Christian Boltanski spent his artistic life with ghosts, drawing from the blur of images what they said of a collective unconscious.
They embodied the past which devours the present.
A photographed face is already a face that is no more.
And as he confided to Catherine Grenier in
La Vie possible by Christian Boltanski
(Seuil, 2005), this laughing man with heartbreaking installations fled the idea of death like the plague.
Even if it means selling his life annuity to Tasmanian collector David Walsh, who paid him a monthly sum for the video recording of his workshop 24 hours a day.
To read also:
Christian Boltanski: "At the beginning of a work, there is a trauma"
He spoke of his death through art, the only known antidote to oblivion and nothingness, he said.
“The“ Inventories ”
(his fictitious family albums
,
Editor's note
) are also based on the idea that, from that you put a pipe in a display case, even if it is not broken, it is no longer a pipe.
Everything you try to preserve dies, and as soon as you try to “freeze” something, you kill it.
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