It's no coincidence that her exhibition at Bozar is called Calle Sophie because, since her beginnings in the late 1970s, she has always placed herself at the centre of her art. Take for instance "La filature" ("The Shadow") in which she let herself be tailed by a private detective: his report was presented alongside Calle's diary of that day.

For "Voyage en Californie" ("Journey to California") she sent her bed to a stranger who had asked her to do so as a cure for his heartbreak. And for "Le carnet d'adresses" ("The Address Book"), she contacted all the people in an address book she had found to get a mental picture of its owner.

All these explorations are well documented: Calle's work is a combination of texts, photos, video, drawings and collages - albeit not (always) all at the same time - and are described as, by lack of a better word, installations.

We never know, however, how much of the adventures she documents has really happened. And that's good, since the mystery heightens the intensity of the art. There's a fundamental philosophy of questioning notions of reality, but her work, first and foremost, is about loss and the pain.

This preoccupation culminates in "Soucis" ("Mother"), where she filmed her dying mother. Sound morbid? Rest assured it isn't, because most of her work also has a playful tone. For all the serious subjects, Calle also stays a little girl watching the world with wonder.

Calle Sophie offers a generous exploration of the idiosyncratic fantasies of one of the major figures of contemporary art in Europe - an exhibition in which you can, if you feel like, drift around for hours and hours. There's no catalogue, but you can buy a series of 19 postcards - already addressed to Calle. Maybe you'll have a part in her next exhibition.

Sophie Calle will be at Bozar to meet the public at 18.30 on 18 June

Calle Sophie
Until 13 September
Bozar, Brussels

www.bozar.be