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Christian Boltanski, ‘6 Septembres’, 2005, Fondation Louis Vuitton
Christian Boltanski, ‘6 Septembres’, 2005, Fondation Louis Vuitton
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6 Septembres, 2005

Triple video projection, three remote control buttons, sound
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About the work
Exhibition history
Fondation Louis Vuitton
Paris

Collection: Fondation Louis Vuitton, Paris

Collection: Fondation Louis Vuitton, Paris

Medium
Video/Film/Animation
Image rights
Photo: Fondation Louis Vuitton / Marc Domage © ADAGP, Paris
Christian Boltanski
French, b. 1944
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Preoccupied with collective memory, mortality, and the passage of time, Christian Boltanski creates paintings, sculptures, films, and mixed-media installations that approach these themes in a range of styles, symbolic to direct. Boltanski often makes metaphorical use of found objects, as in No Man’s Land (2010), an enormous pile of discarded jackets set to the soundtrack of thousands of human heartbeats, suggesting the anonymity, randomness, and inevitability of death. In Monuments (1985), electrical bulbs cast a seemingly bittersweet light on pictures of child holocaust victims. Describing his interest in personal histories, Boltanski has said, “What drives me as an artist is that I think everyone is unique, yet everyone disappears so quickly. […] We hate to see the dead, yet we love them, we appreciate them.”

Christian Boltanski, ‘6 Septembres’, 2005, Fondation Louis Vuitton
Christian Boltanski, ‘6 Septembres’, 2005, Fondation Louis Vuitton
Save
Save
Share
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Save
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Share
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About the work
Exhibition history
Fondation Louis Vuitton
Paris

Collection: Fondation Louis Vuitton, Paris

Collection: Fondation Louis Vuitton, Paris

Medium
Video/Film/Animation
Image rights
Photo: Fondation Louis Vuitton / Marc Domage © ADAGP, Paris
Christian Boltanski
French, b. 1944
Follow

Preoccupied with collective memory, mortality, and the passage of time, Christian Boltanski creates paintings, sculptures, films, and mixed-media installations that approach these themes in a range of styles, symbolic to direct. Boltanski often makes metaphorical use of found objects, as in No Man’s Land (2010), an enormous pile of discarded jackets set to the soundtrack of thousands of human heartbeats, suggesting the anonymity, randomness, and inevitability of death. In Monuments (1985), electrical bulbs cast a seemingly bittersweet light on pictures of child holocaust victims. Describing his interest in personal histories, Boltanski has said, “What drives me as an artist is that I think everyone is unique, yet everyone disappears so quickly. […] We hate to see the dead, yet we love them, we appreciate them.”

6 Septembres, 2005

Triple video projection, three remote control buttons, sound
Want to sell a work by this artist? Consign with Artsy.
Other works from Installment 1: Inaugural Exhibition
Other works by Christian Boltanski
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Time
Film/Video