Anne Imhof

It's interesting because I think with all of them, there's also something going on.

Like there's sometimes there's critique of like arrogance or like something that is like kind of wants to do that move of refusal.

And I see it like knowing them and seeing their work.

It's quite the opposite.

It's actually exactly the opposite.

I want to be part of this, but I can't because there's like kind of a distance gap.

In between, I want to bridge that.

And they're making the art they do to do that and to include.

And then it has the opposite effect in a way.

I'm not saying that I'm okay with everything that happens and I'm actually a yes-sayer, but I'm misunderstood, blah, blah, blah.

There is things that I can't understand, like, or for me that I can't participate in, but it is like almost like quite the opposite.

And maybe this is also why I find them exceptional and I find how they implement politics in their work and make it inherently that, that I admire.

Actually, nothing.

I'm always taking it down.

It's also the vertical, like I'm working on the floor a lot.

So there's sometimes things on the floor, but maybe I'm too much even working with images on my phone or like images stick in my head.

Like I'm very distracted when something's

bringing me out of concentration.

And then I think because in my studio here in New York, because I'm working mostly on movement and with other people, I can't, like it has to be like stripped bare.

It's almost like looking more like a rehearsal stage, like a dance studio.