Anne Imhof

You know, there's like, do get rid of those things.

This is why it's like sometimes hard if it comes back to me now because market structures are different and

But I have left this a long time ago.

And when we were sitting in the exhibition and we were sitting in front of the film work that is material out of doom that has a lot to do with dance and movement and music.

And I realized, yeah, this exhibition is full of those contradictions.

There's like kind of a bronze sculpture and there's like something that doesn't stop moving and that leaves a lot of things open.

And I think it drew me more and more to the ephemeral and to the kind of openness and art.

Yeah, it's interesting because the drawings that I make and the drawings that I show, there are so many scribbles that I do every day that are somehow almost more like leading to the ephemeral, like trajectory drawings of like lines or just like scribbles of things that are not well done.

executed that look like child's drawings.

Sometimes I'm like, oh, are these actually the better ones?

And I don't show them because they don't have this need to be framed to be somewhere.

But there's an immediacy in the drawings that is really important because there's something way faster going on in terms of images that I feel are coming into my eyes and that I'm

process than exhibitions and exhibition making and the stiffness of that.

I struggle a lot with that.

There has to be this final moment of an exhibition, whereas I struggle not at all with the final moment of a show.

I love working towards that because it's still maybe the backbone of the practice is like a direct link in between performance and drawing.

And I think you're very right.

There's movement that is constant and that inspires me more than anything else.

Or that I know I was like after Faust, after the German public in 2017.

People said, oh, she's a performance artist.