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“WE SHOULD HAVE BEEN DANCE CRITICS,” said one art critic to another as they cycled through Berlin, bodies juddering as if struck by a frying pan. We were on our way home from Kraftwerk, a power plant turned club turned performance venue where, on the invitation of Light Art Space, Sharon Eyal, an Israeli choreographer and long-time dancer for the renowned Batsheva Dance Company, recently presented a number of the works she has produced with Gai Behar for their company, L-E-V. Soul Chain, 2017, the piece we saw that night, was a thing of beauty, but the kind of beauty that is exposed like bone
THE TL;DR OF ANNE IMHOF’S monumental “Natures Mortes” exhibition at Paris’s Palais de Tokyo is that it was a requiem for twentieth-century subculture if not for the twentieth century, full stop. In its institutional grandeur alone, the setup already evoked earlier art systems: Curators Emma Lavigne and Vittoria Matarrese invited Imhof to participate in the Palais’s “Carte Blanche” series (inaugurated by Ugo Rondinone in 2007), offering the German artist open use of Europe’s largest center of contemporary art (236,806 square feet). Imhof asked for no less than stripping the venue down to its