uncommon books at the intersection of art & literature










Sophie Calle

"Most books, most artworks, are so civilized, they hardly matter. They exist in the realm of please and thank you. But art at its best is a kind of gamble with civility, with ethics, with boundaries, with good citizenship, and with the question of what we can endure in life, and death."

—Sheila Heti on Sophie Calle in THE BELIEVER



THE ADDRESS BOOK


HB  |  5.25 x 7.5  |  104 pgs  |  color and b+w

$29.95 —
Add to Cart.

"I found an address book on the Rue des Martyrs ... I will contact the people whose names are noted down. I will tell them, “I found an address book on the street by chance. Your number was in it. I’d like to meet you.” ... Thus, I will get to know this man through his friends and acquaintances. I will try to discover who he is without ever meeting him."

Sophie Calle, The Address Book


Sophie Calle’s written accounts of her encounters with Pierre D.’s friends and acquaintances—juxtaposed with her photographs—originally appeared as serial in the French newspaper Libération over the course of one month in 1983.

Siglio has published The Address Book, a key and controversial work in Calle’s oeuvre, for the first time in its entirety in English as a beautiful trade edition artist’s book, designed in collaboration with the artist.

Part conceptual art, part character study, part confession, part essay, Sophie Calle’s The Address Book is, above all, a prism through which desire and the elusory, persona and identity, the private and the public, knowledge and the unknown are refracted in luminous and provocative ways.

More about the book and Sophie Calle.



SUITE VÉNITIENNE


HB  |  5.5 x 8  |  96 pgs  |  color and b+w

$34.95 — Add to Cart First edition, very limited stock. 

"For months I followed strangers on the street. For the pleasure of following them, not because they particularly interested me. I photographed them without their knowledge, took note of their movements, then finally lost sight of them and forgot them. At the end of January 1980, on the streets of Paris, I followed a man whom I lost sight of a few minutes later in the crowd. That very evening, quite by chance, he was introduced to me at an opening. During the course of our conversation, he told me he was planning an imminent trip to Venice. I decided to follow him."

—Sophie Calle, Suite Vénitienne
Calle notates, in diaristic, time-stamped entries, her surveillance of Henri B. in Venice. She also carefully observes her own emotions as she searches for, finds and follows him. Intentionally losing herself as she wanders the labyrinthine streets of Venice, the city becomes a repository of her desires.

Her investigation is both methodical (calling every hotel, visiting the police station) and arbitrary (sometimes following a stranger—a flower delivery boy, for instance—hoping someone might lead her to him). She sometimes tells the truth (when she enlists Venetian friends of her own friends who lend a phone, a look-out point, and make inquiries on her behalf). And sometimes she does not, inventing stories to entice strangers to come to her aid.

Once she does find him and follows him, “what we see,” as Larry Rinder writes in his essay “Sophie Calle and the Practice of Doubt,” “is not the object in closer view but the measure of the distance in between.”


More about the book and Sophie Calle.