Muristek
I spent two years squatting in the Musée d’Orsay – the great Sophie Calle on her ‘lost’ days
The French artist, famous for following strangers and filming people asleep, has a show at the d’Orsay – based on her squatting days in the once decrepit building. Our writer meets her for coffee with her cat
When I press the buzzer of what looks like an old steel warehouse in the Parisian suburb of Malakoff, a faint voice responds. “To the garden,” it instructs. I push a heavy metal door and step inside a dark hallway. “Over here,” the voice calls. “Can you see me?” The voice belongs to Sophie Calle, one of the most influential artists in the world today, a woman whose four-decade career spans video, writing, photography and strange rule-based scenarios, often featuring detective-like attempts to get closer to people and places. Her work is populated by fortune-tellers, strippers, lovers, heartbreakers, sleepers, dying family members and blind people discussing their vision of beauty.
In a well-tended back yard, Calle greets me nonchalantly, a pair of oversized tinted glasses perched on her nose. She gestures towards the sliding windows leading to her home studio, housed in a building she remodelled in the early 1980s with her friends, the artists Annette Messager and the late Christian Boltanski. A black cat she calls Milou tries to catch up with her glazed orange leather boots. I follow them inside where, to my surprise, I find myself suddenly being stared at by a menagerie of stuffed animals. Each specimen is named after one of the artist’s loved ones: a tall giraffe bust for her dead mother Monique; a green monkey for the writer Hervé Guibert; a teeth-baring wolf for her gallerist, Emmanuel Perrotin. Membership of this exclusive club is, apparently, much sought after.
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