#sophie calle

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free-parking-blog: Sophie Calle, Last Seen…, 1991In her series Last Seen…, Sophie Calle creates a free-parking-blog: Sophie Calle, Last Seen…, 1991In her series Last Seen…, Sophie Calle creates a free-parking-blog: Sophie Calle, Last Seen…, 1991In her series Last Seen…, Sophie Calle creates a free-parking-blog: Sophie Calle, Last Seen…, 1991In her series Last Seen…, Sophie Calle creates a free-parking-blog: Sophie Calle, Last Seen…, 1991In her series Last Seen…, Sophie Calle creates a free-parking-blog: Sophie Calle, Last Seen…, 1991In her series Last Seen…, Sophie Calle creates a

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Sophie CalleLast Seen…, 1991

In her series Last Seen…, Sophie Calle creates a poetic remembrance of a famous crime: the theft in 1990 from the Isabella Stewart Gardner Museum in Boston of five drawings by Degas, a vase, a Napoleonic eagle, and six paintings by Rembrandt, Flinck, Manet, and Vermeer. Gardner’s stipulation in her will that the arrangement of the galleries remain fixed ensures that a sense of loss remains a permanent fixture of the museum. Calle interviewed curators, guards, and other staff members, asking them to describe the absent works; their varied responses are displayed as a counterpart to photographs of the labels, empty pedestals, and bare wall hooks left behind after the theft. [via]

In exhibiting the photographs alongside people’s recollections of the missing artworks, Calle manages to articulate “the poetic picture that appears through the collective memories of everybody.”


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Suite Vénitienne [selection], Sophie Calle.Suite Vénitienne [selection], Sophie Calle.

Suite Vénitienne [selection], Sophie Calle.


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Sophie Calle, À suivre… (Actes Sud, 2019)

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