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Anne Imhof “Faust” at German Pavilion, Venice Biennale •Mousse Magazine

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Anne Imhof “Faust” at German Pavilion, Venice Biennale •Mousse Magazine × Share on: Close HomeWell-nighIssues Subscribe Newsletter Ipad Edition Advertise Publishing Agency Close Archive Filter: Order: Most recent Oldest Category: CONVERSATIONS CURATORS ESSAYS EXHIBITIONS INTERVIEWS OTHERS PUBLISHING REVIEWS Close Search: Close Username Password Remember Me Mousse Magazine Search Follow Us Facebook Instagram Pinterest Twitter Archive Previous Lawrence Abu Hamdan at Maureen Paley, London Next Sharon Lockhart “Little Review” at Polish Pavilion, Venice Biennale Close 1 2 3 4 5 6 7 8 9 10 11 12 Anne Imhof, Faust, 2017 at German Pavilion, Venice Biennale, 2017
 Courtesy: the versifier and German Pavilion 2017. Photo: © Nadine Fraczkowski Anne Imhof, Faust, 2017 at German Pavilion, Venice Biennale, 2017
 Courtesy: the versifier and German Pavilion 2017. Photo: © Nadine Fraczkowski Anne Imhof, Faust, 2017 at German Pavilion, Venice Biennale, 2017
 Courtesy: the versifier and German Pavilion 2017. Photo: © Nadine Fraczkowski Anne Imhof, Faust, 2017 at German Pavilion, Venice Biennale, 2017
 Courtesy: the versifier and German Pavilion 2017. Photo: © Nadine Fraczkowski Anne Imhof, Faust, 2017 at German Pavilion, Venice Biennale, 2017
 Courtesy: the versifier and German Pavilion 2017. Photo: © Nadine Fraczkowski Anne Imhof, Faust, 2017 at German Pavilion, Venice Biennale, 2017
 Courtesy: the versifier and German Pavilion 2017. Photo: © Nadine Fraczkowski Anne Imhof, Faust, 2017 at German Pavilion, Venice Biennale, 2017
 Courtesy: the versifier and German Pavilion 2017. Photo: © Nadine Fraczkowski Anne Imhof, Faust, 2017 at German Pavilion, Venice Biennale, 2017
 Courtesy: the versifier and German Pavilion 2017. Photo: © Nadine Fraczkowski Anne Imhof, Faust, 2017 at German Pavilion, Venice Biennale, 2017
 Courtesy: the versifier and German Pavilion 2017. Photo: © Nadine Fraczkowski Anne Imhof, Faust, 2017 at German Pavilion, Venice Biennale, 2017
 Courtesy: the versifier and German Pavilion 2017. Photo: © Nadine Fraczkowski Anne Imhof, Faust, 2017 at German Pavilion, Venice Biennale, 2017
 Courtesy: the versifier and German Pavilion 2017. Photo: © Nadine Fraczkowski Anne Imhof, Faust, 2017 at German Pavilion, Venice Biennale, 2017
 Courtesy: the versifier and German Pavilion 2017. Photo: © Nadine Fraczkowski Previous Next CONVERSATIONS Anne Imhof “Faust” at German Pavilion, Venice Biennale Share Facebook Linkedin Pinterest Twitter Close 1 2 3 4 5 6 7 8 9 10 11 12 Anne Imhof, Faust, 2017 at German Pavilion, Venice Biennale, 2017
 Courtesy: the versifier and German Pavilion 2017. Photo: © Nadine Fraczkowski Anne Imhof, Faust, 2017 at German Pavilion, Venice Biennale, 2017
 Courtesy: the versifier and German Pavilion 2017. Photo: © Nadine Fraczkowski Anne Imhof, Faust, 2017 at German Pavilion, Venice Biennale, 2017
 Courtesy: the versifier and German Pavilion 2017. Photo: © Nadine Fraczkowski Anne Imhof, Faust, 2017 at German Pavilion, Venice Biennale, 2017
 Courtesy: the versifier and German Pavilion 2017. Photo: © Nadine Fraczkowski Anne Imhof, Faust, 2017 at German Pavilion, Venice Biennale, 2017
 Courtesy: the versifier and German Pavilion 2017. Photo: © Nadine Fraczkowski Anne Imhof, Faust, 2017 at German Pavilion, Venice Biennale, 2017
 Courtesy: the versifier and German Pavilion 2017. Photo: © Nadine Fraczkowski Anne Imhof, Faust, 2017 at German Pavilion, Venice Biennale, 2017
 Courtesy: the versifier and German Pavilion 2017. Photo: © Nadine Fraczkowski Anne Imhof, Faust, 2017 at German Pavilion, Venice Biennale, 2017
 Courtesy: the versifier and German Pavilion 2017. Photo: © Nadine Fraczkowski Anne Imhof, Faust, 2017 at German Pavilion, Venice Biennale, 2017
 Courtesy: the versifier and German Pavilion 2017. Photo: © Nadine Fraczkowski Anne Imhof, Faust, 2017 at German Pavilion, Venice Biennale, 2017
 Courtesy: the versifier and German Pavilion 2017. Photo: © Nadine Fraczkowski Anne Imhof, Faust, 2017 at German Pavilion, Venice Biennale, 2017
 Courtesy: the versifier and German Pavilion 2017. Photo: © Nadine Fraczkowski Anne Imhof, Faust, 2017 at German Pavilion, Venice Biennale, 2017
 Courtesy: the versifier and German Pavilion 2017. Photo: © Nadine Fraczkowski Susanne Pfeffer interviewed by Noemi Smolik   Noemi Smolik: Could you say a little well-nigh what informed your visualization to pick Anne Imhof for the German pavilion? Susanne Pfeffer: I spent a lot of time doing research. As part of this process, I moreover discovered several new artists. The question of what constitutes the now—our trendy reality—was of crucial importance to me. Today, we are confronted with the far-reaching effects of technological change. A new subject arises that is both hormonal and extremely networked wideness media. Our perception and our movements increasingly take place in virtual space. The constructive mechanisms of power and tenancy are inscribed in the body. I find the extent to which we sacrifice to the capitalization of our bodies, while simultaneously bridling at this process, remarkable. This is a fundamental transformation requiring reactions and responses. Consequently, finding an originative position that tackles these issues in trendy language seemed imperative to me. Anne Imhof confronts the brutality of our time with a nonflexible realism. She problematizes the body’s connectivity and topics for resistance; our persons defy objectification plane as they are irresistibly drawn towards their own commodification. Imhof reveals the space between soul and reality, the space where personality comes into being. As Paul B. Preciado has shown in Testo Junkie, the trendy biopolitical soul is no longer a one-dimensional surface marked by power, the law, and punishment but a dumbo interior, a site for both life and political tenancy exerted by ways of mart and liaison mechanisms. These discourses are very present in Anne Imhof’s work. It starts with her whole tideway to the body; it is evident in her use of technology, in the way she incorporates matter and fluids, or in how she conceives of the participants in her performances as individuals. In the end, Anne Imhof was such a compelling nomination that I was scrutinizingly surprised myself. NS: Imhof stages performances, an art form that appeals to a growing number of young artists. How would you worth for this development? SP: Anne Imhof describes herself first and foremost as a painter. The image she creates encompasses painting, installation art, sculpture, sound, and performance. There is something quite cinematic or virtual in how she brings together those various components.Consideringof the new possibilities of digital editing and the sheer quantity of visual material in circulation, the significance of the image has reverted dramatically. It is no longer well-nigh individual motifs or the materiality of a sole image. Rather, the image is unchangingly once well-balanced of a panoply of other images. In this regard, I find the concept of the postcinematic quite interesting. In today’s world, the camera is itself part of represented and depicted reality. These variegated levels of pictoriality pervade Imhof’s work. In light of the trendy importance of biopolitics, re-engaging with the soul and corporeality will wilt overly increasingly important. There is an immediacy to performance that affects us precisely considering our wangle to reality is heavily mediated. NS: It was said that Imhof’s performances are “meditations on trendy power structures”. To what extent do you stipulate with that view? And if so, could you elaborate on it and requite an example? SP: I think that is indeed the case. The body, not least in the way in which it becomes an object of capitalism, is a vector of these power structures. Never surpassing could power be projected with such speed, which makes it harder than overly to pin it down. We need to rencontre the new mechanisms of tenancy through new conceptions of the soul in order to develop an unobjectionable political language and plan for action. In her performance works, Imhof creates a kind of script that lays out gestures and motion sequences in minute detail. There is a sense that power structures are lurking in the background, invisible to the audience; in this, there are interesting parallels to social codes. At the same time, the performers consciously unravel with the strictures of the script and uncork to improvise. The resulting tension is tightly engrossing. Alongside these moments of other-directedness, the individuality of each performer really comes to the fore. Individuality is key to Imhof’s work. It reveals the power structures and encodings at work in society and the manner in which they shape our soul through technology and pharmacology. Still, a resistance persists in gestures small and grand. Watching Anne Imhof’s performers, you realise that they, too, want to wilt images. They constantly seem to strive for their transformation into consumable images. Media representation is innate to these bio-techno-bodies: they seem forever on the verge of transformation into pictures ready for consumption, and yet their subjectivity is waging an uncounted war versus its own commodification and objectification. NS: The androgynous qualities of the performers in Imhof’s works have often been emphasised, with some critics plane speaking of a “gender-free erotics”. What is your take on this reading? SP: In Angst (2016), various sequences involve shaving, a motion that is as tender as it is political. Sharp razorblades traverse the skin. The performers shave the palms of their hands, their navels—areas that do not necessarily have erotic connotations but are symbolically charged. After all, the navel is arguably the most visible relic of our birth. I think that sexuality today is experienced as something self-referential, belonging to oneself rather than issuing from a relationship to flipside person. Anne Imhof’s work represents a post-gender sensibility. . at German Pavilion, Venice Biennale until 26 November 2017 Related Articles CONVERSATIONS The Long-Term Repository of Half-Ideas: Liam Gillick, Esther Schipper, and Nadine Zeidler (Read more) CONVERSATIONS Toxic Environments, Sensitivities, and Planetary Times: Susanne M. 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