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Daniel Buren. CRISS-CROSS (Hardcover)
Helen Gamst; Text written by Sophie Calle, Jean-Louis Froment, Rudi Fuchs, Hans Haacke, …
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R1,513
Discovery Miles 15 130
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Ships in 12 - 17 working days
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"The Address Book," a key and controversial work in Sophie Calle's
oeuvre, lies at the epicenter of many layers of reality and
fiction. 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. Originally published as a serial in
the newspaper "Liberation" over the course of one month, her
incisive written accounts with friends, family and colleagues,
juxtaposed with photographs, yield vivid subjective impressions of
the address book's owner, Pierre D., while also suggesting ever
more complicated stories as information is parsed and withheld by
the people she encounters. Collaged through a multitude of
details--from the banal to the luminous, this fragile and strangely
intimate portrait of Pierre D. is a prism through which to see the
desire for, and the elusivity of, knowledge. Upon learning of this
work and its publication in the newspaper, Pierre D. expressed his
anger, and Calle agreed not to republish the work until after his
death. Until then, "The Address Book" had only been described in
English--as the work of the character Maria Turner, whom Paul
Auster based on Calle in his novel "Leviathan"; and in "Double
Game," Calle's monograph which converses with Auster's novel. This
is the first trade publication in English of "The Address Book"
(Gemini G.E.L. in Los Angeles released a suite of lithographs
modeled on the original tabloid pages from "Liberation" in an
edition of 24). The book has the physical weight and feel of an
actual address book with a new design of text and images which
allow the story to unfold and be savored by the reader.
No stranger to the art of staging and to the act of disclosure,
Sophie Caile returns again here to the theme of autobiography and
to the notion of the other, revealing in all their difference and
singularity those who have been blind since birth or who have gone
blind following an accident. By establishing a dialectic between
the testimonies of several generations of blind people and the
photographs taken by her on the basis on these accounts, Sophie
Caile offers readers a reflection on absence, on the loss of one
sense and the compensation of another, on the notion of the visible
and the invisible. In this publication, she revisits three earlier
works constructed and conceived around the idea ofblindness,
setting up a dialogue between them; in "Les Aveugles (The Blind)",
created in 1986, she questioned blind people on their
representation of beauty; in 1991, in "La Couleur aveugle (Blind
Colour)", she asked non-sighted people what they perceived and
compared their descriptions to artists musings on the monochrome;
"La Derniere Image (The Last Image)", produced in 2010 in Istanbul,
historically dubbed the city of the blind, gives a voice to men and
women who have lost their sight, questioning them on the last image
they can remember, their last memory of the visible world. The
work, which is structured as an introspective triptych, uncovers
sensibilities, perceptions and events that are painful, sincere.
Sophie Calles idea is to underline the permanence and irony of a
particular situation, with the aim of redeeming and highlighting
the importance of sight.
Throughout her career, the photographer and installation artist
Sophie Calle has been creating tableaux that recreate her personal
journeys. Projects from the past 10 years are explored in this
magnificently illustrated volume. Following on the heels of Calle's
highly acclaimed Did You See Me? this new book offers numerous
images of Calle's most recent works. Among the projects included
are "The Phone Booth, Garigiliano Bridge," which involved a public
phone that Calle called at random to initiate conversations with
strangers; "Take Care of Yourself," which documents the
interpretations of more than 100 women of a breakup note Calle
received from a former lover; "The North Pole," a touching tribute
to the artist's mother that imagines her realizing a lifelong
dream; and the latest iteration of "What do You See," which was
created in response to one of the most brazen art heists of all
time, at Boston's Isabella Stewart Gardner Museum. Many ongoing
series are also illustrated here, including "Unfinished," "Herein
Lie Secrets," and "Photos without Stories." Calle's many fans will
discover how the artist continues to examine the boundaries of
public and private life in ways that surprise, engage, and inspire.
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