn op hedendaagse politieke gebeurtenissen. Deze projecten hebben geleid tot fotosequenties en omvangrijke reeksen, die de kunstenaar vaak afrondt met de publicatie van een boek. In deze publicaties worden de foto\u0026#39;s in een context geplaatst aan de hand van Sekula\u0026#39;s teksten, die ook altijd voorhanden zijn op zijn tentoonstellingen, wat de opdeling van Sekula\u0026#39;s praktische werk in schrijven en beeldende productie benadrukt. Sekula past elke tentoonstelling aan op basis van zorgvuldig geselecteerde foto\u0026#39;s en voorwerpen die kenmerkend zijn voor de plaatselijke context en \u0026#39;herschrijft\u0026#39; dus zijn verhaal door het werk anders op te stellen. Door zijn tentoonstellingen op elke locatie af te stemmen, verbinden ze in feite steden en havens met elkaar, wat doet denken aan de goederenproductie en -stroom via ingewikkelde netwerkrelaties in havensteden, het thema van Sekula\u0026#39;s werk.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eIn Lumiar Cit\u0026eacute; in Lissabon wordt momenteel \u003cem\u003eThe Dockers\u0026#39; Museum\u003c/em\u003e tentoongesteld. Foto\u0026#39;s van de reeks \u0026#39;Ship of Fools\u0026#39; en de film \u0026#39;The Forgotten Space\u0026#39; (Allan Sekula, No\u0026euml;l Burch) vormen een deel van de tentoonstelling. De tentoonstelling is opgesteld met een focus op beeldverhalen en voorwerpen die verband houden met de wereld van zeelieden en havenarbeiders, zoals blijkt uit de titel van de tentoonstelling. De \u0026#39;interessante voorwerpen\u0026#39; die de kunstenaar vergaarde en de beeldverhalen die hij zich toe-eigende, dienen niet als kunstwerken te worden opgevat maar plaatsen Sekula\u0026#39;s foto\u0026#39;s en film in een context, terwijl die op hun beurt het voortdurend verzamelen van dergelijke voorwerpen door Sekula in een context plaatsen. Sekula vindt zijn \u0026#39;interessante voorwerpen\u0026#39; op online veilingen, waarbij de symbolische \u0026#39;lichtsnelheid\u0026#39; van het internet in schril contrast staat met het trage goederentransport, dat voor 90% over zee gebeurt.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDoor de \u0026#39;vergeten ruimte\u0026#39; van de zee met haar 100.000 schepen en 1.500.000 zeelieden als thema van dit werk te nemen, bezint Allan Sekula over de impact van de huidige neoliberale ideologie\u0026euml;n. Zijn werk stelt hun beloftes van een vlotte, eindeloze goederen- en kapitaalstroom in vraag, waarbij de nadruk op consumptie ligt en men geen aandacht heeft voor de achterliggende arbeid en arbeidsomstandigheden. Het maakt duidelijk dat de globalisering vergaande gevolgen heeft voor ons leven.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eAllan Sekula (VS) woont en werkt in Los Angeles als activist, kunstenaar, auteur en criticus. Zijn werk bestaat sinds het begin van de jaren 1970 uit de geschiedenis en theorie van fotografie en uit verschillende projecten met economische en geopolitieke onderwerpen. Enkele van zijn boeken zijn: \u0026#39;Photography against the Grain: Essays and Photo Works 1973-1983\u0026#39;, \u0026#39;Fish Story\u0026#39;, \u0026#39;Geography Lesson: Canadian Notes\u0026#39;, \u0026#39;Dismal Science: Photo Works 1972-1996\u0026#39;, \u0026#39;Allan Sekula: Dead Letter Office\u0026#39;, \u0026#39;Deep Six/Passer au bleu\u0026#39; en \u0026#39;TITANIC\u0026#39;s wake\u0026#39; (Portugese versie uitgegeven door Maumaus). Hij is ook medeauteur van \u0026#39;Five Days That Shook the World: Seattle and Beyond\u0026#39;. Sekula nam deel aan vele individuele en collectieve tentoonstellingen, waaronder de 50e Bi\u0026euml;nnale van Veneti\u0026euml;, Documenta X, XI en XII in Kassel en de 29e Bi\u0026euml;nnale van S\u0026atilde;o Paulo. Hij is docent aan het California Institute of the Arts (Cal Arts) in Valencia (VS).\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDe tentoonstelling \u003cem\u003eThe Dockers\u0026#39; Museum\u003c/em\u003e met J\u0026uuml;rgen Bock als curator wordt georganiseerd in partnerschap tussen Lumiar Cit\u0026eacute; en het centrum voor hedendaagse kunst La Cri\u0026eacute;e in Rennes (Frankrijk), met de medewerking van het M HKA in Antwerpen (Belgi\u0026euml;) en de Stills Gallery in Edinburgh (VK).\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\u003cstrong\u003e07 February 2013\u0026nbsp;\u0026mdash;31 March 2013\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eAllan Sekula is a renowned photographer, theorist, photography historian and writer. Using colour photographs in conjunction with text, Allan Sekula\u0026rsquo;s work focuses on economic systems, a subject often considered incompatible with the field of art. Cultural critics frequently see the economy to be a problematic issue that is of little interest for arts practitioners, although many artworks are under the unmistakable influence of market forces.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eFor Sekula, it is irrelevant that photography has finally been acknowledged as an artistic medium like any other, alongside painting or sculpture. He considers the modesty of the medium, and the possibility it offers to attain knowledge through keen observation, to be a more interesting characteristic. Relying on its ability to describe aspects of economic systems within the framework of the visual arts, through what is commonly called \u0026lsquo;documentary\u0026rsquo; practice, Sekula attempts to offer a clear alternative to the kind of photography usually shown by the contemporary system of museum and galleries. According to the artist this system in essence prepares the work for an \u0026lsquo;antiquarian future\u0026rsquo;, which condemns art to conform with the museum\u0026rsquo;s relics of the past.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eIn recent years, Sekula has worked on long documentary projects inspired by contemporary political events. These projects have given rise to sequences and major series that often culminate in the publication of a book. In these publications, the photographs are contextualised by the artist\u0026rsquo;s texts - which are always present in his exhibitions - which emphasizes the fact that Sekula\u0026rsquo;s practice also encompasses writing, alongside the production of visual work. Sekula calibrates each exhibition through a careful selection of photographs and objects specific to the context of the given place, thus \u0026lsquo;re-writing\u0026rsquo; his own narrative via the re-arrangement of work. By developing his exhibitions from venue to venue, they in effect connect cities and harbours, which evokes the production and flow of goods via complex network relationships of harbour cities, the subject of Sekula\u0026rsquo;s practice.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eLumiar Cit\u0026eacute; in Lisbon now presents the exhibition The Dockers\u0026rsquo; Museum. Photographs from the series \u0026lsquo;Ship of Fools\u0026rsquo; and the film \u0026lsquo;The Forgotten Space\u0026rsquo; (Allan Sekula, No\u0026euml;l Burch) constitute part of the exhibition. The configuration of the exhibition is defined through an emphasis on cartoons and objects related to the world of dockers and seafarers, reflected in the exhibition title. The \u0026lsquo;objects of interest\u0026rsquo; collected by the artist and the cartoons appropriated by him are not to be understood as artworks, but instead contextualize Sekula\u0026rsquo;s photography and film, while these in turn contextualize Sekula\u0026rsquo;s ongoing activity of collecting these items. Sekula finds his \u0026lsquo;objects of interest\u0026rsquo; at online auction houses, contrasting the mystical \u0026lsquo;speed of light\u0026rsquo; of the Internet with the slow movement of cargo, 90 per cent of which is moved by sea.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eThrough taking the \u0026lsquo;forgotten space\u0026rsquo; of the sea with its 100,000 ships and 1,500,000 workers as the subject for his work, Allan Sekula reflects on the effects of current neoliberal ideologies. His work questions their promises of a painless, endless flow of goods and capital with the emphasis on consumption and negating the work and working conditions behind it. It reveals the far-reaching impact of globalization on people\u0026rsquo;s lives.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eAllan Sekula (USA) lives and works at Los Angeles as an activist, artist, writer and critic. His work comprises, since the beginning of the 1970\u0026rsquo;s, the history and theory of photography, as well several projects focused on economical and geopolitical thematic. His books include: \u0026lsquo;Photography against the Grain: Essays and Photo Works 1973-1983\u0026rsquo;, \u0026lsquo;Fish Story\u0026rsquo;, \u0026lsquo;Geography Lesson: Canadian Notes\u0026rsquo;, \u0026lsquo;Dismal Science: Photo Works 1972-1996\u0026rsquo;, \u0026lsquo;Allan Sekula: Dead Letter Office\u0026rsquo;, \u0026lsquo;Deep Six/Passer au bleu\u0026rsquo; and \u0026lsquo;TITANIC\u0026#39;s wake\u0026rsquo; (Portuguese version published by Maumaus). He is also co-author of \u0026lsquo;Five Days That Shook the World: Seattle and Beyond\u0026rsquo;. Sekula has participated in numerous individual and collective exhibitions, including the 50th Venice Biennial, Documenta X, XI and XII in Kassel, and the 29th S\u0026atilde;o Paulo Biennial. He is a professor at the California Institute of the Arts (Cal Arts), in Valencia (USA).\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eThe exhibition \u003cem\u003eThe Dockers\u0026rsquo; Museum\u003c/em\u003e is curated by J\u0026uuml;rgen Bock and is being presented under the partnership between the Lumiar Cit\u0026eacute; exhibition space and the La Cri\u0026eacute;e centre d\u0026rsquo;art contemporain (Rennes, France) in collaboration with M HKA (Antwerp, Belgium) and Stills - Scotland\u0026#39;s Centre for Photography (Edinburgh, UK).\u003c/p\u003e\r\n"},{"locale":"el","short_description":"","description":""}],"actors":[]}