Wer die Ausstellung mit Werken von Sophie Calle - im Martin-Gropius-Bau (noch bis ) bisher nicht gesehen hat, kann sich im Vorfeld bzw. im. Sophie Calle ist eine der wichtigsten zeitgenössischen Konzeptkünstlerinnen Frankreichs. Künstlerprofil, Schlüsselwerke wie Prenez soin de vous, Biographie. Die Konzeptkünstlerin Sophie Calle verursachte mit einer Artikelserie einen Skandal. Jetzt ist „Das Adressbuch“ erstmals auf Deutsch.
Sophie CalleSophie Calle ist eine der wichtigsten zeitgenössischen Konzeptkünstlerinnen Frankreichs. Künstlerprofil, Schlüsselwerke wie Prenez soin de vous, Biographie. Die Konzeptkünstlerin Sophie Calle verursachte mit einer Artikelserie einen Skandal. Jetzt ist „Das Adressbuch“ erstmals auf Deutsch. Sophie Calle, eine der berühmtesten französischen Konzeptkünstlerinnen, stellte in aller Welt aus. Ihre Themen: Liebe, Tod, Verlassenheit.
Sophie Calle Navigation menu VideoSophie Calle: Conversation with the Nameless Man
Ganzer Film Arrival 2016 Complete Stream Sophie Calle - Nächstes VideoIn ihren Arbeiten verschränkt Sophie Calle gezielt biografische und fiktionale Begebenheiten.
Kult-Regisseur Terrence Malick kehrte nach 20 Sophie Calle Regie-Pause zurck und sammelte eine Dr. Berg Celle Schar an Stars um sich (u. - Sophie Calles Werk und SchlüsselthemenUnd wir können uns mit ihrer Kunst die Frage stellen: wie Gläsern ist der gläserne Mensch wirklich?
Calle's text Exquisite Pain was adapted into a performance in by Forced Entertainment , a theatrical company based in Sheffield , England. At the Venice Biennale , Calle showed her piece Take Care of Yourself , named after the last line of the email her ex sent her.
I didn't know how to respond. It was almost as if it hadn't been meant for me. It ended with the words, 'take care of yourself.
I asked women, chosen for their profession or skills, to interpret this letter. To analyze it, comment on it, dance it, sing it. Exhaust it. Understand it for me.
Answer for me. It was a way of taking the time to break up. A way of taking care of myself. Calle insists that she did not need the other women's sentiments for herself, but to ensure that the piece was well-rounded.
In her work True Stories was installed at the historic House at the Pontalba Building at Jackson Square in the French Quarter of New Orleans, Louisiana as part of the Prospect 2 Contemporary Art Festival.
The house, an historic museum that is managed as part of the Louisiana State Museum , is furnished with historic furniture as it was in the midth century.
The artist inserted her own, personal historical objects and ephemera, with short, narrative explanatory text, into the scenes, affecting the notion that she had occupied the house shortly before the viewers' arrival.
In , Calle's The Address Book was published for the first time in its entirety. Christine Macel described Calle's work as a rejection of the Poststructuralist notion of the " death of the author " by working as a "first-person artist" who incorporates her life into her works and, in a way, redefines the idea of the author.
Angelique Chrisafis, writing in The Guardian , called her "the Marcel Duchamp of emotional dirty laundry". From Wikipedia, the free encyclopedia. French writer, photographer, installation artist, and conceptual artist.
Paris , France. Retrieved London: The Guardian. Retrieved 4 March Contemporary Women Artists. It is a prime example of her contribution to Conceptual art with her mode of taking a nominal proposition and carrying it out through the production of a work.
It highlights her synonymous incorporation of photography, documentary, and chance and posits the artist in a role similar to an anthropologist, seeking clues and exploring mysteries about specific specimens of humanity.
This pointed study of strangers and herself would inject a "confessional" vein into the world of Conceptual art, in which personal lives and their ephemera were considered worthy fodder for exploration.
A similar strategy was adopted by other contemporary women artists, perhaps most notably, Tracey Emin.
The artist writes: "For months I followed strangers on the street. For the pleasure of following them, not because they particularly interested me.
I photographed them without their knowledge, took note of their movements, then finally lost sight of them and forgot them. At the end of January , on the streets of Paris, I followed a man whom I lost sight of a few minutes later in the crowd.
That very evening, quite by chance, he was introduced to me at an opening. During the course of our conversation, he told me he was planning an imminent trip to Venice.
I decided to follow him. The images and the textual narration describe the two main "characters" in a variety of situations: Calle in a blonde wig in Piazzo San Marco, Henri B.
Other inhabitants of Venice take their place in the story, a boy in a feathered headdress, a flower delivery boy emerging from an alleyway obscured by a vast bouquet, women accompanying Henri B.
Venice itself becomes a significant feature, with its Piazzos, bridges, hotels, labyrinth passageways, and carnival atmosphere.
Calle's documentation of secrecy and disguise in Venice is full of masks wigs, hands, headdresses. Perhaps it is no coincidence that she chose carnival time as her setting for this at once playful yet predatory chase, with its framing of mystery and suggestions of unrealized desire.
The work also showcases the way Calle co-opted the world of literature and more specifically fiction, as a tool to create art.
She was, in fact, creating narratives full of unfolding characters much in the way that a novelist discovers his or her own stories.
This blurring of genre into a whole new form of performative art making was radical at the time. Although Calle has been criticized widely for invasions of privacy such as this, her actions provoked further reflection on the liberties of being an artist and the thin line between creative exploration and exploitation in art.
For this work, Sophie Calle's destination moved from the romance of Venice to the economically depressed streets of New York's South Bronx.
Conceptual art. Artworks Left Right. Sophie Calle The Hotel, Room 47 Sophie Calle The Hotel, Room 28 Sorry, no image available.
Sophie Calle Venetian Suite , Sophie Calle The Hotel, Room 44 Sophie Calle The Hotel, Room 29 Sophie Calle Purloined Turner — Sophie Calle Purloined Lucian Freud, Portrait of Francis Bacon — Film and audio.
Sophie Calle: Dumped by email The French artist asked women to analyse the letter according to their professional interest. Calle, M'as-tu vue , exh.
The resulting one hundred and seventy six photographs and twenty three text descriptions are then arranged in chronological order in a grid pattern on the wall.
These photographs, with hand written notations detailing the people who were featured, showed Calle's participants making themselves at home in her bed; some are soundly asleep, while others read, eat, talk on the telephone, and do the things that people normally do in bed.
While some might have hoped for it, there was no overt sexual component to the project, although Calle imposed no specific rules about what could or could not be done by the participants during their time in her bed.
The Sleepers les dormeurs marks the start of a journey for Calle who, although she never set out to be an artist, ended up as one of Europe's most influential practitioners of conceptual art.
This is the first of several important works in which she built up the identity of strangers with a forensic ability to track down information.
After completing The Sleepers les dormeurs , she trailed a man she met at a party to Venice where, without knowing anything about him, she managed to track down his whereabouts by phoning every hotel in the city and then persuading the women who owned the apartment opposite his hotel to let her photograph the man's comings and goings from her window.
But perhaps her most controversial work was Address Book , , in which, using an address book she found in the street, she built up a picture of its owner, identified only as Pierre D.
Flirting with ideas surrounding chance and control, choice and constraint, and intimacy and distance Calle addresses the contradictions inherent in the modern world-its culture of surveillance and its compulsion to expose-by following a strict set of rules within her practice even as she rebels against what she sees as the endless freedoms we are offered in today's modern society.
In some ways The Sleepers les dormeurs , with its documentary record of people's most hidden moments, also examines the relationship between the viewer and the viewed.
People who have looked at the images have often reported feeling uneasy at being made to share these normally private moments.
However, Calle is the first is to point out that there is no compulsion to view her work; people are drawn to it because of their instinctively curious nature.
In this manner, Calle's observational style of photography could be regarded as a prophetic vision of our contemporary social media-obsessed culture, where people routinely display their private lives for the world to see via Facebook, YouTube, and Twitter.