ANNA LUNDH

A N N A L U N D H

Upcoming

PhD defense, Konstfack University of Arts, Crafts, and Design / KTH Royal Institute of Technology, Stockholm. (2026, date TBA)

PhD dissertation
(forthcoming, 2026)

Info

Anna Lundh is a visual artist based in Stockholm, Sweden. Lundh’s artistic practice deals with societal and historical phenomena and visions – often considering our relationship with technology and the subject matter of time and temporality. Lundh’s transdisciplinary work manifests in video, sound, installation, web-based works, text, and lecture performance.

Lundh’s art education includes The Cooper Union School of Art, New York, Konstfack University of Arts, Crafts, and Design, as well as Royal Institute of Art, Stockholm. Her work has been exhibited at Moderna Museet, Bonniers Konsthall, Tensta Konsthall, Index Foundation, and GIBCA, to name a few; and internationally in Korea, Norway, Holland, Denmark, Latvia and the US – primarily in New York art organizations such as The New Museum, The Kitchen, ExitArt, Apexart, and Performa.

Anna Lundh is currently a PhD Candidate at Konstfack University of Arts, Crafts, and Design, and KTH Royal Institute of Technology.

Selected Exhibitions

Miss Clock (into the groove), Färgfabriken, Stockholm. 2025

Mud Muses – A Rant About Technology,
Moderna Museet, Stockholm. 2019

Q&Q-2028, MMCA, Museum of Modern and Contemporary Art, Seoul, Korea. 2018

A Story Within a Story, GIBCA – Göteborg International Biennial for Contemporary Art, Göteborg. 2015

The Moderna Exhibition 2014 – Society Acts, Moderna Museet, Malmö. 2014

VISIONS OF THE NOW – Stockholm Festival for Art and Technology, Fylkingen, Stockholm. 2013

ANNA LUNDH: Q&Q-2022, First Look: New Art Online, The New Museum, New York. 2012

MATTER OUT OF PLACE, The Kitchen, New York. 2012

Anna Lundh — Grey zone, Entrée, Bergen. 2012

Please see CV for all exhibitions and performances.

C V

See full CV

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Contact

Email: info@annalundh.com
Phone: +46 (0)70 718 6260

Anna Lundh 2026

Design

Research and Development

P R A C T I C E & W O R K S

Miss Clock (into the groove)

2025
Solo exhibition

The exhibition Miss Clock (into the groove) explores time through the lens of digitalization and society, while examining questions of voice and gender in connection with technology. The work also investigates issues of identity and interpersonal trust as our relationship to the human voice is being radically transformed.

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A Clockwork Brunette

2025
Lecture performance

What happens when time gets a voice — and that voice belongs to a woman?

This lecture performance investigates the gendered history of ‘speaking technologies’, tracing its connections to time, technology, and the evolving role of the human voice in society. The performance centers around the phenomenon of Fröken Ur (Miss Clock), the iconic speaking clock telephone service introduced in Sweden in 1934, which was a pioneering technology for providing precise time on demand.

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Miss Clock / Frøken Klokken (the enactment)

2014-2024
Video installation, online work

A group of people move in circles, sideways, with small, precise steps. Closely together, they form a living mechanism where each person in turn speaks a number into the microphone. What occurs in front of the camera is an enactment of the technology that in 1934 made Sweden’s original automatic speaking clock service Fröken Ur (Miss Clock) possible.

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Miss Clock (virtually inextinguishable even under water)

2021-2025
Site-specific prints in light boxes

A site-specific installation exploring the unique recording technology behind Fröken Ur (Miss Clock). Printed on transparent film and mounted in light fixtures in the ceiling and in freestanding light boxes, a selection of rediscovered optical sound photographs are displayed in an over-sized format. Hidden in the archive for nearly 90 years, the original negatives once gave voice to Sweden’s (and several other countries’) automated time announcement service.

[more]

Miss Clock (into the groove)

2024-2025
8-channel sound installation

8-channel sound installation that plays with recordings of optical sound photographs made at LM Ericsson in Stockholm between 1934 and 1958, originally meant to be used in automatic speaking clock machines around the world. The technology of Fröken Ur (Miss Clock) spread to the Nordic countries but also far beyond Europe, for example to Lebanon and Mexico. These optical sound photographs was rediscovered in the archive in over a dozen languages – from Swedish, Norwegian, and Danish to Icelandic, Polish, Italian, Spanish, French, Turkish, and Arabic, to name a few (all in female voices).

[more]

It’s me / OMG

2025
Sound sculpture

Right receiver: Extracted voice sound from a short TV commercial that launched singer Adele’s comeback in 2015.

Left receiver: Sound from a meme of American rapper Cardi B reacting strongly in disbelief, while making a live video stream.

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HelloolleH HejjeH

2025
Sound installation

HelloolleH HejjeH is a sonic experiment comprised of audio recordings of the first few seconds of online video calls (conducted via Skype). These audio clips constitute a unique archive of how it can sound when we try to establish contact through this specific communication medium (online video calls).

[more]

Dysphonia (voice print 1&2)

2025
Print on tissue paper

Two ‘voice prints’ (based on 1960’s spectrogram technology) of the public service outdoor warning siren Hesa Fredrik (Hoarse Fredrik) – both the analog typhon and the digital clone that is gradually replacing the original signal. The digital sound has been created to mimic the analog siren. Would this clone be detected in a ‘voice print’?

[more]

Miss Clock (archive leak)

2025
Fröken Ur takeover

Intervention in the Swedish speaking clock telephone service Fröken Ur. During the exhibition period of Miss Clock (into the groove) at Färgfabriken (2025), upon dialing 90510, Fröken Ur told the time using ‘her’ original voice from 1934.

[more]

Q&Q–2022 (Now we’re in it)

2022
Lecture performance

A lecture performance that unpacks the long term research project Q&Q–2022, concerning questions about the future from multiple vantage points, both temporal and local.

In 2012 the public was invited to ask questions about what the future would be like in 2022. (Now we’re in it. How does it feel?)

[more]

Towards Disorder

2019
Lecture Performance

Towards Disorder is a dialog between the past and the present that touches upon subjects such as visual synthesis, hamburgers, auditory illusion, clouds, phantom words, virtual social ecologies, FM frequencies, fingertips, feelings, and waffles.

[more]

Q&Q–2028

2018
Exhibition, lecture performance, online work

Q&Q–2028 is a project that collects and shares questions from the public about what the future will be like, ten years later (2028).

As part of the exhibition E.A.T. (Experiments in Art and Technology): Open-ended, at MMCA, National Museum of Modern and Contemporary Art, Seoul, Korea, the work also included a lecture performance, featuring a live ‘Q&Q’-session between Anna Lundh and Julie Martin.

[more]

HelloolleH HejjeH

2018
Sound work (for radio)

VISIONS OF THE NOW. Stockholm Festival for Art and Technology

2017
Publication / Artist’s book (Sternberg Press)

This multi-volume archive box contains the documentation of the artistic research project VISIONS OF THE NOW.

VISIONS OF THE NOW is a festival and congress on art and technology, held at Fylkingen in Stockholm, May 24–26, 2013. This event was a reworking of the 1966 festival and congress Visioner av Nuet (’Visions of the Present’), organized by Fylkingen at Tekniska Museet and aiming to investigate the impact of technology on humanity, society and art.

[more]

The Tale of the Big Computer /
Top Secret: Sagan om den stora Datan

2012-2017
Lecture Performance

The Tale of the Big Computer resurrects the forgotten history of an ill-fated computerized opera. Started in the late 1960s by the Swedish composer Karl-Birger Blomdahl, an ambitious plan for the world’s first computer opera was abandoned after the composer suddenly died of cardiac arrest. The lecture performance maps this strange but true story of the experimental opera project – connecting dots, people and frictions between Stockholm and New York, amongst 1960s political and cultural contexts, as well as around notions on technology, A.I. and the future of mankind.

[more]

Front-time Reworkings 2

2014
2-channel video installation

Between 2011-2012 I documented the ‘Occupy Wall St’ movement in New York; protests, marches, assemblys. By cutting out fragments from Öyvind Fahlström’s 1968 television documentary ‘Revolution Now’ – about oppositional groups and their protests in New York and Chicago – and reediting them in dialogue with my own footage (as well as vice versa), these two moments in time are allowed to cross-contaminate each other.

[more]

VISIONS OF THE NOW – Stockholm Festival for Art and Technology

2013
Artistic research project and experiment

VISIONS OF THE NOW is a festival and congress on art and technology, held at Fylkingen in Stockholm, May 24–26, 2013.

In 1966, the art and music society Fylkingen organized the festival and congress Visioner av Nuet (’Visions of the Present’) at The Museum of Science and Technology in Stockholm. The event aimed to investigate the impact of technology on humanity, society and art.

In 2013, almost half a century later, I produced an updated version of the festival, to reconsider its original concerns in a world fully immersed in the technology that in 1966 was called ‘the new’.

[more]

UNtitled

2013
Site specific flag

Stripping the United Nations light blue (Pantone 279) flag of its distinctive white olive branches and grid of concentric circles and meridians, lays bare an ‘azimuthal equidistant projection’ map of the earth. This type of map is centered at the North Pole, where no particular nation is emphazised, thus disqualifying the flat, east–west depiction of the world.

[more]

Q&Q–2022

2012-2013
Participatory online work

The participatory online work Q&Q–2022 was launched on 12/12/12 as a new commission for the New Museum’s First Look: New Art Online.

[more]

Q&Q–2022

2012-2014
Mixed media installation, lecture performance

Installed as a week long experiment, from March 23rd until March 31st, 2012, in the exhibition series COLLECTIVE/PERFORMATIVE at Exit Art in New York City, the public was invited to ask questions about the future (10 years into the future). The week also included workshops, where participants could further speculate.

[more]

The Year is a Python that Swallowed an Elephant

2012-2016
Lecture Performance

This lecture performance unpacks the research project The Year is a Python that Swallowed an Elephant (2009-2012).

‘Lundh takes as her starting point her experience that her own inner images of time clash with the collective, agreed-upon time. She reflects on the way we divide time, and how we adapt to the conventions that apply to time, such as time zones, daylight saving and standard time, days, weeks, months and years.’

[more]

Repris: TV time

2013
Solo exhibition & online work

‘Lundh’s project examines how our perception of time has been remarkably reshaped by the Internet, and asks viewers to consider precisely what it means to wait for something today by referencing a bizarre form of waiting from another era and medium: television. Repris: TV Time consists of short audiovisual segments that aired on Swedish channels Kanal 1 and TV2 from 1983 to 1993.’

[more]

NEW Years Eve (GMT-0:30)

2012
Site specific, unique local time zone

‘No moment in this calendrical regime is as singularly fraught as New Year’s Eve, where popping champagne corks and passionate kisses are calibrated to an arbitrary moment based on longstanding international agreements concerning what time it is. Anna Lundh has proposed an ambitious plan to break with this regime, establishing a unique time zone one and a half hours behind normal Stockholm time to be observed New Year’s Eve at an event hosted by Evening Standard.’

[more]

LOCAL (GMT+0:59:59)

2012
Site specific unique local time zone

A site specific unique time zone made in the context of the group exhibition Let Us Keep Our Own Noon, at West, The Hague [29.02.2012 – 31.03.2012].

Please note that beginning February 29th, West will be observing the new time zone: GMT+0:59:59

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LOCAL (GMT-4:52)

2010-2011
Site specific unique local time zone

For the exhibition Cleopatra’s presents at Leo Koenig Inc. Projekte in New York, a new time zone has been installed in negotiation with the gallery. Between December 10, 2010, and January 29, 2011, Leo Koenig Inc. Projekte is operating under the unique local time zone GMT-4:52, 8 minutes ahead of Eastern Standard Time. All sources of information provided by the gallery has been adapted according to the new time zone (opening card, website, emails, answering machine, etc).

[more]

Grey Zone

2012
Solo exhibition

The work shown in the solo exhibition Grey Zone is concerning our personal and social relationships to the concept of time. The works have been developed from a several years long research project to collect individual reflections and visual perceptions of time, presented through video installations as well as lecture performance.

[more]

The Tale of the Big Computer

2010-
Research, installation, text, lecture performance

In 1966, at the cusp of the computer age, the novel and future vision Sagan om den Stora Datamaskinen (The Tale of the Big Computer), was published, about societal development by means of an all-encompassing, perfectly rational computer network. The author’s name concealed the identity of the famous physicist Hannes Alfvén and the book, in turn inspired composer Karl-Birger Blomdahl to envision the world’s first ‘computer opera’. But the opera was never realized, as Blomdahl suddenly died of a heart attack. What remains is an archaeology of absence, revealing the networks and visions that surrounded its conception: a vision of a vision...

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The Year is a Python that Swallowed an Elephant

2009-2011
Video with voiceover

Video compilation of drawings from the time visualization experiment, where over 150 people participated in both USA and Scandinavia. In this video, a selection of these individual inner images of time (the day, the week, the months and the year) are displayed and a voice-over describes their function.

[more]

TV time

2010
Multi-channel video installation

TV time consists of segments of broadcasts from the Swedish Television channels Kanal 1 and TV2. The selected clips span a decade, from 1983 to 1993. Everything broadcast on state television has (since 1979) been recorded and archived. This recorded material, as a side effect, also includes the gaps – the ‘nothing’— in-between programs. These dissected segments of recorded time are replayed and re-experienced in real time.

[more]

Conveyor Loop / Löpande Bandet

2009-2010
Solo exhibition

For Marian Spore Collection, a [silent] concert stages a list of sounds, originally meant to be part of an 1960s opera, to evoke the distant past as well as the cultural and industriual revolution and the modern society. The list was found in the archive and is used as a score. It has been supplemented with sounds our recent past and present and the descriptions of the sounds are displayed, one by one in silence, to be heard only in the mind’s ear.

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The Year is a Python that Swallowed an Elephant

2009-2012
Experiment, installation

We know that time is relative, not only in our experience of its passing, but also in how we visualize its shape. Despite our efforts to construct tools for managing time (calenders, clocks, etc), it seems as though these models are not good enough to satisfy our minds. Our inner visualizations of time are rarely considered, yet they might hold a key to the way we function and exist. Just how personal are these inner images of time, and what do they actually look like?

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Front-time Reworkings 1

2009-2012
3 channel video installation

In the 1960s-70s, Swedish artists Öyvind Fahlström and Barbro Östlihn lived and worked at 128 Front Street in Lower Manhattan. The series Front-time Reworkings examines their artistic methods from a future perspective. (The Swedish word for future — framtid — literally means ‘front-time’).

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Hollywood Internet

2008
Video

Hollywood Internet is a video and sound collage of clips from movies where computer screens and the internet first began to appear. The work looks at this fictional and heavily dramatized ‘meta-internet’ that only exists in Hollywood’s dream factory and which –even though we know it’s made up – we seem to accept as credible within the logic of the film.

[more]

Saturday Candy

2008
Candy display/installation

The Swedish word ‘Lördagsgodis’ (eng. Saturday candy) is a cultural agreement, cemented in the vocabulary, its meaning rarely questioned...

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HEXA_FLEXAGON_F_EVER

2007-2008
Web based project and Installation
(Information table, 3 PC computers, Hexaflexagons, Anthology/Manual, Myspace network)

The ‘hexaflexagon’ is a strip of paper, that has been folded into a hexagon. This two dimensional shape can then be turned inside out, flexed, so that a number of faces that were previously hidden will appear. To map the connections between the ideas and the people associated with the hexaflexagon, I used the digital social network Myspace as a tool to reveal a historical and associative network between the hexaflexagon and people like Martin Gardner, Salvador Dali, Alan Turing, Sadie Plant, Ray Kurzweil, Margaret Mead, Ross Ashby (to name a few).

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Hard Rock Cave

2006
Site specific memorabilia exhibition, banner

The installation consists of two parts: a ‘Hard Rock Cave’ banner above the cave outside the former LM Ericsson telephone factory (now Konstfack University of Arts, Crafts and Design) at Telefonplan, Stockholm, and a memorabilia exhibition of the LM Ericsson Pistol Club, modeled after Hard Rock Cafe memorabilia displays.

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Mickey’s Trailer

2004-2005
Automatic, kinetic installation

A realization of a film sequence from the Walt Disney 1938 cartoon Mickey’s Trailer, in which Mickey, Donald Duck and Goofy are camping in the mountains in a mechanically transformable trailer. This cartoon has been aired on Swedish state television on Christmas Eve –as part of a Christmas special– since 1960, and is watched religiously by a large part of the population.

[more]

Much Ado About Nothing

2003
Performative experiment, Photocopied report

A package containing nothing has been mailed back and forth between USA and Sweden. Even though the customs form clearly stated that the package contained “Nothing”, the package was opened and checked by the US customs over and over again...

[more]