Sophie Calle, ‘Cash Machine’, 06-49 1991/2003, Perrotin
Sophie Calle, ‘Cash Machine’, 06-49 1991/2003, Perrotin
Sophie Calle, ‘Cash Machine’, 06-49 1991/2003, Perrotin
Sophie Calle, ‘Cash Machine’, 06-49 1991/2003, Perrotin
Sophie Calle, ‘Cash Machine’, 06-49 1991/2003, Perrotin

In 1988 an American bank invited me to do a project. Their automatic tellers had video cameras that filmed clients as they went unsuspectingly about their business. I managed to get hold of some recordings. The images were beautiful but I thought if I just used them as found documents, without adding anything of my own, I would be betraying my own style. I needed an idea to go with these two faces. Fifteen years later I decided to go back over my research, delineate the anatomy of this failure and, at last, free myself of these images. Give up before their presence.

En 1988, une banque américaine m’avait invitée à réaliser un projet in situ.
Les distributeurs automatiques de l’établissement étaient munis de caméras vidéo qui filmaient, à leur insu, les clients en train d'effectuer des opérations. J'ai réussi à me procurer certains enregistrements. J’étais séduite par la beauté des images, mais il me semblait qu’en utilisant des documents trouvés, sans apport « vécu » de ma part, je ne collais pas à mon propre style. Il fallait trouver une idée pour accompagner ces visages.
Des mains qui ont touché l’argent aux cibles humaines, Unfinished retrace l’histoire de cette recherche, analyse quinze années de tentatives ratées, dessine l’anatomie d’un échec.

About Sophie Calle

A controversial figure as well as one of France’s leading conceptual artists, Sophie Calle explores her own psychological and emotional terrain in multimedia works, probing ideas of control, freedom, gender, intimacy, and distance in human relationships. Perhaps her most contentious work, Address Book (1983) was inspired by an address book that Calle found on the street, photographed, and sent back to its owner. She then rang the numbers in the book to assemble a portrait of the owner, turning the results into a multimedia installation. For Take Care of Yourself (2007), which was exhibited in the French pavilion at the 2007 Venice Biennale, Calle invited 107 women from various walks of life to interpret and assess a breakup note the artist received in an email. In a range of media including photographic portraits, textual analysis, and filmed performances, women pore over the emotional content of the email; contributions include a clairvoyant’s response, a scientific study, and a child’s fairytale.

French, b. 1953, Paris, France, based in Malakoff, France

Group Shows

New York,
Perrotin Bookstore NYC
Casa Tre Oci, 
Venice, Italy,
Sguardo Di Donna, La Passione e il Corragio [The Female Gaze — The Passion and the Courage]
GASK - Gallery of the Central Bohemian Region, 
Kutna Hora, Czechia,
Images For Images (Artists fir Tichy)
Berlinische Galerien - Landesmuseum für Moderne Kunst, Fotografie und Architektur, 
Berlin, Germany,
Berlin 89/90 – Kunst zwischen Spurensuche und Utopie
View Artist's CV