PRINT April 2000


Sophie Calle’s work has appeared in a range of media and formats, from a major French daily to a Manhattan telephone booth. As “The True Stories of Sophie Calle” goes on view in Kassel and the artist’s book Double Game appears, contributing editor Yve-Alain Bois examines Calle’s seamless transitions between fiction and reality.

LONG A CULT FIGURE IN FRANCE, Sophie Calle is admired in several disparate circles, each of which has a partial grasp of some aspect of her work —one thinks perhaps of Laurie Anderson by way of comparison. For her earliest projects, she sidestepped the rarified precincts of the art world in favor of the mass media —how many Conceptual artists can claim that their first book was a bestseller? Or can compete with her invasion, over the course of an entire month, of half a page in a widely read French daily? Calle has always felt more confident outside the museum and gallery ghetto. Though she has since become part of the international art scene proper, exhibiting in respected venues —including the Boijmans in Rotterdam and Leo Castelli in New York —she continues to move at a rapid clip, attracting new audiences along the way. Her 1992 feature-length film Double Blind (which documents a

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