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Never before published in its entirety in English, The Address Book is a key and controversial work in Sophie Calle’s oeuvre. Having found a lost address book on the street in Paris, Calle copied the pages before returning it anonymously to its owner. She then embarked on a search to come to know this stranger by contacting listed individuals — in essence, following him(...)
Sophie Calle : the address book
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Never before published in its entirety in English, The Address Book is a key and controversial work in Sophie Calle’s oeuvre. Having found a lost address book on the street in Paris, Calle copied the pages before returning it anonymously to its owner. She then embarked on a search to come to know this stranger by contacting listed individuals — in essence, following him through the map of his acquaintances. Her written accounts of these encounters with friends, family and colleagues — juxtaposed with Calle’s photographs — originally appeared as serial in the newspaper Libération over the course of one month in 1983. As the entries accumulate, so do the vivid impressions of the address book’s owner, Pierre D., while also suggesting ever more complicated stories as information is gifted, parsed, and withheld by the people she encounters. A multitude of details, from the seemingly banal to the potentially revelatory, are not only collaged into a fragile and strangely intimate portrait of Pierre D.; they also accumulate into a collection of miniatures of the people around him as they reveal something, often unknowingly, of themselves. Further layering The Address Book is Calle’s first person narrative in which she interrogates herself—her fears, obsessions, and assumptions—over the course of her pursuit. When Pierre D. learned about the work and its appearance in the newspaper, he threatened to sue (and demanded that Libération publish nude photographs of Calle as a reciprocal invasion of privacy). Calle agreed not to republish the work until after his death. In the almost thirty years since its original publication in France, The Address Book has never been published in full again, only described in Double Game, Calle’s monograph which converses with Paul Auster’s novel Leviathan, and again in the novel itself as a work thought up (but not executed) by the fictional character Maria whom Auster based on Calle. Part conceptual art, part character study, part confession, part essay, this book is, above all, a prism through which desire and the elusory, persona and identity, the private and the public, knowledge and the unknown are refracted in luminous and provocative ways.
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«J'ai reçu un mail de rupture. Je n'ai pas su répondre. C'était comme s'il ne m'était pas destiné. Il se terminait par les mots : Prenez soin de vous. J'ai pris cette recommandation au pied de la lettre. J'ai demandé à cent sept femmes, dont une à plume et deux en bois, choisies pour leur métier, leur talent, d'interpréter la lettre sous un angle professionel. (...)
Sophie Calle : prenez soin de vous
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«J'ai reçu un mail de rupture. Je n'ai pas su répondre. C'était comme s'il ne m'était pas destiné. Il se terminait par les mots : Prenez soin de vous. J'ai pris cette recommandation au pied de la lettre. J'ai demandé à cent sept femmes, dont une à plume et deux en bois, choisies pour leur métier, leur talent, d'interpréter la lettre sous un angle professionel. L'analyser, la commenter, la jouer, la danser, la chanter. La disséquer. L'épuiser. Comprendre pour moi. Parler à ma place. Une façon de prendre le temps de rompre. À mon rythme. Prendre soin de moi.» -Sophie Calle
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Entre 1978 et 1981, Sophie Calle explore clandestinement l'hôtel du Palais d'Orsay, alors désaffecté. Elle choisit la chambre 501 comme point d'ancrage et, sans méthode préétablie, photographie les lieux abandonnés depuis cinq ans. Au fil de ses incursions, elle collecte des objets trouvés : numéros de chambres, fiches des clients, messages adressés à un certain « Oddo(...)
Sophie Calle : L'Ascenseur occupe la 501
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Entre 1978 et 1981, Sophie Calle explore clandestinement l'hôtel du Palais d'Orsay, alors désaffecté. Elle choisit la chambre 501 comme point d'ancrage et, sans méthode préétablie, photographie les lieux abandonnés depuis cinq ans. Au fil de ses incursions, elle collecte des objets trouvés : numéros de chambres, fiches des clients, messages adressés à un certain « Oddo »... Qu'est-il arrivé à la chambre 501 ? Plus de 40 ans plus tard, elle a disparu et un ascenseur a pris sa place. Sur l'invitation de Donatien Grau, conservateur au Musée d'Orsay, Sophie Calle retourne, munie d'une lampe torche, explorer les lieux pendant le temps suspendu du confinement. Elle traque ici les fantômes du Palais d'Orsay, alors rejoints au présent par ceux des visiteurs qui ont déserté le musée.
Sophie Calles: ghosts
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Ghosts deals with important art objects which have been misplaced, damaged, stolen or have otherwise disappeared from public view. In the 1980s and 90s, the Isabella Stewart Gardner museum in Boston and the Earl of Bath’s residence in England both lost some of their most prestigious works to thefts and accidents. In this volume, which combines her series on both museums,(...)
Sophie Calles: ghosts
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Ghosts deals with important art objects which have been misplaced, damaged, stolen or have otherwise disappeared from public view. In the 1980s and 90s, the Isabella Stewart Gardner museum in Boston and the Earl of Bath’s residence in England both lost some of their most prestigious works to thefts and accidents. In this volume, which combines her series on both museums, Sophie Calle embarks on a quest to resurrect the memory of these pieces. She explores their personal meaning to those museum employees and others who knew the works intimately, in a series of profiles on each individual.
Sophie Calle: My all
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Over the past 30 years, artist Sophie Calle (born 1953) has orchestrated small moments of life as art, each time establishing a game, then setting its rules for herself and for others. Calle's work springs up around "the association of an image and a narrative around a game or autobiographical ritual, which strives to summon up the angst of absence while creating a(...)
Sophie Calle: My all
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Over the past 30 years, artist Sophie Calle (born 1953) has orchestrated small moments of life as art, each time establishing a game, then setting its rules for herself and for others. Calle's work springs up around "the association of an image and a narrative around a game or autobiographical ritual, which strives to summon up the angst of absence while creating a relationship to others that is controlled by the artist," as curator and art critic Christine Macel puts it. Calle has carried out and documented these melancholy games in books, photographs, videos, films and performances. This publication finds the artist experimenting with yet another mediums-the postcard set. Taking stock of her entire oeuvre, this set of postcards functions as a beautiful portfolio of Calle's work, as well as a new investigation of it, in an appropriately nomadic format.
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Dans son exposition intitulée « Beau doublé, Monsieur le Marquis » au musée de la Chasse et de la Nature en 2017, Sophie Calle, qui continue de nourrir son oeuvre des événements de sa vie intime, et qui, en guise d'introduction, y parlait de la mort récente de son père, a invité les visiteurs à s'interroger sur celle de leurs proches par des questions concrètes. Dans ce(...)
Que faites-vous de vos morts ?
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Dans son exposition intitulée « Beau doublé, Monsieur le Marquis » au musée de la Chasse et de la Nature en 2017, Sophie Calle, qui continue de nourrir son oeuvre des événements de sa vie intime, et qui, en guise d'introduction, y parlait de la mort récente de son père, a invité les visiteurs à s'interroger sur celle de leurs proches par des questions concrètes. Dans ce livre intitulé 'Que faites-vous de vos morts ?', des photographies prises par l’artiste à travers le monde dans des cimetières accompagnent une sélection de messages laissés par les visiteurs pendant la durée de l’exposition.
And so forth
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As multi-faceted as the artist herself, this stunningly illustrated book on Sophie Calle’s recent installations displays her genius for entwining personal experience with universal truth. Throughout her career, the photographer and installation artist Sophie Calle has been creating tableaux that recreate her personal journeys.
octobre 2016
And so forth
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As multi-faceted as the artist herself, this stunningly illustrated book on Sophie Calle’s recent installations displays her genius for entwining personal experience with universal truth. Throughout her career, the photographer and installation artist Sophie Calle has been creating tableaux that recreate her personal journeys.
Sophie Calle: true stories
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First published in French in 1994, quickly acclaimed as a photobook classic and since republished and enhanced, 'True Stories' returns for the fifth time, gathering a series of short autobiographical texts and photos by acclaimed French artist Sophie Calle, this time with four new tales. The tales - never longer than a page - are by turns lighthearted, humorous, serious,(...)
Sophie Calle: true stories
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First published in French in 1994, quickly acclaimed as a photobook classic and since republished and enhanced, 'True Stories' returns for the fifth time, gathering a series of short autobiographical texts and photos by acclaimed French artist Sophie Calle, this time with four new tales. The tales - never longer than a page - are by turns lighthearted, humorous, serious, dramatic or cruel. Each is accompanied by an image; each offers a fragment of life.
Sophie Calle: Rachel Monique
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“She was successively called Rachel, Monique, Szyndler, Calle, Pagliero, Gonthier, Sindler. My mother liked people to talk about her. Her life did not appear in my work, and that annoyed her. When I set up my camera at the foot of the bed in which she lay dying – fearing that she would pass away in my absence, whereas I wanted to be present and hear her last words – she(...)
Sophie Calle: Rachel Monique
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“She was successively called Rachel, Monique, Szyndler, Calle, Pagliero, Gonthier, Sindler. My mother liked people to talk about her. Her life did not appear in my work, and that annoyed her. When I set up my camera at the foot of the bed in which she lay dying – fearing that she would pass away in my absence, whereas I wanted to be present and hear her last words – she exclaimed: ‘Finally.’”Sophie Calle describes Monique through extracts from personal notebooks and photographs from family albums, and presents her installation created at the Palais de Tokyo in homage to her mother, who died in 2007. This book was above all designed as an authentic art object, in collaboration with the artist. The cover text is embroidered to create a precious object, and all of the texts relating to the installation are embossed so as to evoke the texture of certain works by Sophie Calle. It is a highly personal and moving book, while at the same time offering thoughts on death that all of us can relate to.
Sophie: Voir la mer
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For Voir la mer, Sophie Calle invited inhabitants of Istanbul, who often originated from central Turkey, to see the sea for the first time. "I took 15 people of all ages, from kids to one man in his 80s once we were safely by the sea, I instructed them to take away their hands and look at it. Then, when they were ready--for some it was five minutes and for others 15--they(...)
Sophie: Voir la mer
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For Voir la mer, Sophie Calle invited inhabitants of Istanbul, who often originated from central Turkey, to see the sea for the first time. "I took 15 people of all ages, from kids to one man in his 80s once we were safely by the sea, I instructed them to take away their hands and look at it. Then, when they were ready--for some it was five minutes and for others 15--they had to turn to me and let me look at those eyes that had just seen the sea." The project was eventually composed of 14 five-minute videos, made for Calle by Caroline Champetier. Each person is filmed from behind, eventually turning to face the camera, revealing the emotions the experience has evoked.