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Journal articles on the topic 'Christian Boltanski'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2025

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Abella Garcia, A. "Christian Boltanski: ein zeitgenössischer Künstler aus der Sicht einer Psychoanalytikerin." Zeitschrift für psychoanalytische Theorie und Praxis 25, no. 3 (2010): 263–86. http://dx.doi.org/10.15534/zptp/2010/3/4.

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12

Lira de Sousa, Ramayana, and Julie De Oliveira. "CORPO PANDÊMICO NA OBRA L’HOMME QUI TOUSSE DE CHRISTIAN BOLTANSKI." Revista Crítica Cultural 17, no. 1 (2022): 45–52. http://dx.doi.org/10.59306/rcc.v17e1202245-52.

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É estabelecida uma relação entre o corpo na obra L’homme qui tousse e o corpo pandêmico, especificamente o corpo do trabalhador. Para tanto, são retomados os conceitos de sobrevivência das imagens, sociedades disciplinar e de controle, a partilha do sensível e o conceito de história de Benjamin, assim como é considerada a discussão de Eagleton a respeito da estética em Marx

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13

Goldberg, Itzhak. "Espaces transfigurés en lieux de mémoire (Shimon Attie, christian Boltanski…)." Figures de l'Art. Revue d'études esthétiques 13, no. 1 (2007): 239–46. http://dx.doi.org/10.3406/fdart.2007.1464.

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Beck, Scott R. "Orders of Hunger and Heaven: Neoliberalism, Christian Charity and Homelessness in Taiwan." Religions 12, no. 4 (2021): 239. http://dx.doi.org/10.3390/rel12040239.

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Based on an ethnographic study of a Christian charity in Taipei, Taiwan, this paper examines how the mixing of “orders of worth” (Boltanski and Thevenot) is negotiated among charity workers and homeless people in the field setting. The organization, Grace Home Church, has two official goals: (1) to glorify God; (2) to assist homeless people. This mix of sacred and secular purposes often produces tensions, with the fundamental tension being between what the charity seeks to provide (salvation) versus what the homeless commonly want to be provided (food). As an analytic tool, I utilize Boltanski

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15

Magalhães de Oliveira, Suzzana. "MEMÓRIA, IMAGEM E ARTE CONTEMPORÂNEA." PÓLEMOS – Revista de Estudantes de Filosofia da Universidade de Brasília 3, no. 5 (2014): 61–80. http://dx.doi.org/10.26512/pl.v3i5.11585.

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Este artigo pretende investigar o diálogo que a arte contemporânea pode estabelecer entre artista e público. Analisando os trabalhos de Christian Boltanski e Joseph Cornell, que têm como ponto comum a memória, pretende-se discorrer, por meio de conceitos da consciência fenomenológica, sobre as relações entre consciência, objeto de arte e fruidor.

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Barashkov, Viktor V. "THE MAIN TRENDS OF AESTHETICAL MODERNIZATION OF CHRISTIAN RELIGIOUS IMAGES IN EUROPE AT THE BEGINNING OF THE 21ST CENTURY." Study of Religion, no. 2 (2018): 122–30. http://dx.doi.org/10.22250/2072-8662.2018.2.122-130.

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The article deals with the problem of dialogue between the church and contemporary art in Europe on the example of art installations in church space. The author analyses works of three contemporary artists: Christian Boltanski (“Na” - Old church in Amsterdam, 2017-2018), Bill Viola (“Martyrs”, 2014-, and “Mary”, 2016-, St. Paul Cathedral in London) and Stefan Knor (“Himmelwerd’s”, Cathedral in Bamberg, Germany, 2012). Christian Boltanski uses the fundamental theme of human obliteration for his art, strengthened by the space of the cathedral, functioned a long time as a crypt. Bill Viola gives

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17

Abella Garcia, Adela. "Christian Boltanski : un artiste contemporain vu et pensé par une psychanalyste." Revue française de psychanalyse 72, no. 4 (2008): 1113. http://dx.doi.org/10.3917/rfp.724.1113.

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王曉華, 王曉華. "視死若死：論波東斯基作品中的記憶創造". 藝術評論 44, № 44 (2023): 149–73. http://dx.doi.org/10.53106/101562402023010044005.

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<p>比起將波東斯基作品中的各種「死亡」具體化地圍繞在納粹大屠殺及其受難者身上，死亡此一主題在這位藝術家的創作裡，更直接關乎的或許是如何面對死亡本身。於是，若總是需要有點什麼東西才能供人以茲悼念，在波東斯基的作品裡面所憑藉的恐怕不再是被悼念者的生平種種與言行事蹟，它甚至毋須一個名字或姓氏。相反的，本文嘗試指出，正因為波東斯基不曾企圖將死亡視為死亡以外的其他之物，在其與死亡有關的每一件作品中，死亡遂不僅成為他緬懷記憶已逝者的起點，並且也是在記憶中唯一被記下來的事物。而根據記憶唯有能在以死亡哀悼死亡之時，方得以創生所開展的論述中軸，本文則將進一步論證，波東斯基如何透過一句簡單的話語自我判死，進而要求作為波東斯基後死者們的觀眾，如同他以其極富個人色彩的祭悼所親自示範的那樣，必得亦將他作品當中的死亡，也化成為自己的記憶。</p> <p>&nbsp;</p><p>The late French artist Christian Boltanski&rsquo;s works, with their suggestions of countless deaths, were often said to evoke the Holocaust and the Jewish victims of Nazi persecut

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19

Jones, David Houston. "All the moments of our lives:self-archiving from Christian Boltanski to lifelogging." Archives and Records 36, no. 1 (2015): 29–41. http://dx.doi.org/10.1080/23257962.2015.1010149.

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20

Chateau, Dominique. "Christian Boltanski, Faire son temps. Pascale Marthine Tayou Black Forest. Sam Mendes 1917." Nouvelle revue d’esthétique 25, no. 1 (2020): 159. http://dx.doi.org/10.3917/nre.025.0159.

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21

Adell, Nicolas. "Octave Debary , Les Fantômes de Christian Boltanski , Grâne, Créaphis Éditions, 2023, 95 p." Ethnologie française Vol. 54, no. 1 (2024): 146–47. http://dx.doi.org/10.3917/ethn.241.0146.

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22

Abreu, Elane. "Monumento/esquecimento: as duplas faces da imagem." Resgate: Revista Interdisciplinar de Cultura 18, no. 1 (2010): 11. http://dx.doi.org/10.20396/resgate.v18i19.8645676.

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Lembrar e esquecer, mostrar e ocultar são verbos de uma dinâmica fotográfica e histórica que tende a encarar o tempo como descontínuo. Com base no pensamento benjaminiano acerca da relação entre imagem e história, é feita uma leitura do trabalho do artista francês Christian Boltanski, que se destaca por trazer à tona a idéia de “monumento” desligada de nomes de grande relevância social. As “pequenas memórias” de que o artista trata em suas imagens se dirigem a dos inúmeros anônimos que, como rastros frágeis, permanecem ocultos ante à força monumental do historicismo.

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Șooş, Teodora. "Instalaţie în postmodernism." Hiperboreea A1, no. 10 (2012): 4–8. http://dx.doi.org/10.5325/hiperboreea.1.10.0004.

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Abstract Installation works in the eighties and nineties became increasingly important as a medium for artists who wanted to assert a vivid, emotional experience. But if Kabakov is the master of what he has called “total installation”, some of the younger installation artists have moved toward a deliberately less defined expressive character in their work; these installations are both more diffuse in personality and experientially open-ended, in a post-modern sense. Despite the loaded subject matter evoked by Christian Boltanski, for example, his own character is less delineated and less clear

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Costa, Luiz Cláudio Da. "Arte e história." Museologia & Interdisciplinaridade 5, no. 10 (2016): 145–56. http://dx.doi.org/10.26512/museologia.v5i10.17732.

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Informadas pela contradição entre documento e arte já vigente nas práticas conceitualistas, as poéticas do arquivo que surgiram por volta dos anos 90 não se pautaram por alternativas restritivas. Orientaram-se por paradoxos renitentes que encerram tanto o que é arte quanto o que não é. A reciprocidade contraditória entre documento e arte estrutura a obra de Fernando Bryce. Aluno de Christian Boltanski nos anos 80, o artista peruano analisa as relações de poder na história desde que a fotografia começou a ser usada na imprensa. Reunindo séries independentes, o livro Americas aborda a história d

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Flaviana, Xavier Antunes Sampaio. "A glimpse of light in the visual arts and the dance." International Journal of Arts and Social Science 5, no. 8 (2023): 42–47. https://doi.org/10.5281/zenodo.7755719.

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This article presents ideas on the use of light in the visual arts and dance. On the former, the work of Robert Irwin, James Turrell and Christian Boltanski will be explored. Installations by the three artists will be analysed and contextualized in terms of light function. In dance, views from and about William Forsythe will be shared as an example of a popular choreographer that investigates lighting design. Considerations on a piece by Akram Khan will be also presented to approach contemporary tendencies in dance lighting. The conclusion summarizes points of convergence and distance between

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Steensen, Kristian Quistgaard, and Kaspar Villadsen. "From social gospel to CSR: Was corporate social responsibility ever radical?" Organization 27, no. 6 (2019): 924–42. http://dx.doi.org/10.1177/1350508419877611.

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Critics lament that corporate social responsibility has failed to significantly change business practices and that it became ‘de-radicalized’ once embraced by corporate business management. Using historical analysis, this article reevaluates this de-radicalization thesis, questioning whether corporate social responsibility ever was as inherently radical as the thesis assumes. The article demonstrates that early corporate social responsibility was already invested with a strategy of pragmatism, an investment that traces back to a group of late 19th and early 20th century American Christian refo

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Figueiredo, Vinícius Borges. "A imagem da morte: arte contemporânea e produção de sentidos." Revista PHILIA | Filosofia, Literatura & Arte 2, no. 1 (2020): 533–62. http://dx.doi.org/10.22456/2596-0911.100244.

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Mediante as relações de sentido que possam existir entre as temáticas do corpo, representação e morte, sobretudo nas produções que se utilizam do suporte da fotografia, e também pensando no ponto de mudança entre o documento fotográfico para a mestiçagem da arte contemporânea, o presente artigo se propõe refletir sobre a produção de três artistas visuais: Rosângela Rennó, Christian Boltanski e YdessaHendeles. Os referidos artistas se utilizaram de práticas mestiças e do suporte fotográfico em suas produções visuais, de modo que, através de um olhar mais aprofundado sobre suas obras, seja possí

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Olsn, Jan Eric. "The Body Voyage as Visual Representation and Art Performance." Nuncius 26, no. 1 (2011): 222–41. http://dx.doi.org/10.1163/182539111x569838.

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AbstractThis paper looks at the notion of the body as an interior landscape that is made intelligible through visual representation. It discerns the key figure of the inner corporeal voyage, identifies its main elements and examines how contemporary artists working with performances and installations deal with it. A further aim with the paper is to discuss what kind of image of the body that is conveyed through medical visual technologies, such as endoscopy, and relate it to contemporary discussions on embodiment, embodied vision and bodily presence. The paper concludes with a recent exhibitio

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Bénichou, Anne. "La transmission des oeuvres d’art : du monument à l’art de l’interprétation. Les ruses de Christian Boltanski." Transmettre, no. 5 (August 10, 2011): 135–61. http://dx.doi.org/10.7202/1005496ar.

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Depuis les années soixante, dans le champ des arts visuels, la multiplication des pratiques artistiques éphémères, idéelles (dont la réalisation matérielle n’est pas obligatoire) et exposées (dont l’intégrité requiert une mise en exposition) incitent les artistes et les conservateurs de musées à renouveler les modes de pérennisation et de transmission des oeuvres. La préservation traditionnelle de l’oeuvre dans sa forme originelle et dans son intégrité laisse place à de nouvelles stratégies. Le régime allographique qui autorise des réitérations multiples par d’autres personnes que l’artiste, à

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김성하. "The philosophical thinking about 'the spectator in the works of art'- about 《Personnes》 of Christian Boltanski." Korean Journal of Art and Media 17, no. 1 (2018): 57–72. http://dx.doi.org/10.36726/cammp.2018.17.1.57.

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31

Penido, Adriana Penido. "Bibliotecade artista." Revista Estado da Arte 1, no. 2 (2020): 1–14. http://dx.doi.org/10.14393/eda-v1-n2-2020-57609.

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A partir das obras “Requiem” (2013) de Emilio Chapella, “Scultura de d´ombra” (2009) de Claudio Parmiggiani, “Missing Names” (2013) de Patricia Osses, “Flying Books - homenaje a Borges” (2012) de Christian Boltanski e “Biblioteca del bosque”, de Miguél Ángel Blanco (2002 - ), pretende-se refletir sobre a presença da biblioteca nas artes visuais. Nota-se a partir dos anos de 1990, um intenso volume de obras cujo interesse é a biblioteca. Poeticamente denominadas “bibliotecas de artista”, essa noção descreve obras produzidas por artistas a partir de ou no espaço de uma biblioteca. Utilizando-se

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김지예. "The Visual Representation of Holocaust through the ‘postmemory’: Focusing on the Works of Christian Boltanski and Anselm Kiefer." Journal of History of Modern Art ll, no. 29 (2011): 7–41. http://dx.doi.org/10.17057/kahoma.2011..29.001.

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Shandler, Jeffrey. "Museums, Memory, And The Imaginary: Jewish Homes Of The Past In Contemporary Artworks." AJS Review: The Journal of the Association for Jewish Studies 47, no. 2 (2023): 419–43. http://dx.doi.org/10.1353/ajs.2023.a911529.

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Abstract: Museums provide prominent encounters with past Jewish domesticity. The most provocative encounters appear in contemporary art installations by Christian Boltanski, Simon Fujiwara, Maira Kalman and Alex Kalman, Elaine Reichek, Ellen Rothenberg, the Sala-Manca Group, and Maya Zack that variously evoke, conjure, or problematize Jewish home life in former times. Unlike historic residences or re-creations staged for historical or ethnographic exhibitions, these artworks are entirely “at home” in the museum, where they simultaneously present and interrogate notions of Jewish domesticity. T

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Bender, Mateus. "As reformas (des)necessárias." Revista Brasileira de Sociologia do Direito 10, no. 2 (2023): 33–48. http://dx.doi.org/10.21910/rbsd.v10i2.678.

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As reformas trabalhistas, na sociedade neoliberal, são vistas como o antídoto necessário para conter as crises. Todavia, as crises parecem não ser temporárias. A crescente exclusão social gera ciclos de novas crises e reformas. Medidas de flexibilização dos direitos do trabalho são consideradas, pelo discurso neoliberal, como essenciais para a sobrevivência do Estado-nação, que fica refém do poder econômico. Sem rumo e com seus direitos e garantias ameaçados, o indivíduo flerta com políticas autoritárias que, inclusive, colocam a democracia em xeque. O presente artigo tem como objetivo refleti

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35

Arfuch, Leonor. "Memoria e imagen." Educação & Realidade 37, no. 2 (2012): 399–408. http://dx.doi.org/10.1590/s2175-62362012000200005.

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Imagen y narración se unen de modo indisociable en todo intento - y por ende, en toda política - de transmisión de la memoria. Tanto por la dimensión icónica de la palabra, que hace del relato una pantalla proyectiva de nuestra imaginación - imaginación no menos verdadera que la que atestiguan las imágenes- como por el carácter narrativo de la imagen, aunque ésta requiera a menudo de la vecindad de la palabra. En ambos registros la idea de transmisión - que tiene en el campo educativo una valencia singular - evoca una intencionalidad, una tensión hacia el otro, el destinatario, que pone en jue

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Jung, Hyung Won. "A Study on the Embodiment and Artistic Practice of Alley Narratives Based on Hodology." korea soc pub des 16 (March 31, 2025): 17–26. https://doi.org/10.54545/kspd.2025.03.17.

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This study explores how urban alleys function not merely as pedestrian pathways but as affective and narrative spaces. By applying hodology and embodied narrative theories, this study analyzes how pedestrian movement and sensory experiences construct spatial meanings. Furthermore, it investigates how sound art and performance art transform alleys into immersive narrative environments, where pedestrians actively engage with their surroundings. This research examines the works of Janet Cardiff, Christian Boltanski, and Bill Fontana and conducts an Autoethnographic study of alleys in Ikseon-dong

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Karaman Güvenç, Bahar. "Güncel sanatta “evin yokluğu”na bellek izinden bakış." International Journal of Eurasia Social Sciences 16, no. 59 (2025): 581–98. https://doi.org/10.70736/ijoess.568.

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Ev teması, sanat tarihinde sıkça karşımıza çıkan bir konudur. Sanat eserlerinde yer alan ev görünümleri, iç ve dış mekânları içeren peyzajlar veya sembolik-metaforik ifadelerle çeşitlilik kazanmaktadır. Güncel sanatta ise evlerin yok olma üzerine temellenen boyutu ile sanatçıların çalışma konuları içinde yer alması özellikle dikkat çekicidir. Güncel yaşam içindeki toplumsal düzenin değişmesi, yaşam koşullarının dönüşmesi, küreselleşme, göç ve yerinden edilmeler sebebiyle aidiyet-aidiyetsizlik, sosyal eşitsizlik gibi durumlar evin varlığı ve yokluğu sorgulamaları için zemin hazırlamıştır. Bu ar

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Solomon-Godeau, A. "Mourning or Melancholia: Christian Boltanski's Missing House." Oxford Art Journal 21, no. 2 (1998): 1–20. http://dx.doi.org/10.1093/oxartj/21.2.1.

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Hribar Sorčan, Valentina. "Osebni in kolektivni spomin v umetnosti: Boltanski, Kiefer, Mušič." Ars & Humanitas 12, no. 2 (2018): 115–34. http://dx.doi.org/10.4312/ah.12.2.115-134.

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Članek prikaže, kako se z osebnim spominom najlaže približamo kolektivnemu spominu. Takšno je tudi sporočilo francoskega umetnika Christiana Boltanskega (roj. l. 1944). Njegove instalacije sugerirajo tragično usodo žrtev druge svetovne vojne, in sicer tako, da so na njih razstavljeni predmeti, ki vzbudijo empatijo do kolektivnih spominov na osebni ravni prek čustvenega spomina (nošena oblačila, stare fotografije in knjige itd.). Na drugi strani platna nemškega slikarja Anselma Kieferja (prav tako roj. l. 1944) spomine na drugo svetovno vojno obudijo na podlagi kolektivnih (germanskih) mitov in

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Hribar Sorčan, Valentina. "Osebni in kolektivni spomin v umetnosti: Boltanski, Kiefer, Mušič." Ars & Humanitas 12, no. 2 (2018): 115–34. http://dx.doi.org/10.4312/ars.12.2.115-134.

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Članek prikaže, kako se z osebnim spominom najlaže približamo kolektivnemu spominu. Takšno je tudi sporočilo francoskega umetnika Christiana Boltanskega (roj. l. 1944). Njegove instalacije sugerirajo tragično usodo žrtev druge svetovne vojne, in sicer tako, da so na njih razstavljeni predmeti, ki vzbudijo empatijo do kolektivnih spominov na osebni ravni prek čustvenega spomina (nošena oblačila, stare fotografije in knjige itd.). Na drugi strani platna nemškega slikarja Anselma Kieferja (prav tako roj. l. 1944) spomine na drugo svetovno vojno obudijo na podlagi kolektivnih (germanskih) mitov in

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윤희경. "Memory of the Holocaust in Christian Boltanski's Photo-based Art." Korean Bulletin of Art History ll, no. 48 (2017): 177–201. http://dx.doi.org/10.15819/rah.2017..48.177.

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Etter, Valérie. "ATMINTIES PAREIGA IR ŠIUOLAIKINIS MENAS: CHRISTIANAS BOLTANSKIS IR JOCHENAS GERZAS." Literatūra 59, no. 4 (2018): 107. http://dx.doi.org/10.15388/litera.2017.4.11251.

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Atminties pareiga nurodo moralinį įsipareigojimą palaikyti kančių, kurias praeityje patyrė kai kurios tautos, atminimą. Toks pripažinimas reikalingas, kad krizes išgyvenę individai ir visuomenės pajėgtų atgimti ir nebekartotų praeities klaidų ir nusikaltimų. Mūsų straipsnyje aptariamas šiuolaikinis menas, keliantis klausimą apie istorinio monumento vertę mūsų laikais ir apie atminties įamžinimo būdus. Vokiečių kilmės konceptualusis menininkas Jochenas Gerzas (g. 1940 m. Berlyne) susitelkė prie Šoa, kurį galima laikyti labiausiai traumuojančiu XX a. įvykiu, atminties temos. Mus domina du emblem

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Smith, Olga. "Authorless Pictures: Uses of Photography in Christian Boltanski's Early Work (1969-75)." Art History 40, no. 3 (2016): 634–57. http://dx.doi.org/10.1111/1467-8365.12248.

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DeRoo, R. J. "Christian Boltanski's Memory Images: Remaking French Museums in the Aftermath of '68." Oxford Art Journal 27, no. 2 (2004): 219–38. http://dx.doi.org/10.1093/oaj/27.2.219.

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Marinkov-Pavlovic, Lidija. "From dynamic frame to moving image: Remediation and history in Christian Boltanski's works." Zbornik Akademije umetnosti, no. 5 (2017): 77–88. http://dx.doi.org/10.5937/zbakum1705077m.

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Bergman-Carton, Janis. "Christian Boltanski's Dernieres Annees: The History of Violence and the Violence of History." History & Memory 13, no. 1 (2001): 3–18. http://dx.doi.org/10.1353/ham.2001.0003.

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Bergman-Carton. "Christian Boltanski's: Dernières Années: The History of Violence and the Violence of History." History and Memory 13, no. 1 (2001): 3. http://dx.doi.org/10.2979/his.2001.13.1.3.

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Maldavsky, Aliocha. "Financiar la cristiandad hispanoamericana. Inversiones laicas en las instituciones religiosas en los Andes (s. XVI y XVII)." Vínculos de Historia. Revista del Departamento de Historia de la Universidad de Castilla-La Mancha, no. 8 (June 20, 2019): 114. http://dx.doi.org/10.18239/vdh_2019.08.06.

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RESUMENEl objetivo de este artículo es reflexionar sobre los mecanismos de financiación y de control de las instituciones religiosas por los laicos en las primeras décadas de la conquista y colonización de Hispanoamérica. Investigar sobre la inversión laica en lo sagrado supone en un primer lugar aclarar la historiografía sobre laicos, religión y dinero en las sociedades de Antiguo Régimen y su trasposición en América, planteando una mirada desde el punto de vista de las motivaciones múltiples de los actores seglares. A través del ejemplo de restituciones, donaciones y legados en losAndes, se

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Pietri, Nicole. "Une vie en boîte : The Life of C.B." Fabula-Lht : La Mort de l'auteur, no. 22 (June 24, 2019). http://dx.doi.org/10.58282/lht.2344.

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Resume :The Life of C.B. de Christian Boltanski a été achetée en viager par David Walsh. L’atelier de Boltanski est filmé jour et nuit jusqu’à la mort de l’artiste. La partie se joue dans une totale visibilité et Walsh apprécierait que Boltanski trouve la mort dans ce lieu. Il possèderait ainsi la dernière image de l’artiste. Cette œuvre ultime de Christian Boltanski, qui ne sera « constituée » qu’à la mort de l’artiste, interroge les relations entre la mort de l’auteur et l’achèvement de ses œuvres.

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Louedec, Elise. "Laure Adler, Christian Boltanski : récits." Critique d’art, July 25, 2022. http://dx.doi.org/10.4000/critiquedart.93590.

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