Anne Imhof

Like it leaves me always with a notion about the world that I think I can relate to the most.

Like there's a weird alien nation that is in this way speaks to a certain calling for the others.

Or like there's always like in Gregor Samsa is everybody or like,

He speaks about that as like in general, I think the figures also in the Türsteher, almost like kind of he creates archetypes where there's no archetype whatsoever around.

And he says like, oh, the keeper of a door is an archetype, which is like so strange because it's not, you know, like it may refer to, I don't know, Cerberus or like it may refer to some kind of religious thing.

almost like a blank spot that he fills them with those narratives.

And they're also very linked to, of course, the trauma that happened in Europe through the Second World War.

And I just love that it's nothing and everything in the same page.

When I'm really working, I forget about everything.

I have to put an alarm clock to remind me of eating or that I have to leave the studio.

Like when I'm working on movement, I'm listening to music all the time.

And then when I'm alone in the studio, it's almost like either it's like one song that I put on repeat and I forget about it because it puts me in a certain state of mind or

Recently, I listened to whale sounds.

Maybe that's like one thing that I can zone out on because I was obsessed with it as a kid about whales and whale sounds and the ocean in general.

I don't even really swim.

I'm not a good swimmer.

Yeah, the waves are for sure very ominous and very not fixed, which is like something that I think it's almost like kind of every wave is different.

Every wave like comes and goes.

There's something so beautiful in it that I'm like when I'm at the beach, it's almost like staring at it forever.

Yeah, that's true.