Anne Le Troter (1985) is an artist living in Paris.
It was after writing two books, “L’encyclopédie de la matière” and “Claire, Anne, Laurence”, that she began to work, in cycles, on the modes of appearance of group speech by adding up exhibitions. Thus Anne Le Troter invites groups of people such as ASMR artists to come and work with her (“L’appétence”, sound piece, 2016 Prix du Salon de Montrouge et du Palais de Tokyo).
After working on a form of alienation of speech – in the course of a cycle of sound installations around the figure of the telephone interviewer, a cycle extended over the duration of two solo exhibitions and one group show (“Les mitoyennes” at La BF15 in 2015, “Liste à puces” at the Palais de Tokyo in 2017 and “Les silences après une question” at the Institut d’Art Contemporain de Villeurbanne in 2017 – Anne Le Troter’s work takes the path of the genre of anticipation.
Invited by the Fondation Pernod Ricard, the Biennale de Rennes, the contemporary art center Le Grand Café in Saint Nazaire, the Nasher Sculpture Center in Dallas and the Centre Pompidou the artist embarks on a new cycle of writing around the notion of biography, fiction and utopia. The subject will be bioethics. Anne Le Troter has a particular interest in the issues of care, health and possible links between the artistic and medical worlds, and has carried out research on dental prosthetists, as well as on artists who have taken part in notorious medical advances. Those she calls “volunteers” – like the artists William Brockedon, inventor of the tablet, and Louise Hervieu, originator of the health record – are also representatives of the condition of female art workers.