Anne Imhof, Dancing in the Ruins

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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