“ONE is a work made for the public.
Originally created for the Circa 20:20 New Years Eve countdown to 2021, I am honoured for it to now be a part of Norman Rosenthal’s curation. The video embodies my hopes for 2021 to be a year of change, marking a new period for us all where we stand up for freedom and peace while standing together against structural racism and structural misogyny everywhere.
The work is derived from an experiment of isolating a key element from my performance ’SEX’ and displacing it into a natural setting — the seaside landscape of Normandy. The collaborative nature of my work is cyphered down to a performance of one. Eliza Douglas futilely whips the incoming tide as the sun sets beyond the horizon. The curving horizon is interrupted only be the faint gesture of a lighthouse in the distance, creating a dialogue with the imagined British shore beyond.” - Anne Imhof
Anne Imhof, SEX, Castello di Rivoli, 2021
The exhibition includes paintings, sculptures, objects, architectural elements, drawings and a sound installation that is inspired by the form of the public concert, as well as a performance. Through a curatorial experiment, Anne Imhof’s exhibition also incorporates some historical works of art belonging to the group exhibition Espressioni. The Proposition on display at the same time in the Castello building and which effectively become the characters of the exhibition.
Imhof is internationally recognized as one of the most innovative voices of her generation. Through her “durational performances”, she offers an unprecedented expression of the experience of the contemporary world in which physicality is increasingly mediated by digital communication. The new forms of alienation and detachment dictated by the massive spread of social media and its new related gestures can be considered an essential component in the artist’s work.
The main material shaped by the artist and her imaginary universe is the social gathering itself. This fact makes the exhibition very current and problematic. This innovative exhibition constitutes the first experiment in Imhof’s career which, in compliance with physical distancing rules, reflects on the contradictions of narcissism and a related mass loneliness typical of our new era. The social gathering therefore becomes not so much a literal part of her work but part of its poetic universe.