Lundahl & Seitl are partners in love and in art. For over twenty years, their practice has redefined the exhibition format as an embodied score. Rather than positioning the visitor as a viewer of objects, their works unfold through choreography, sound, voice, and language — situating perception and movement as the material of the artwork. What emerges is not something to be looked at, but something to be passed through: a temporal experience composed in the body and in relation to place.

Their projects have been presented worldwide, including solo iterations at the Royal Academy of Art, London (2014), Gropius-Bau, Berlin (2016), and Kunstmuseum Bonn (2017). Group exhibitions include the 8th Momentum Biennale of Nordic Contemporary Art (2015), An Imagined Museum at Centre Pompidou-Metz (2016–2017), the 3rd Kochi-Muziris Biennale (2016–2017), The 4th Karachi Biennale KB24 and Echoes of Alternative Histories at Staatstheater Kassel, coinciding with Documenta Fifteen. In 2022, they were visiting artists at MIT’s Art, Culture and Technology Program.

Their work often operates in the interval between material and immaterial form as a form of molecular memory. Salt crystallisations of tears, shafts of refracted light, mist, sub-bass resonance, or scent particles — evoke personal, geological, chemical, and industrial histories. Grounded in the porosity of minds and the body’s capacity to organise perception into a world via touch and relation, their works resist objecthood and trigger processes of transformation.

Lundahl & Seitl’s works are ongoing with no definite beginning and end. River Biographies, develops as a living archive of rivers and the communities around them. Each iteration listens, adapts, and learns: refracting ecological, emotional, and cultural memory into site-sensitive relations between water and stone bodies. Rivers such as the Huangpu, Indus, Ruhr, and Bosphorus surface as topologies of grief, sacredness, and resilience — unfolding into an art form that is perennial, processual, and always in becoming.