Anne Imhof's largest US project is a Shakespeare ode for fate and optimism -the art line

Anne Imhof's largest project in the USA this week in Park Avenue Armory in New York, the Wade Thompson Drill Hall of the event location was taken over with a three -hour performance and installation, which was curated by Klaus Biessenbach. The Immersive Show, Doom: House of Hope (Until March 12) envelops visitors into a dark area of ​​dance, sound and sculptural forms that correspond to the stylized visual universe of the Golden Lion crowned by the German artist.

Imhof take over the Gothic revival of the Gothic revival of the former ceasefire of the Gothic revival of the Gothic revival with its overloading orchestration of contemporary physicality and conveys a mood of replacement, unpredictability and self -examination. More than 15 dancers have enforced the wandering audience within a spacious layout that resembles a high school fitness studio with a temporary jumbootron and counts to the end of the show. Two stages decorated with silver balloons and mylar curtains organize intermittent musical achievements, while other actors climb on 26 black Cadillac escalades or sit on 26 black Cadillac escalades.

Apart from the seeded lights and the dark atmosphere, Imhof invites the spectators to look through the grunge after the project's title. “This piece is my love letter to everyone who share belief that love is the ultimate universal power, much more powerful than racist and misogynistic politics, laws against women, gays and trans people and all minorities,” she says The art line. The artist based in Berlin and Los Angeles sees the collaborative nature of the show as a testimony to the optimism on which its elegant aesthetics are based. “There is a common longing for beauty and the safety of those who are beautiful and special for us and our respective communities.”

Imhof's hidden optimistic message, which is wrapped into an artfully strict wardrobe, is conveyed both by contemporary iconography and historical samples. Downfall Contains passages and a loose narrative frame by William Shakespeares Romeo & Julia. Two actors combine a knife fight scene from the German author Rainer Werner Fassbinder 1982 Adaption of Jean Genets Transgressive Gay Romance Quarrel. Other performers deliver ballet choreography parts of George Balanchine and Jerome Robbins. Imhof is also a tribute to contemporary art, including a fleeting reference to Tino Sehgal's The kiss (2003), where two dancers appear while they locked their lips in one kiss, and Bruce Nauman's Slow angle walk (Beckett Walk) (1968), in which the artist organizes a rigid walking routine.

According to Biesenbach, which describes the project as “Tableau Vivant”, the different references of Imhof reflect the belief of the show in the creative persistence of humanity and the effectiveness of pluralities towards duality. “There is a generation and fluid advantage in Anne's way of bringing ideas and employees together” The art line.

The former curator-at-large in Modern in New York organized the gene-definent Marina Abramović retrospective of the institution, the blockbuster of the institution, the 2010 blockbuster 2010, 2010 of the institution. The artist is presentAnd is still impressed by the “unpredictability” of performance art. “A performance curator is a catalyst of her own source, but there is a fine border between the invitation to the artist, the resource and what comes out of it,” he says, adding that Imhof's openness to others who can define others in their own projects appreciate: “Anne is fascinating because they are fascinating all in their clear vision.” “

Since then won the best award for your project in the German Pavilion at the Venice Biennale 2017, fistImhof did institutional solo shows in the Stedelijk Museum, Tate Modern and in the Palais de Tokyo. Cooperation with Burberry and Balenciaga as well as a hardworking Grunggy public persona has contributed to collecting a cult support in the industry and beyond.

She cares about Downfall It is a kind of deduction from her earlier projects, since it only emphasizes the performance, “without exhibition, which focuses exclusively on the live aspect of my work,” she says. “Now is the most important time when storytelling in different ways to tell our respective stories.”

• Anne Imhofs Doom: House of HopeUntil March 12th, Park Avenue Armory, New York