Dimensions: displayed: 2140 x 1420 mm
Copyright: © DACS, 2014 | CC-BY-NC-ND 4.0 DEED, Photo: Tate
Editor: Sophie Calle’s “The Hotel, Room 29” presents a series of photographs within a larger frame. The stark black and white images, contrasted with the color photo at the top, evoke a sense of detachment. What are your thoughts on how Calle uses these images to convey meaning? Curator: The hotel room, a liminal space, becomes a vessel for projecting emotional baggage, doesn't it? Notice how the personal items, like the toothbrush and socks, are rendered almost like relics. They become charged with the absent occupant's story, echoing the broader human experience of transience and longing. Does this resonate with you? Editor: Absolutely, it's like each object becomes a symbolic stand-in for a person, adding layers to the narrative. I hadn't considered how universal that feeling of temporary solitude is. Curator: Indeed. It's a powerful commentary on how we imprint ourselves on spaces, even fleetingly, leaving traces of memory and presence.
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This is a two-part framed work comprising photographs and text. In the upper part, the title Room 29 appears below a colour photograph of a pair of abutting wooden bed heads in front of floral pink and green wallpaper. The twin beds and their pillows have a taut cover of turquoise Indian print fabric. Below the title, three short columns of italic text are diary entries describing findings in the hotel room on Saturday 28 February 1981 and Sunday 1 March. In the lower part a grid of seven black and white photographs show things listed in the text above. This work is part of a project titled The Hotel, which the artist has defined:
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