Anne Imhof

And there was always something slightly diminishing about it that I felt.

Like performance artist, not real artist.

The description is always like fluid and lingering.

And I can't only do so much to guide a narrative about myself or something.

What it is, is like basically a performer's practice that is like in between two worlds.

It's always like the architecture versus sculpture aspect that's interesting to me.

I think for my work especially, it doesn't count as for works of, for example, Joseph Beuys that he touches with his sacred manly hands and then it becomes suddenly something more worth than the other thing that sits right next to it.

that hasn't been touched.

And I think in my work, it's not like this because the artist's touch is not really there because it's other people performing in my work.

And it has a different logic.

It has more the logic of dance and a dance performance than it has.

And then the sculpture of a glass floor that would be another artist's oeuvre, a sculptural piece is in my oeuvre as the stage.

And so I think this is like why maybe as like a person growing up, I was always like scared of being fixed.

Like maybe it's like almost like kind of being a queer person and always wanting to not be like described.

Like as that or the other, as my gender not to be described.

Or I couldn't describe it myself.

Maybe that was also it.

I couldn't give the people what they wanted it to be.

And it was almost like kind of a pain that was in there.

Like in terms of the description, I think in art, it sometimes feels the same way.