威尼斯法国馆的偷窥教母--Sophie Calle
发起人:嘿乐乐  回复数:11   浏览数:7316   最后更新:2007/06/25 08:43:49 by
[楼主] 嘿乐乐 2007-06-21 08:07:20

Sophie Calle




  索菲·卡莱的早期作品采用了寄生的方法,试图以此来溶解生活与艺术、隐私与公开、窥视与参与、暴露与隐秘、幻想与现实的关系。1979年,她用照相机和文字记录了她邀请的45个人8个小时内在她的床上轮流睡觉的情景。索菲·卡莱的作品通常像一个调查或抽样调查的结果。但它也可以看作是进行的试验、纪录片或是经过艺术加工的自传。她称自己为“纪实艺术家”,她经常暗中跟踪陌生人,监视她们,询问她们,让她们无意识地加入到她的游戏与故事中,如1980年创作的“布朗克斯(Le Bronx)”、“威尼托的人(Suite venetienne)”、“自传(Autobiographies)”。1981年创作的“旅馆(Hotel)”、1983年创作的“证件(Le Carnet)”、1984年创作的“阿纳托里(Anatoli)”、1986年创作的“盲人(Les Aveugles)”、1990年创作的“坟墓(Les Tombes)”和1991年创作的“色盲(Color Blind)”。为了产生一种富有诗意的朦胧的效果,她像侦探似的以女招待和脱衣舞女的身份出现。通过暴露自己和他人的生活,创造一种幻想与事实、臆造与现实、想象与观察相互渗透的场面。在1996年创作的“清除(Die Entfernung-The Detachment)”中,她提供给我们一种重新收集回忆的过程,并将它视为艺术创作的形式。在原东柏林期间,卡莱曾经将许多社会主义的纪念性建筑物拍摄下来,柏林墙推倒之后,这些纪念物也相继被毁。此后,卡莱又重返故地,采访了曾经与这些建筑为邻的居民,记录下他们对往事的回忆与感想。在展览上,卡莱将照片与采访的录音并置,主观与客观相互补充,产生了非常好的效果。
[沙发:1楼] 嘿乐乐 2007-06-21 08:11:35
The coffee cup, from 'La Visite Guidee' [guided tour].
Book with audio commentary
published by Museum Boymans-van Beuningen Rotterdam, 1996.

[板凳:2楼] 嘿乐乐 2007-06-21 08:13:55
The Hotel; Room 46

A series of silver gelatin prints with hand written captions,

[地板:3楼] 嘿乐乐 2007-06-21 08:16:06
'La Filature' [The Shadow]

Silver gelatin prints, written materials,

[4楼] 嘿乐乐 2007-06-21 08:19:29
'La Visite Guidee' [guided tour]

[5楼] 嘿乐乐 2007-06-21 08:22:06
The Birthday Ceremony (1981) 1997


The Birthday Ceremony (1986) 1997

[6楼] 嘿乐乐 2007-06-21 08:27:17
Last seen...(Rembrandt, a lady and a gentleman in Black),1991

Last seen...(Rembrandt, the storm on the sea of galilee),1991

Last seen...(Degas, Drawing),1991
[7楼] 嘿乐乐 2007-06-21 08:30:27
One of our girls (has gone missing)

我们其中的一个女孩 (消失了)

[8楼] 嘿乐乐 2007-06-21 08:32:11
Breast  胸


[9楼] 嘿乐乐 2007-06-25 08:22:22
Suite Vénitienne

1980 Detail 1 presentation text, 55 black and white photographs, 23 texts and 3 maps dimensions variable Edition 3/3 in English


在作品<Suite Vénitienne>  《威尼斯套房》里,卡莱偷偷的在威尼斯跟踪一名男人,并同时坐下笔记和拍照,在旅馆里,卡莱伪装成一名女佣检验着陌生人的行李。

  In Suite Vénitienne, Calle secretly follows a man through Venice while taking notes and photographing him;  in L’hôtel, Calle disguises herself as a maid and examines strangers’ lives through their belongings left in hotel rooms during their absence. As these two works unfold, the viewers’ expectations about the work as representing anything “real” are overturned, and the viewer becomes more interested in Sophie Calle than in any secrets she might reveal about the others.

            Calle begins these performances by setting up rules for her game of detective, most obvious of which is, —try not to be seen. She is never able to follow through with this one-sided relationship, however, and her rules are made to be broken. Her voyeuristic activity forces a kind of one-sided intimacy with her subjects (especially men) through the visual, which always has the possibility of reversal and, in the end, results in the construction of “Sophie.”  She writes about how her project of observing others effects her emotions and controls her actions, in other words, how she becomes dependent on her subjects. The possibility that she will be caught or confronted is the possibility of establishing a real relationship, while at the same time she reminds us cleverly that it is just a game.
[10楼] 嘿乐乐 2007-06-25 08:23:14
Hotel Room 28

1983 Black and white and color photograph with text 49 x 56 inches, each panel Edition of eight
Courtesy Donald Young Gallery, Chicago

[11楼] 嘿乐乐 2007-06-25 08:43:49

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