biography

Hugo Ljungbäck (b. 1996) is a Swedish video artist, film curator, and media scholar. His research focuses on the intersection of video art, media archaeology, and the archive, and examines the materiality of the moving image and its processes of mediation. He has presented his research in international journals and conferences. His videos regularly explore queer subjectivities and tell underrepresented stories about intimacy, coercion, and memory, and have screened at international film festivals and galleries.

Ljungbäck is an MFA Candidate in Studio Art at the University of North Carolina at Chapel Hill and holds a BFA in Film from the University of Wisconsin-Milwaukee, where he previously served as Director and Chief Curator of the Patricia Mellencamp Film and Television Archive. He has curated several screenings and film festivals and was a programmer for the Milwaukee Underground Film Festival, 2018–20. He is Co-chair of the Association of Moving Image Archivists’ Small Gauge and Amateur Film Committee and Editor of Artifact and Apparatus: Journal of Media Archaeology.


artist statement

Seeing images of queer people telling queer stories can be incredibly empowering and reassuring for people who struggle to accept their own identities. But it can also be a catalyst in changing people’s hostile perceptions, starting conversations, and inspiring acceptance. As a gay man, my research, filmmaking, and writing are often centered around and informed by LGBTQ+ themes, and through my practice, I raise questions about representation and increase visibility of issues facing the queer community. I aim to counter mainstream and stereotypical images of gay youth as hypersexual by regularly exploring queer subjectivities and telling underrepresented stories about intimacy, coercion, and memory, offering portraits of the hidden, the unflattering, and the unseen. I am interested in the representation of bodies on screen and how they are photographed, framed, and mediated through technologies of vision, and I routinely make myself the subject of my camera. As such, my work is often durational, gestural, and performative, and ideas of authenticity, reality, and artifice are always at stake.

My practice is also strongly informed by a media-archaeological methodology. This interest manifests itself through my use of ‘obsolete’ media technologies, archives, found footage, and a self-reflexive aesthetic that foregrounds the materiality of the moving image and its processes of mediation through compression, interference, and noise. I am interested in media as physical objects—celluloid strips, magnetic videotapes, and hard drives—that can be interfered with through photochemical, electrical, and digital processes. But I am equally interested in the technologies and marginal matter—from cameras, circuit boards, and projectors to tape reels, cassettes, and film canisters—that help make still images move. These artifacts are ripe for appropriation and repurposing as sculptural objects in mediatic assemblages.

Between these two registers, I situate my practice at the intersection of the personal and the academic, which cohabit in productive tension: I frequently turn to queer theory, media studies, and art history to reframe and contextualize my personal experiences and practice, and vice versa. While I work across moving image media, my current practice is centered around analog video, a particularly generative medium for the type of queer media-archaeological inquiry I am pursuing, as the analog video signal is constantly variable and temporary, resisting the fixity of film and binary of digital. The various media and processes I work with allow me to explore the margin of moving image production: to interrupt flows of commercial images, excavate forgotten queer and media histories, and reimagine alternative queer-media futures.