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  1. Mar 24, 2015 · In that sense, “Suite Vénitienneis less a work of appropriation than of the imagination, an expression of what we all do all the time.

    • Columnist
  2. Jul 16, 2015 · If the site of following is the site of performance, then Suite Vénitienne might be a document of the act, which happened under clandestine circumstances in Venice in 1980. However, this considerately designed book is a work in itself.

  3. Apr 23, 2015 · Her work – which ranges from photography and film to performance and installation – has electrified the Paris art scene with its quest-like intensity (she is not far removed from other performance artists like Marina Abramović).

    • Harriet Baker
    • Is suite vénitienne a work of appropriation?1
    • Is suite vénitienne a work of appropriation?2
    • Is suite vénitienne a work of appropriation?3
    • Is suite vénitienne a work of appropriation?4
    • Is suite vénitienne a work of appropriation?5
  4. As an artist in the 1970’s and 80s’s Calle built a career out of the art of stalking. Drawing on multiple mediums from photography and prose, to strip tease and talking therapy, her work delves into the phenomena of urban malaise, asking questions about agency, distance, emotionality and feminism.

  5. Jul 20, 2015 · If the site of following is the site of performance, then Suite Vénitienne might be a document of the act, which happened under clandestine circumstances in Venice in 1980. However, this considerately designed book is a work in itself. It is a re-enlivened iteration of Calle’s two week carrying-out.

  6. May 1, 2017 · Suite Vénitienne feels light in the best possible way, even though the work itself doesn’t. This is not to say that the work is grave. It’s not. But it’s conceptual in the way that all of Sophie Calle’s work is conceptual, while being light and infused with deep humanity at the same time.

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  8. Jul 20, 2018 · She presented the images alongside text detailing both her observations and emotions during the period, as Suite Vénitienne. This man, identified only as Henri B., was the first unwitting participant to Calle’s artistic game.

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