less strict

CALLE: He began by telling me that he loved my work but that many of my shows looked like open books on the wall.

NERI: That’s a provocative criticism to make to an artist who has always worked with words and images. You are a distinctive writer, much admired in literary circles.

CALLE: Daniel [Buren] said this after he visited my house and saw my walls [The walls of Sophie’s house in Paris are adorned with groupings of artworks and artifacts]. He thought they were more playful and free than many of my shows. His criticism wasn’t about my writing—it was that for many works, I chose one format and repeated it many times. He wanted me to be less strict. As a result, I had much more fun in Venice. I played so much that I was even afraid to be too much like a student who wants to experiment with everything! Sophie Calle with Interview Magazine

Les Dormeurs, 1979, Sophie Calle

in return

I left for Japan on October 25, 1984, unsuspecting that this date would mark the beginning of a 92 day countdown to the end of a love affair. Nothing extraordinary -- but to me, at the the time, the unhappiest moment of my life, and one for which I blamed that trip itself. I got back to France on January 28, 1985. From that moment, whenever people asked me how it went, I chose to skip the Far East bit and tell them about my suffering instead. In return I started asking both friend and chance encounters: "When did you suffer most?" -- I decided to continue such exchanges until I had got over my pain by comparing it with other people's, or had worn out my own story through sheer repetition.

Exquisite Pain, Sophie Calle
Someday very soon I will have to return this to the SF library

it must suggest something about me has changed

My Love,
I went to Yamamoto to choose my trousseau. For our reunion. I spent hours trying things on. In the end I chose black silk trousers and two shirts to be worn together, a gray one and a blue one. I want everything to be perfect. My outfit must travel well in the plane and suit the circumstances: a reunion in India. It must be elegant but without affectation, chic but understated, and flattering. It must suggest that something about me has changed, a subtle metamorphisis, show you how I've missed you, but that you're not totally indispensable to me and even that I have grown more beautiful, more mature, away from you...

From Exquisite Pain, by Sophie Calle (Thanks SF Library)

would it stand on the wall?

From Tokion, a fantastic interview with Sophie Calle by artist Jill Magid:

Most recently, she [Calle] was behind the most talked about exhibition at the 2007 Venice Biennale, Take care of yourself. Calle analyzed an ex-boyfriend’s break-up email by asking 107 women to interpret his words...

Jill Magid: You incorporate a few different methodologies in your work. One of them seems like this natural catalyst—something happens in your life, and then you set [up for] yourself what you call a ‘game.’ So, Take care of yourself was something that happened—a break-up—and then you set up a game—

Sophie Calle: And they have a therapeutic motor aspect, just as a start: ‘What can I do not to suffer?’

Jill Magid: You don’t think you start this process as a work?

Sophie Calle: No, there are different categories, as you say. The category in which it is my life, many times starts as a reaction to something. Like, I received that love letter, what can I do [to] counter it, not just to be a victim of it. Maybe the first step is therapeutic, but if it’s only therapeutic, I may as well go buy a dress at the corner of the street. So, immediately [I think], ‘Would [it] stand on the wall?’ If I think yes, I go on.

Photo: Sophie Calle: Did You See Me?