In “The Sleepers,” 1979, French artist Sophie Calle becomes curiously obsessed with watching people sleep, so she invites them to her apartment and invites them to sleep in her bed for eight hours. She photographs them every hour and also records the things they share with her. For her project “Suite Vénitenne,” 1980, she meets a man at an art opening in Paris and follows him to Venice. She photographs him and takes notes like a spy without a clear mission or directive.
In another project, “Voir La Mer,” 2011, she travels to Istanbul, a city that sits on the Black Sea, and takes migrants to the shores of the sea so that she can capture their reactions to seeing the sea for the first time.

Calle’s projects spring from boredom, a desire to explore intimacy, a lack of intimacy, a fascination with other people and a deep pleasure in voyeurism. Her exhibition “Overshare” at the Walker Art Center spans 50 years of work, showcasing art projects that push the boundaries of what’s public and private, and probe deeper questions about the human experience such as life and death, love and heartbreak. Calle is well-known in Europe but less so in America, and this show marks a career milestone for her.
Curator Henriette Huldisch positions Calle as an artist who predicted social media and some people’s desire to “overshare” about themselves, acknowledging the sexist double standard that exists for men and women who consensually decide to share information. Whereas the things we share on social media today also come with metrics and algorithms, Calle’s work does not. She has control.
But that control comes at a price. At times the work is so focused on her perspective that the people in it seem like pawns and that creates a sort of coldness.

Sometimes there is a crack in the control, another perspective.
In “Autobiographies (The Husband),” Calle explains in photos and text from her perspective, how she and now ex-husband Greg Shephard met in the early ‘90s. She said he was “an unreliable man” and for their first date “he showed up a year late.” According to Shephard in the film “No Sex Last Night,” 1992, he went to her art opening in Boston and then tracked her down. He seemed fascinated by and jealous of her success. He wanted to reinvent himself in the same way she did. He desired the power she had as an artist, and so he went along with her on a road trip to California to see what would happen.
In the film, he repeatedly said that he wished he was more attracted to her. She kept repeating the phrase “No sex last night.” Surprisingly, they stopped in Vegas and got married. The film flips back and forth between their two perspectives, giving it the feeling of a reality TV show.