Suite Venitienne Favorite 

Sophie Calle's works discuss the issue of "privacy", the composition of an individual's identity at the social level, and the relationship between "private" and "public/group/society", including personal information, personal records, public surveillance, and other topics. An obvious feature of her works is the unique and extremely subjective criteria of judgment and reference for measurement. Her works inspired the Oulipo movement of French literature in the 1960s, which can be translated as a "potential literary movement". Her work depicts the vulnerability of people in social life, mainly studying individual identity and privacy. Her work is always composed of photographs and her personal notes, many of which can be used as reference cases for sociological studies.

A native of Paris, she traveled around for seven years after graduation, returning to Paris in 1979. She said that she had just come back and had no friends. She was so bored that she would sit in a cafe and observe strangers. Finally, he decided to follow a stranger every day, to follow him wherever he went, to do what he did, and thus to explore the city of Paris from the perspective of another stranger. She keeps a careful journal and surreptitiously takes pictures of her subjects, recording at a glance, like a private eye, the actions and words of a stranger she sees throughout the day, as well as her own interpretations and imaginations. Her photos and words are constructed as an objective record of the existence of a "subject" in words and images, constructing an individual with no core but appearances.

Therefore, she made Suite Venitienne (1979), in which she followed a strange man named "Henri B" and recorded his day in Paris, thus constructing a social file for this nihility. With this move, she discussed the display of personal identity in the level of social representation, a specific person's identity composed of "hard conditions" such as place, time, data, and action. At the same time, it also questioned the authenticity and feasibility of such "photo and text" records, including the social privacy issues of monitoring and surveillance in the public domain. This work of hers is regarded as the representative work of surveillance art in contemporary art, especially in contemporary art, because it highlights the fact that the creative thought and original intention of contemporary artists are more important than the final work itself. The French thinker Jean Baudrillard also evaluated this important work in his 1988 paper, saying that it shows a mutual loss of "personal will" between the pursuer and the pursuer. It's an important element of the public relations of people's lives and their private lives in contemporary life.