This year we're proud to present The Lovers Table Parts 1 & 2 - conceived by artist Lotte Andersen and filmmaker Kazim Rashid.

The Lovers' Table Part 1, is a new template for moving image symposium. Lotte and Kazim invite an interdisciplinary group of thinkers to present an aspect of their practice, be it video, sound or visual sketch. In this instance, work will be shared by Giles Duley, Ayo Akingbade, Sean Frank, Bafic, Ondine Viñao and Kayus Bankole of Young Fathers. Rashid and Andersen will additionally premiere new projects.

Along with 4:3, we are excited to be presenting Part 2 of The Lovers Table; The Lovers Party. Join us in celebration of love and resistance, featuring Prestige Pak, Pxssy Palace and Louise Chen.

The Artists

Lotte Andersen

Lotte Andersen’s work forms an investigation into group dynamics, durational performance, body politics, trauma, euphoria and release. She considers sound and video physical objects in space, working with the idea that echoic (sound) memory is stored for longer periods of time than iconic (visual) memories. The viewer is often placed in the work, confronting the politics of taking up space, whilst simultaneously being part of it.

Attracted to extremes, Andersen is focused on how the body physically processes emotion, documenting pleasure seeking and personality masks, perceiving these as vehicles to transcend the mundane. She identifies as a Caul baby.

Kazim Rashid

Rashid is a British/Muslim Artist & Filmmaker whose work is discernibly underpinned by his commitments to bringing disruptive visual language that pushes boundaries, from the peripheries to the foreground of cultural movements. He endeavours to force the viewer to confront their own ideas on where truth lies and where comfort should be sought within the paradigm of identity and community.

What is your idea of perfect happiness?

LA: A soundsystem, elbow height cutting table, A3 printer/ scanner, standard office photocopier, floor to ceiling windows, wifi, scissors, pens, desktop computer, an unlimited music library, A4 hardback sketchbooks, masking tape.

KR: Being in love, and being loved. Staying up really late, shuffling in darkness, really loud music and walking home even though you never normally would walk that far with funny eyes at 9am with the sun out. Being forced by your inner circle to question your integrity and what’s right and wrong.


Why "Lovers' Table"?

LA: Love is the point of conception, Love is an expansive emotion. The table serves to support Kaz and I’s intentions, expanding and stretching ideas on video and filmmaking.

KR: IT IS TRUE - The Lovers Table rarely does forget. Reference: James Baldwin titled his unfinished, final play The Welcome Table. Reference: Milan Kundera said "The struggle of man against power is the struggle of memory against forgetting."


What will the event be like, what audiences can expect?

LA: We are presenting a video conference, mixed ages, ability, gender, background. Kaz and I come at filmmaking from the perspective of being a classic director versus being an artist. We’re coming at the same beast from different angles. People should expect, real talk, laughs, brilliant work and a shared will to push things forward. Kaz and I have a linked view on what a new creative world could look like. We will be deconstructing how and why our guests approach the same medium, screening and presenting aspects of film making in front of an audience. Kaz and I will also be screening our work.

KR: The event should be a dynamic 3 hours of inspiration, evaluation and consideration. I hope. This is the very first time we're doing this, so there is a chance it ends up being entirely different! The beautiful thing about The Lovers Table is it's a living, breathing, live organism and in real time, can become anything depending on who's involved and where they decide to take it. I'm excited to see where our guests wanna go with us.


What lies at the heart of your own desire to make films?

LA: I feel like being under 30, with a camera in my pockets linked to wifi makes filmmaking unavoidable. I’m a punk. I believe my interns’ and assistants’ Instagram stories / Snapchat accounts are more accurate documentaries, than documentaries. The nature where these documents live and the length of their existence in the public domain, furthers their potential to be radical. My age group have an impulsive reaction to film making, which I feel could be generationally defining. I want to tell universal stories from another perspective, unpicking and commenting on the format used, the spaces they are viewed in and the implications of your body in that space. I make video installations using projectors, considering sound as a physical object in space. I am also interested in the idea that sound memory is stored longer than visual memory which makes film the ideal material to explore this. I spent years watching Pop music videos after school, hoping the budgets would allow me to be the first female Hype Williams. I was entranced by big budget Hip Hop, Rock, Pop and R&B videos particularly from between 2005-2015, which filled a void post Top of The Pops. It was the time of the Neptunes, Mariah Carey, Bewitched, Brandy, Bjork and Michel Gondry and Chris Cunningham were making adverts as well as promos, I’m so lucky to have viewed the tail end of pop promos!

Throwing my party Maxilla helped teach me the nuts and bolts of art direction and directing. Its crowd control, casting, location scouting, set dressing. Watching the party is a camera angle, tunes are the soundtrack, the DJ is your 1st AD - you have to be in cahoots with the DJ!

KR: I make films for myself, to help me digest, decode and make sense of the world and my place in it. Sometimes those films help other people do the same, and for that I'm infinitely grateful and humbled.


What are the first things you do in developing a film idea in response to a subject?

LA: I approach filmmaking like I do collage, writing, performance, sound and print. My decisions are carried by an emotional reaction and total childlike curiosity. I feel like my process is naive in the truest sense, that I am unconcerned with polish or finish, I care for markers of authenticity and the core of a subject.

KR: I spend weeks, months and sometimes years letting the idea cultivate in my mind and body. If the idea is good enough and finds its place in the world, it usually makes its way out someway or another - either through my work or someone else's I'm working with.


What’s your favourite film and why?

LA: My favourite film is The Red Shoes.

KR: My all time favourite film is essentially a list of ten film which are on rotation for the top spot and entirely mood dependant. I love them all much as each other. Right now though - Buffalo 66 - because I've never loved 2 characters more than I loved, lusted and desired both Gallo and Ricci equally in that film.

Choose 1, 2 or 3 of your all-time favourite music tracks.

LA: I Am The Black Gold of The Sun (4 Hero Remix) - Nuyorican Soul
I Wanna Be Down - Brandy
Circles - Adam F

D'Angelo - When We Get By
Donny Hathaway - I Love You More Than You'll Ever Know
Sly and The Family Stone - If You Want Me To Stay

From your favourite poem – could you give us a few lines that mean something to you?

LA: Demain des l’aube by Victor Hugo.

KR: "The system is the vampire" from ‘So Rotten’ by Blak Twang

What is your greatest extravagance?

LA: Explaining unconscious biases to people who can’t hear me.

KR: My personality on a bad/good day - depending on what you're in to.

What turns you on creatively, spiritually or emotionally?

LA: Discipline, sureness of intention, commitment.

KR: People who force me to look at the world, my perspective and experiences differently. Seeing someone's work which is so magnificent that I forget to have any perspective as an artist or any critique and simply leave my body and enjoy it as a set of eyes, a heart and soul. What turns me off is seeing work which keeps me in my body and in my minds.


What is your final word?

LA: Joy is an act of resistance.



Read more about the other artists taking part here.

Click here for details and booking for Lovers' Table Part One.

Click here for details and booking for Lovers' Table Part Two.