Anne Imhof

Like I live for those moments.

It's interesting how the hesitance and the doubt of the work you do and the questioning and the hardworking is so related to it being there and the joy you have and knowing that it's kind of there because otherwise I wouldn't have talked about it as if I am a lunatic saying like I'm doing a piece with like 45 people.

I've never done this before.

I've never done a ballet before.

It was almost like me on the way of going there thinking like, oh my God, what have you done?

I think I am lately visiting the Met the most frequently, maybe, even though I often want to see something and I'm wandering around and it's so vast that I almost like have to go out very soon again.

This is why I'm going there often because I'm going in and out a lot.

And then the new museum is kind of interesting because I actually don't like the new museum.

And I'm surprised so many times by how good it is and how good the programming is, especially the last show.

I was like out of my mind about it.

Yeah, exactly.

It's also a bit intimidating almost, especially if you're not part of it.

And it is like showing how things are interconnected.

And I stood at this brink of thinking like, yeah, it's super important.

Like how it goes into one narrative and a little bit like feeling I'm not part of this narrative was interesting.

Interesting experience.

But also I was head over heels about it.

And then I'm going to Frankfurt extra to see shows by Susanne Pfeffer because she's the most extraordinary exhibition maker of our times.

She's like maybe the one who I trust the most.

having read everything, having tried everything to understand an artist's work and doing the best show.