Academic literature on the topic 'Christian Boltanski'

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Journal articles on the topic "Christian Boltanski"

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Caines, Rebecca. "Christian Boltanski." Afterimage 32, no. 1 (2004): 4–5. http://dx.doi.org/10.1525/aft.2004.32.1.4.

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Le Pommeré, Marianne. "Lumière et ténèbres chez Christian Boltanski." Bulletin d'histoire de l'électricité 17, no. 1 (1991): 17–20. http://dx.doi.org/10.3406/helec.1991.1145.

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Petri, Nicole. "CHRISTIAN BOLTANSKI : UN ARTISTE MINIMALISTE EXPRESSIONNISTE." Dacoromania litteraria 5 (2019): 149–60. http://dx.doi.org/10.33993/dlr.2018.5.149.160.

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Thibaudat, Jean-Pierre. "Tadeusz Kantor face à Krystian Lupa et Christian Boltanski : influences et filiations." Slavica Occitania 42, no. 1 (2016): 79–89. https://doi.org/10.3406/slaoc.2016.990.

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Tadeusz Kantor by Krystian Lupa and Christian Boltanski : Affiliation and Influence Tadeusz Kantor has had a great and lasting impact on the artistic world as a whole. The theatre, but also several other art forms, bear the imprint of his legacy. Some highly celebrated artists have acknowledged the depth of his influence : it is the case of Polish Director Krystian Lupa and of French artist Christian Boltanski, whose works are explored in this study.
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Azam, Martine. "Anne SAUVAGEOT, Luc et Christian Boltanski, Fraternité." Sociologie de l'Art OPuS27&28, no. 1 (2017): 155. http://dx.doi.org/10.3917/soart.027.0155.

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López Paniagua, Laura. "El meta-archivo fallido de Christian Boltanski." Eikasía Revista de Filosofía, no. 92 (January 9, 2023): 297–313. http://dx.doi.org/10.57027/eikasia.92.446.

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La instalación El archivo de los abuelos, 1995, es el resultado de un proyecto de investigación que el artista Christian Boltanski realizó junto con los estudiantes de la Universidad de Leuphana, Luneburgo (Alemania) en la misma institución. El archivo reúne efectos personales de los abuelos de los estudiantes de aquella generación. Se trata de una pieza significativa dentro de la obra del francés porque no se atiene a las características habituales de sus obras de archivo, a las que denomino «meta-archivos» por su carácter posmoderno de desestabilización del concepto mismo de archivo, y conse
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D'Angelo, Biagio. "Proust e Boltanski." ouvirOUver 15, no. 2 (2020): 540–50. http://dx.doi.org/10.14393/ouv-v15n2a2019-48977.

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Com frequência Christian Boltanski cita Marcel Proust em suas entrevistas. E, como o próprio Proust, também Boltanski está à procura obsessiva de respostas sobre questões fundamentais da índole humana: como e por que descrever a morte? Ela pode ser aceita fora do parâmetro artístico? O que implica o distanciamento de coisas e seres queridos? Que mudança acontece na frente da ausência? Por que, para restituir vida (se assim pode-se dizer) é necessário um trabalho sobre a memória? A memória permite reconstituir o objeto de amor ou é uma ilusão estética? Porém, enquanto Proust tenta resolver a ob
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Kotowska, Katarzyna. "Rituels mortuaires version 2.0 – les visions de Sophie Calle, Christian Boltanski et Marie Darrieussecq." Romanica Wratislaviensia 69 (November 30, 2022): 251–62. http://dx.doi.org/10.19195/0557-2665.69.21.

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A major role of culture is to imply the expansion of the spatial and temporal borders of the being with the aim to abolish them completely. The meaning of death and disappearance occupies a special place in many works. Marie Darrieussecq, Christian Boltanski and Sophie Calle, artists exploiting the imaginary possibilities of letters but also of installations, give us some visions of mortuary rituals adapted in accordance with the changing contemporaneity. The rituals imagined by Darrieussecq, Boltanski and Calle in The House of the Dead, The Records of the Hearts and the film Could Not Grasp t
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Adverse, Angélica. "ROUPAS COMO CORPOS: O AGENCIAMENTO POLÍTICO DO VESTUÁRIO POR CHRISTIAN BOLTANSKI / Clothes as bodies: the political agency of clothing by Christian Boltanski." arte e ensaios 26, no. 39 (2020): 55–65. http://dx.doi.org/10.37235/ae.n39.5.

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O artigo aborda o agenciamento das roupas no trabalho do artista Christian Boltanski. Partindo da dimensão do poder dos corpos têxteis, analisaremos como as roupas investem-se das palavras emudecidas dos corpos ausentes, constituindo-se como alegoria do testemunho e do documento histórico. A ideia central é pensar como as roupas explicitam a aniquilação humana provocada pelos regimes políticos totalitários. Analisaremos como as instalações Prendre la Parole (2005) e Personnes(2010) desvelam a presença-ausência da vida-morte na experiência política do discurso têxtil. Palavras-chave: Roupas; Co
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Bines, Rosana Kohl. "ASSOMBRAÇÕES DA INFÂNCIA COM BOLTANSKI E BENJAMIN." Alea : Estudos Neolatinos 17, no. 2 (2015): 227–45. http://dx.doi.org/10.1590/1517-106x/172-227.

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Resumo O artigo considera a força estético-política de um imaginário associado à infância no trabalho do artista contemporâneo Christian Boltanski na pequena cidade francesa de Vitteaux, onde criou um teatrinho de sombras a céu aberto, projetando nas fachadas das casas, quando anoitece, imagens de bruxas, gatos pretos, morcegos, caveiras. Investiga-se essa coleção de monstros de feição infantil em reflexão cruzada com o pensamento de Walter Benjamin sobre a potência dos encontros repentinos com o mundo esquecido da infância. Ao promover um diálogo entre os dois autores, busca-se evidenciar art
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Dissertations / Theses on the topic "Christian Boltanski"

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Shapiro, Carla Rose. "From mimesis to metaphor : images of the Holocaust in contemporary photographic and installation art." Thesis, University of Sussex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.250005.

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Durden, Mark. "Photography and the book : from Fox Talbot to Christian Boltanski." Thesis, University of Kent, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.282318.

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Gronau, Barbara. "Theaterinstallationen performative Räume bei Beuys, Boltanski und Kabakov." Paderborn München Fink, 2010. http://d-nb.info/984102965/04.

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Demelo, Sarah. "Autobiography and self-portraiture in the works of Christian Boltanski and Sophie Calle." Thesis, University of Essex, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.537927.

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Altomonte, Jenna A. "The Postmemory Paradigm: Christian Boltanski's Second-Generation Archive." Ohio : Ohio University, 2009. http://www.ohiolink.edu/etd/view.cgi?ohiou1244047774.

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Wu, Shui-Jou. "Le flou : détournement de l'image d'archive chez Gerhard Richter, Christian Boltanski et Thomas Ruff." Thesis, Paris 1, 2016. https://ecm.univ-paris1.fr/nuxeo/site/esupversions/976f9ecc-8580-4715-a3dc-756130aa037b.

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Le flou, bien qu’étant un effet artistique répandu, reste victime d'une mauvaise réputation, souvent considéré comme un défaut technique ou à l'opposé d'une réflexion rationnelle et rigoureuse. Contre une telle vision réductrice notre recherche essaye de montrer, à travers un choix des œuvres de Gerhard Richter, Christian Boltanski et Thomas Ruff, que le flou est assurément un acte artistique qui engage une réflexion distancée et critique. Nous élaborons une étude comparative des processus de création de chaque artiste, ainsi qu'une analyse des caractéristiques des images d'archives qu'ils s'a
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Kampmann, Sabine. "Künstler sein systemtheoretische Beobachtungen von Autorschaft: Christian Boltanski, Eva & Adele, Pipilotti Rist, Markus Lüpertz." Paderborn München Fink, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2801030&prov=M&dok_var=1&dok_ext=htm.

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Kampmann, Sabine. "Künstler sein : systemtheoretische Beobachtungen von Autorschaft : Christian Boltanski, Eva & Adele, Pipilotti Rist, Markus Lüpertz /." München : Fink, 2006. http://deposit.ddb.de/cgi-bin/dokserv?id=2801030&prov=M&dok_var=1&dok_ext=htm.

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Pietri, Nicole. "La photographie comme sépulture." Electronic Thesis or Diss., Paris 8, 2021. http://www.theses.fr/2021PA080049.

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Depuis le début de l’humanité, l’homme a pris soin de ses morts, tandis que les relations de la Mort à la photographie commencent au milieu du XIXème siècle avec l’invention de la photographie. La Mort suppose un corps mort dont on se doit de prendre soin en lui donnant une sépulture. Telle que nous la concevons, la sépulture est un dépôt intentionnel qui montre, par cet acte, l’attention que l’on porte au mort, qui conserve ainsi sa part d’humanité dans la Mort, c’est-à-dire précisément, ce que la sépulture se devrait de protéger. En proposant d’interroger les relations de la Mort à l’image d
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Lee, Kyoung-Yul. "L'imagerie photographique floue et la représentation mnémonique (autour des oeuvres photographiques chez Christian Boltanski, Gerhard Richter et Andy Warhol)." Paris 1, 2000. http://www.theses.fr/2000PA010551.

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Dans l'art contemporain, l'image photographique floue se comprend par la représentation visuelle des souvenirs vagues qui disparaissent dans l'espace du temps, c'est-à-dire la réminiscence où l'image-souvenir floue qui se présente alors comme indice mnémonique de l'amnésie collective. L'illusion mnémonique sur laquelle se basent les oeuvres photographiques comme le cas du jeu de texte-image chez Boltanski, éveille notre croyance aveugle attachée toujours à la connexion logique, scientifique et mathématique qui absorbe confusement tous les souvenirs vrais ou faux. L'interférence mnémonique est
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Books on the topic "Christian Boltanski"

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Danilo, Eccher, and Bologna (Italy). Galleria d'arte moderna., eds. Christian Boltanski. Charta, 1997.

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1944-, Boltanski Christian, ed. Christian Boltanski. Flammarion, 1994.

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Boltanski, Christian. Christian Boltanski. Stedelijk Museum, 1987.

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Semin, Didier. Christian Boltanski. Phaidon, 1997.

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Semin, Didier. Christian Boltanski. Art Press, 1988.

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1944-, Boltanski Christian, ed. Christian Boltanski. Flammarion, 2010.

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1944-, Boltanski Christian, ed. Christian Boltanski. Flammarion, 2009.

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interviewer, Fleischer Alain 1944, ed. Christian Boltanski. IMEC éditeur, 2014.

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Mito Geijutsukan. Gendai Bijutsu Gyararī, ed. Christian Boltanski. Mito Geijutsukan Gendai Bijutsu Gyararī, 1990.

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Bernhard, Jussen, ed. Signal: Christian Boltanski. Wallstein, 2004.

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Book chapters on the topic "Christian Boltanski"

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Pichler, Cathrin, and Roman Berka. "Christian Boltanski." In TransAct. Springer Vienna, 2010. http://dx.doi.org/10.1007/978-3-211-99801-4_13.

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van Alphen, Ernst. "Visual Archives and the Holocaust: Christian Boltanski, Ydessa Hendeles and Peter Forgacs." In Intercultural Aesthetics. Springer Netherlands, 2009. http://dx.doi.org/10.1007/978-1-4020-5780-9_10.

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Janhsen, Angeli. "Christian Boltanski." In Kunst sehen ist sich selbst sehen. Gebr. Mann Verlag, 2023. http://dx.doi.org/10.5771/9783496030799-45.

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"Entretien avec Christian Boltanski." In Répéter, refaire, reprendre. Presses universitaires de Rennes, 2025. https://doi.org/10.4000/13rqj.

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"Christian Boltanski – »a memory of a subject«." In Den subjektive rest. Aarhus University Press, 2008. http://dx.doi.org/10.2307/j.ctv35r3vbv.7.

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"Christian Boltanski: «Les Archives du Coeur», 2010." In Sterbeorte. transcript-Verlag, 2020. http://dx.doi.org/10.14361/9783839449837-024.

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"Christian Boltanski: «Les Archives du Coeur», 2010." In Sterbeorte. transcript Verlag, 2020. http://dx.doi.org/10.1515/9783839449837-024.

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"Um wen trauern wir? Zum Werk von Christian Boltanski." In 'Holocaust'-Fiktion. Wilhelm Fink Verlag, 2015. http://dx.doi.org/10.30965/9783846755051_012.

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Guignard, Sandrine. "Le livre chez Christian Boltanski. L’esthétique du livre : une monstration de l’indicible." In L’Esthétique du livre. Presses universitaires de Paris Nanterre, 2010. http://dx.doi.org/10.4000/books.pupo.1887.

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"Strange Pain: Archive, Trauma and Testimony in Samuel Beckett and Christian Boltanski." In Samuel Beckett and Pain. Brill | Rodopi, 2012. http://dx.doi.org/10.1163/9789401207980_009.

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Conference papers on the topic "Christian Boltanski"

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Arrebola Parras, Simón. "EL ARCHIVO: ENTRE LA MEMORIA INDIVIDUAL Y LA MEMORIA SOCIAL." In III Congreso Internacional de Investigación en Artes Visuales :: ANIAV 2017 :: GLOCAL. Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/aniav.2017.5857.

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Existe una confrontación entre la memoria y la historia que denota el afán del ser humano por no asumir su carácter perecedero. En torno a la capacidad por recordar, diversos autores expresan sus diferentes puntos de vista, ya que no todos consideran a la memoria como una construcción social que se conforma a partir de una parte individual. Esta confrontación entre lo colectivo y lo individual de la memoria surge del grado de objetividad que pueda llegar a acontecer en cada uno de los puntos de vista que se derivan de un determinado acontecimiento. De esta manera encontramos que por una parte,
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