Anne Imhof

Anne Imhof (born 1978 in Giessen, Germany) is a German visual artist, choreographer, and performance artist who lives and works between Frankfurt and Paris.[1] She is best known for her endurance art, although she cites painting as central to her practice.


Professional career

Solo shows

2012

-Audition Opelvillen, Rüsselsheim

2013

-SOTSB njjy, New Jersey, Basel

-Parade, Portikus, Frankfurt

2014

-Carré d’Art, Musée d’art contemporain, Projectroom, Nîmes

-Rage II, Liste Performance Program, Basel

-Rage I, Deborah Schamoni, Munich

2015

-DEAL, MoMA PS1, New York

2016

-Angst, Kunsthalle Basel, Basel, Switzerland[2]

-Angst II, Hamburger Bahnhof, Berlin

-Angst III, Biennale de Montréal, Montréal


-Overture, Galerie Buchholz, Cologne[3]

2017

-German Pavilion, 57th Venice Biennale


Group shows

2011

—Andrei Koschmieder puts, Real Fine Arts, New York

—Birth of the Worm, The Leland Hotel Ballroom, Detroit

—Open Studios, Villa Romana, Florence

2012

—Beautiful Balance, CAPC, Musée d’Art Contemporarin, Bordeaux

—Beautiful Balance, Neue Alte Brücke, Frankfurt

—Beautiful Balance, Kunsthalle Bern, Bern

—Zauderberg, Graduation show, MMK Frankfurt

2013

—Soapy, Neue alte Brücke, Frankfurt

—Gemini, curated by Jeanne Graff, Galerie Francesca Pia, Zurich

—Freak out, Greene Naftali Gallery, New York

—Mike / Restlessness in the Barn, curated by Oona von Maydell, with Cosima von Bonin, Jana Euler, Lucie

-Stahl, Nassauischer Kunstverein, Wiesbaden

—Coded Conduct, Pilar Corrias, London

2014

-—Present Future, curated by Jamie Stevens, Artissima, Torino

—Boom she Boom, Works of the collection, MMK, Frankfurt, Germany

—Tes Yeux, curated by Anne Dressen, 186f Kepler, Paris

—The Mechanical Garden, curated by Naomi Pearce, CGP London, London

—Trust, curated by Michele D'Aurizio, Fluxia Gallery, Milan

—Liste Performance Program, curated by Fabian Schöneich, Basel

—Abandon the Parents, SMK Statens Museum for Kunst, National Gallery of Denmark, Copenhagen

—Die Marmory Show, Deborah Schamoni, Munich

—Pleasure Principles, Lafayette Foundation, Paris

2015

—Preis der Nationalgalerie, Hamburger Bahnhof, Berlin

—Works on Paper, William Arnold, Brooklyn

—IN MY ABSENCE, curated by Dorothea Jendrike, Galerie Jocelyn Wolff, Paris, France

—Our Lacustrine Cities, curated by Laura Mc Lean Ferris, Chapter NY, New York

—Angelic Sisters, Kepler 186, with John Armleder, Genesis P.Orridge, Stefan Tcherepnin, Milan

—Do Disturb, Palais de Tokyo

—Nouveau Festival, Centre Pompidou, Paris

—Life Gallery, curated by Marlie Mul, Vilma Gold, London

—New Frankfurt Internationals, Frankfurter Kunstverein, Frankfurt

—New Frankfurt Internationals, Nassauischer Kunstverein, Wiesbaden

Venice Biennale

In 2017 Anne Imhof represented Germany at the Venice Biennale, transforming the pavilion with her performance piece, 'Faust'[4] The performers arranged themselves throughout the pavilion, above and below the installed glass floors. Sometimes crawling under the floors, other times engaging in activities which range from looking sulky and checking their mobile phones, to masturbation and lighting small fires. Imhof was rewarded the prestigious Golden Lion award for "Best National Participation", in a much written about effort. This award is given to only one of the 85 exhibitions mounted in pavilions in the Giardini della Biennale and across Venice[5][6]

References

  1. "Will Anne Imhof be the artist of 2017 ?". Numéro Magazine. 2017-01-02. Retrieved 2018-03-30.
  2. "Anne Imhof: Angst | Kunsthalle Basel | Artsy". www.artsy.net.
  3. "Anne Imhof Köln 2016 – Anne Imhof – Exhibitions – Galerie Buchholz". www.galeriebuchholz.de.
  4. Fullerton, Elizabeth (30 May 2017). "In London, Anne Imhof Talks About Her Kicking, Screaming Venice Biennale Hit 'Faust'". ARTnews. Retrieved 10 June 2018.
  5. "The Venice Biennale's Big Winners: Anne Imhof, Hassan Khan, Franz Erhard Walther". Observer. 15 May 2017. Retrieved 10 June 2018.
  6. "Anne Imhof, Fierce Young Artist and Choreographer, Wins Venice's Top Prize". The New York Times. 13 May 2017.

Further reading

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