保存一切：波東斯基的「視覺」檔案

Saving Everything: Christian Boltanski’s“Visual”Archives

據稱藏有超過1,200張照片與800份文件，並在主題上即明明白白以「檔案」為名的《波東斯基檔案，1965–1988》，在法國藝術家波東斯基眾多與檔案有關的作品中顯得獨樹一格。不光是因為此作是波東斯基貫徹其「保存一切」意志的代表之作，更因為藝術家將他逾二十年來保存下的所有照片與文件，放進外觀上並沒有任何註記的錫盒裡，這些僅僅只靠相互堆疊的重力而被密封起來的盒子，遂使《波東斯基檔案，1965–1988》一作帶有一定程度的不可親近性。本文嘗試從藝術家對此作的設計與展示方式切入，探討波東斯基為從未能直接得見其內容物的這件作品，賦予「檔案」之名，以質疑被製成檔案的這些紀錄是否真有能力保存關於他的一切，並在看似只做到最低限度的檔案化工作：把照片與文件存儲下來，放進錫盒裡，將檔案化行為於此徹底地視覺化，從而審視了人們對檔案的過分追求與信任，以及總是過於直接便將檔案和記憶連結在一起的這種傾向。

Les Archives de C. B., 1965–1988, a work believed to contain approximately 1,200 photographs and 800 documents, and titled“archive,”is in a unique position among the late French artist Christian Boltanski’s archive - related works. Not only is this work a typical one that fulfills Boltanski’s will to“save everything,”but he has also shuffled all the photographs and documents he preserved for more than two decades into closed tin boxes with no external markings. These boxes are sealed only by gravity, each box resting on another’s closed lids; thus, inaccessibility is built into their design and presentation. This study attempts to demonstrate the design and presentation in Les Archives de C. B., 1965–1988 and argues that due to 23 years of archival material being rendered inaccessible, Boltanski questions the fundamental ability to save everything. In light of this, the study concludes that with Boltanski’s minimal archival work, namely, saving photographs and documents and putting them in tin boxes, he completely visualized archival behavior. In Les Archives de C. B., 1965–1988, Boltanski revisits our fascination and obsession with the idea of the archive and the tendency to tie archives and memories together hastily.