Herlev Årbog, 2016
STIGMART10 Videofocus, The Body Canvas, 2015
Julie Schmidt Andreasen’s work invites the viewer into a haunted, subjective flow of clean figurative images. In her quest to explore the synesthetic nature of the creative act, the Danish artist produces something hypnotic and memorable. Choreographer, dancer and performer, she focuses on developing methods of interaction between artists working different media.
CINÉWOMEN, women´s cinema and performing arts, The Body Canvas, 2015
There is no linear structure, floating emotions take control over performers creating dynamic unrepeatable scenes. An impulse becomes source of action which show a specific nature of human being.
Mette Ladegaard Thøgersen, Museumsinspektør, leder af Johannes Larsen Museet, Krinkelkroge, 2016
Tak for en flot performance Skt. Hans aften på Johannes Larsen Museet. Det var en smuk oplevelse, hvor scenen var sat med den dramatiske og tordenvejrssorte himmel i baggrunden. Hvide måger svævede over jer og lyste op, mens Alfio Bonannos Bird Nest Tower rejste sig i forgrunden og strakte sig mod mørket ovenover. Og midt i dette sceneri var I og fyldte haverummet elegant og underfundigt ud.
A Younger Theatre, Kaleidoscopic Arts Platform, TESTBED1, The Body Canvas 2015
This beautifully shot, distinguished piece of work allowed us to see how different works of art can inspire others in unfamiliar ways. One moment, one line can stimulate something so much deeper and greater. This integration between fine art and dance developed patterns and portrayed the unity of space, pattern, movement and texture in black and white.
Writing about dance, Nicholas Minns reviewing Kaleidoscopic Arts Platform, The Body Canvas 2015
The Body Canvas, co-directed by Julie Schmidt Andreasen (who danced in Mara Vivas’ Triptych at Resolution! 2015) and Paul Vernon, makes a compelling visual link between the graphic artist’s eye and the dancer’s body: both are performing and the film is in turn a performance of their interaction, a depiction of the body drawn in space.
The Place blog, Hula Hoops – Robin Howard Theatre, Lyndsey Winship, 14 February 2014
Julie Schmidt Andreasen’s Hula Hoops, by contrast, is utter simplicity. And utterly charming for it. Three dancers in white shirts and chinos; a very conscious, unconvoluted language; and the sort of invisible logic that’s very pleasing to the eye.
The Guardian, Resolution – Robin Howard Theatre, Judith Marckrell, 27 February 2014
Readers look back on the highlights of the Place’s season on emerging choreographers. The last edition of Your move featured the final batch of reviews from Resolution! and a list of the works that were rated highest (from a season of 72) by the young writers and their mentors. Among the selected 12 were James Finnemore’s Oh, Glory; Rebecca Evans/Pell Ensemble’s decoy and Julie Schmidt Andreasen’s Hula Hoops, described by Nicolas Kyprianou as a playful trio in which
“the three dancers engage with an imaginary hoop, gyrating their hips and nodding their heads. The invisible hoop passes between them, circling round different parts of their bodies.”
Time Out, Zealous X, 18 November 2013
Visitors can enjoy industry discussions alongside the exhibits, which will include film, music, performance art and photography, as chosen by a panel of judges comprising Nirvana snapper Steve Double, stand-up Andi Osho, pupeteer Rob Tygner and artist Richard Snowden. Some of the exhibitors include photographer Elisabeth Blanchett, who’s shot many a time for Time Out, with her ‘Nostalgia’ collection – a take on negatives she found in an old camera that belonged to her grandfather. Plus artist Hannah Grace’s ‘Google Distortion’ works and a screening of ‘The Body Canvas’, the result of a collaboration between Paul Vernon and Julie Schmidt Andreasen.
Planet Hugill, Filthy Lucre 3: Cults – The Bussey Building/CLA Arts Cafe Peckham, Reviewed by Robert Hugill 11 January 2014
Jonny Greenwood’s music all comes from the film The Master and Andreasen’s highly physical choreography was inspired by the film mixing wrestling, tango and other more physical dance. The whole had the effect of a rather sinister ritual …The opening was austere and rather gestural, with both music and dance matching a rather Oriental atmosphere … These dances seemed more closely aligned to the music than the earlier ones, with Andreasen using a vivid gestural language. Again you felt that there was a drama hidden behind the athletic choreography.
Skagens Avis, Tik Tak Tuxen – Skagens Museum, Michael Egelund, 20 Juli 2014
Julie Schmidt Andreasen er et ungt dansk talent indenfor moderne dans, og arbejder til daglig i London som danser og koreograf. I hendes egne produktioner forsøger hun især at underbygge forbindelsen mellem kropslig bevægelse og billedkunst.
I forestillingen Tik tak Tuxen – inspireret af Skagens Museums særudstilling om maleren Laurits Tuxen – arbejder hun sammen med en anden ung, fremadstormende performancedanser Karl William Fagerlund Brekke, og parrets optræden bliver akkompagneret af trompetisten Miloud Carl Sabri, bl.a. kendt fra popbandet Asteroids Galaxy Tour.