Abstract

Taking its point of departure in an anachronic exhibition, Soulèvements (2016/18), this book is a theoretical exploration of how the notion of contemporaneity understood as the coming together of different times in the same historical present relates to the end of a certain history of art. Critical of hitherto dominant chronological, ahistorical, and/or culturally restricted notions of the contemporary, Lund's overall aim is to make an argument for the contemporary contemporary, as the point of departure for any anachronic relationship with time today, and as the inescapable point of departure for any possible historical imagination.