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Lotta Hannerz 
”C’est vrai”, 2018
Acrylic on MDF, oil on aluminium and bronze
131h x 120w x 20d cm / 51.57h x 47.24w x 7.87d inches

Lotta Hannerz 
Clou, 2018
Acrylic, putty, ink on wood and wire
120h x 90w cm / 47.24h x 35.43w inches

Lotta Hannerz
L, 2018
Acrylic on wood, bronze, paper clay, cement board and teak
60h x 80w x 13d cm / 23.62h x 31.50w x 5.12d inches

Lotta Hannerz 

Divide and conquer, 2018

Acrylic on wood, paper clay, textile and kapok

60h x 80w x 33d cm / 23.62h x 31.50w x 12.99d inches


Lotta Hannerz
(Point of) convergence, 2018
Acrylic and oil on MDF
120h x 210w cm / 47.24h x 82.68w inches

Lotta Hannerz 

”Kan du svara, jag är inte hemma” / "Can you answer, I am not at home", 2018

Acrylic/oil on MDF/plywood, oil on PVC, suede and teak veneer

122h x 200w x 38d cm / 48.03h x 78.74w x 14.96d inches


Lotta Hannerz
Mimicry, 2018
Papier mache, paper clay, string, wood and found objects
104h x 59w x 38d cm / 40.94h x 23.23w x 14.96d inches

Lotta Hannerz
Peek a Boo, 2018
Acrylic/oil on wood, PVC, paper clay, wire, paper, chamois, kapok and teak
140h x 166w x 15d cm / 55.12h x 65.35w x 5.91d inches

Lotta Hannerz 

Jabberwocks, 2018

Acrylic on wood, lead weight, textile and wire

165h x 50w x 50d cm / 64.96h x 19.69w x 19.69d inches


Lotta Hannerz

Tittle-tattler, 2018

Aluminium, steel and PLA plastic

29h x 14w x 1d cm / 11.42h x 5.51w inches

Edition of 30


Lotta Hannerz: Witness Marks, 2018

Lotta Hannerz: Witness Marks, 2018

Lotta Hannerz: Witness Marks, 2018

Lotta Hannerz: Witness Marks, 2018

Lotta Hannerz: Witness Marks, 2018

Lotta Hannerz: Witness Marks, 2018

Lotta Hannerz: Witness Marks, 2018


Lotta Hannerz: Witness Marks 
Galerie Forsblom Stockholm
September 28–October 28, 2018
Opening in the presence of the artist, September 27, 5–7pm

Amidst antique machines and enigmatic cave paintings. Along the winding paths of consciousness and beside subterranean abodes, cognitive experiences collide with perceived sensations. The powers of the hemispheres shriek so loudly that they drown out the corpus callosum. In the work of Lotta Hannerz (b. 1968), the tendrils of introspection coil around uninterrupted attention to the surrounding world. In this reality, the factual and the fictitious have entered a form of symbiosis.


With a gently nostalgic tone, where witness and agent constantly change positions and incessantly move their marks, a place is conjured where the solid appears to be ethereal. Reviewing, mapping and cataloging. Systematization and dissection.


Hannerz’s art resists the limitations we are ascribed. It questions our intuitive experience of a world characterized by physical stability. As the works of Witness Marks interact, a space is created where even simultaneous events seem entirely possible. Perhaps we are tamed by illusory scales, deceptive rules and logical capers that allow us to sense an opening toward circular movements in space-time. Hannerz’s art points to a possible occurrence of alternative realities. With protractor and polygraph, with instruments that may not always be fully reliable, or which may measure something other than what we believe we are studying, she exposes mysteries packaged in reality’s illusions.


Lotta Hannerz studied at Konstfack-University College of Arts, Crafts and Design, Stockholm (1989–1993) and at the Royal Institute of Art, Stockholm (2001–2002). Her work has been shown in a number of solo exhibitions in Sweden and elsewhere in Europe. She has also participated in several group shows, including Galerie Papillon, Paris (2018) and Mjellby Art Museum, Halmstad (2012). Hannerz’s work is represented in collections at institutions such as the Malmö Art Museum, Malmö, Moderna museet, Stockholm, Gothenburg Museum of Art, Gothenburg, Sweden and the Bonn Museum of Modern Art, Bonn, Germany. Hannerz has been awarded several grants, such as the Hans and Desy Viksten Grant (2014), and the Résidence Cité internationale des Arts studio award, Paris (2005–2007).