The point of departure for Orbital Re-enactments is memories, those of Joanna Lombard and of others, which are re-enacted in four scenes. The stories concern the relationship between children and adults. The children are free individuals who have to make their own decisions; the adults transgress borders and act like children. The children are left to their own devices and live their own lives. The artwork also deals with issues such as the body and individuality; can the individual body be a collective body? The stories are inspired by Joanna’s childhood memories from the commune Ljusbacken where she grew up. Ljusbacken was a part of the 1960s counter-culture and its radical lifestyle experiments with behaviour and co-existence and was one of the biggest radical communes in Scandinavia.
[Joanna Lombard]
 
The work of Swedish artist Joanna Lombard plays with the imaginary border between collective and individual imagination. With childhood memories as a point of departure for her work, Lombard’s oeuvre floats in-between a world of psychological repression, psychoanalytical liberation and cinematographic catharsis. In Orbital Re-enactments, four different scenes recorded in an impersonal and mechanical way, by a camera that rotates in a panoramic travelling, tells us the story about a society where rules and taboos have changed places. Lombard places the events in a space halfway between good and evil, fantasy and reality. [Sinziana Ravini, from the exhibition “The Black Moon,” Palais de Tokyo]