Across the gallery’s two floors, visitors encounter new scratched paintings, crowd barrier installations, oil pastel drawings, bronze reliefs, and the exhibition’s titular film. Meanwhile, the presentation emphasizes the development of Imhof’s painting approach.
Large-scale wave compositions form the centerpiece of the exhibition. Among them are the six-meter works “The Lake of My Mother’s Tears” (2025) and “You Are Queen so I Will Bow to You” (2026). Digitally composed before receiving layers of oil paint and expressive cuts, the paintings preserve a sense of physical energy and movement.
In addition, the exhibition includes bronze relief sculptures and pastel drawings that further extend Imhof’s exploration of material and gesture. As a result, Citizen highlights the relationship between bodily motion and painterly expression within her practice.
Film, Drawing, and Figurative Works Expand the Narrative
“Citizen” equally anchors the show, bringing new life to her hyper-immersive DOOM in a four-channel film shot by one of its performers on an iPhone.
Meanwhile, pencil drawings inspired by the Danse macabre and figurative paintings depicting women add another dimension to the exhibition. Consequently, these works introduce references to historical imagery and intimacy while reinforcing Imhof’s interest in fluid artistic forms.
Together, the exhibition presents a broad view of the artist’s evolving visual language. Furthermore, Citizen underscores Anne Imhof’s continued engagement with painting, performance, and cinematic storytelling within contemporary art.
Citizen is now on view in London through August 1.
Sprüth Magers London
7A Grafton Street,
London, W1S 4EJ, UK