![]() The exhibition’s capacious title and its openness for interpretation follows on from Faust (2017) and Angst (2016), the former being Imhof’s presentation for the German Pavilion at the 57th Venice Biennale, for which she won the prestigious Golden Lion. The award – a can of Stella Artois balanced between its wings – is one of the many objects strewn across the Tanks at Tate, along with smashed iPhones, motorcycle helmets, a pair of black patent shoes, steel BDSM collars and harnesses, oranges, cigarette lighters, basketballs, electronic weighing scales, pipes and other drug paraphernalia, band T-shirts, towels, Marshall guitar amps and altar candles. Anne Imhof’s four-hour durational work Sex (2019) was staged over five nights in late March at Tate Modern, London, as this year’s Tate Live exhibition. Imhof’s œuvre has defied easy categorisation, blending the mediums of performance, dance, painting, sculpture, installation, sound and technology, and the industries of art, fashion and music: her work is a happening, an event, a scene.
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