Take Care of Yourself

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Returning to the centre of the room I turned to face the noise that had been niggling at me. Relieved to find a bench, I chose to sit facing the thirty-three small screens that played at random on a larger screen. Challenged by the unconventional single angle films that consisted of an array of song, dance, translation and abstract performance I managed to watch about five of her films. Once I had recouped my energy I turned to face the large, silent screen of classical Balinese dancer performing the letter, behind me, which I found was another level I had difficulty engaging with. The Detachment [English translation]. G+B Arts International and Arndt & Partner Gallery, 1996. OCLC 38067246. Whatever happens, remember that I will always love you in the same way, my own way, that I have ever since I first met you; that it will carry on within me and, I am sure, will never die.

Despite the slight disappointment in the overwhelming presentation I am still very drawn to the contexts and method that Calle uses in her work. Breaking the boundaries of socially accepted behaviour; seeking answers that I myself would like to be able to elucidate, there is a sense of sheer nosiness as she explores and dissects every crumb of information, followed with an inquisitive question of why? For the passerby, Calle’s work may seem to be a collection rather than artwork, although this is very subjective. There are stereotypes and perimeters in art as there are in any aspect of our lives: “The difference with so many of Calle’s works: ‘is the fact that they are also a part of’… her …‘life. They happened.’ This manipulation of experiences and thought is modified by an element of chance, of following the outcome. Originally published in French as an artist's book in 1980 and reissued in 2015 by Siglio Press in English, Suite Vénitienne epitomizes Sophie Calle's idiosyncratic, documentary-style text and photography in an eloquent blend of fact and fiction. 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 1980, 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."CALLE: This was largely because of the situation in Venice: The work had to be in French, because it was the French Pavilion, but most people visiting Venice don’t speak French. So I faced the problem of translation that I face all the time with my work, but in Venice this would have meant translating the texts into 20 or more languages. So I introduced nonverbal responses to make things easier. Compass in Hand: Selections from The Judith Rothschild Foundation Contemporary Drawings Collection By Thomas Micchelli

Calle's work frequently depicts human vulnerability, using her self and others to examine situations and interactions that blur the lines between personal identity and intimacy. This oftentimes conjures reflection surrounding absence, presence, longing, hope, and other primal emotions. NERI: In New York, Take Care of Yourself will be installed at Paula Cooper Gallery, where in 2001 you invited the public to supply potential ideas on suggestion forms for your art.Sophie Calle’s book entitled ‘Take care of yourself’ was published by Actes Sud Press on June 1st, 2007 (4 dvd and two leaflefts are inserted). NERI: In the story The Mermaids in the Basement, Marina Warner describes a scene where a dying girl is weighed before death and after, to try to determine the tangibility of the soul. I was reminded of this in Pas Pu Saisir la Mort, although you deal with this elusive moment in terms of time rather than substance. Program of the festival Centre Pompidou in the State Hermitage Museum. Hermitage 20/21 Project. October/November 2010 Sophie Calle is internationally renowned for using aspects of her personal life as a source of inspiration. Her work is about exploring human relations using provocative, sometimes even controversial methods, since her narrations —often told through photographs, videos and text— reveal, or at least seem to reveal, the artist's very own intimacy and that of those surrounding her.

Calle wasn’t done there, either. Helping to really get to grips with the break-up and just how cold her lover had been, she tasked a selection of performers, such as Nathalie Dessay and Laurie Anderson, with bringing the letter to life. She then filmed the singers and actresses, adding a three-dimensional aspect to what was, at face value, just another callous break-up message from another piece of shit.

JUL-AUG 2021 | Special Report

We generally leave 1/4” - 1/2” of paper showing around the image, to accommodate signatures and for visual appeal. Appointment with Sigmund Freud. London: Thames & Hudson; London: Violette, 2005. ISBN 9780500511992. Every bid submitted is treated as a maximum bid. You should always bid the maximum you are willing to Jessica Lott (2009), Sophie Calle, Paula Cooper Gallery, New York, USA, Frieze , retrieved 2010-04-27 Sophie Calle. 2009 Russel Lecture. University of California, San Diego. Visual Arts Department and MCASD. January 15, 2009

True Stories [English translation and revision, 1st edition]. Arles, France: Actes Sud, 2013. ISBN 9782330023416. CALLE: Yes and no. At one moment I thought to work with a psychiatrist on memory problems, but I never did it. In theory, I could be tempted to work with anybody if the idea is good.