Hong Kong Tatler - - Life | Art -

Gi­ant rab­bits, live fal­cons, elab­o­rate sets and du­ra­tional per­for­mances that trans­form mu­seum spa­ces and of­ten take place at night out­side nor­mal open­ing hours... If there’s one artist cur­rently sub­vert­ing the con­cepts of per­for­mance art and the avant-garde, it’s Anne Imhof. Rep­re­sent­ing Ger­many at the Bi­en­nale, the 38-year-old artist is known for cre­at­ing vis­ually rich pre­sen­ta­tions that take the form of strange rever­ies—in­ti­mate yet mul­ti­lay­ered stud­ies of move­ment, ges­ture and ac­tion. One such per­for­mance is the Bi­en­nale’s Faust.the piece, a five-hour pro­duc­tion that also bills it­self as a seven-month “sce­nario” set to play out over the course of the Bi­en­nale, is a black metal, goth dance played out in half-time, the per­form­ers lung­ing their bodies atop a glass plat­form sup­port­ing a grid of metal gird­ers. They em­brace each other and march in uni­son; mov­ing in slow mo­tion to a sound­track of dance mu­sic, monas­tic chant­ing, bark­ing dogs and screams. It’s a tense per­for­mance and, typ­i­cally of Imhof, it asks for re­peated vis­its to fully ab­sorb the depth of its rad­i­cal­ism. Imhof has only been ex­hibit­ing since the be­gin­ning of this decade and is es­sen­tially a chore­og­ra­pher, but her highly ex­pe­ri­en­tial works—which in mil­len­nial fash­ion she en­cour­ages view­ers to share on In­sta­gram—are some of the most en­gag­ing pieces of art to­day. Her works dis­solve the bound­aries be­tween ac­tor and au­di­ence, and rely on spon­tane­ity. Fea­tur­ing young per­form­ers glued to their phones, and live-tex­ting as a way of send­ing direc­tives to the cast, they per­fectly cap­ture the mil­len­nial way of con­sum­ing cul­ture.

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