She was the art world’s hottest ticket after her confrontational goths-and-dobermans show at the Venice Biennale. But did she get too cosy with the worlds of fashion and advertising?

‘I don’t know what you want to know,” says Anne Imhof, three-quarters of the way into our interview. Her cautious smile, between curtains of jet black hair, changes into a sceptical pout. I have just quoted a headline at Imhof, one of Germany’s most important contemporary artists, that described her 2025 New York show as “a bad Balenciaga ad”.

Just a few years ago, Imhof was the hottest ticket on the international art circuit: a Golden Lion winner at the 2017 Venice Biennale, whose transformation of the German pavilion into a sinister, S&M-flavoured “catwalk show from hell” had masses scrambling to join the queue. Imhof was a cultural polymath whose shows combined etchings, paintings, dance, live music and film; a muse to fashion designers whose sporty goth aesthetic – Adidas tracksuit bottoms, chunky trainers, black leather – beseiged the clubs of Berlin and beyond.

Pacifism is core to modern European culture, but a ‘no arms’ attitude risks leaving artists and film-makers short of answers when facing military aggression and political threats

• Don’t get This Is Europe delivered to your inbox? Sign up here

One reason why art – painting, literature, film, theatre, all of it – is so important to society is that it creates spaces that can tolerate difficult answers to difficult questions. This makes art the opposite of politics, where politicians are under constant pressure to give easy answers to difficult questions.

I was thinking about this distinction this month while watching the European film awards, this continent’s answer to the Oscars, which has moved its annual ceremony to January this year as it seeks to position itself as a major tastemaker for grownup cinema.