Anna Lundh

Anna Lundh (1979, Sweden) is based in Stockholm and New York. Her research-based work investigates cultural phenomena, societal agreements, and aspects of time, temporality, language, and technology. Lundh’s practice frequently involves exchange with other people and professionals beyond the art field. Her transdisciplinary work includes video, site-specific installation, webbased work, interactive experiments, text, and performance. Lundh also initiated Visions of the Now, an international festival and congress on the subjects of art and technology in May 2013, Stockholm. Lundh holds an MFA from Konstfack – the University College of Arts, Crafts, and Design in Stockholm, and has studied at the Cooper Union School of Art, New York. Her work has been exhibited in Sweden at Moderna Museet, Bonniers Konsthall, and Tensta Konsthall, and internationally in Norway, Holland, Denmark, Latvia and the USA. She has exhibited at New York City art organizations such as Apexart, ExitArt, the Kitchen, the New Museum, and Performa 13. Currently, Lundh is a PhD student participating in the Art, Technology and Design program run by Konstfack and KTH – the Royal Institute of Technology, Stockholm.


Anna Lundh
Front-time Reworkings #2, 2012–2014
Video, 17 min 35 sec
Courtesy of the artist and archival material from Revolution Now by Öyvind Fahlström for SVT, 1968.
Locations: Washington Square Park, Zuccotti Park, Gramercy Park, Foley Square, Times Square, Grand Central, Central Park, Cooper Square, Wall Street (New York City), Fort Hamilton, Broadway (Brooklyn), Grant Park (Chicago)

In Anna Lundh’s video diptych Front-time Reworkings #2, segments from Swedish artist Öyvind Fahlström’s television documentary Revolution Now, featuring opposition groups and their protests in New York in 1968, are paired with Lundh’s own footage of the recent Occupy Wall Street movement in New York during 2011 and 2012. This new material is edited in dialogue with the archival footage, but also vice versa, hence these two moments can be considered synchronically and non-hierarchically in a cross-contamination of time. The work simultaneously portrays and examines – as if looking from a future perspective – this manifestation, or choreography, of human dissent and action. This gesture is alluded to in the work’s title, as the Swedish word for future is framtid (“front-time”) – the time in front of now. 


Front-time Reworkings #2, (2012–2014), Installation view Röda Sten Konsthall, GIBCA 2015. Photo: Hendrik Zeitler