Sophie Calle | "The Tie", 1993 | (for Parkett 36)
A short written portrait of a platonic distant relationship with a man to whom Calle sent an item of clothing every year, starting with a thin brown tie.
Read a Parkett Text on Sophie Calle
Parkett Vol. 36
Quote from Parkett
“Like a sculptor of a past century, Sophie Calle in her art manipulates and reconfigures a commodity central to the economy of her time. This commodity does not happen to be bronze or marble, however, but information, the elusive stuff that circulates constantly between consciousness, document and cyberspace.”
Lucy Sante, Parkett No. 36, 1993
"The Tie", 1993 (for Parkett 36)
Pure silk crêpe-de-chine man’s tie,
printed with an autobiographical story,
56 5/8 x 3 3/8” (70,7 x 21,2 cm),
produced by Fabric Frontline, Zurich,
Ed. 150/LX, signed and numbered verso.
Sold out.
A short written portrait of a platonic distant relationship with a man to whom Calle sent an item of clothing every year, starting with a thin brown tie.
Read a Parkett Text on Sophie Calle
Parkett Vol. 36
Quote from Parkett
“Like a sculptor of a past century, Sophie Calle in her art manipulates and reconfigures a commodity central to the economy of her time. This commodity does not happen to be bronze or marble, however, but information, the elusive stuff that circulates constantly between consciousness, document and cyberspace.”
Lucy Sante, Parkett No. 36, 1993
"The Tie", 1993 (for Parkett 36)
Pure silk crêpe-de-chine man’s tie,
printed with an autobiographical story,
56 5/8 x 3 3/8” (70,7 x 21,2 cm),
produced by Fabric Frontline, Zurich,
Ed. 150/LX, signed and numbered verso.
Sold out.
A short written portrait of a platonic distant relationship with a man to whom Calle sent an item of clothing every year, starting with a thin brown tie.
Read a Parkett Text on Sophie Calle
Parkett Vol. 36
Quote from Parkett
“Like a sculptor of a past century, Sophie Calle in her art manipulates and reconfigures a commodity central to the economy of her time. This commodity does not happen to be bronze or marble, however, but information, the elusive stuff that circulates constantly between consciousness, document and cyberspace.”
Lucy Sante, Parkett No. 36, 1993
"The Tie", 1993 (for Parkett 36)
Pure silk crêpe-de-chine man’s tie,
printed with an autobiographical story,
56 5/8 x 3 3/8” (70,7 x 21,2 cm),
produced by Fabric Frontline, Zurich,
Ed. 150/LX, signed and numbered verso.
Sold out.
Sophie Calle’s “The Tie”, 1993 (for Parkett 36) reads:
“I saw him for the first time in December 1985, at a lecture he was giving. I found him attractive but one thing bothered me: he was wearing an ugly tie. The next day I anonymously sent him a thin brown tie. Later, I saw him in a restaurant; he was wearing it. Unfortunately, it clashed with his shirt. It was then I decided to take on the task of dressing him from head to toe: I would send him one article of clothing every year at Christmas. In 1986, he received a pair of silk grey socks; in 1987, a black alpaca sweater; in 1988, a white shirt; in 1989, a pair of gold plated cuff links; in 1990, a pair of boxer shorts with a Christmas tree pattern; nothing in 1991; and in 1992, a pair of grey trousers. Some day, when he is fully dressed by me, I would like to be introduced to him.”
Artist Video
In this short video excerpt Sophie Calle talks about some aspects of her art.
Parkett Text
Read a Selected Text on Sophie Calle
Parkett Cover
Sophie Calle and Stephan Balkenhol’s cover for Parkett no. 36
