ANNA VIOLA HALLBERG

artist/curator

Critical Imagination | Situated Knowledge | Mediated Presence| Spatial Inquiry | Exhibition as Medium


Upper row: MAKING THE IMMORTAL (installation), SWAN (wip), IMERIAL DIFFERENCES (installation)
Lower row: STATE OF MIND (installation), CURRENT (single channel), RECLAIMING MEANING (curatorial)

My artistic and curatorial practice investigates the relational conditions through which presence, subjectivity, and community are constituted. Engaging with situated communities, the work responds to the social and political contingencies of the public sphere while exploring lens-based and embodied practices as modes of relational inquiry. Drawing on an ethics of reverence, care, and attunement, I examine processes of co-becoming through which bodies, images, technologies, and environments are mutually implicated. My projects seek to create conditions for encounter rather than representation, attending to the ways meaning, agency, and belonging emerge through entangled relations. In doing so, the work addresses existential questions not as individual concerns alone, but as collective and ecological processes of living together. /av july 2026



Anna Viola Hallberg's artistic and curatorial practice unfolds across installation, lens and embodied practice, and collaborative production. Hallberg investigates the conditions through which presence, subjectivity, and community are constituted. Working across installation, moving image, sound, photography, text, lens-based and embodied practices, and collaborative production, she engages with situated communities to examine how artistic encounters are shaped through the entanglement of spatial, social, material, and technological relations. Responding to the social and political contingencies of the public sphere, her work approaches artistic practice as a mode of relational inquiry into the interdependence of bodies, images, environments, and forms of living together.

Working between independent artistic research and projects developed with and for other artists, Hallberg explores the exhibition not simply as a framework for presenting work but as a medium through which knowledge, dialogue, and collective experience are produced. The exhibition is approached as a spatial, temporal, and social structure in which relations between artworks, bodies, environments, and audiences are continuously formed and transformed. Rather than functioning as a neutral container, it becomes an active field of encounter where meaning is generated through proximity, movement, attention, and exchange. The movement between artistic and curatorial practice is therefore methodological rather than disciplinary. Collaboration is central to Hallberg's critical position, approached not as a supplementary mode of production but as a process through which authorship, agency, responsibility, and knowledge are continuously negotiated through exchange, attentiveness, and entanglement.

Grounded in documentary methodologies while remaining attentive to the instability of memory and lived experience, Hallberg develops spatial installations that combine moving image, photography, sound, text, archival material, and sculptural interventions. Documentary materials are not approached as transparent representations but as points of departure for encounters in which personal testimony becomes entangled with collective memory and broader social, historical, and political conditions. Her installations resist linear narration, instead constructing spatial and temporal situations in which meaning emerges through the interaction between image, body, site, technology, and audience. Through these encounters, representation becomes a space of negotiation rather than a fixed account, allowing multiple perspectives, memories, and forms of knowledge to coexist.

Embodied practice constitutes a central methodological and artistic framework throughout Hallberg's work. Drawing on walking arts, performance, site-responsive research, and collaborative processes, she approaches the body as a mode of inquiry through which perception, attention, and situated knowledge are generated. The body becomes a means of negotiating vulnerability, resistance, care, and co-becoming, while embodied experience extends into the construction of her installations. Through spatial composition, movement, duration, and sensory engagement, Hallberg creates conditions in which visitors are not positioned as observers of a completed artwork but become active participants in the production of meaning. Space is understood not as a neutral container but as an active agent within the work: a material, social, and affective environment through which encounters unfold and relations are continuously reconfigured.

Drawing on an ethics of reverence, care, and attunement, Hallberg investigates processes of co-becoming through which bodies, images, technologies, and environments are mutually implicated. Her projects seek not to represent social experience from a distance but to cultivate conditions for encounter in which agency, belonging, and understanding emerge through entangled relations. Across her artistic and curatorial practice, she is concerned with the existential dimensions of living together: how memory is carried, how presence is mediated, and how communities are formed through acts of listening, witnessing, and participation. Her work proposes the exhibition as a temporal and relational structure in which collective memory, embodied knowledge, and social imagination are continuously rehearsed, negotiated, and made public, foregrounding coexistence, interdependence, and the ethics of inhabiting shared worlds.