Post or POST may refer to:

Mail

Mail, the postal system, especially in Commonwealth of Nations countries

Hotel post, a service offered by remote Swiss hotels for the carriage of mail to the nearest official post office

Local post, a mail service that operates only within a limited geographical area, typically a city or a single transportation route

Parcel post, a service for sending parcels through the post

Prague pneumatic post, the world's last preserved municipal pneumatic post system

Wine post, also known as New Zealand Wine Post, is a privately owned postal service in New Zealand

Post, an entry in a blog or internet forum – see posting style

Anonymous post, an entry in a blog or internet forum without a screen name or more commonly by using a non-identifiable pseudonym

Sponsored post, a post to any community-driven notification-oriented website which is explicitly sponsored as an advertisement

Newspapers and magazines

''New York Post'', USA

''The Washington Post'', USA

''Pittsburgh Post-Gazette'', USA

''The Christian Post'', USA

''The Jerusalem Post'', Israel

''The Sunday Post'', Scotland

''National Post'', Canada

''The Sunday Business Post'', Ireland

''Australasian Post'', Australia

''Post Magazine'', British magazine first published in 1840

''Post Newspapers'', Australia

''South China Morning Post'', Hong Kong

''The Kathmandu Post'', Nepal

Music

''Post'' (Björk album), the third studio album by Icelandic singer-songwriter and musician Björk, released in June 1995

''Post'' (Paul Kelly album), the first solo album by Australian singer-songwriter rock musician, Paul Kelly

Post Records, record label

Organisations and companies

Post Foods, brand name

Post University, a university in Connecticut USA

Parliamentary Office of Science and Technology, UK

Places

Post, Texas, the county seat of Garza County, US

Post, Oregon, a community at the geographic center of the state of Oregon, US

Post Lake, Wisconsin, an unincorporated community, US

Sports

Posting system, transfer system for baseball players moving from a Japanese baseball team to a Major League Baseball team

Post (route), route run by a receiver in American Football

Technology

Structural post: Column (architecture)

Power-on self-test, start-up routines on electronic devices, typically on computers

POST (HTTP), an HTTP request method

Pillar (car), structural element of a car body

.post the internet top-level domain

Other

Post, a way of riding a horse trot

Military base, an assigned station or a guard post

Post (surname)

Part-of-speech tagging, the process of marking up a word in a text (corpus) as corresponding to a particular part of speech, based on both its definition, as well as its context—i.e. relationship with adjacent and related words in a phrase, sentence, or paragraph

POST Certification (Peace Officer Standards and Training), a program nationwide for Law enforcement officers

See also

Pole (disambiguation)

Posting (laundering process), or postadh, a traditional Scottish method of washing clothes

Hitching post (disambiguation)

ar:بريد (توضيح) br:Post cs:Post da:Post de:Post (Begriffsklärung) es:Post fr:Post fy:Post ko:포스트 it:POST lb:Post nl:Post ja:ポスト no:Post nn:Post pt:Post ro:Post (dezambiguizare) ru:Post sl:Post fi:Post sv:Post (olika betydelser) tr:Post vls:Post zh:POST

:''For other uses, see Clayton Lambert (baseball)''.

playername	Clayton Lambert
country	United States
batting	Left-handed batsman
bowling	Right-arm off-break
deliveries	overs
columns	2
column1	Tests
matches1	5
runs1	284
bat avg1	31.55
100s/50s1	1/1
top score1	104
deliveries1	1.4
wickets1	1
bowl avg1	5.00
fivefor1	0
tenfor1	0
best bowling1	1/4
catches/stumpings1	8/0
column2	ODIs
matches2	12
runs2	407
bat avg2	33.91
100s/50s2	1/2
top score2	119
deliveries2	12
wickets2	0
bowl avg2	n/a
fivefor2	0
tenfor2	n/a
best bowling2	n/a
catches/stumpings2	0/0
date	10 September
year	2004
source	http://content-uk.cricinfo.com/usa/content/player/25635.html }}

Clayton Benjamin Lambert (b. 10 February 1962 in Berbice) is a cricketer for the West Indies and the United States.

Lambert first appeared in the West Indies team for a One Day International against England in Georgetown, against whom he also made an unsuccessful Test match debut at The Oval in 1991. Although he played in four ODIs in Sharjah in 1991/92, he didn't return to the Test match side until 1997-98, where he made centuries in both the fifth ODI and the sixth Test against England before struggling in the series against South Africa and being dropped from the Test side.

Lambert returned to international cricket aged 42, playing for the United States in the 2004 ICC Champions Trophy.

Lambert also played first-class cricket for Guyana and Northern Transvaal.

Lambert aged 46 now plays for the Atlanta Lions in the Atlanta Georgia Cricket Conference [AGCC] (Atlanta, Georgia (USA)). He is also the coach of the United States national cricket team.

References

Cricinfo page on Clayton Lambert

CricketArchive page on Clayton Lambert

Category:1962 births Category:Living people Category:United States One Day International cricketers Category:American cricketers Category:Cricketers who have played for more than one international team Category:Guyanese cricketers Category:Berbice cricketers Category:Northerns cricketers Category:West Indies One Day International cricketers Category:West Indies Test cricketers Category:West Indian cricketers

birth name	Joseph Rao Kony
birth date	July-September 1961 (age 50)
birth place	Odek, Uganda
nationality	Ugandan
known for	Leader of the Lord's Resistance Army (LRA)
height
weight	180 lbs.
religion	Christian (self-description); Holy Spirit Movement
spouse	Thought to have 88 wives as of 2007
children	Thought to have 42 children as of 2006 }}

Joseph Rao Kony (pronounced ; born around about July/September of 1961) is the head of the Lord's Resistance Army (LRA), a Ugandan guerrilla group. While initially enjoying strong public support, the LRA allegedly turned on its own supporters, supposedly to "purify" the Acholi people and turn Uganda into a theocracy. Kony proclaims himself the spokesperson of God and a spirit medium, has nurtured a cult of personality, and claims he is visited by a multinational host of 13 spirits, including a Chinese phantom. Ideologically, the group is a syncretic mix of mysticism, Acholi nationalism, Islam, and Christian fundamentalism, and claims to be establishing a theocratic state based on the Ten Commandments and local Acholi tradition.

Kony has been accused by government entities of ordering the abduction of children to become child-sex slaves and child soldiers. An estimated 66,000 children became soldiers and two million people have been internally displaced since 1986. Kony was indicted for war crimes and crimes against humanity by the International Criminal Court in The Hague, Netherlands, in 2005 but has evaded capture. The LRA operates in Uganda, the Democratic Republic of Congo, Central African Republic and South Sudan.

Biography

Early life

Kony was born in 1961 in Odek, a village east of Gulu in northern Uganda, to father Luizi Obol and mother Nora, both farmers. He is a member of the Acholi people. Kony enjoyed a good relationship with his siblings, but was quick to retaliate in a dispute and when confronted he would often resort to physical violence. His father was a lay catechist of the Catholic Church and his mother was an Anglican.

Kony was an altar boy for several years but stopped attending church around the age of 15 and also dropped out of school. As a teenager, Kony was apprenticed as the village witch doctor under Jamie Brow, his older brother, and when Jamie died, Kony took over the position.

Cult leader

Kony first came to prominence in January 1986, as the leader of one of the many premillennialist groups that sprang up in Acholiland in the wake of the wildly popular Holy Spirit Movement of Alice Auma (also known as Lakwena and to whom Kony is thought to be related). Their relative loss of influence after the overthrow of Acholi President Tito Okello by Yoweri Museveni and his National Resistance Army (NRA) during the Ugandan Bush War (1981–1986) spurred resentment among the Acholi. Kony, along with a small group of followers, first moved beyond his home village of Odek on 1 April 1987. A few days later, he met with a small group of former Uganda National Liberation Front soldiers and managed to recruit them for his group. His first raid, carried out shortly afterwards, was on the city of Gulu.

Lord's Resistance Army

Kony's group was originally called the United Holy Salvation Army (UHSA), and was not perceived as a threat by the NRA. By 1988 it had become a major player in Ugandan affairs: an agreement between the NRA and the Uganda People's Democratic Army (UPDA) left members of the UPDA unsatisfied, and many joined the UHSA as a form of rebellion. One such person was the UPDA founder Odong Latek, who convinced Kony to use standard military tactics instead of attacking in cross-shaped formations and sprinkling holy water. The new tactics proved successful, and the UHSA won several small victories against the NRA. The NRA responded by significantly weakening Kony's group through a military campaign named Operation North. The operation was devastating to the UHSA and, with their numbers reduced from thousands to hundreds, they engaged in retaliatory attacks against NRA collaborators and terror against general civilian population. The LRA say that spirits were sent to communicate this mission directly to Kony.

The bulk of Kony's foot soldiers were children. While estimates of the number of children conscripted since 1986 vary, some put the figure as high as 104,000. When abducting the children, Kony and his army often killed their family and neighbors, thus leaving the children with little choice but to fight for him. In 1992, Kony renamed the group the United Democratic Christian Army. For a decade, starting in the mid-1990s, the LRA was strengthened by military support from the government of Sudan, which was retaliating against Ugandan government support for rebels in what would become South Sudan.

Indictment

On 6 October 2005, the International Criminal Court (ICC) announced that arrest warrants had been issued for five members of the Lord's Resistance Army for crimes against humanity following a sealed indictment. On the next day Ugandan defense minister Amama Mbabazi revealed that the warrants include Kony, his deputy Vincent Otti, and LRA commanders Raska Lukwiya, Okot Odiambo, and Dominic Ongwen. According to spokesmen for the military, the Ugandan army killed Lukwiya on 12 August 2006. The BBC received information that Otti had been killed on 2 October 2007, at Kony's home.

On 12 November 2006, Kony met Jan Egeland, the United Nations Undersecretary-General for humanitarian affairs and emergency relief. Journeyman Pictures released a 2006 interview with Kony in which he proclaims, "I am a freedom fighter not a terrorist." He told Reuters: "We don't have any children. We only have combatants."

Religious beliefs

Kony was thought among followers and detractors alike to have been possessed by spirits; he has been portrayed as either the Messiah or the Devil. He reportedly made annual trips to the Ato Hills in Uganda, where he would allegedly ascend to the highest of the hills and lie down in the hot sun for days. Kony believes in the literal protection provided by a cross symbol and tells his child soldiers a cross on their chest drawn in oil will protect them from bullets. He also believes in polygamy, and as of 2007 he was thought to have 88 wives, claiming Old Testament authority for this, along with 42 children. Kony insists that he and the Lord's Resistance Army are fighting for the Ten Commandments. He defends his actions: "Is it bad? It is not against human rights. And that commandment was not given by Joseph. It was not given by LRA. No, those commandments were given by God."

Betty Bigombe remembered that the first time she met Kony, his followers used oil to ward off bullets and evil spirits. In a letter regarding future talks, Kony stated that he must consult his self-styled holy spirit. When the talks did occur, they insisted on the participation of religious leaders and opened the proceedings with prayers, led by LRA's Director of Religious Affairs Jenaro Bongomi. During the 1994 peace talks, Kony was preceded by men in robes sprinkling holy water. According to Francis Ongom, a former LRA officer who defected, Kony "has found Bible justifications for killing witches, for killing [those who farm or eat] pigs because of the story of the Gadarene swine, and for killing [other] people because God did the same with Noah's flood and Sodom and Gomorrah."

Action against Kony

Uganda

The Ugandan military has attempted to kill Kony throughout the insurgency. In Uganda's attempt to track Kony down, former LRA combatants have been enlisted to search remote areas of the Central African Republic, Sudan, and the Democratic Republic of the Congo where he was last seen.

United States

After the 11 September attacks, the United States declared the Lord's Resistance Army a terrorist group. On 28 August 2008, the United States Treasury Department placed Kony on its list of "Specially Designated Global Terrorists", a designation that carries financial and other penalties.

In November 2008, U.S. President George W Bush personally signed the directive to the United States Africa Command to provide financial and logistical assistance to the Ugandan government during the unsuccessful Garamba Offensive, code-named Operation Lightning Thunder. No U.S. troops were directly involved, but 17 U.S. advisers and analysts provided intelligence, equipment, and fuel to Ugandan military counterparts. The offensive pushed Kony from his jungle camp, but he was not captured. One hundred children were rescued.

In May 2010, U.S. President Barack Obama signed into law the Lord's Resistance Army Disarmament and Northern Uganda Recovery Act, legislation aimed at stopping Kony and the LRA. The bill passed unanimously in the United States Senate on 11 March. On 12 May 2010, a motion to suspend the rules and pass the bill was agreed to by voice vote (two-thirds being in the affirmative) in the House of Representatives. In November 2010, President Obama delivered a strategy document to Congress, asking for more funding to disarm Kony and the LRA. In October 2011, President Obama authorized the deployment of approximately 100 combat-equipped U.S. troops to central Africa. Their goal is to help regional forces remove Kony and senior LRA leaders from the battlefield. "Although the U.S. forces are combat-equipped, they will only be providing information, advice, and assistance to partner nation forces, and they will not themselves engage LRA forces unless necessary for self-defense," President Obama said in a letter to Congress.

African Union

On 23 March 2012 the African Union announced its intentions to "send 5,000 soldiers to join the hunt for rebel leader Joseph Kony" and to "neutralize" him while isolating the scattered LRA groups responsible for 2,600 civilian killings since 2008. This international task force was stated to include soldiers "from Uganda, South Sudan, Central African Republic and Congo, countries where Kony’s reign of terror has been felt over the years." Prior this announcement, the hunt for Kony has primarily been carried out by troops from Uganda. The soldiers will begin their search in South Sudan on 24 March 2012 and that the search "will last until Kony is caught".

''Kony 2012''

Kony received a surge of attention in early March 2012 when a 30-minute documentary titled ''Kony 2012'' by film maker Jason Russell for the campaign group Invisible Children Inc was released. The intention of the production is to draw attention to Kony in an effort to increase United States involvement in the issue. ''The Huffington Post'' commented: "The 27-minute video was posted on Vimeo and YouTube by Invisible Children and became a worldwide trending topic on the Internet. Personally, I have never seen an outpour of support from people on my Facebook news feed like this." The video has been viewed more than 80 million times as of 17 March. The film has quickly received attention from celebrities. Elizabeth Flock, writer for the ''Washington Post'', offered more background on the LRA as well as Invisible Children in response to the documentary. Flock and ''The Toronto Star'' stated that Invisible Children hoped to raise Kony's notoriety enough to provoke a massive overnight poster campaign, which took place 20 April 2012.

See also

International Criminal Court investigations

Lord's Resistance Army insurgency

The World's 10 Most Wanted

References

Bibliography

External links

Hague Justice Portal: Joseph Kony

Joseph Kony on Interpol's wanted list

Category:1961 births Category:Acholi people Category:Fugitives wanted by the International Criminal Court Category:Fugitives wanted on crimes against humanity charges Category:Fugitives wanted on war crimes charges Category:Living people Category:Lord's Resistance Army rebels Category:People from Gulu District

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name	Sophie Calle
nationality	French
field	Conceptual art, installation art
works	drayton manor
awards	}}

Sophie Calle (born 1953) is a French writer, photographer, installation artist, and conceptual artist. Calle's work is distinguished by its use of arbitrary sets of constraints, and evokes the French literary movement of the 1960s known as Oulipo. Her work frequently depicts human vulnerability, and examines identity and intimacy. She is recognized for her detective-like ability to follow strangers and investigate their private lives. Her photographic work often includes panels of text of her own writing.

Since 2005 Sophie Calle has taught as a professor of film and photography at European Graduate School in Saas-Fee, Switzerland. She has lectured at the University of California, San Diego in the Visual Arts Department. She has also taught at Mills College in Oakland, California. Exhibitions featuring the work of Sophie Calle took place at the Hermitage Museum in St. Petersburg, Russia, at Musée d'Art et d'Histoire du Judaïsme, Paris, at Paula Cooper Gallery, New York, USA, at the Palais des Beaux-Arts, Brussels, Belgium; Videobrasil, SESC Pompeia, São Paulo, Brazil; Museum of Modern Art of Bahia, Salvador, Brazil; Whitechapel Art Gallery, London, UK; and the De Pont Museum of Contemporary Art, Tilburg, The Netherlands.

Early works

After completing her schooling she travelled for seven years. When she returned to Paris in 1979 she began a series of projects to acquaint herself again both with the city and people of Paris and with herself. However, she soon discovered that observing the behaviour and actions of these strangers provided information with which to construct their identities. These sought to construct identities by offering documentary ‘proof' in the form of photographs. Her work was seen to have roots in the tradition of conceptual art because the emphasis was on the artistic idea rather than the finished object. The French writer Jean Baudrillard wrote an essay (1988) that described this project in terms of a reciprocal loss of will on the part of both pursued and pursuer.

In ''Suite Venitienne'' (1979), Calle followed a man she met at a party in Paris to Venice, where she disguised herself and followed him around the city, photographing him. Calle’s surveillance of the man, who she identifies only as Henri B., includes black and white photographs accompanied by text.

The following year, Calle organized ''The Sleepers'', a project in which she invited 24 people to occupy her bed continuously for eight days. Some were friends, or friends of friends, and some were strangers to her. She served them food and photographed them every hour.

Another project, entitled ''The Shadow'' (1981) and displayed in the guggenheim museum in Bilbao, Spain, consisted of Calle being followed for a day by a private detective, who had been hired (at Calle's request) by her mother. It was, in Calle's words, an attempt 'to provide photographic evidence of my own existence'. Calle proceeded to lead the unwitting detective around parts of Paris that were particularly important for her, thereby reversing the expected position of the observed subject. Aware of her follower, she also wrote about in frequent journal entries throughout the day. Such projects, with their suggestions of intimacy, also questioned the role of the spectator, with viewers often feeling a sense of unease as they became the unwitting collaborators in these violations of privacy. Moreover, the deliberately constructed and thus in one sense artificial nature of the documentary ‘evidence' used in Calle's work questioned the nature of all truths.

In order to execute her project ''The Hotel'' (1981), she was hired as a chambermaid at a hotel in Venice where she was able to explore the writings and objects of the hotel guests. Insight into her process and its resulting aesthetic can be gained through her account of this project: "I spent one year to find the hotel, I spent three months going through the text and writing it, I spent three months going through the photographs, and I spent one day deciding it would be this size and this frame...it's the last thought in the process."

One of Calle's first projects to generate public controversy was ''Address Book'' (1983). The French daily newspaper ''Libération'' invited her to publish a series of 28 articles. Having recently found an address book on the street (which she photocopied and returned to its owner), she decided to call some of the telephone numbers in the book and speak with the people about its owner. To the transcripts of these conversations, Calle added photographs of the man's favorite activities, creating a portrait of a man she never met, by way of his acquaintances. The articles were published, but upon discovering them, the owner of the address book, a documentary filmmaker named Pierre Baudry, threatened to sue the artist for invasion of privacy. As Calle reports, the owner discovered a nude photograph of her, and demanded the newspaper publish it, in retaliation for what he perceived to be an unwelcome intrusion into his private life.

Another of Calle's noteworthy projects is titled ''The Blind'' (1986), for which she interviewed blind people, and asked them to define beauty. Their responses were accompanied by her photographic interpretation of their ideas of beauty, and portraits of the interviewees.

Calle has created elaborate display cases of birthday presents given to her throughout her life; this process was detailed by Gregoire Bouillier in his memoir ''The Mystery Guest: An Account'' (2006). According to Bouillier, the premise of his story was that "A woman who has left a man without saying why calls him years later and asks him to be the 'mystery guest' at a birthday party thrown by the artist Sophie Calle. And by the end of this fashionable—and utterly humiliating—party, the narrator figures out the secret of their breakup."

She is fascinated by the interface between our public lives and our private selves. This has led her to investigate patterns of behaviour using techniques akin to those of a private investigator, a psychologist, or a forensic scientist. It has also led her to investigate her own behaviour so that her life, as lived and as imagined, has informed many of her most interesting works.

One of her birthday parties serves as an important setting in French memoirist Grégoire Bouillier's ''The Mystery Guest''.

Later works

In 1996, Calle released a film titled ''No Sex Last Night'' which she created in collaboration with American photographer Gregory Shephard. The film documents their road trip across America, which ends in a wedding chapel in Las Vegas. Rather than following the genre conventions of a road trip or a romance, the film is designed to document the result of a man and woman who barely knew each other, embarking on an intimate journey together.

Calle is known largely for works combining texts and photographic images in a cool presentational style; The Birthday Ceremony is her first major sculptural installation and it has been conceived especially for Art Now 14. Although made in 1998 the work has its origins in the years 1980 to 1993 when Calle invented and sustained a series of private and shared rituals around her birthday. These are now manifest as art, demonstrating how closely her life and her art are intertwined. Over this fourteen-year period, aside from the occasional year of disruption, Calle held an annual dinner party on the evening (or around the time) of her birthday. To each celebration she invited a group of friends and relatives, the precise number of invitees corresponding to the number of years of her age, with one additional, anonymous guest nominated by a chosen guest, in order to symbolise the unknown of her future. Calle initiated these dinner parties to ensure that her birthday was remembered each year. They were the most ambitious of a series of rituals Calle had invented to override an obsessive insecurity she experienced in early adulthood. The guests brought gifts, tokens of love and affection, and these Calle displayed in a glass-fronted cabinet, as a constant reminder of this affection. At the end of the year the objects were boxed up and put away, their places taken by the gifts of another birthday dinner party. At stressful moments over the years Calle was able to unpack the boxes and reassure herself of her networks of support. When she became forty in 1993, Calle realised she had been cured of this obsessive insecurity and no longer felt the necessity to recall her friendships and family ties in such a formal way.

The Birthday Ceremony brings together fifteen cabinets based on the medical design of the original, which had been given to Calle by her father. Thirteen individual cabinets and one pair, each contain the gifts of a single year. The gifts are displayed unwrapped and range from the banal to the bizarre. They include works of art, hand made tokens of affection, books and letters, junk and antiques, plastic trivia, items stolen from a restaurant, bottles of wine, chocolates and so on. Encased behind glass they become objects of magnetic desire and frustration to the viewer, who cannot hold, cannot taste, cannot unwrap. On the glass of each cabinet is a list of items. The donors themselves are not always named and it is therefore often impossible to tell if the works of art were given by the artists themselves (probable in the case of Christian Boltanski or Annette Messager, improbable in the case of the late Yves Klein). In some cases it is easy to identify a donor. Calle's mother is clearly responsible for the sensible and substantial gifts of domestic equipment that arrive each year - deliberately too large to display behind glass -and which are represented by the manufacturer's warranty. In other cases a particular theme emerges over time: someone often gives hats, another is interested in bull-fighting ephemera. On occasions, most notably with the fabulous painted-wood angel received on her fortieth birthday, guests join together to share a gift.

Calle first explored this ritual in a photographic work depicting the cabinet and its contents, reducing the annual ceremony and its associated objects to a series of documentary records. The development of the subject and its realisation as a series of installations, creates a work that is both more poignant and more perplexing. The Birthday Ceremony draws our attention to the way in which we construct our identity around secret rituals (from forms of self- indulgence to forms of self-denial) and surround ourselves with objects and activities that give meaning and substance to both our private and our public lives. In transforming personal ritual into public display The Birthday Ceremony also raises questions about the meaning of these objects, each one removed from its customary realm. Each one is evidence of a relationship and a transaction of a particular kind and they are laid out here according to criteria that have nothing to do with traditional museum techniques of classification or display.

Calle asked writer and filmmaker Paul Auster to "invent a fictive character which I would attempt to resemble" and served as the model for the character Maria in Auster’s novel ''Leviathan'' (1992). This mingling of fact and fiction so intrigued Calle that she created the works of art created by the fictional character, which included a series of color-coordinated meals.

Auster later challenged Calle to create and maintain a public amenity in New York. The artist's response was to augment a telephone booth (on the corner of Greenwich and Harrison streets in Manhattan) with a note pad, a bottle of water, a pack of cigarettes, flowers, cash, and sundry other items. Every day, Calle cleaned the booth and restocked the items, until the telephone company removed and discarded them. This project is documented in ''The Gotham Handbook'' (1998).

In 1999 Calle exhibited the installation "Appointment" especially conceived for the Freud Museum in London, working with the ideas of her private desires. In ''Room with a View'' (2003), Calle spent the night in a bed installed at the top of the Eiffel Tower. She invited people to come to her and read her bedtime stories in order to keep her awake through the night. The same year, Calle had her first one-woman show at the Musée National d'Art Moderne at Centre Georges Pompidou in Paris.

"Douleur Exquise" (exquisite pain) 2003. She was supposed to go to Japan but didn’t want to, so she took the train through Moscow and through Siberia, then through Beijing, then to Hong Kong. She was supposed to meet her lover in New Delhi, but he made up some sort of story about a car accident, which she realized was a lie. She took a photograph every day until the day they were supposed to meet in New Delhi, and wrote about how much she looked forward to meeting him. The second half of the book was all about the pain of the heartbreak. She would write about the horrible memory of the conversation where she realized he was breaking up with her on one page, and ask people to tell her their worst memory, which was placed on the right. Over the days, her story became shorter and shorter as her pain dissipated over the time. The juxtaposition of everyone’s terrible memories also played down the pain of a simple breakup.

Calle's text ''Exquisite Pain'' was adapted into a performance in 2004 by Forced Entertainment, a theatrical company based in Sheffield, England.

At the 2007 Venice Biennale, Sophie Calle showed her piece ''Take Care of Yourself'', named after the last line of the message her ex had left her. Calle had asked dozens of women—including a parrot and a hand puppet—to interpret the break-up e-mail and presented the results in the French pavilion. Jessica Lott, winner of the Frieze Writer's Prize for her review of the piece, described it thus: "Take Care of Yourself is a break-up letter (Calle's) then-boyfriend (Grégoire Bouillier, dubbed ‘X’) sent her via e-mail. Calle took the e-mail, and the paralyzing confusion that accompanies the mind’s failure to comprehend heartbreak, and distributed it to 107 women of various professions, skills and talents to help her understand it – to interpret, analyze, examine and perform it. The result of this seemingly obsessive, schoolyard exercise is paradoxically one of the most expansive and telling pieces of art on women and contemporary feminism to pass through (the major art centres) in recent years".

At her gallery shows, Calle frequently supplies suggestion forms on which visitors are encouraged to furnish ideas for her art, while she sits beside them with an uninterested expression.

In November 2008, she participated in an exhibition "Système C, un festival de coincidence" proposed by the Stéréotypes Associés in Mains d'Oeuvres, Paris.

In October 2009, a major exhibition of her works, including Take Care of Yourself, The Sleepers, Address Book and others, opened at the Whitechapel Gallery in London. In 2010 another major exhibition opened in Denmark at the Louisiana Museum of Modern Art.

In 2011 her work "True Stories" was installed at the historic 1850 House at the Pontalba Building at Jackson Square in the French Quarter of New Orleans, Louisiana as part of the Prospect 2 Contemporary Art Festival. The house, an historic museum that is managed as part of the Louisiana State Museum, is furnished with historic furniture as it was in the mid 19th Century. The artist inserted her own, personal historical objects and ephemera, with short, narrative explanatory text, into the scenes, affecting the notion that she had occupied the house shortly before the viewers' arrival.

References

Bibliography

Sophie Calle, ''Double Game'', with the participation of Paul Auster, Violette Editions, 1999. ISBN 1900828065

Sophie Calle, ''M'as tu vue''. Centre Pompidou & Edition Xavier Baral, 2003.

Sophie Calle, ''Exquisite Pain'', Thames and Hudson, 2004. ISBN 0500511985

Sophie Calle, ''Appointment'', Thames and Hudson in association with Violette Editions, 2005. ISBN 978-0-500-51199-2

Sophie Calle & Fabio Balducci, ''En finir''. Actes Sud, 2005.

Sophie Calle, ''Double Game'', with the participation of Paul Auster (2nd edition), Violette Editions, 2007. ISBN 978-1-900828-28-4

Gabrielle Moser 'Working-through' public and private labour: Sophie Calle's Prenez soin de vous' ''n.paradoxa:international feminist art journal'' vol.27 Jan 2011 pp. 5-13

Biography

Fabian Stech, J'ai parlé avec Lavier, Annette Messager, Sylvie Fleury, Hirschhorn, Pierre Huyghe, Delvoye, D.F.-G. Hou Hanru, Sophie Calle, Yan Pei-Ming, Sans et Bourriaud. Presses du réel Dijon, 2007.

External links

Sophie Calle. Faculty page at European Graduate School (Biography, filmography, photos and video lectures)

Sophie Calle at Galerie Emmanuel Perrotin Museum

Profile of Sophie Calle at Arndt Berlin (German)

Sophie Calle books published by Violette Editions

Tate: Venice Biennale: Sophie Calle The artist talks about her contributions to the 2007 Venice Biennale. 29 June 2007

Artist Biography and list of video works by Sophie Calle at Electronic Arts Intermix eai.org.

Category:1953 births Category:Living people Category:French Jews Category:French photographers Category:French women artists Category:Conceptual artists Category:European Graduate School faculty

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