The German provocateur’s opening in Los Angeles shows her choreographic skills and obsession with youthful nihilism. But when the performers leave, the emptiness remains.
LOS ANGELES — As was preordained, the opening night of Anne Imhof’s “Emo” at Sprüth Magers, the German artist’s largest exhibition to date in the United States, was a disaster.
A charcoal gray pickup had apparently careened off Wilshire Boulevard — past the 10 chunks of Berlin Wall on permanent display outside the 5900 Wilshire tower, up a flight of stairs and into the gallery’s pillars. Unfazed, a pair of lanky, lethargic runway Goths performed on the wreck. One shaved his abs, the other emptied water from
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