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SOPHIE CALLE (French, b. 1953) MARINO VAGLIANO, TWENTY-SECOND SLEEPER each panel is numbered in...

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SOPHIE CALLE (French, b. 1953) MARINO VAGLIANO, TWENTY-SECOND SLEEPER each panel is numbered in...
SOPHIE CALLE (French, b. 1953) MARINO VAGLIANO, TWENTY-SECOND SLEEPER each panel is numbered in black ink on verso signed, titled and numbered in black ink on verso of ninth panel nine gelatin silver prints with text below each image and one text panel each: 6 x 8 in. (15.2 x 20.3 cm) 1979 this work is number 1 from an edition of 3 made with English text (there were three others made with French text) from THE SLEEPERS series PROVENANCE From the artist to a Private Collection LITERATURE Deborah Irmas, SOPHIE CALLE: A SURVEY, Santa Monica, 1989, p. 15 (illustrated as part of an installation photograph of THE SLEEPERs series) In 1979 Sophie Calle created a series called THE SLEEPERS, for which she invited forty-five people to lie in her bed and allow her to photograph them as they slept. Of those invited, twenty-eight committed to the project, although some were quite late as is noted of Marino Vagliano, a "real sleep-professional" and the subject of the present photographs. Calle's bed was continuously occupied from 5 p.m. on Sunday, April 1st to 10 a.m. on Monday, April 9th. "A few of them crossed each other. Breakfast, lunch, or dinner were served to each depending on the time of day. Clean bedsheets were placed at the disposition of each sleeper. I put questions to those who allowed me; nothing to do with knowledge or fact-gathering, but rather to establish a neutral and distant contact" (Calle, SOPHIE CALLE: A SURVEY, p. 13). Vagliano apparently chose not to change the sheets, found Calle's questions "too personal," and could not stay to meet his successor. Calle's data records below each photograph allow the viewer to find humor in Vagliano's humanity, as he is tucked in by the artist while wearing her grandmother's white lace nightgown. The text panel provides additional insight into the personality of the "specimen," and after reading it, we only find his humanity more beautiful. Making no judgements, Calle only states and captures exactly what she sees and allows the viewer to look at the "objective" work with their own subjectivity. Although four hours late and obviously somewhat peculiar, as "sometimes he disguises himself when he goes to sleep," Vagliano remains an endearing man who neatly folds the lace nightgown and leaves the bed warm for the next person.
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