The Lovers Table: Lotte Andersen

**BIO **

My name is Lotte Andersen.

I am an artist working in video, sound, print, performance, writing and collage. My work has been shown internationally, in London, New York and Seoul, with performances, talks and presentations at the Whitechapel Gallery and Guest Projects, Tate Modern and the Victoria and Albert Museum. It is an interesting moment to speak about my practice as I recently relocated to Lima, Peru away from my home London.

A break in time changes how you feel about what you do just as a change in location and certainly the mellowing of time suspends the work, rendering moments of hyper mobile reflection in the pause. On examining movement continuously and deeply and within different contexts, I have found the processing of this within a group and individually of deep fascination.

My work oscillates between investigative, documentary and autobiographical. This tension links back to a very visceral and felt experience. The figures in my work act mostly as character based metaphors or tropes and examining hierarchies existing IRL. The formats employed are intentional, acting as a support system and visual record within which we all become engaged with the suspension and interrogation of time and nostalgic catalysts. This involvement in developing a video and photographic practice which simultaneously deconstructs subject matter in conjunction with camera format is of critical importance in the dissection of current and various information sharing platforms. VHS, Alexa, iPhone, super high 8, HD, screenshot, these capturing mechanisms each draw out an infinite matrix of access points, potential, believability, hinged on the viewer's ability to discern and filter cinematic quality.

The paper / collage and print works deconstruct ephemeral propaganda, the invention of the printing press and use of industrial printing in Britain. Scale, resolution and the employ of low cost widely accessible machinery, to produce and reproduce text and picture, consolidate my studio practice. Meme culture, tabloids, flyering, record covers, black power posters and infomercials converge in a filtering system thick with aesthetic, class and cultural bias. Essays underpin the backbone of this work, as words, sentences and images emerge to be processed and reprocessed into works.

Pictured above is a screenshots from a work made in collaboration with Sean Frank, a British filmmaker based in LA, during the summer of 2019. Engaging in performance, I am most interested in risk, and tentative reality. The tensions at work in The Rook, call into action the viewers perception, concern, or simply their entertainment, all relative to the danger filmed. Dance Therapy and the conception of "Capture Parties'' act as visual records, whereas The Economics of Movement, a performance made with Alonso Leon- Velarde at the Whitechapel Gallery was more of an experiment in role play and investigative choreography. The participation of unbriefed performers in my work act to remove any bias of my own.

The interesting paradox of producing factual knowledge in the context of artificial environments of observing human behaviour is uncovered. My performances and films are documents of the suspension and regulation of time and space whilst implementing a finite set of principles of conduct set up to record the predictability or unpredictability of reaction. Movement, it’s properties, its codes, as a unifying and segregating force. Movement in Dance, in the realms of the quotidian, mass migratory movement, gestural movement, forced movement. The transparency of feeling during movement, the psychological aftermath of movement and the physical and somewhat therapeutic nature of consistent, rhythmic, group movement.

My work Dance Therapy seems to me a consistent and resolute nod towards the therapeutic and healing nature of movement, serving now as a concise device and experiment in recording the outcomes of groups interaction in all its revelatory nature.

The containers and spaces which contain or hold movement, thinking of Ursula Le Guin's " Carrier bag theory" , these concave spaces have existed since cave painting. The club space as a container for momentary ecosystems of social / leisure movement is the catalyst for all my investigations. Additionally, examining the elements making up the vital participatory nature of my work, as a device which also sifts environmental elements out, conclusions and data emerge. New formations of coalition living as case study, work to further this research and have been of marked importance. I was most interested in the time I spent living in London during the housing crisis, working up to Brexit, resulting in a longer reaching project called Cecilia, which I am writing in Lima. Here I am looking toward the types of difficulties and subordinate frictions, choreography and anecdotes that result in co-living space. Observing the multitude of outcomes and strange wisdoms.