Exhibiting Pain: Sophie Calle's Douleur exquise
Exhibiting Pain: Sophie Calle's Douleur exquise
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DOI：
10.1093/fs/knm014
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发表时间：
2007-06
期刊：
影响因子：
--
通讯作者：
S. Jordan
中科院分区：
文献类型：
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作者：
S. Jordan
本文通过对项目艺术家Sophie Calle的混合媒介装置作品《精致的Douleur》（1984-2003）的“虚拟参观”，关注其作品中主观与集体的关系。通过对装置三个部分内部和之间复杂的叙事系统的详细分析，它评估了Calle的项目对两种现象的贡献，这两种现象对21世纪初法国及其他地区的文化生产至关重要。首先是对《时间》的迷恋，以及对公共/私人边界的突破或转变的迷恋，这篇文章探讨了杜鲁尔的精湛如何发展了卡勒对自我虚构的紧张关系和自我与他人的暴露的惯常处理。第二个是我们强迫性的纪念，这是一种文化发展，卡莱还没有正式联系起来。文章认为，Calle的装置展示了一种人类学对痛苦、哀悼实践和纪念文物的文化建构的兴趣。最后，它表明，Douleur exquise自觉地邀请我们将其作为一种新的纪念碑来回应，一种适合于过程驱动的项目艺术。这篇文章将其定义为“软纪念碑”。
This article focuses on the relationship between the subjective and the collective in the work of project artist Sophie Calle through a 'virtual visit' to her mixed-media installation Douleur exquise (1984–2003). Through detailed analysis of the intricate systems of narrative in and between the installation's three parts, it assesses the contribution of Calle's project to two phenomena which are of central importance to cultural production in France and beyond at the start of the twenty-first century. The first is a fascination with l'intime and with punctures or shifts in the public/ private boundary, and the article explores how Douleur exquise develops Calle's customary handling of autofictional tensions and the exposure of self and other. The second is our obsessive memorial imperative, a cultural development to which Calle has not yet formally been linked. The article argues that Calle's installation demonstrates an anthropological interest in cultural constructions of suffering, mourning practices and memorial artefacts. Finally, it suggests that Douleur exquise self-consciously invites us to respond to it as a new kind of monument, one appropriate to process-driven project art. This, the article defines as a 'soft monument'.