Anne Imhof

There's like a certain strength that I need to feel in my body for the work I'm doing.

It's almost like unrelated, but I train towards a performance piece as if it was like a competition or something.

And it's like not really that.

It's like feeling my body.

This is one thing.

And I think I'm trying to have like complete silence and think.

Yeah, I think it's Mantegna San Sebastian that I would prefer over Gannica.

For me as a viewer, it's for seeing what I can't see through another person's eyes.

And for me as an artist, trying to see if it's meaningful and if it has power in some way, and then sharing that.

If I think it's universal enough that it's not only meaningful to me or points my political view to myself, art is kind of not useful.

You have to do something with it.

when you receive it.

I wouldn't say like feeling because that's too easy.

Evoke feelings in the other, but there's a power that comes with when an artist is able to evoke that in me that is inherently also telling me something about the world and what is important in the world.

So it's inherently political in the way it speaks to me.

And sometimes it's like poetry.

It's like also when you asked me for the writer, like for example, this is philosopher Juliane Rebentisch.

Whenever I hear her speak, like I think she's like, she's a poet.

There's an art of thinking that's poetry that is when an artist works and when it could work, that's what it evokes in somebody else.

It's a way of feeling and thinking works over seeing movement or seeing people interact, like being present in something.