Through Fears and Illusions: Anne Imhof

Paris has recently experienced a resurgence of excitement, particularly this autumn, following the lifting of the last health restrictions, allowing the city to embrace its full cultural vibrancy. A pivotal element of this reinvigorated cultural scene was Anne Imhof's performance, a German artist and recipient of the prestigious Venetian Golden Lion, showcased within her groundbreaking exhibition, Natures Mortes, at the Palais de Tokyo. Even after the conclusion of the presentation, Imhof's performance continued to be a topic of discussion throughout the second week, and its impact is anticipated to resonate for an extended period. Over nine evenings, which seamlessly transitioned into nights, Anne Imhof, alongside her team led by Eliza Douglas, confronted us with the fears, pain, death, confusion, loneliness, and illusions prevalent in contemporary timeless existence.

I spent a couple of years at the Academy of Art and Design in my native Offenbach, sent all the scientific authorities to hell, and gathered like-minded girls into a punk group of 'well-bred girls'(hello to Simone de Beauvoir). During breaks from concerts, I pursued boxing, almost professionally and created art. My first art performances were humbling and more sobering than any hook with an uppercut.

Imhof's performance art stands out as a remarkable phenomenon in the current art scene. While her academic trajectory wasn't immediately apparent, her early connection with art, including redrawing Michelangelo from the age of 14, remains noteworthy. She briefly attended the Academy of Art and Design in her hometown, Offenbach, challenging conventional authorities and forming a punk group called 'well-bred girls' during breaks from concerts. Despite initial humbling experiences in her early art performances, Imhof's work now serves as a profound reflection of contemporary emotions.

A subsequent attempt to pursue artistic training led her to the Städel School in Frankfurt, where an artistic circle gradually coalesced around Imhof. The Robert Johnson Music Club, a cutting-edge venue in an industrial area, became the experimental hub for linking art, dance, and production, reminiscent of the unsystematic performances of the 1960s at Judson Memorial Church in New York.

A pivotal moment in Imhof's artistic journey occurred with her encounter with the young American artist and musician Eliza Douglas. Their collaboration has since become an influential and fruitful artistic union, with Douglas serving as muse, co-author, life and creative partner, and the most precise exponent of Imhof's ideas. Imhof seamlessly navigates various domains – as an artist, musician, and presence in the world of fashion.

Imhof's influence extends beyond the realm of art and music; she actively engages with contemporary issues, from feminism to Black Lives Matter, shaping the minds of the youth and cultivating a dedicated team comprising dancers, choreographers, musicians, artists, philosophers, and bikers. Together, they engage in collective experiences, ranging from pouring hot wax onto themselves to performing pirouettes on motorcycles.

The pinnacle of Anne Imhof's artistic accomplishments came in 2017 when she received the Golden Lion Award for the interdisciplinary performance Faust. The 43-year-old artist draws inspiration from diverse sources such as installations, architecture, philosophy, theatre, cinema, music, dance, computer games, digital reality, art history, the boxing ring, and the streets of disadvantaged areas where she grew up. Imhof's native element is street culture and its codes, forming a world that is both cruel and fragile. Acting as a medium of modern society, she presents an accurate and ruthless portrayal, demonstrating that beyond intentional inconveniences, this world can become a reliable refuge, where one can voluntarily depart from an alien society and join their community.

Natures Mortes, Imhof's most significant production, unfolded at the Palais de Tokyo, where she was granted carte blanche. The vast exhibition space, encompassing ten thousand square metres, was transformed according to Imhof's unique vision, emphasizing architecture as a bodily experience. Following a route laid out from the street to the underground, the exhibition featured works by renowned artists such as Sigmar Polke, Joan Mitchell, and Cy Twombly, alongside contemporary offerings from David Hammons. Imhof and Eliza Douglas's works were strategically placed, offering an intriguing exploration of the influence of great compatriots within this immersive artistic experience.