In his studio, in his car, Gérald Fox follows the elusive Boltanski who, in his installations, makes use of portraits, newspaper clippings, magazines, family albums. The photographic approach, endlessly recomposed, proceeds by juxtaposition and accumulation. Each shot, framed in black, is lit by visible bulbs, the mass effect restoring the individual: walls of votive images that question the memory, our dark side, the inevitable passage of time, the traces left behind. Between autofiction and reality, Boltanski: artist or maker (of beauty)?
0.0/10In his studio, in his car, Gérald Fox follows the elusive Boltanski who, in his installations, makes use of portraits, newspaper clippings, magazines, family albums. The photographic approach, endlessly recomposed, proceeds by juxtaposition and accumulation. Each shot, framed in black, is lit by visible bulbs, the mass effect restoring the individual: walls of votive images that question the memory, our dark side, the inevitable passage of time, the traces left behind. Between autofiction and reality, Boltanski: artist or maker (of beauty)?
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