{"id":23844,"date":"2020-02-07T14:42:36","date_gmt":"2020-02-07T13:42:36","guid":{"rendered":"https:\/\/balkon.art\/home\/?p=23844"},"modified":"2022-02-12T22:26:01","modified_gmt":"2022-02-12T21:26:01","slug":"eletmu-archivumok-christian-boltanski-faire-son-temps","status":"publish","type":"post","link":"https:\/\/balkon.art\/home\/eletmu-archivumok-christian-boltanski-faire-son-temps\/","title":{"rendered":"\u00c9letm\u0171 arch\u00edvumok"},"content":{"rendered":"[vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]\n

Christian Boltanski: Faire son temps<\/em><\/h2>\n[\/vc_column_text][vc_column_text el_class=”p-2-0″]\n

Centre Pompidou, P\u00e1rizs
\n2019. november 13 \u2013 2020. m\u00e1rcius 16.*<\/span><\/h4>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]\n

\u201eMit jelent sz\u00e1momra, jelen pillanatban, hogy a Pompidou K\u00f6zpontban \u00e1ll\u00edtok ki?
\nMit jelent a Pompidou? Hogyan rombolhat\u00f3 le a Pompidou? Hogyan siker\u00fclhet, ami a legnehezebbnek t\u0171nik, \u00e9rzelmet kelteni ebben a t\u00e9rben? Hogyan ne ess\u00fcnk a csapd\u00e1j\u00e1ba? Hogyan alak\u00edthat\u00f3 \u00e1t a Pompidou valami m\u00e1ss\u00e1, ami m\u00e1r nem a Pompidou?\u201d1<\/span>[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

*<\/p>\n

https:\/\/www.centrepompidou.fr\/fr\/programme\/ agenda\/evenement\/crEx95d<\/a><\/p>\n

1<\/p>\n

Christian Boltanski \u2013 Catherine Grenier: La Vie possible de Christian Boltanski,<\/em> Seuil, Paris, 2007, 282. (a tov\u00e1bbiakban La vie possible de C.B.)<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]Ezeket a dilemm\u00e1kat Christian Boltanski<\/span> egy Catherine Grenier<\/span>-vel folytatott hossz\u00fa besz\u00e9lget\u00e9ssorozat v\u00e9g\u00e9n fogalmazza meg, m\u00e9g 2005-ben. \u00c9rdemes megjegyezni, hogy akkor ezt az \u00e9letm\u0171interj\u00fat a m\u0171v\u00e9sz egyfajta pszichoter\u00e1pi\u00e1s vallom\u00e1snak sz\u00e1nja, melynek alapelve, hogy a k\u00f6zel egy \u00e9ven kereszt\u00fcl, heti rendszeress\u00e9ggel zajl\u00f3 besz\u00e9lget\u00e9seken elhangzottakat a k\u00e9rdez\u0151nek minden m\u00f3dos\u00edt\u00e1s n\u00e9lk\u00fcl kell le\u00edrnia. Ez egy\u00e9bk\u00e9nt pontosan illik Boltanski szeml\u00e9let\u00e9hez, aki mag\u00e1t a sz\u00f3belis\u00e9g k\u00f6vet\u0151i k\u00f6z\u00e9 sorolja, mivel gondolatait nem essz\u00e9kben, hanem \u00e9l\u0151besz\u00e9dben, folyamatos diskurzusokban fejti ki, melyek t\u00e1rgya a m\u0171v\u00e9szet \u00e9s az \u00e9let, vagy pontosabban a m\u0171 \u00e9s a m\u0171v\u00e9sz \u00e9let\u00e9nek kapcsolata. Tov\u00e1bb\u00e1 \u00f6nmag\u00e1t els\u0151sorban olyan hagyom\u00e1nyos mes\u00e9l\u0151nek tartja, aki l\u00e1togat\u00f3j\u00e1t, t\u00f6rt\u00e9netei vagy m\u00edtoszai r\u00e9v\u00e9n, egy m\u00e1sik val\u00f3s\u00e1g fel\u00e9 vezeti.<\/p>\n

\u201eM\u00edtoszokat alkotni fontosabb, mint m\u0171veket\u201d2<\/span> \u2013 mondja egy eg\u00e9szen friss, Bernard Blistene<\/span>-nel folytatott besz\u00e9lget\u00e9sben. Ehhez hozz\u00e1tartozik, hogy Christian Boltanski \u00e9lete is egy m\u00edtosz, eg\u00e9szen els\u0151 filmj\u00e9t\u0151l, mely a La vie impossible de Christian Boltanski<\/em> (1967) c\u00edmet viselte, eg\u00e9szen a Pompidou K\u00f6zpont aktu\u00e1lis \u00e9s grandi\u00f3zus ki\u00e1ll\u00edt\u00e1s\u00e1ig. Ugyanebben az interj\u00faban, mely a ki\u00e1ll\u00edt\u00e1skatal\u00f3gus k\u00eds\u00e9r\u0151sz\u00f6vegek\u00e9nt jelent meg, arr\u00f3l a m\u0171v\u00e9szeti tapasztalatr\u00f3l is vall, mely szerint \u201emin\u00e9l t\u00f6bbet dolgozunk, ann\u00e1l ink\u00e1bb elt\u0171n\u00fcnk, ann\u00e1l ink\u00e1bb saj\u00e1t m\u0171v\u00fcnkk\u00e9 v\u00e1lunk\u201d.3<\/span> Egy id\u0151 ut\u00e1n teh\u00e1t a saj\u00e1t \u00e9let megk\u00fcl\u00f6nb\u00f6ztethetetlen lesz a m\u0171vekben megjelen\u0151 \u00e9letekt\u0151l. Ahogy Boltanski megfogalmazza: \u201eazt hiszem, hogy an\u00e9lk\u00fcl mutattam be az \u00e9letet, hogy meg\u00e9ltem volna\u201d.4<\/span><\/p>\n[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

2<\/p>\n

Christian Boltanski: Faire son temps (Catalogue),<\/em> \u00c9ditions du Centre Pompidou, Paris, 2019, 96. (a tov\u00e1bbiakban Catalogue)<\/p>\n

3<\/p>\n

Catalogue,<\/em> 98.<\/p>\n

4<\/p>\n

Catalogue,<\/em> 98.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”full-0-20″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”p-cont-4-0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”23929″ image_size=”full” animation_type=”entrance” animation=”Fade In” hover_animation=”none” alignment=”” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Christian Boltanski: Faire son temps,<\/em> 2019, Centre Pompidou (r\u00e9szlet a ki\u00e1ll\u00edt\u00e1sb\u00f3l) \u00a9 Fot\u00f3: Centre Pompidou, Philippe Migeat<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-4-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]A meg-nem-\u00e9l\u00e9s azonban nem jelenti azt, hogy ne lehetne az \u00e1ltalunk \u201eelk\u00e9pzelt \u00e9let(ek)r\u0151l\u201d egy val\u00f3dibb \u00e9s m\u00e9lyebb ismeret\u00fcnk. De vajon mi teszi sz\u00fcks\u00e9gess\u00e9 ezeket az elk\u00e9pzelt \u00e9leteket?<\/p>\n

Mindenekel\u0151tt az \u00e9letr\u0151l val\u00f3 lemond\u00e1s vagy az \u00e9let hi\u00e1nya. An\u00e9lk\u00fcl, hogy a m\u0171v\u00e9sz \u00e9letrajz\u00e1ba (melynek jelent\u0151s\u00e9g\u00e9t az \u00e9rintett egy\u00e9bk\u00e9nt is tagadja) r\u00e9szletesen belemenn\u00e9nk, annyit fontos megeml\u00edten\u00fcnk, hogy Christian Boltanski a m\u00e1sodik vil\u00e1gh\u00e1bor\u00fa v\u00e9g\u00e9n sz\u00fcletett, 1944. szeptember 6-\u00e1n,5<\/span> korzikai katolikus anya \u00e9s ukr\u00e1n zsid\u00f3 apa gyermekek\u00e9nt, egy f\u00e9lelemt\u0151l \u00e1tj\u00e1rt k\u00f6rnyezetben. Ennek oka f\u0151leg az, hogy az orvos ap\u00e1t k\u00f6zel k\u00e9t \u00e9vig a lak\u00e1s alatti rejtekhelyen b\u00fajtatt\u00e1k, ahonnan \u2013 a legenda szerint \u2013 csak a gyermeke sz\u00fclet\u00e9sekor j\u00f6tt fel, akit k\u00e9s\u0151bb Christian-Libert\u00e9 n\u00e9ven anyak\u00f6nyveztek (Boltanski egy\u00e9bk\u00e9nt nem egyed\u00fcli gyermek, k\u00e9t fiv\u00e9re szint\u00e9n ismert \u00e9rtelmis\u00e9gi: a nyelv\u00e9sz Jean-\u00c9lie \u00e9s a szociol\u00f3gus Luc). Gyermekkor\u00e1t egy t\u00fal \u00f3v\u00f3 k\u00f6rnyezetben t\u00f6lt\u00f6tte, k\u00f6zel h\u00fasz\u00e9ves kor\u00e1ig k\u00eds\u00e9ret n\u00e9lk\u00fcl m\u00e9g az utc\u00e1ra sem mehetett ki, tanulm\u00e1nyait hamar f\u00e9lbehagyta, ez\u00e9rt teljesen autodidakta m\u00f3don szerezte ismereteit. K\u00e9s\u0151bb megismerkedett a szint\u00e9n k\u00e9pz\u0151m\u0171v\u00e9sz Annette Messager<\/span>-vel, akivel az\u00f3ta is egy p\u00e1rt alkotnak. \u00c9let\u00e9ben az egyik legnagyobb v\u00e1lt\u00e1st a sz\u00fcl\u0151i otthonban kialak\u00edtott m\u0171terem elhagy\u00e1sa, \u00e9s a Malakoffba k\u00f6lt\u00f6z\u00e9s jelentette (1981-ben), valamint ezzel k\u00f6zel egyid\u0151ben a sz\u00fclei hal\u00e1la. Christoph Boltanski val\u00f3s \u00e9let\u00e9nek esem\u00e9nyeib\u0151l ennyit \u00e9rdemes felid\u00e9zni, a t\u00f6bbi a m\u0171vek t\u00f6rt\u00e9nete.<\/p>\n

Ugyanakkor korai munk\u00e1i k\u00f6z\u00fcl m\u00e1r az 1969-ben kiadott els\u0151 k\u00f6nyv (Recherche et pr\u00e9sentation de tout ce qui reste de mon enfance,<\/em> 1944\u201350) is hamis fot\u00f3kat mutat fel saj\u00e1t fot\u00f3kk\u00e9nt; p\u00e1r \u00e9vvel k\u00e9s\u0151bb pedig az Album de photos de la famille D.,<\/em> 1939\u20131964 (1971),6<\/span> melyet Boltanski els\u0151 meghat\u00e1roz\u00f3 ki\u00e1ll\u00edt\u00e1s\u00e1n, az 1972-es document\u00e1n mutatnak be, egy egyszerre k\u00e9pzeletbeli \u00e9s l\u00e9tez\u0151 Michel Durand csal\u00e1dj\u00e1t prezent\u00e1lja, egy teljesen \u00e1tlagos csal\u00e1d \u00e9let\u00e9nek f\u00e9nyk\u00e9palbumak\u00e9nt (Franciaorsz\u00e1gban a Durand az egyik legelterjedtebb n\u00e9v). Innent\u0151l kezdve Christian Boltanski \u00f6narck\u00e9pei \u00e9pp annyira saj\u00e1tok \u00e9s nem saj\u00e1tok (hiszen t\u00f6bbnyire nem az \u0151 von\u00e1sait r\u00f6gz\u00edtik), mint \u00f6sszes portr\u00e9ja, melyeken ismeretlen tekintetek sz\u00f3l\u00edtanak meg minket, megragad\u00f3 \u00e9s kiker\u00fclhetetlen er\u0151vel.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

5<\/p>\n

\u00c9rdekes megjegyezni, hogy 60 \u00e9ves kor\u00e1ban k\u00e9sz\u00edt, az INA filmarch\u00edvum\u00e1t felhaszn\u00e1lva, egy r\u00f6vidfilmet (6 septembres<\/em>), melyet az elm\u00falt hatvan \u00e9v szeptember 6-ai h\u00edrad\u00f3anyagaib\u00f3l v\u00e1g \u00f6ssze. Sz\u00e1nd\u00e9ka szerint ez az alig h\u00e1romperces alkot\u00e1s egyszerre \u00f6sszegz\u00e9s \u00e9s vanitas. Ld. https:\/\/www.youtube.com\/watch?v=YHbsExdl8tw<\/a> (utols\u00f3 let\u00f6lt\u00e9s: 2019. november 26.)<\/p>\n

6<\/p>\n

http:\/\/i-ac.eu\/fr\/collection\/314_album-de-photos-de-la-famille-d-1939-1964-CHRISTIAN-BOLTANSKI-1971<\/a><\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”p-cont-4-0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”23964″ image_size=”full” animation_type=”entrance” animation=”Fade In” hover_animation=”none” alignment=”center” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Christian Boltanski: L\u2019Album de photographies de la famille D. entre 1939 et 1964,<\/em> 1971, fekete-feh\u00e9r nyomatok b\u00e1dogkeretben, 22,5\u00d731\u00d74 cm (minden keret); 220\u00d7450\u00d74 cm (teljes m\u00e9ret) Institut d\u2019art contemporain de Villeurbanne, Villeurbanne, en d\u00e9p\u00f4t au Mus\u00e9e d\u2019art moderne et contemporain de Saint-\u00c9tienne M\u00e9tropole \u00a9 Mus\u00e9e d’art moderne et contemporain de Saint-\u00c9tienne M\u00e9tropole \u00a9 Fot\u00f3: Yves Bresson \u00a9 Adagp, P\u00e1rizs, 2019<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-4-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]Mindezek ut\u00e1n, kicsoda Christian Boltanski? Mit jelent egy neki szentelt \u00e9letm\u0171ki\u00e1ll\u00edt\u00e1s?<\/p>\n

Ha a Boltanski n\u00e9v alatt az \u00e1ltala alkotott \u00e9s k\u00f6vetkez\u00e9sk\u00e9pp \u0151t alkot\u00f3 m\u0171vek sokas\u00e1g\u00e1t \u00e9rtj\u00fck, akkor van-e jelent\u0151s\u00e9ge annak, hogy az egyes m\u0171vek milyen sorrendben j\u00f6ttek l\u00e9tre? Boltanski szerint egy\u00e9rtelm\u0171en nincs, mivel kategorikusan elveti a fejl\u0151d\u00e9s b\u00e1rmilyen eszm\u00e9j\u00e9t. T\u00f6bbsz\u00f6r hangot ad azon meggy\u0151z\u0151d\u00e9s\u00e9nek, hogy sem \u00e1ltal\u00e1ban a m\u0171v\u00e9szetben, sem az egy\u00e9n m\u0171v\u00e9szet\u00e9ben nincs val\u00f3di fejl\u0151d\u00e9s. Ugyanazokat a k\u00e9rd\u00e9seket tessz\u00fck fel \u00fajra \u00e9s \u00fajra, legfeljebb a v\u00e1laszad\u00e1s eszk\u00f6zei \u00e9s form\u00e1i v\u00e1ltoznak. Ez\u00e9rt a Boltanski \u00e9letm\u0171ki\u00e1ll\u00edt\u00e1s sem k\u00f6vethet egy hagyom\u00e1nyos, megszokott, kronologikus utat.<\/p>\n

Ezek ut\u00e1n azt v\u00e1rhatn\u00e1nk, hogy a kiindul\u00f3- \u00e9s v\u00e9gpontnak \u2013 melyet a ki\u00e1ll\u00edt\u00e1s elej\u00e9n elhelyezett k\u00e9t neonfelirat: a Depart<\/em> (2015) \u00e9s az Arriv\u00e9e<\/em> (2015) jelez \u2013 voltak\u00e9pp egybe kellene esnie. Ann\u00e1l is ink\u00e1bb, mert ez a k\u00e9t sz\u00f3 az \u00e9letet is szimboliz\u00e1lja, mely minden pillanat\u00e1ban elindul\u00e1s \u00e9s meg\u00e9rkez\u00e9s. A k\u00e9t v\u00e9gpont egybees\u00e9se tov\u00e1bb\u00e1 kifejezhetn\u00e9 a meg\u00e1ll\u00e1st vagy stagn\u00e1l\u00e1st is, hiszen ahogy a katal\u00f3gusban Boltanski megfogalmazza: \u201e\u00fagy v\u00e9lem, hogy egy r\u00e1ad\u00e1s id\u0151ben \u00e9lek, m\u00e1r legal\u00e1bb t\u00edz \u00e9ve meghalhattam volna\u201d.7<\/span>[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

7<\/p>\n

Catalogue,<\/em> 21.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”full-5-20″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”p-cont-4-0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”23930″ image_size=”full” animation_type=”entrance” animation=”Fade In” hover_animation=”none” alignment=”center” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Christian Boltanski: Depart,<\/em> 2015, Centre Pompidou (r\u00e9szlet a ki\u00e1ll\u00edt\u00e1sb\u00f3l) \u00a9 Fot\u00f3: Centre Pompidou, Philippe Migeat<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-4-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]Ezzel szemben a ki\u00e1ll\u00edt\u00e1s \u2013 tal\u00e1n a ki\u00e1ll\u00edt\u00f3t\u00e9r jelleg\u00e9b\u0151l ad\u00f3d\u00f3an \u2013 a kronol\u00f3gi\u00e1t nem teljesen bontja meg. Az els\u0151 teremben a korai korszak k\u00e9t emblematikus m\u0171v\u00e9vel tal\u00e1ljuk szembe magunkat: a Le chambre ovale<\/em> (1967) festm\u00e9nnyel, \u00e9s a kompoz\u00edci\u00f3j\u00e1ban erre er\u0151sen eml\u00e9keztet\u0151, L\u2019Homme qui tousse<\/em> (1969) c\u00edm\u0171, alig h\u00e1romperces r\u00f6vidfilmmel,8<\/span> mely a minimalista expresszionizmus jegyeit mutatja. A f\u00f6ld\u00f6n \u00fcl\u0151, g\u00f6rcs\u00f6s f\u00e1jdalommal el\u0151red\u0151l\u0151, sz\u00ednes fest\u00e9kkel bor\u00edtott figura mintha egyszerre k\u00f6h\u00f6gne, \u00f6klendezne \u00e9s h\u00f6r\u00f6gne. Ez a sokkol\u00f3 \u00e9s nehezen elviselhet\u0151 hang, m\u00e9g a teremt\u0151l elt\u00e1volodva is, sok\u00e1ig hallhat\u00f3. Az utols\u00f3 teremben viszont a k\u00f6zelm\u00faltban k\u00e9sz\u00fclt k\u00e9t Animitas<\/em>t l\u00e1tunk (Animitas Chili,<\/em> 2014 \u00e9s Animitas blanc,<\/em> 2017). Mindkett\u0151 a term\u00e9szet sz\u00ednh\u00e1zak\u00e9nt megjelen\u0151 videoprojekci\u00f3, melyek k\u00f6z\u00fcl az els\u0151 egy m\u00e9g eleven, a m\u00e1sodik egy m\u00e1r halott t\u00e1jat mutat, a benn\u00fck lengedez\u0151 sz\u00e9lcseng\u0151kkel, melyek \u00fagy sz\u00f3lnak, ak\u00e1r a l\u00e9lekharangok. Ha teh\u00e1t \u00f6sszevetj\u00fck az els\u0151 \u00e9s az utols\u00f3 termet, akkor azt mondhatjuk, hogy m\u00e9giscsak van egy id\u0151beli halad\u00e1s, m\u00e9g akkor is, ha a k\u00f6zb\u00fcls\u0151 termekben a kronol\u00f3gia felborul. Ezt a halad\u00e1s\u00e9rzetet \u2013 mely voltak\u00e9pp a semmi fel\u00e9 tart\u00f3 halad\u00e1s \u2013 m\u00e9g ink\u00e1bb al\u00e1t\u00e1masztja a ki\u00e1ll\u00edt\u00e1s utols\u00f3, kifejezetten erre az alkalomra k\u00e9sz\u00fclt alkot\u00e1sa, a Le Passage<\/em> (2019). A mind\u00f6ssze hat m\u00e1sodperces n\u00e9mafilmen \u2013 mely egy v\u00e1szonra vet\u00edtett, fekete-feh\u00e9r mozg\u00f3k\u00e9pszekvencia \u2013 egy h\u00e1tulr\u00f3l l\u00e1tott t\u00f6meg lassan a semmibe t\u0171nik.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

8<\/p>\n

https:\/\/www.youtube.com\/watch?v=bfJJwdD306c<\/a> (utols\u00f3 let\u00f6lt\u00e9s: 2019. november 26.)<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”p-cont-4-0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”23931″ image_size=”full” animation_type=”entrance” animation=”Fade In” hover_animation=”none” alignment=”center” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Christian Boltanski: La chambre ovale,<\/em> 1967, akril, farost, 115\u00d7146,5 cm | Centre Pompidou, Mus\u00e9e national d\u2019art moderne, Paris, achat de l\u2019\u00c9tat, 1968; attribution au Centre Pompidou, Mus\u00e9e national d\u2019art moderne, 2008 | Collection Centre Pompidou, MNAM-CCI \u00a9 Fot\u00f3: Adam Rzepka \/ Dist. RMN-GP \u00a9 Adagp, Paris, 2019<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-cont-4-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]Azt gondolhatn\u00e1nk, hogy az elt\u0171n\u00e9s az utols\u00f3 \u00e9vek probl\u00e9m\u00e1ja, ez azonban csak r\u00e9szben igaz. Val\u00f3j\u00e1ban Boltanski, szigor\u00fa k\u00f6vetkezetess\u00e9ggel, azokat a probl\u00e9m\u00e1kat gondolja \u00fajra, melyek \u201et\u00fal\u00e9l\u0151\u201d st\u00e1tusz\u00e1b\u00f3l ad\u00f3dnak.9<\/span> Ahogy a 2005-\u00f6s besz\u00e9lget\u00e9sben megfogalmazza: \u201eazt hiszem, hogy igaz\u00e1n a XX. sz\u00e1zadhoz tartozom, \u00e9s kiv\u00e1ltk\u00e9pp a h\u00e1bor\u00fa ut\u00e1ni \u00e9vekhez\u201d.10<\/span> M\u0171veiben ez\u00e9rt els\u0151dleges k\u00e9rd\u00e9s az, hogy mi\u00e9rt lesz valakib\u0151l (\u00e9s nem valaki m\u00e1sb\u00f3l) t\u00fal\u00e9l\u0151. Erre persze nincs v\u00e1lasz, a sors \u00e9s a vakszerencse fogalmain t\u00fal, melyek Boltanskit megr\u00f6gz\u00f6tten foglalkoztatj\u00e1k. Ebb\u0151l k\u00f6vetkez\u0151en f\u0151 t\u00f6rekv\u00e9se az, hogy m\u0171vei nyomot hagyjanak azok helyett, akik l\u00e1tsz\u00f3lag nyomtalanul t\u0171ntek el. Minden m\u0171alkot\u00e1s \u00edgy lesz jelad\u00e1s, mely egy m\u00e1r ott nem lev\u0151r\u0151l tan\u00faskodik, t\u00e1voll\u00e9t\u00e9nek felmutat\u00e1sa \u00e1ltal. Boltanski saj\u00e1t szem\u00e9ly\u00e9t \u00e9s \u00e9let\u00e9t csak annyiban tartja fontosnak, amennyiben lehet\u0151v\u00e9 teszi, hogy \u00e1ltala a feled\u00e9sb\u0151l kiemelkedjenek egyes efem\u00e9r, semmibe veszett \u00e9letek.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

9<\/p>\n

Christian Boltanski m\u0171v\u00e9szetet t\u00f6bbnyire Anselm Kiefer vagy Gerhard Richter<\/span> munk\u00e1ss\u00e1g\u00e1hoz szokt\u00e1k hasonl\u00edtani, a m\u00e1sodgener\u00e1ci\u00f3s traumafeldolgoz\u00e1s, valamint a tematika szempontj\u00e1b\u00f3l. Mi most sz\u00e1nd\u00e9kosan ker\u00fclj\u00fck ezeket a l\u00e1tszatp\u00e1rhuzamokat, mert Boltanski \u00e9letm\u0171v\u00e9t nem m\u00e1s \u00e9letm\u0171vekkel \u00f6sszevetve, hanem \u00f6nmag\u00e1ban- \u00e9s egyed\u00fcl\u00e1ll\u00f3k\u00e9nt akarjuk bemutatni. Meggy\u0151z\u0151d\u00e9s\u00fcnk ugyanis, hogy ez az \u00e9letm\u0171 nem m\u00e1s hat\u00e1sokat k\u00f6vetve vagy azokhoz igazodva, hanem csup\u00e1n saj\u00e1t bels\u0151 sz\u00fcks\u00e9gszer\u0171s\u00e9ge szerint halad.<\/p>\n

10<\/p>\n

La vie possible de C.B.,<\/em> 65.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”p-cont-4-0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”23933″ image_size=”full” animation_type=”entrance” animation=”Fade In” hover_animation=”none” alignment=”center” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Christian Boltanski: Faire son temps,<\/em> 2019, Centre Pompidou (r\u00e9szlet a ki\u00e1ll\u00edt\u00e1sb\u00f3l) \u00a9 Fot\u00f3: Centre Pompidou, Philippe Migeat<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-4-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]Mindez azt jelenti, hogy m\u0171vei l\u00e1tsz\u00f3lagos \u00e9letrajzi jellege csak eszk\u00f6z ahhoz, hogy rejtett vagy l\u00e1thatatlan \u00e9letek felfedez\u00e9se fel\u00e9 vezessen. A szem\u00e9lyess\u00e9g teh\u00e1t itt nem m\u0171v\u00e9szi n\u00e1rcizmus, nem nyilv\u00e1nos gy\u00f3n\u00e1s, nem leplezetlen kit\u00e1rulkoz\u00e1s. \u00c9pp ellenkez\u0151leg, Boltanski ragaszkodik ahhoz a t\u00e9nyhez, hogy folyton hazudik (hangs\u00falyozva, hogy a val\u00f3s\u00e1g t\u00fal komplex ahhoz, hogy egy\u00e9rtelm\u0171en kifejezhet\u0151 legyen, \u00e9s hogy minden m\u0171v\u00e9szet, ami m\u0171alkot\u00e1sokat hoz l\u00e9tre, nem kimondja, csak \u00e9rz\u00e9kelteti az igazs\u00e1got).11<\/span> A hazugs\u00e1g ny\u00edlt felv\u00e1llal\u00e1sa ugyanakkor a hazug paradoxon\u00e1hoz vezet, vajon ebben hihet\u00fcnk neki?<\/p>\n

M\u00e9gis, tal\u00e1n messzebbre jutunk, ha ink\u00e1bb igazi mesemond\u00f3k\u00e9nt tekint\u00fcnk r\u00e1, a benjamini \u00e9rtelemben, mely szerint: \u201ea mesemond\u00f3 az az ember, aki \u00e9lete gyerty\u00e1j\u00e1t mes\u00e9inek gyeng\u00e9d l\u00e1ngj\u00e1val teljesen el tudja fogyasztani\u201d.12<\/span><\/p>\n

Christian Boltanski \u00e9letm\u0171ki\u00e1ll\u00edt\u00e1s\u00e1nak megk\u00f6zel\u00edt\u00e9s\u00e9hez \u00e9s r\u00f6vid bemutat\u00e1s\u00e1hoz ez\u00e9rt a tov\u00e1bbiakban azt az utat k\u00f6vetj\u00fck, hogy felid\u00e9zz\u00fck az \u00e1ltala elmes\u00e9lt m\u00edtoszok n\u00e9h\u00e1ny alapelem\u00e9t, abban a sorrendben, ahogyan a Centre Pompidou neutr\u00e1lis ki\u00e1ll\u00edt\u00f3tereiben megjelennek. H\u00e9t nagyobb t\u00e9m\u00e1t nevez\u00fcnk meg, melyek nem k\u00fcl\u00f6n\u00edthet\u0151k el \u00e9lesen egym\u00e1st\u00f3l, mivel egym\u00e1st is \u00e1tj\u00e1rj\u00e1k, mint ahogy a benn\u00fck felbukkan\u00f3 t\u00e9m\u00e1k is lehetn\u00e9nek kiemeltek. Emiatt \u00e9rtelmez\u00e9s\u00fcnk n\u00e9mik\u00e9pp \u00f6nk\u00e9nyes, de tal\u00e1n lehet\u0151v\u00e9 teszi nem csup\u00e1n a ki\u00e1ll\u00edt\u00e1s, de egy gondolkod\u00e1sm\u00f3d felv\u00e1zol\u00e1s\u00e1t is.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

11<\/p>\n

Ezzel az \u00e1ll\u00edt\u00e1ssal kezd\u0151dik a r\u00f3la forgatott dokumentumfilm, a Les vies possibles de Christian Boltanski (2010, r: Heinz Peter Schwertel), ld. https:\/\/www.youtube.com\/watch?v=SCWUgy8ywtA<\/a>; https:\/\/www.youtube.com\/watch?v=uEeE8ezDdIk<\/a>; https:\/\/www.youtube.com\/watch?v=T8cn5im8sPU<\/a> (utols\u00f3 let\u00f6lt\u00e9s: 2019. november 26.)<\/p>\n

12<\/p>\n

Walter Benjamin:<\/span> Komment\u00e1r \u00e9s pr\u00f3f\u00e9cia,<\/em> Gondolat, Budapest, 1969, 126.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”p-cont-4-0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”23935″ image_size=”full” animation_type=”entrance” animation=”Fade In” hover_animation=”none” alignment=”center” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Christian Boltanski: Faire son temps,<\/em> 2019, Centre Pompidou (r\u00e9szlet a ki\u00e1ll\u00edt\u00e1sb\u00f3l) \u00a9 Fot\u00f3: Centre Pompidou, Philippe Migeat<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-4-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]\n

Gyermekkor kronol\u00f3gi\u00e1k<\/h4>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]\n

\u201eAz els\u0151 eml\u00e9kek mindig kital\u00e1lt eml\u00e9kek\u201d13<\/span> \u2013 mondja Boltanski \u00e9letrajzi visszaeml\u00e9kez\u00e9sei kezdet\u00e9n, \u00e9s ez jelenik meg a ki\u00e1ll\u00edt\u00e1s elej\u00e9n l\u00e1that\u00f3, egy k\u00e9pzeletbeli gyermekkort \u00e1br\u00e1zol\u00f3 munk\u00e1iban. Ilyenek a m\u00e1r eml\u00edtett Durand csal\u00e1di fot\u00f3k, de a Club Mickey gyerek\u00fajs\u00e1gb\u00f3l kiv\u00e1gott gyermekportr\u00e9k is, melyek azt a norm\u00e1lis gyermekkort \u00e1br\u00e1zolj\u00e1k, melyet Boltanski nem \u00e9lhetett \u00e1t. Ugyancsak egy m\u00e1sik gyermekkort id\u00e9z az a fekete-feh\u00e9r fot\u00f3sorozat, melyen hat\u00e9ves unoka\u00f6ccse ruh\u00e1i szerepelnek (Les Habits de Fran\u00e7ois C.,<\/em> 1971). Ezek az elny\u0171tt \u00f6lt\u00f6z\u00e9kek, melyeknek nem l\u00e1tjuk a visel\u0151j\u00e9t, m\u00e1r egy k\u00e9s\u0151bbi nagy t\u00e9ma, a ruh\u00e1k fel\u00e9 mutatnak. Szint\u00e9n egy gyermekkori alap\u00e9lm\u00e9nyhez k\u00f6t\u0151dik Boltanski f\u0151 szenved\u00e9lye: a gy\u0171jt\u00e9s.14<\/span> Minden gyermek nagy gy\u0171jt\u0151, gondoljunk csak a gyermekkori n\u00f6v\u00e9ny-, rovar-, b\u00e9lyeg-, k\u00e9peslap-, j\u00e1t\u00e9kgy\u0171jtem\u00e9nyekre. Ezek a f\u00e9ltve \u0151rz\u00f6tt t\u00e1rgyak k\u00e9s\u0151bb t\u00f6bbnyire elvesznek, legfeljebb csak egy-k\u00e9t darab marad meg bel\u0151l\u00fck. Ezt mutatj\u00e1k Boltanski nagy vitrinjei is (Vitrine de r\u00e9f\u00e9rence,<\/em> 1972), melyek t\u00e1rl\u00f3iban a legk\u00fcl\u00f6nb\u00f6z\u0151bb, teljess\u00e9ggel esetleges t\u00e1rgyak t\u0171nnek fel: csal\u00e1di f\u00e9nyk\u00e9pek, tabl\u00f3k\u00e9pek, rajzok \u00e9s jegyzetek, olvas\u00f3k\u00f6nyv lapok, orvoss\u00e1gosdobozok, karszalagok, hajtincsek, k\u00f6vek \u00e9s kisz\u00e1radt s\u00e1rgoly\u00f3k… Elt\u0171nt id\u0151k nyom\u00e1ban val\u00f3 kutat\u00e1st jeleznek ezek a rekvizitumok, ugyanakkor a m\u00fazeumi t\u00e1rl\u00f3k m\u00e1r az elt\u00e1volod\u00e1st, a t\u00e1rgyilagos \u00e9s semleges rendszerez\u00e9st is jelzik. Nem fedezhet\u0151 fel ezekben az \u201e\u0151sgy\u0171jtem\u00e9nyeken\u201d alapul\u00f3 vitrinekben semmi nosztalgia, legfeljebb a szem\u00e9lyes arch\u00edvum l\u00e9trehoz\u00e1s\u00e1nak v\u00e1gya az, ami el\u0151sz\u00f6r itt jelentkezik. Ennek folytat\u00e1s\u00e1t l\u00e1tjuk majd egy k\u00e9s\u0151bbi teremben a La Vie impossible de C.B.<\/em> (2001) \u00f3ri\u00e1stabl\u00f3in, melyek m\u00e1r a feln\u0151ttkor nyomait \u0151rzik (k\u00e9peslapok, v\u00e1zlatok, munkajegyzetek, menetjegyek, a befejezett m\u0171vekr\u0151l k\u00e9sz\u00fclt fot\u00f3k). \u00c1m ezekben sincs semmilyen tudom\u00e1nyos rendszerez\u0151 jelleg. Boltanski nem t\u00f6rt\u00e9n\u00e9sz, hanem m\u0171v\u00e9sz.<\/p>\n

\u0150t csak a mikrot\u00f6rt\u00e9netek \u00e9s a \u201ekis eml\u00e9kezetek\u201d foglalkoztatj\u00e1k, melyek az \u00e9vek t\u00e1vlat\u00e1b\u00f3l elvesz\u00edtik szem\u00e9lyes jelleg\u00fcket \u00e9s vonatkoz\u00e1saikat, \u00e9s egy kor dokumentumaiv\u00e1 vagy lenyomataiv\u00e1 v\u00e1lnak. Boltanski szavait id\u00e9zve: \u201eA Nagy T\u00f6rt\u00e9nelem csak a k\u00f6nyvekben l\u00e9tezik, engem azok a kis t\u00f6rt\u00e9netek \u00e9rdekelnek, melyek megk\u00fcl\u00f6nb\u00f6ztetik az egyes egy\u00e9neket. V\u00e1gyat \u00e9rzek arra, hogy mindenkinek k\u00fcl\u00f6n m\u00fazeumot alkossak\u201d.15<\/span> Ebb\u0151l a szempontb\u00f3l az is l\u00e9nyegtelen, hogy Boltanski saj\u00e1t gyermekkori t\u00e1rgyait \u00e1ll\u00edtja-e ki, vagy imagin\u00e1rius gyermekkorokat hoz l\u00e9tre. Hiszen v\u00e9gs\u0151soron, az id\u0151beli t\u00e1vols\u00e1g \u00e9s az eml\u00e9kek elhalv\u00e1nyul\u00e1sa ok\u00e1n, minden gyermekkor k\u00e9pzeletbeli.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

13<\/p>\n

La vie possible de C.B.,<\/em> 9.<\/p>\n

14<\/p>\n

Hasonl\u00f3 gondolatok figyelhet\u0151k meg Walter Benjamin \u00e9s Giorgio Agamben<\/span> \u00edr\u00e1saiban (ld. Walter Benjamin: Egyir\u00e1ny\u00fa utca. Berlini gyermekkor a sz\u00e1zadfordul\u00f3 t\u00e1j\u00e1n,<\/em> Atlantisz, Budapest, 2005; Giorgio Agamben: Infanzia e storia,<\/em> Einaudi, Torino, 1979)<\/p>\n

15<\/p>\n

Catalogue,<\/em> 38.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”p-cont-4-0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”23937″ image_size=”full” animation_type=”entrance” animation=”Fade In” hover_animation=”none” alignment=”center” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Christian Boltanski: La Vie impossible de C.B.,<\/em> 2001, 20 db keret (fa, dr\u00f3th\u00e1l\u00f3, f\u00e9nycs\u00f6vek, elektromos vezet\u00e9kek, pap\u00edr, f\u00e9nyk\u00e9pek) 150\u00d787\u00d712 cm (egyenk\u00e9nt) A Pompidou Center \u00e1ltal szervezett Extra Large c\u00edm\u0171 ki\u00e1ll\u00edt\u00e1s, Grimaldi Forum, Monaco, 2012 | Centre Pompidou, Mus\u00e9e national d\u2019art moderne, Paris, achat \u00e0 l\u2019artiste, 2004 | Collection Centre Pompidou, MNAM-CCI
\nFot\u00f3: \u00a9 Philippe Migeat\/Dist. RMN-GP \u00a9 Adagp, Paris, 2019[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-4-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]\n

\u00c1rnyj\u00e1t\u00e9kok<\/h4>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]Szint\u00e9n a gyermekkorb\u00f3l ered a f\u00e9ny- \u00e9s \u00e1rnyj\u00e1t\u00e9kok ir\u00e1nti faszcin\u00e1ci\u00f3. Gondoljunk a laterna magic\u00e1ra, a k\u00ednai \u00e1rnyj\u00e1t\u00e9kra, a diafilmvet\u00edt\u00e9sekre, melyek a gyermek sz\u00e1m\u00e1ra egy m\u00e1gikus vil\u00e1g eml\u00e9knyomai. Boltanski el\u0151sz\u00f6r az 1980-as \u00e9vek k\u00f6zep\u00e9n kezd el \u00e1rnyj\u00e1t\u00e9ksz\u00ednh\u00e1zakat fabrik\u00e1lni. Ennek legszebb p\u00e9ld\u00e1ja 1985-ben, a Salp\u00eatri\u00e8re k\u00f3rh\u00e1z k\u00e1poln\u00e1j\u00e1ban megrendezett ki\u00e1ll\u00edt\u00e1sa (apja nem sokkal kor\u00e1bban ebben a k\u00f3rh\u00e1zban halt meg). Itt jelentek meg el\u0151sz\u00f6r, a szakr\u00e1lis t\u00e9r sejtelmes f\u00e9lhom\u00e1ly\u00e1ban, a k\u00ednai \u00e1rnyj\u00e1t\u00e9kok mint\u00e1j\u00e1ra l\u00e9trehozott kis sz\u00ednpadai (Th\u00e9atre d\u2019ombres,<\/em> 1984\u20131997),16<\/span> melyek figur\u00e1i f\u00e9msz\u00e1lon mozgatott pap\u00edrfigur\u00e1k voltak, akik f\u00e9m forg\u00f3szerkezetek k\u00f6zt mozogtak. Ezekb\u0151l most k\u00e9t sz\u00ednpadk\u00e9pet l\u00e1thatunk: az egyiken egy akasztott ember feje felett a hal\u00e1l groteszk \u00e9s kiss\u00e9 ijedt angyala repked; a m\u00e1sikon egy \u00e1llv\u00e1nyon fejek \u00e9s csontv\u00e1zak l\u00f3gnak, egy mozdulatlan (vagy csak a ventill\u00e1tor fuvallata \u00e1ltal mozgatott) danse macabre<\/em> szerepl\u0151ik\u00e9nt. Ezek az \u00e1rnyj\u00e1t\u00e9kok kis hal\u00e1lsz\u00ednh\u00e1zak, a sz\u00f3 kantori \u00e9rtelm\u00e9ben. Nem v\u00e9letlen\u00fcl, hiszen Tadeusz Kantor<\/span> az az alkot\u00f3, akit Boltanski a legk\u00f6zelebb \u00e9rez mag\u00e1hoz, \u00e9s akinek Halott oszt\u00e1ly<\/em> (1975) el\u0151ad\u00e1s\u00e1r\u00f3l (mely szint\u00e9n az eml\u00e9kezet \u00e9s a hal\u00e1l sz\u00ednh\u00e1za volt) t\u00f6retlen lelkesed\u00e9ssel besz\u00e9l. Ezek a kis, mechanikus \u00e9s efemer b\u00e1bsz\u00ednh\u00e1zak 17<\/span> ugyanakkor el\u0151reutalnak Boltanski k\u00e9s\u0151bbi sz\u00ednh\u00e1zi munk\u00e1ira. T\u00e1rsalkot\u00f3k\u00e9nt ugyanis egyre t\u00f6bb olyan el\u0151ad\u00e1s l\u00e9trehoz\u00e1s\u00e1ban vesz r\u00e9sz, melyek zenei \u00e9s \u00f6sszm\u0171v\u00e9szeti alkot\u00e1sok, \u00e9s \u00edgy k\u00e9pz\u0151m\u0171v\u00e9szeti munk\u00e1iban is egyre hangs\u00falyosabb\u00e1 v\u00e1lik a zeneis\u00e9g. Mindink\u00e1bb \u00fagy tekint m\u0171veire, mint saj\u00e1tos partit\u00far\u00e1kra, melyek csak az \u00fajraj\u00e1tsz\u00e1sban l\u00e9teznek.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

16<\/p>\n

https:\/\/www.youtube.com\/watch?v=9KDM0B5zcE4<\/a> (utols\u00f3 let\u00f6lt\u00e9s: 2019. november 26.)<\/p>\n

17<\/p>\n

Kantor els\u0151 sz\u00ednh\u00e1zi k\u00eds\u00e9rlet\u00e9t (1938-ban) Efemer \u00e9s Mechanikus B\u00e1bsz\u00ednh\u00e1zacsk\u00e1<\/em>nak nevezi. Err\u0151l ld. Tadeusz Kantor: Hal\u00e1lsz\u00ednh\u00e1z,<\/em> Prospero, Budapest-Szeged, 1994, 127.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”full-5-20″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”p-cont-4-0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”23939″ image_size=”full” animation_type=”entrance” animation=”Fade In” hover_animation=”none” alignment=”center” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Christian Boltanski: Th\u00e9\u00e2tre d\u2019ombres,<\/em> 1984\u20131997, karton figur\u00e1k, vet\u00edt\u0151k, f\u00e9nysz\u00f3r\u00f3k, ventil\u00e1torok, v\u00e1ltoz\u00f3 m\u00e9ret \u00a9 Fot\u00f3: Andr\u00e9 Morain \u00a9 Adagp, Paris, 2019<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-4-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]\n

Sz\u00edvregiszterek<\/h4>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]Az \u00e1rnysz\u00ednh\u00e1zak t\u00f6r\u00e9keny marionettfigur\u00e1i, nem-emberi mivoltukban is, az emberi esend\u0151s\u00e9get jelen\u00edtik meg. A f\u00e1tumnak vagy vakv\u00e9gzetnek (a fel\u00fclr\u0151l ir\u00e1ny\u00edt\u00f3 konstrukci\u00f3nak vagy az alkot\u00f3 k\u00e9znek) val\u00f3 kiszolg\u00e1ltatotts\u00e1got. A b\u00e1buk mozgat\u00f3zsin\u00f3rja, ahogy az \u00e9let fonala, b\u00e1rmelyik pillanatban elszakadhat. Ebben az emberi sz\u00edvhez hasonl\u00edtanak, mely b\u00e1rmikor meg\u00e1llhat. Emiatt azok a pulz\u00e1l\u00f3 sz\u00edvhangok, melyeket Boltanski szint\u00e9n gy\u0171jteni kezdett, \u00e9s kiv\u00e1ltk\u00e9pp az egyes dobban\u00e1sok k\u00f6z\u00f6tti sz\u00fcnetek, egy k\u00fcl\u00f6nleges audit\u00edv tapasztalatot v\u00e1ltanak ki. A ki\u00e1ll\u00edt\u00e1son a sz\u00edvhangokat egy fekete t\u00fckr\u00f6kkel bor\u00edtott fal\u00fa, s\u00f6t\u00e9t teremben hallhatjuk, melyet egyetlen izz\u00f3 vil\u00e1g\u00edt meg. Az izz\u00f3 vibr\u00e1l\u00e1sa olyan, mint a sz\u00edv kihagy\u00e1sa: mindkett\u0151 \u201ememento mori\u201d.<\/p>\n

\u00c9rdemes megeml\u00edteni, hogy Boltanski legnagyobb sz\u00edvhanggy\u0171jtem\u00e9ny\u00e9t (Les Archives du C\u0153ur<\/em>) egy jap\u00e1n szigeten helyezte el.18<\/span> Emiatt Teshima szigete az elm\u00falt \u00e9vekben kultikus \u00e9s mitikus helly\u00e9 v\u00e1ltozott: egyr\u00e9szt felkeresik azok, akik hozz\u00e1tartoz\u00f3ik sz\u00edvhangj\u00e1t szeretn\u00e9k viszonthallani, m\u00e1sr\u00e9szt az eg\u00e9sz alkot\u00e1st\u00f6rt\u00e9net legendaszer\u0171 jelleget nyert. Val\u00f3ban \u00fagy hangzik, mint egy mese kezdete: van valahol, a tenger k\u00f6zep\u00e9n, egy kis sziget, ami 70.000 ember sz\u00edvdobban\u00e1s\u00e1t \u0151rzi…[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

18<\/p>\n

http:\/\/benesse-artsite.jp\/en\/art\/boltanski.html<\/a><\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”p-cont-4-0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”23941″ image_size=”full” animation_type=”entrance” animation=”Fade In” hover_animation=”none” alignment=”center” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Christian Boltanski: Les Archives du C\u0153ur,<\/em>) Teshima, Jap\u00e1n | https:\/\/www.flickr.com\/photos\/mi_ai164\/8686524538\/sizes\/l\/ \u00a9 Hiroshi Miyai<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]\n

Szellemk\u00e9pek<\/h4>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]Boltanski nem a testek, hanem az arcok gy\u0171jt\u0151je. A legk\u00fcl\u00f6nb\u00f6z\u0151bb install\u00e1ci\u00f3kban helyezi el \u2013 keretek vagy \u00e1llv\u00e1nyok k\u00f6z\u00e9 fesz\u00edtve, t\u00e1rl\u00f3kba rakva, v\u00e1sznakon vagy lepleken lebegtetve, s\u00fctem\u00e9nydobozokra vagy irattart\u00f3kra ragasztva \u2013 azokat a fekete-feh\u00e9r f\u00e9nyk\u00e9peket, melyeket v\u00e1ltozatos m\u00f3dokon (saj\u00e1t vagy ismer\u0151s\u00f6k albumaib\u00f3l, \u00fajs\u00e1gokb\u00f3l, felh\u00edv\u00e1sok r\u00e9v\u00e9n) gy\u0171jt \u00f6ssze. T\u00f6bbnyire l\u00e1that\u00f3 f\u00e9nyforr\u00e1sokkal megvil\u00e1g\u00edtva (melyek \u00e1ltal minden arc k\u00fcl\u00f6n f\u00e9nyt nyer), emelv\u00e9nyekre vagy prof\u00e1n olt\u00e1rokra \u00e1ll\u00edtva, ezek a h\u00e9tk\u00f6znapi priv\u00e1tfot\u00f3k megmenek\u00fclnek a feled\u00e9st\u0151l. Boltanskin\u00e1l minden f\u00e9nyk\u00e9p olyan, ak\u00e1r egy utols\u00f3 portr\u00e9: mivel nincs \u00f6sszehasonl\u00edt\u00e1si alapunk, ez\u00e9rt ezek az egyetlenegyszer felt\u0171n\u0151, ismeretlen arcok \u00f6nmaguk teljess\u00e9gek\u00e9nt \u00e9s igazs\u00e1gak\u00e9nt jelennek meg el\u0151tt\u00fcnk. Hab\u00e1r minden k\u00e9p \u00edgy val\u00f3di ikonn\u00e1 v\u00e1lik,19<\/span> \u00e1m m\u00e9gis van k\u00f6zt\u00fck egy olyan fot\u00f3sorozat, amely a Veronika-kend\u0151k<\/em> c\u00edmet viseli (Les V\u00e9roniques,<\/em> 1996). Ezeken a val\u00f3ban szubsztilis k\u00e9peken a portr\u00e9k v\u00e1szonra applik\u00e1lt pauszpap\u00edron t\u0171nnek fel. Az anyag gy\u0171r\u0151d\u00e9se hull\u00e1mmozg\u00e1st teremt a k\u00e9pen, az elmos\u00f3dott n\u0151i arcok csak a fels\u0151 harmadban t\u0171nnek fel, mintha egy \u00e1gyban vagy kopors\u00f3ban, \u00e1llig betakarva fek\u00fcdn\u00e9nek. Ezek a Veronika-arcok azonban t\u00e1volr\u00f3l sem halottak, akad k\u00f6zt\u00fck aki mosolyog vagy hars\u00e1nyan nevet, de m\u00e9g a legz\u00e1rk\u00f3zottabb is csak mereng. A Veronik\u00e1k mellett, magasan a falon, egy izz\u00f3kkal k\u00f6rbevil\u00e1g\u00edtott, fekete kab\u00e1tot l\u00e1tunk (Manteau,<\/em> 1991). Ez az emblematikus ruhadarab itt mintegy a Transzfigur\u00e1ci\u00f3 vagy a Mennybemenetel poz\u00edci\u00f3j\u00e1ban t\u0171nik fel, egy olyan Messi\u00e1sra utalva, aki m\u00e1r nincs jelen.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

19<\/p>\n

Err\u0151l a hagyom\u00e1nyr\u00f3l ld. Hans Belting:<\/span> A hiteles k\u00e9p,<\/em> Atlantisz, Budapest, 2009.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”full-5-20″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”p-cont-4-0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”23946″ image_size=”full” animation_type=”entrance” animation=”Fade In” hover_animation=”none” alignment=”center” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Christian Boltanski: Les V\u00e9roniques,<\/em> 1996 | Christian Boltanski: Storage Memory,<\/em> Power Station of Art, Shanghai, 2018 \u00a9 Courtesy Power Station of Art, Shangha\u00ef \u00a9 Fot\u00f3: Jiang Wenyi \u00a9 Adagp, Paris, 2019<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-4-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]A k\u00f6vetkez\u0151 termekben fekete-feh\u00e9r portr\u00e9k sokas\u00e1g\u00e1val tal\u00e1lkozunk. Legmegragad\u00f3bbak tal\u00e1n azok a gyermekarcok, melyek berlini gyermekkorok nyomait \u0151rzik (Les Portrait noirs,<\/em> 1993). Ezeken a k\u00e9peken nem a gyermeki tekintetek meghat\u00e1rozhatatlan szomor\u00fas\u00e1g\u00e1t l\u00e1tjuk, hanem \u00e9pp ellenkez\u0151leg, felszabadult \u00e9s vid\u00e1m arcokat, amint \u00e9pp egy el\u0151ad\u00e1st n\u00e9znek. \u00c1mulatba ejt\u0151 az arcok \u00e9teri tisztas\u00e1ga. \u00c9rdemes megjegyezni, hogy Boltanski k\u00fcl\u00f6n\u00f6sen \u00e9rz\u00e9keny a Mindenszentek jelent\u00e9s\u00e9re, sz\u00e1m\u00e1ra minden f\u00e9nyk\u00e9pen meg\u00f6r\u00f6k\u00edtett (\u00e9s ez\u00e1ltal halott\u00e1 v\u00e1ltoztatott) gyermek szent. Portr\u00e9ikat ez\u00e9rt gyakran kis prof\u00e1n olt\u00e1rokon helyezi el.<\/p>\n

Ugyancsak feledhetetlen benyom\u00e1st keltenek a feh\u00e9r \u00f3ri\u00e1sv\u00e1sznakon lebeg\u0151 tekintetek (Les Regards,<\/em> 2011), a felnagy\u00edtott arcokb\u00f3l csak a szemek maradnak meg. Ezek a k\u00e9pek egy f\u00fcgg\u00f6nylabirintust k\u00e9peznek, melyek k\u00f6z\u00f6tt a l\u00e1togat\u00f3 hosszasan bolyonghat, m\u00e9g miel\u0151tt ki\u00e9r a felh\u0151karcol\u00f3kk\u00e9nt feltornyozott f\u00e9mdobozokhoz, ahol a h\u00e1zak oldal\u00e1n sv\u00e1jci \u00fajs\u00e1gok nekrol\u00f3gjaib\u00f3l kiv\u00e1gott fot\u00f3k \u0151rzik a halottak eml\u00e9k\u00e9t (R\u00e9serve: Les Suisses Morts,<\/em> 1991). Ez a rideg nekropolisz k\u00f6zvetlen\u00fcl a Pompidou K\u00f6zpont nagy \u00fcvegablakai el\u0151tt tal\u00e1lhat\u00f3, \u00edgy az eleven v\u00e1ros veszi k\u00f6rbe, h\u00e1tter\u00e9t P\u00e1rizs mindig ny\u00fczsg\u0151 panor\u00e1m\u00e1ja adja.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0 vc_hidden-sm vc_hidden-xs”][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”p-cont-4-0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”23948″ image_size=”full” animation_type=”entrance” animation=”Fade In” hover_animation=”none” alignment=”center” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Christian Boltanski: R\u00e9serve: Les Suisses morts,<\/em> 1991, f\u00e9mdobozok, fekete-feh\u00e9r f\u00e9nyk\u00e9pek, 12\u00d723\u00d721,3 cm (minden doboz), 6\u00d74 cm (minden f\u00e9nyk\u00e9p), IVAM, Institut Valenci\u00e0 d\u2019Art Modern \u00a9 Fot\u00f3: IVAM, Institut Valencia d’Art Moderne \u00a9 Adagp, Paris, 2019<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-4-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]\n

Efemer \u00e9letek<\/h4>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]A f\u00e9nyk\u00e9p \u00e9s a hal\u00e1l k\u00f6z\u00f6tti l\u00e9nyegi kapcsolatot kevesen \u00e9rzik \u00e1t Boltanskin\u00e1l m\u00e9lyebben. Minden fotogr\u00e1fia egy \u201eegykor volt\u201d vagy \u201eez volt\u201d:20<\/span> egy m\u00e1r elm\u00falt pillanat \u00e9s halott arc \u00e1br\u00e1zol\u00e1sa. A portr\u00e9k legnagyobb \u00f6sszegz\u00e9se a mintegy 1700 arck\u00e9pet tartalmaz\u00f3 Menschlich<\/em> (1994) sorozat. A ki\u00e1ll\u00edt\u00e1son ezek a k\u00e9pek egy \u00e1tj\u00e1r\u00f3ban helyezkednek el, egyfajta hal\u00e1lfolyos\u00f3t alkotva. Itt egyszerre t\u0171nnek fel a legk\u00fcl\u00f6nb\u00f6z\u0151bb emberek, mintegy az utols\u00f3 \u00edt\u00e9letre v\u00e1rakozva. A f\u00e9nyk\u00e9p azonban maga az \u201eutols\u00f3 \u00edt\u00e9let\u201d, amennyiben kiemeli a feled\u00e9sb\u0151l, \u00e9s ez\u00e1ltal jelenlev\u0151v\u00e9 teszi a t\u00e1vollev\u0151t vagy halottat.21<\/span> Ez az utols\u00f3 \u00edt\u00e9let azonban nem \u00edt\u00e9lkezik, mivel a Boltanski \u00e1ltal v\u00e9letlenszer\u0171en egym\u00e1s mell\u00e9 helyezett k\u00e9peken egyszerre l\u00e1that\u00f3k \u00e1rtatlanok \u00e9s b\u0171n\u00f6s\u00f6k, egym\u00e1st\u00f3l megk\u00fcl\u00f6nb\u00f6ztethetetlen\u00fcl. Az a gesztus, ahogy Boltanski reflektorf\u00e9nybe \u00e1ll\u00edtja ezeket a s\u00f6t\u00e9ts\u00e9gben vagy \u00e1rny\u00e9kban le\u00e9lt \u00e9leteket, eml\u00e9keztet Foucault egyik utols\u00f3 amb\u00edci\u00f3j\u00e1ra, melynek sor\u00e1n a filoz\u00f3fus elkezdte \u00f6sszegy\u0171jteni a \u201ebecstelen \u00e9letek\u201d (la vie des hommes infames<\/em>) dokumentumait.22<\/span> Agamben egy sz\u00e9p tanulm\u00e1ny\u00e1ban ennek kapcs\u00e1n azt \u00edrja: \u201eugyan\u00fagy, mint a r\u00e9gi f\u00e9nyk\u00e9peken, amelyekr\u0151l egy ismeretlen r\u00e9gvolt arca n\u00e9z r\u00e1nk a lehet\u0151 legk\u00f6zelebbr\u0151l, a gyal\u00e1zatban is van valami, ami megk\u00f6veteli a saj\u00e1t nev\u00e9t, ami minden sz\u00f3n \u00e9s eml\u00e9ken t\u00fal tan\u00fas\u00e1got tesz \u00f6nmag\u00e1r\u00f3l\u201d.23<\/span><\/p>\n

Ez a gondolat m\u00e9g ink\u00e1bb esz\u00fcnkbe juthat azokat az \u00e1llv\u00e1nyokat n\u00e9zve (Les Portants,<\/em> 2000), melyeken egym\u00e1s mellett l\u00f3g, a Detective<\/em> magazinb\u00f3l kiv\u00e1gott fot\u00f3k nyom\u00e1n, a gyilkos \u00e9s az \u00e1ldozat k\u00e9pe. Csak ebben az esetben m\u00e1r eld\u00f6nthetetlen, hogy ki melyik szerepet t\u00f6lt\u00f6tte be. A f\u00e9nyk\u00e9peken egyform\u00e1n halottak.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

20<\/p>\n

Err\u0151l ld. Roland Barthes<\/span> Vil\u00e1goskamra<\/em> (Eur\u00f3pa, Budapest, 2000) c\u00edm\u0171 m\u0171v\u00e9t. Ugyanitt Barthes arr\u00f3l a v\u00e1gy\u00e1r\u00f3l besz\u00e9l, hogy szeretn\u00e9 meg\u00edrni a \u201eTekintetek t\u00f6rt\u00e9net\u00e9t\u201d. Boltanski, a m\u0171v\u00e9szet eszk\u00f6zeivel, mintha ezt val\u00f3s\u00edtan\u00e1 meg.<\/p>\n

21<\/p>\n

Err\u0151l ld. Giorgio Agamben Az utols\u00f3 \u00edt\u00e9let napja<\/em> c\u00edm\u0171 tanulm\u00e1ny\u00e1t. \u201eM\u00e9g ha a f\u00e9nyk\u00e9pen l\u00e1that\u00f3 szem\u00e9ly m\u00e1ra m\u00e1r feled\u00e9sbe mer\u00fclt is, m\u00e9g ha a neve v\u00e9gleg kit\u00f6rl\u0151d\u00f6tt is a kollekt\u00edv eml\u00e9kezetb\u0151l \u2013 nos, ennek ellen\u00e9re, s\u0151t, \u00e9ppen ez\u00e9rt \u2013, az a szem\u00e9ly, az az arc a saj\u00e1t nev\u00e9t k\u00f6veteli t\u0151l\u00fcnk. Elv\u00e1rja, hogy kiemelj\u00fck \u0151t a feled\u00e9s hom\u00e1ly\u00e1b\u00f3l.\u201d In U\u0151: A prof\u00e1n dics\u00e9rete,<\/em> Typotex, Budapest, 28.<\/p>\n

22<\/p>\n

A megjelent k\u00e9t dokumentumk\u00f6tet magyarul is olvashat\u00f3. Michel Foucault: \u00c9n, Pierre Rivi\u00e8re, aki lem\u00e9sz\u00e1roltam any\u00e1mat, h\u00fagomat \u00e9s \u00f6cs\u00e9met,<\/em> J\u00f3sz\u00f6veg M\u0171hely, Budapest, 1999; U\u0151: Herculine Barbin, m\u00e1s n\u00e9ven Alexina B.,<\/em> J\u00f3sz\u00f6veg M\u0171hely, Budapest, 1997.<\/p>\n

23<\/p>\n

Agamben: A prof\u00e1n dics\u00e9rete,<\/em> i.m. 95.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”full-5-20″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”p-cont-4-0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”23949″ image_size=”full” animation_type=”entrance” animation=”Fade In” hover_animation=”none” alignment=”center” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Christian Boltanski: Faire son temps,<\/em> 2019, Centre Pompidou (r\u00e9szlet a ki\u00e1ll\u00edt\u00e1sb\u00f3l) \u00a9 Fot\u00f3: Centre Pompidou, Philippe Migeat<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-4-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]\n

Ravatalok<\/h4>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]Boltanski sz\u00e1m\u00e1ra egyetlen \u00e1th\u00e1ghatatlan tabu l\u00e9tezik: a f\u00e9nyk\u00e9p nem mutathat holttesteket. Ez\u00e9rt az El Caso<\/em> \u00fajs\u00e1gb\u00f3l kiv\u00e1gott halottak f\u00e9nyk\u00e9peit fekete v\u00e1szonnal takarja le, \u00e9s \u00edgy akasztja ki \u0151ket a falra (Les Concessions,<\/em> 1996), abban a teremben, melynek k\u00f6zep\u00e9n fekete v\u00e1szonnal letakart, villanyk\u00f6rt\u00e9kkel megvil\u00e1g\u00edtott s\u00edr\u00e1llv\u00e1nyokat helyez el (Les Tombeaux,<\/em> 1996). A letakart k\u00e9pek v\u00e1szn\u00e1t ugyanakkor a mennyezeten elhelyezett ventill\u00e1tor mozgatja, \u00e9s ez\u00e1ltal utal az alattuk rejtett \u2013 egyszerre tasz\u00edt\u00f3 \u00e9s izgat\u00f3 \u2013 l\u00e1tv\u00e1nyra.<\/p>\n

A ki\u00e1ll\u00edt\u00e1s legmonument\u00e1lisabb s\u00edreml\u00e9ke azonban csak a legh\u00e1ts\u00f3 teremben tal\u00e1lhat\u00f3 (Terril Grand-Hornu,<\/em> 2015). Az alkot\u00e1s c\u00edme \u00e9pp\u00fagy jelent medd\u0151h\u00e1ny\u00f3t, mint hullad\u00e9klerak\u00f3t. Egym\u00e1sra tornyozott, \u00f3ri\u00e1si halmot k\u00e9pez\u0151, fekete kab\u00e1tok alkotj\u00e1k ezt az install\u00e1ci\u00f3t. A ruharak\u00e1s egyszerre utal legismertebb el\u0151zm\u00e9ny\u00e9re, a Grand Palais 2010-es \u201eMonumenta\u201d ki\u00e1ll\u00edt\u00e1s\u00e1ra,24<\/span> \u00e9s k\u00fcl\u00f6nb\u00f6zik is att\u00f3l (hiszen az el\u0151bbiben t\u00f6bb, k\u00fcl\u00f6nb\u00f6z\u0151 m\u00e9ret\u0171, sz\u00ednes ruharak\u00e1s volt l\u00e1that\u00f3).<\/p>\n

A ruhagy\u0171jt\u00e9s \u00e9s felhalmoz\u00e1s gesztusa azonban m\u00e1r r\u00e9gebbr\u0151l foglalkoztatja a m\u0171v\u00e9szt. Ahogy az \u00e9letm\u0171interj\u00faban megfogalmazza: \u201eKapcsolatot teremtettem a ruha, a fotogr\u00e1fia \u00e9s a halott test k\u00f6z\u00f6tt. Munk\u00e1im mindig a sokas\u00e1g \u00e9s az individuum k\u00f6z\u00f6tti kapcsolatr\u00f3l sz\u00f3lnak: mindenki egyedi, mik\u00f6zben a t\u00f6meget nagysz\u00e1m\u00fa egyed alkotja.\u201d25<\/span>[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

24<\/p>\n

Monumenta 2010 \/ Christian Boltanski: Personnes.<\/em> Grand Palais, Nef, 2010. janu\u00e1r 13 \u2013 febru\u00e1r 21., ld. https:\/\/www.youtube.com\/watch?v=SXND1GZdBzM (utols\u00f3 let\u00f6lt\u00e9s: 2019. november 26.)<\/p>\n

25<\/p>\n

La vie possible de C.B.,<\/em> 176.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”p-cont-4-0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”23950″ image_size=”full” animation_type=”entrance” animation=”Fade In” hover_animation=”none” alignment=”center” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Christian Boltanski: Faire son temps,<\/em> 2019, Centre Pompidou (r\u00e9szlet a ki\u00e1ll\u00edt\u00e1sb\u00f3l) \u00a9 Fot\u00f3: Centre Pompidou, Philippe Migeat<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-4-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]A ruhahalom pontosan lek\u00e9pezi az egy\u00e9n \u00e9s a t\u00f6meg viszony\u00e1t, mik\u00f6zben a levetett ruh\u00e1k a t\u00e1vollev\u0151re vagy az \u00e1br\u00e1zolhatatlanra
\n(a testre vagy a halott testre) utal\u00f3 jelek. Sz\u00edvszor\u00edt\u00f3 \u00e9lm\u00e9nyt ny\u00fajtanak, mivel jelent\u00e9s\u00fck megk\u00e9rd\u0151jelezhetetlen. M\u00e9g akkor is, ha Boltanski \u00edgy eml\u00e9kszik vissza els\u0151 felbukkan\u00e1sukra: \u201eamikor a m\u0171termemben megalkottam az els\u0151 ilyen m\u0171vet, \u0151szint\u00e9n mondom, nem gondoltam arra, hogy ezek a Shoah ruh\u00e1i. Mik\u00f6zben ez egy abszol\u00fat evidencia.\u201d26<\/span><\/p>\n

Az eml\u00e9km\u0171 vagy s\u00edreml\u00e9k k\u00f6r\u00fcl siet\u0151sen j\u00e1rk\u00e1l\u00f3 alakokat l\u00e1tunk (Prendre la parole,<\/em> 2005): valamennyien fekete kab\u00e1tot viselnek, fej\u00fcket leszegik. Test\u00fck deszka, fej\u00fck egy lehajtott asztalil\u00e1mpa. Viszont ha eg\u00e9szen k\u00f6zel megy\u00fcnk hozz\u00e1juk, meghallhatjuk egy kis dobozb\u00f3l kisz\u00f3l\u00f3, hozz\u00e1nk besz\u00e9l\u0151 hangjukat.<\/p>\n

A terem egyik v\u00e9g\u00e9ben, az eg\u00e9sz falat kriptasork\u00e9nt bebor\u00edt\u00f3 dobozok \u0151rzik \u0151rzik a Grand-Hornu b\u00e1ny\u00e1szair\u00f3l (az 1920 \u00e9s 1940 k\u00f6z\u00f6tti id\u0151szakb\u00f3l) fennmaradt nyomokat (Les Registres du Grand-Hornu,<\/em> 1997). A terem m\u00e1sik v\u00e9g\u00e9ben viszont, k\u00f6zvetlen\u00fcl a kij\u00e1rat el\u0151tt, az Animalitas<\/em> k\u00e9t vide\u00f3j\u00e1t l\u00e1thatjuk, ha h\u00e1tat ford\u00edtunk a nagy ravatalnak, a gy\u00e1szol\u00f3knak \u00e9s a kriptasornak; vagyis ha elford\u00edtjuk a hal\u00e1lr\u00f3l a tekintet\u00fcnket.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

26<\/p>\n

La vie possible de C.B.,<\/em> 177.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”full-5-20″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”p-cont-4-0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”23951″ image_size=”full” animation_type=”entrance” animation=”Fade In” hover_animation=”none” alignment=”center” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Animitas blanc,<\/em> 2017, Mus\u00e9e national des Beaux-Arts du Qu\u00e9bec, Archives Christian Boltanski, Photo \u00a9 DR \u00a9 Adagp, Paris, 2019<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-4-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]\n

Term\u00e9szet sz\u00ednh\u00e1zak<\/h4>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]Boltanski nagy term\u00e9szet sz\u00ednh\u00e1zai mind vide\u00f3projekci\u00f3k, nem l\u00e9phet\u00fcnk be a tereikbe, legfeljebb csak panor\u00e1mak\u00e9nt vesznek k\u00f6rbe minket, ahogy ezt egy kor\u00e1bbi teremben a Misterios<\/em> (2017) vide\u00f3install\u00e1ci\u00f3ja tette, mely a patag\u00f3niai b\u00e1ln\u00e1kkal (a legenda szerint a vil\u00e1gegyetem titkainak \u0151rz\u0151i) val\u00f3 sikertelen kommunik\u00e1ci\u00f3s k\u00eds\u00e9rletet dokument\u00e1lja.<\/p>\n

Az ember k\u00e9rd\u00e9seire a term\u00e9szet nem v\u00e1laszol, vagy v\u00e1lasza a hallgat\u00e1s. Az Animitas Chili<\/em>27<\/span> (2014) \u00e9s az Animitas blanc<\/em> (2017) viszont csak t\u00e1volr\u00f3l \u00e9s szemb\u0151l l\u00e1that\u00f3, hab\u00e1r a projekci\u00f3 el\u0151ter\u00e9ben a vet\u00edtett h\u00e1tt\u00e9rre utal\u00f3 t\u00e1rgyak vannak sz\u00e9tsz\u00f3rva. Az els\u0151 esetben sz\u00e9na \u00e9s sz\u00e1raz vir\u00e1gok, a m\u00e1sodikban feh\u00e9r pap\u00edrgalacsinok. Ezek az Animitas<\/em>ok (melyek neve a chilei utak melletti balesetekre eml\u00e9keztet\u0151 kis olt\u00e1rokat id\u00e9zi) azonban \u00fcress\u00e9g\u00fckben is \u0151rzik az ember nyomait. Hiszen ki m\u00e1s helyezhette volna el a ki\u00e9gett vagy h\u00f3feh\u00e9r t\u00e1jban a hajl\u00e9kony p\u00e1lc\u00e1kon leng\u0151 sz\u00e9lcseng\u0151ket? Ezek az apr\u00f3 l\u00e9lekharangok felid\u00e9zhetik azokat a temet\u0151i harangszerkezeteket is, melyek a XIX. sz\u00e1zadban a s\u00edrokat az \u0151rb\u00f3d\u00e9val k\u00f6t\u00f6tt\u00e9k \u00f6ssze, hogyha a halottr\u00f3l kider\u00fclne, hogy val\u00f3j\u00e1ban csak tetszhalott, akkor ezek seg\u00edts\u00e9g\u00e9vel jelt adhasson.28<\/span> Ebben az esetben azonban a cseng\u0151ket csak a sz\u00e9l mozgatja. M\u00e9gis megnyugtat\u00f3, hogy halk csilingel\u00e9s van, \u00e9s nem halotti csend.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

27<\/p>\n

https:\/\/vimeo.com\/155833676<\/a> (utols\u00f3 let\u00f6lt\u00e9s: 2019. november 26.)<\/p>\n

28<\/p>\n

Ahogy err\u0151l Anselm Kiefer<\/span> besz\u00e9l, A m\u0171v\u00e9szet t\u00fal\u00e9li romjait<\/em> el\u0151ad\u00e1ssz\u00f6veg\u00e9ben. Ld. http:\/\/www.meridiankiado.hu\/node\/189<\/a> (utols\u00f3 let\u00f6lt\u00e9s: 2019. november 26.)<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”p-cont-4-0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”23952″ image_size=”full” animation_type=”entrance” animation=”Fade In” hover_animation=”none” alignment=”center” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Christian Boltanski: Faire son temps,<\/em> 2019, Centre Pompidou (Misterios,<\/em> 2017, vide\u00f3install\u00e1ci\u00f3) \u00a9 Fot\u00f3: Centre Pompidou, Philippe Migeat<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-4-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]A k\u00e9t Animitas<\/em> k\u00f6z\u00f6tti kij\u00e1rat felett ott vil\u00e1g\u00edt piros neonbet\u0171kkel a meg\u00e9rkez\u00e9st jelz\u0151 t\u00e1bla (Arriv\u00e9e,<\/em> 2015). A hal\u00e1lterekb\u0151l kil\u00e9pve elindulhatunk a v\u00e1ros eleven terei fel\u00e9. Pontosabban azonnal a m\u00fazeum shopj\u00e1ban tal\u00e1ljuk magunkat, a felhalmozott k\u00f6nyvek \u00e9s a turistacsalogat\u00f3 b\u00f3vlik k\u00f6z\u00f6tt. Nincs hely az \u00e1t\u00e1ll\u00e1sra, az \u00e1thangol\u00f3d\u00e1sra. Ugyanakkor, ha \u0151szint\u00e9k akarunk lenni, azt is be kell vallanunk, hogy a teljes belefeledkez\u00e9s \u00e9lm\u00e9nye a ki\u00e1ll\u00edt\u00f3t\u00e9rben sem j\u00f6n l\u00e9tre. Ez pedig er\u0151s hi\u00e1ny\u00e9rzetet kelt, mert Boltanski sz\u00e1m\u00e1ra k\u00fcl\u00f6nlegesen fontosak a terek. \u201eA m\u0171vek csak akkor l\u00e9teznek sz\u00e1momra, amikor egy t\u00e9rben anyagi form\u00e1t \u00f6ltenek\u201d29<\/span> \u2013 hangs\u00falyozza, \u00e9s ha visszagondolunk legeml\u00e9kezetesebb p\u00e1rizsi ki\u00e1ll\u00edt\u00e1saira, akkor val\u00f3sz\u00edn\u0171leg a Salp\u00eatri\u00e8re k\u00e1polna szakr\u00e1lis vagy a Grand Palais monument\u00e1lis tere jut az esz\u00fcnkbe. Mindk\u00e9t esetben a t\u00e9r a ki\u00e1ll\u00edt\u00e1s f\u0151szerepl\u0151j\u00e9v\u00e9 v\u00e1lt, olyannyira, hogy Boltanski ahhoz is ragaszkodott, hogy a Grand Palais-beli ki\u00e1ll\u00edt\u00e1st t\u00e9len rendezz\u00e9k m\u00e9g, hogy a hideg \u00e9s az \u00fcvegtet\u0151n be\u00e1raml\u00f3 rideg f\u00e9ny m\u00e9g er\u0151sebb fizikai \u00e9lm\u00e9nyt keltsen.<\/p>\n

A Salp\u00eatri\u00e8re-ben pedig eleve adott volt az a f\u00e9lhom\u00e1ly, mely ki\u00e1ll\u00edt\u00e1sainak l\u00e9nyegi eleme: a n\u00e9z\u0151nek el\u0151sz\u00f6r meg k\u00fczdenie az\u00e9rt, hogy l\u00e1tni tudjon a s\u00f6t\u00e9tben, majd amint erre k\u00e9pes, a teret \u00e1t\u00e9rezve, k\u00fcl\u00f6n\u00f6s megrend\u00fclts\u00e9ggel bolyonghat benne. Ezek a szokatlan, elt\u00e9r\u0151 terek \u00edgy egyfajta immerz\u00edv sz\u00ednh\u00e1zk\u00e9nt m\u0171k\u00f6dnek. Boltanskit id\u00e9zve: \u201eKi\u00e1ll\u00edt\u00e1saimban a n\u00e9z\u0151k sz\u00edn\u00e9szekk\u00e9 v\u00e1lnak. A s\u00f6t\u00e9ts\u00e9gben bolyong\u00e1s a m\u0171vek elemi r\u00e9sze, melyet az\u00e9rt hozok l\u00e9tre, hogy a l\u00e1togat\u00f3 k\u00fcl\u00f6nb\u00f6z\u0151 fizikai \u00e9rzeteket \u00e9lhessen \u00e1t.\u201d30<\/span>[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

29<\/p>\n

La vie possible de C.B.,<\/em> 275.<\/p>\n

30<\/p>\n

La vie possible de C.B.,<\/em> 159.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”full-5-20″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”p-cont-4-0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”23954″ image_size=”full” animation_type=”entrance” animation=”Fade In” hover_animation=”none” alignment=”center” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Christian Boltanski: Misterios,<\/em> 2017, fot\u00f3, Archives Christian Boltanski, Photo \u00a9 Christian Boltanski \u00a9 Adagp, Paris, 2019<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-4-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]Azt mondhatn\u00e1nk, hogy a m\u0171v\u00e9sz m\u0171veit a ki\u00e1ll\u00edt\u00f3terekbe kompon\u00e1lja, \u00edgy azok az id\u0151 m\u0171v\u00e9szeteihez (vagyis az el\u0151ad\u00f3m\u0171v\u00e9szetekhez: a sz\u00ednh\u00e1zhoz, a zen\u00e9hez) hasonl\u00f3an megsz\u0171nnek l\u00e9tezni a ki\u00e1ll\u00edt\u00e1sok ut\u00e1n. Vagy ink\u00e1bb csak visszah\u00faz\u00f3dnak a l\u00e9tez\u00e9st\u0151l, meg\u0151rizve annak a lehet\u0151s\u00e9g\u00e9t, hogy b\u00e1rmikor \u00fajra l\u00e9trej\u00f6hessenek. Erre az \u00e1lland\u00f3 \u00fajraalkot\u00e1sra, \u00fajrakompon\u00e1l\u00e1sra utalnak a m\u0171v\u00e9sz szavai: \u201eEgyre ink\u00e1bb \u00fagy tekintek a munk\u00e1imra, mintha kott\u00e1k lenn\u00e9nek, melyeket el kell j\u00e1tszani, \u00e9s amelyeknek a ki\u00e1ll\u00edt\u00e1sok az \u00faj interpret\u00e1ci\u00f3i. J\u00e1t\u00e9k k\u00f6zben \u00e1talak\u00edtom \u0151ket.\u201d31<\/span><\/p>\n

A ki\u00e1ll\u00edt\u00e1s teh\u00e1t csak akkor sz\u00f3lalhat meg autentikus hangon, ha pontosan rezon\u00e1l a t\u00e9rre, ha k\u00fcl\u00f6nv\u00e1laszthatatlan t\u0151le, ha eggy\u00e9 v\u00e1lik vele. Emiatt Boltanski egyre kevesebbet \u00e1ll\u00edt ki m\u00fazeumokban \u00e9s hagyom\u00e1nyos ki\u00e1ll\u00edt\u00f3terekben, ink\u00e1bb a szokatlan helysz\u00ednek vonzz\u00e1k. Ebb\u0151l ad\u00f3dik a k\u00e9rd\u00e9s, hogy mi\u00e9rt \u00e9pp a Pompidou K\u00f6zpontban rendezi meg \u00e9letm\u0171ki\u00e1ll\u00edt\u00e1s\u00e1t. Ahogy a sz\u00f6veg elej\u00e9n utaltunk r\u00e1, Boltanski m\u00e1r t\u00edz \u00e9ve is besz\u00e9lt arr\u00f3l a kih\u00edv\u00e1sr\u00f3l, amit ennek a mindenki sz\u00e1m\u00e1ra ismert t\u00e9rnek az \u00e1talak\u00edt\u00e1sa jelent.<\/p>\n

\u201eA t\u00e9ralkot\u00e1s rettenetesen \u00e9rdekel. Vagyis az, hogy fizikai kapcsolatba ker\u00fclj\u00fcnk a t\u00e9rrel, hogy elt\u00f6r\u00f6lj\u00fcnk egy helyet, hogy el tudjunk feledkezni arr\u00f3l, hogy a Pompidou-ban vagyunk\u201d.32<\/span> A gazdag \u00e9s \u00e1tfog\u00f3 ki\u00e1ll\u00edt\u00e1s viszont (egyed\u00fcl) ebben a tekintetben kudarcot vall, itt m\u00e9g Boltanskinak sem siker\u00fcl teljesen legy\u0151znie a teret.<\/p>\n[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

31<\/p>\n

La vie possible de C.B.,<\/em> 159.<\/p>\n

32<\/p>\n

La vie possible de C.B.,<\/em> 159.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”full-5-20″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”p-cont-4-0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”23955″ image_size=”full” animation_type=”entrance” animation=”Fade In” hover_animation=”none” alignment=”center” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Christian Boltanski: Misterios,<\/em> 2017, fot\u00f3, Archives Christian Boltanski, Photo \u00a9 Christian Boltanski \u00a9 Adagp, Paris, 2019<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” vertically_center_columns=”true” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”p-2-0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”]

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