Take Care of Yourself

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a b "Deutsche Börse Photograpohy Foundation Prize 2017". The Photographers' Gallery. Archived from the original on 2017-01-09.

CALLE: It is a moment that you cannot touch. Obviously in the film when we—me, my cousin, and the nurse—are feeling for my mother’s pulse, we are not performing. We really could not determine whether she was dead or alive. But in the film, we look like we are out of our minds!Angelique Chrisafis, writing in The Guardian, called her "the Marcel Duchamp of emotional dirty laundry". [24] She was among the names in Blake Gopnik's 2011 list "The 10 Most Important Artists of Today", with Gopnik arguing, "It is the unartiness of Calle's work—its refusal to fit any of the standard pigeonholes, or over anyone's sofa—that makes it deserve space in museums." [25] Publications [ edit ] Books [ edit ] She began to spend time following strangers and recording their movements, even to the extreme of following one unsuspecting French man all the way from Paris to Venice, all the while building up a dossier of images and notes about his travels.

Access-restricted-item true Addeddate 2022-12-15 01:09:53 Associated-names Biennale di Venezia (52nd : 2007) Autocrop_version 0.0.14_books-20220331-0.2 Boxid IA40791402 Camera Sony Alpha-A6300 (Control) Collection_set printdisabled External-identifier Gopnik, Blake (2011-06-05). "The 10 Most Important Artists of Today". Newsweek . Retrieved 2021-04-25.Sacred or Sensually Profane? Alonzo King’s LINES Ballet’s Dust and Light and Rasa at the Joyce, May 5-10 By Dalia Ratnikas A researcher in lexometry, a writer, a translator, an ethno-methodologist thinking of the ramifications of technology on our speech—all digest the affair’s disclosure with restrained forms of commentary, including footnotes, torn paper, highlighted marginal notes and mapping. A criminologist, judge, journalist, headhunter, and accountant offer more steely objectifications. CALLE: Art is a way of taking distance. The pathological or therapeutic aspects exist, but just as catalysts. I didn’t make Take Care of Yourself to forgive or forget a man—I did it to make a show in Venice. The show came to my mind because I was thinking, What can I do to suffer less? But once I got the idea, it took over, and I didn’t care about the therapeutic aspect anymore. Appointment with Sigmund Freud. London: Thames & Hudson; London: Violette, 2005. ISBN 9780500511992.

Calle has been interviewed thousands of times and she’s interested in the process, in what she chooses to withhold. Which is why I ask her to repeat what she says next, a story she’s never discussed before. “When I was 18, I did abortions. It was illegal, so we had to learn to do it ourselves before the law passed. We learned the Karman method.” Harvey Karman designed a tiny cannula, making it possible to perform early abortions safely and painlessly – later I scroll through photos online, of a tiny glass straw that’s still used today. Development Takes Center Stage In 33rd District City Council Debate By James Trimarco and Krista Hanson Another of Calle's noteworthy projects is titled The Blind (1986), for which she interviewed blind people, and asked them to define beauty. Their responses were accompanied by her photographic interpretation of their ideas of beauty, and portraits of the interviewees. [14]In his novel Leviathan, American author Paul Auster based a character, Maria, on Sophie Calle. He was inspired by her work and when he sent her his manuscript to ask permission to fictionalize her, Calle says, "I never thought about saying no." NEW YORK—The Paula Cooper Gallery is pleased to present the first U.S. exhibition of Sophie Calle’s Take Care of Yourself, a body of work created for the French Pavilion of the 2007 Venice Biennale. The show will open on 9 April 2009 and will remain on view through May at 534 West 21st Street. The Hotel features a series of twenty-one diptychs comprising photographs and text on paper. Evoking the aesthetic of earlier Conceptual art, the work documents details of the lives of others, or more precisely the lives of anonymous guests of a Venetian hotel as seen by the artist herself, posing as a chambermaid at the hotel for several weeks in the Spring of 1981. In the upper piece, the color photograph shows a bed and headboard which elicit the faded grandeur of Venice, the carved wood, modestly patterned wallpaper, and sober yet satin bedcovers suggestive of the nostalgic time-worn wanderlust and romanticism that continue to draw countless visitors to the city. The text underneath confirms our sense of temporary absence and voyeurism hinted at by the empty hotel bed. In 1996, Calle asked Israelis and Palestinians from Jerusalem to take her to public places that became part of their private sphere, exploring how one's personal story can create an intimacy with a place. Inspired by the eruv, the Jewish law that permits to turn a public space into a private area by surrounding it with wires, making it possible to carry objects during the Sabbath, the Erouv de Jérusalem is exposed at Paris's Musée d'Art et d'Histoire du Judaïsme.