‘Do you want to say I’m dated?’ Artist Anne Imhof on her S&M Venice shocker – and the show that earned a mauling | Art and design
Anne Imhof, a German artist once lauded as a leading voice in contemporary art, is currently navigating a period of critical re-evaluation. After achieving international acclaim – including a Golden Lion at the 2017 Venice Biennale – her recent work has faced a more mixed reception, prompting a noticeable shift in her public persona.
From Acclaim to Scrutiny
Imhof’s rise to prominence was marked by immersive, multidisciplinary shows that blended elements of etching, painting, dance, live music, and film. Her aesthetic, characterized by sporty goth influences like Adidas tracksuits and chunky trainers, resonated within Berlin’s club scene and beyond. However, her 2023 mega-show at the Park Avenue Armory in New York garnered critical drubbings from publications like Hyperallergic and Spike, with one review famously labeling it “a bad Balenciaga ad.”
The criticism appears to have affected Imhof, who responded to questions about the negative reviews with visible discomfort during an interview. She questioned whether she was being perceived as outdated and abruptly ended the conversation, later resuming it via email.
A History of Confrontation
Imhof’s willingness to engage with conflict is a recurring theme in her career. She was suspended from a boarding school in Bath, England, reportedly for possessing an “evil eye” and influencing other students. While studying art, she worked as a bouncer at the Robert Johnson nightclub in Frankfurt. This history suggests a comfort level with challenging environments and potentially provocative displays.
Navigating Difficult History
In 2017, Imhof was commissioned to fill the German pavilion at the Venice Biennale, a building originally designed by the Nazis in 1938. She responded by erecting a fence around the structure and allowing dogs to urinate on the staircase, a deliberate act of confronting Germany’s past. This work, titled Faust, became a defining moment in her career, capturing the cultural anxieties of the 2010s.
Fashion, Politics, and Artistic Autonomy
Imhof’s collaborations with the fashion industry, particularly with Balenciaga and Burberry, have drawn scrutiny. She has also partnered with Nike on a sponsored performance and campaign. These ventures have led to accusations of compromising her artistic integrity, with some critics suggesting she is becoming more of a brand ambassador than a challenging artist.
Imhof defends these collaborations as a strategy for navigating powerful systems while maintaining artistic agency. She emphasizes the importance of being aware of the conditions of production and making conscious choices about her involvement. Her latest exhibition, Fun ist ein Stahlbad, at the Serralves Foundation in Porto, features sculptures designed to be uninviting, including an empty swimming pool made of black metal and crowd-control barriers.
Looking Ahead
It is possible that Imhof will continue to explore the tension between artistic autonomy and commercial pressures. She may further refine her approach to collaborations, seeking projects that align with her critical perspective. Alternatively, she could distance herself from the fashion world altogether, focusing on more overtly political or conceptually driven work. Her recent album, WYWG, which draws influence from 1990s grunge and bands like Genesis P-Orridge and Black Flag, suggests a continued willingness to experiment and challenge expectations.
Frequently Asked Questions
What was Anne Imhof’s response to criticism of her New York show?
Imhof became visibly uncomfortable when asked about the negative reviews of her Park Avenue Armory show, questioning whether she was being perceived as outdated and ending the interview prematurely.
What is the significance of Imhof’s work at the 2017 Venice Biennale?
Her installation, Faust, was a breakthrough moment, capturing the cultural anxieties of the 2010s and establishing her reputation for provocative and immersive art.
How does Imhof view her collaborations with the fashion industry?
Imhof sees these collaborations as a way to navigate powerful systems while maintaining artistic agency, emphasizing the importance of awareness and conscious decision-making.
As artistic landscapes shift and cultural tastes evolve, how do artists balance the desire for creative freedom with the pressures of commercial viability?