Visceral but lifeless: violence + the value of the image in Venice Biennale winner Anne Imhof’s Faust
by Hadden Manhattan
Anne Imhof the artist emerged in the libidinal shadows of the European financial project in Frankfurt. Before entering the city’s famed Städelschule art academy, her first improvised work happened in its red light district — a boxing match in a strip club. A band played. Noses were bloodied and broken.
Anne Imhof “Faust” at German Pavilion, Venice Biennale
Susanne Pfeffer interviewed by Noemi Smolik
Noemi Smolik: Could you say a little about what informed your decision to pick Anne Imhof for the German pavilion?
Susanne Pfeffer: I spent a lot of time doing research. As part of this process, I also discovered several new artists. The question of what constitutes the now—our contemporary reality—was of crucial importance to me. Today, we are confronted with the far-reaching effects of technological change. A new subject arises that is both hormonal and extremely networked across media. Our perception and our movements increasingly take place in virtual space. The effective mechanisms of power and control are inscribed in the body. I find the extent to which we cede to the capitalization of our bodies, while simultaneously bridling at this process, remarkable. This is a fundamental transformation requiring reactions and responses. Consequently, finding an artistic position that tackles these issues in contemporary language seemed imperative to me.
Places for introspection – Rodrigo Sobarzo intervied by Sonja Jokiniemi
Could you tell a bit about yourself?
A very interesting and challenging question to answer right now! If there’s something like ”liquid identity”, it is exactly what I’m experiencing at this very moment. A bunch of principles and values that used to glue my life together for quite some years now are surely drifting, and as the earth plates of the planet move ever so slightly, there are huge repercussions and consequences to that almost imperceptible motion.
Going straight to the core I guess my life revolves heavily around my work and I’m not satisfied with the medium that the ”performing arts” is or are. I’m trying to change my medium due to a lack of effectivity or inclusivity that I experience within this art form.
INDIA SALVOR MENUEZ Interview by OLIVIER ZAHM
The New York art scene is not dying, as so many think. Dash Snow, Dan Colen and Ryan McGinley: young, spontaneous, easygoing, feminist women. They use every medium from Instagram to sculpture, performance to fashion, and are audaciously open and independent. At the center of this emerging scene is 22-year-old India Salvor Menuez.
Seven years ago, India created the art performance group Luck You, performing in galleries and on the Internet, and making sculptures, paintings, and films. She supported herself by modeling for photographers, designers, and painters like John Currin and brands like Miu Miu. Her appearance in Olivier Assayas’s Something in the Air kick-started her budding career in cinema, and she is Currently working on directing a film, curating exhibitions more, and performing.
OLIVIER ZAHM – I’m very interested in you, your generation, your friends. It reminds me of the early ’90s.
By Gia Kourlas
Meg Stuart and Dana Michel
Two contemporary dancers confront the complications of the performing body.
There aren’t many stars in contemporary dance, but Meg Stuart is one: she shines bright. An American who made her name in Europe more than two decades ago—she now splits her time between Brussels and Berlin—Stuart explores the tension between dance and theater with an exquisite nonchalance. Using movement as her base, she is an excavator of sensations. But right on her heels is the young Montreal-based Dana Michel, who is cementing herself as a fiercely powerful voice with her raw and rich explorations of identity.
By Francesca Gavin
Donna Huanca brings art to life through body paint
Activated by naked bodies draped with latex, ripped body stockings, and slathers of paint, the American artist brings a metamorphosing exhibition to London
In Italy, one of the parliament members requested an official inquiry into the programme of the fantastic Terni festival because of the Holzinger and Riebeek’s work.
The mantra used is something that we, who work in the arts, know all too well: “The public money should not be used for…”
This time, it was “pornography”.