Christian Boltanski
[Artist, b. 1944, Paris, lives in Paris.]

 Photography is used to give evidence, and the evidence is always deceiving. 
 We all die twice—once when we actually die and once when no one on earth recognizes our photograph. 
 The more you work, the less you exist. I believe (at least, I used to believe, because I no longer think this is entirely true) that the artist is like someone carrying a mirror in which everyone can look and recognize themselves, so that the person who carries the mirror ends up being nothing. 
 I think that all human activity is stupid. Artistic activity is also stupid, but you can see it more clearly. 
 The photo replaces the memory. When someone dies, after a while you can’t visualize them anymore, you only remember them through their pictures. 
 No, I never take photographs myself. I don’t feel like a photographer, more like a recycler. 
 ... in the eyes of its visitors, Venice has no reality of its own. Anyone visiting the place has already seen so many pictures of it that they can only attempt to view it via these clichés, and they take home photographs of Venice that are similar to the ones they already knew. Venice [is] becoming like one of those painted backdrops that photographers use in their studio. 
 In most of my photographic pieces I have manipulated the quality of the evidence that people assign to photography, in order to subvert it, or to show that photography lies—that what it conveys is not reality but a set of cultural codes. 
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