{
  "schema": "ab5d-dossier/1",
  "slug": "jonas-lund",
  "name": "Jonas Lund",
  "subtitle": "Systems that turn participation into a test of power",
  "lede": "Jonas Lund builds systems in which images, markets, institutions, and audiences become active variables. *Race Condition* translates that practice into a generative audiovisual game.",
  "url": "https://ab5d.xyz/artists/jonas-lund/",
  "bibliography_url": "https://ab5d.xyz/artists/jonas-lund/links/",
  "content_url": "https://ab5d.xyz/api/artists/jonas-lund.json",
  "updated": "2026-07-11",
  "tier": "compact",
  "editions": 325,
  "collections": 1,
  "otdh": {
    "rank": 218,
    "score": 10063,
    "collector_identities": 190,
    "holder_addresses": 190,
    "projects": 1,
    "current_works": 323,
    "raw_collector_days": 369112,
    "median_project_hold_days": 1328,
    "snapshot_at": "2026-09-14T00:00:00.000Z",
    "methodology_url": "https://ab5d.xyz/artists/otdh/",
    "api_url": "https://ab5d.xyz/api/otdh/jonas-lund"
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  "identity": {
    "artist": "Jonas Lund",
    "website": "https://jonaslund.com/",
    "based": "Born 1984, Sweden. Based in Amsterdam and Berlin",
    "practice": "Conceptual systems spanning software, painting, sculpture, websites, performance, algorithms, and participatory structures",
    "now": null,
    "raster": "https://www.raster.art/artist/jonas-lund",
    "otdh": "[10,063 · rank 218 of 308](/artists/otdh/#artist-jonas-lund)",
    "holding signal": "190 collector identities · 190 holder addresses · 369,112 raw collector-days · 14 Sep 2026",
    "collector tdh": "[jolTDH](/artists/jonas-lund/joltdh/) · dashboard"
  },
  "socials": {
    "website": "https://jonaslund.com/",
    "x": null,
    "instagram": null
  },
  "profile_image_url": null,
  "profile_image_source": null,
  "works": [
    {
      "name": "Race Condition",
      "editions": 325,
      "supply": 325,
      "artblocks_slug": "race-condition-by-jonas-lund",
      "url": "https://www.artblocks.io/collection/race-condition-by-jonas-lund"
    }
  ],
  "sections": [
    {
      "heading": null,
      "paragraphs": [
        "Jonas Lund approaches art as a field of interconnected rules. Born in Sweden in 1984 and based in Amsterdam and Berlin, he studied at the Gerrit Rietveld Academie and the Piet Zwart Institute. His projects frequently establish parameters that viewers, assistants, collectors, or software must enact. The resulting work is less a fixed object than an organized encounter among authorship, labor, data, and institutional authority.",
        "This method emerged from Lund’s early engagement with network culture. Rhizome’s archive records browser-based works including *I’m Here and There*, *Over and Over Again*, and *We See in Every Direction*. The last of these offered anonymous communal browsing, making several remote users share one navigational space. Such projects treated the network not simply as a distribution channel, but as material whose protocols could shape collective conduct."
      ]
    },
    {
      "heading": "Optimization as artistic material",
      "paragraphs": [
        "Lund subsequently carried this systems logic into galleries and markets. In *The Fear of Missing Out*, an algorithm analyzed information about successful artists and generated instructions for works intended to perform well within the art world. *Studio Practice* extended delegation into a production framework involving assistants, evaluation, and the artist’s role as manager. Lund has described this work through the language of entrepreneurship, while also discussing wages, attribution, and the unequal distribution of creative authority.",
        "These projects do not present computation as neutral. They stage measurement as a social force. In a Whitechapel Gallery interview, Lund connected his work to data, A/B testing, and an effort to disassemble the networks through which art acquires visibility and value. His market-facing projects likewise employ contracts, tracking, sponsorship, and resale conditions. Their satire depends on functioning inside the systems they examine, where critique and participation remain deliberately entangled.",
        "> Lund’s systems make optimization visible as a cultural choice, not an inevitable technical condition."
      ]
    },
    {
      "heading": "Playing the system",
      "paragraphs": [
        "*Race Condition* was released through Art Blocks Presents on January 20, 2023, as a collection of **325 editions**. Each edition is a live generative work rather than a single predetermined still. The artist’s official project site describes a space-racing game whose script determines the spacecraft’s acceleration, handling, and maximum speed, as well as the map algorithm, difficulty, color composition, power-ups, and generative music.",
        "The title carries a precise computational implication. A race condition occurs when a system’s outcome depends on the timing or order of concurrent operations. Lund converts that instability into an aesthetic premise. The player enters an environment assembled from interdependent variables, while speed makes perception, navigation, and audiovisual response unfold together. The work’s block-built courses and intense palettes evoke familiar game forms, yet their procedural variation resists a definitive image of the project."
      ]
    },
    {
      "heading": "Agency under pressure",
      "paragraphs": [
        "The collection condenses concerns that recur across Lund’s practice. Participation promises agency, but only within rules devised elsewhere. Variation suggests freedom, while the algorithm determines the available field. Competition invites mastery, even as the generated environment continually reframes what mastery means. These tensions connect *Race Condition* to Lund’s broader scrutiny of quantified taste. In *Fair Warning*, commissioned by Whitechapel Gallery and Phillips, hundreds of tests collected audience preferences while exposing other users’ cursors, turning data capture into a visible communal performance.",
        "*Race Condition* is therefore both playable artwork and institutional proposition. It asks how a participant acts when code assigns the terrain, aesthetics, and limits of action. Across its 325 editions, difference is abundant but governed. Lund’s critical achievement lies in keeping that contradiction active: the system entertains, measures, and constrains at the same time."
      ]
    }
  ],
  "body_markdown": "Jonas Lund approaches art as a field of interconnected rules. Born in Sweden in 1984 and based in Amsterdam and Berlin, he studied at the Gerrit Rietveld Academie and the Piet Zwart Institute. His projects frequently establish parameters that viewers, assistants, collectors, or software must enact. The resulting work is less a fixed object than an organized encounter among authorship, labor, data, and institutional authority.\n\nThis method emerged from Lund’s early engagement with network culture. Rhizome’s archive records browser-based works including *I’m Here and There*, *Over and Over Again*, and *We See in Every Direction*. The last of these offered anonymous communal browsing, making several remote users share one navigational space. Such projects treated the network not simply as a distribution channel, but as material whose protocols could shape collective conduct.\n\n## Optimization as artistic material\n\nLund subsequently carried this systems logic into galleries and markets. In *The Fear of Missing Out*, an algorithm analyzed information about successful artists and generated instructions for works intended to perform well within the art world. *Studio Practice* extended delegation into a production framework involving assistants, evaluation, and the artist’s role as manager. Lund has described this work through the language of entrepreneurship, while also discussing wages, attribution, and the unequal distribution of creative authority.\n\nThese projects do not present computation as neutral. They stage measurement as a social force. In a Whitechapel Gallery interview, Lund connected his work to data, A/B testing, and an effort to disassemble the networks through which art acquires visibility and value. His market-facing projects likewise employ contracts, tracking, sponsorship, and resale conditions. Their satire depends on functioning inside the systems they examine, where critique and participation remain deliberately entangled.\n\n> Lund’s systems make optimization visible as a cultural choice, not an inevitable technical condition.\n\n## Playing the system\n\n*Race Condition* was released through Art Blocks Presents on January 20, 2023, as a collection of **325 editions**. Each edition is a live generative work rather than a single predetermined still. The artist’s official project site describes a space-racing game whose script determines the spacecraft’s acceleration, handling, and maximum speed, as well as the map algorithm, difficulty, color composition, power-ups, and generative music.\n\nThe title carries a precise computational implication. A race condition occurs when a system’s outcome depends on the timing or order of concurrent operations. Lund converts that instability into an aesthetic premise. The player enters an environment assembled from interdependent variables, while speed makes perception, navigation, and audiovisual response unfold together. The work’s block-built courses and intense palettes evoke familiar game forms, yet their procedural variation resists a definitive image of the project.\n\n## Agency under pressure\n\nThe collection condenses concerns that recur across Lund’s practice. Participation promises agency, but only within rules devised elsewhere. Variation suggests freedom, while the algorithm determines the available field. Competition invites mastery, even as the generated environment continually reframes what mastery means. These tensions connect *Race Condition* to Lund’s broader scrutiny of quantified taste. In *Fair Warning*, commissioned by Whitechapel Gallery and Phillips, hundreds of tests collected audience preferences while exposing other users’ cursors, turning data capture into a visible communal performance.\n\n*Race Condition* is therefore both playable artwork and institutional proposition. It asks how a participant acts when code assigns the terrain, aesthetics, and limits of action. Across its 325 editions, difference is abundant but governed. Lund’s critical achievement lies in keeping that contradiction active: the system entertains, measures, and constrains at the same time.",
  "images": [
    {
      "url": "https://media-proxy.artblocks.io/1/0x99a9b7c1116f9ceeb1652de04d5969cce509b069/393000000.png",
      "title": "Race Condition #0",
      "caption": "2023, Race Condition",
      "rights": "Not CC0 - Art Blocks render, property of the artist/holders"
    },
    {
      "url": "https://media-proxy.artblocks.io/1/0x99a9b7c1116f9ceeb1652de04d5969cce509b069/393000065.png",
      "title": "Race Condition #65",
      "caption": "2023, Race Condition",
      "rights": "Not CC0 - Art Blocks render, property of the artist/holders"
    },
    {
      "url": "https://media-proxy.artblocks.io/1/0x99a9b7c1116f9ceeb1652de04d5969cce509b069/393000130.png",
      "title": "Race Condition #130",
      "caption": "2023, Race Condition",
      "rights": "Not CC0 - Art Blocks render, property of the artist/holders"
    },
    {
      "url": "https://media-proxy.artblocks.io/1/0x99a9b7c1116f9ceeb1652de04d5969cce509b069/393000194.png",
      "title": "Race Condition #194",
      "caption": "2023, Race Condition",
      "rights": "Not CC0 - Art Blocks render, property of the artist/holders"
    },
    {
      "url": "https://media-proxy.artblocks.io/1/0x99a9b7c1116f9ceeb1652de04d5969cce509b069/393000259.png",
      "title": "Race Condition #259",
      "caption": "2023, Race Condition",
      "rights": "Not CC0 - Art Blocks render, property of the artist/holders"
    },
    {
      "url": "https://media-proxy.artblocks.io/1/0x99a9b7c1116f9ceeb1652de04d5969cce509b069/393000324.png",
      "title": "Race Condition #324",
      "caption": "2023, Race Condition",
      "rights": "Not CC0 - Art Blocks render, property of the artist/holders"
    }
  ],
  "references": [
    {
      "n": 1,
      "note": "Lund’s biography records his birth year, locations, education, media, and systems-oriented practice.",
      "url": "https://jonaslund.com/contact/",
      "label": "artist biography"
    },
    {
      "n": 2,
      "note": "Rhizome Artbase lists four early web works by Jonas Lund.",
      "url": "https://artbase.rhizome.org/wiki/Q551",
      "label": "Rhizome Artbase"
    },
    {
      "n": 3,
      "note": "Rhizome describes We See in Every Direction as an anonymous communal browsing application.",
      "url": "https://old.rhizome.org/editorial/2013/jul/01/best-rhizome-mayjune/",
      "label": "Rhizome editorial"
    },
    {
      "n": 4,
      "note": "Zérodeux discusses the algorithmic analysis behind The Fear of Missing Out.",
      "url": "https://www.zerodeux.fr/interviews/jonas-lund/",
      "label": "Zérodeux interview"
    },
    {
      "n": 5,
      "note": "Lund’s interview with Tilman Baumgärtel addresses Studio Practice, delegation, assistants, payment, and entrepreneurship.",
      "url": "https://jonaslund.com/1839-2/",
      "label": "Baumgärtel interview"
    },
    {
      "n": 6,
      "note": "Whitechapel Gallery’s Q&A addresses data, A/B testing, networks, and the art market.",
      "url": "https://www.whitechapelgallery.org/learn/blog/qa-jonas-lund/",
      "label": "Whitechapel Q&A"
    },
    {
      "n": 7,
      "note": "Art Blocks records Race Condition as 325 unique artworks released on January 20, 2023.",
      "url": "https://www.artblocks.io/collection/race-condition-by-jonas-lund",
      "label": "Art Blocks collection"
    },
    {
      "n": 8,
      "note": "The official project site documents the generated spacecraft, map, difficulty, visual, power-up, music, and control systems.",
      "url": "https://racecondition.art/",
      "label": "official project"
    },
    {
      "n": 9,
      "note": "Phillips explains Fair Warning’s questionnaire mechanics, visible cursors, data collection, and institutional commission.",
      "url": "https://www.phillips.com/article/3361945/duck-or-rabbit-a-conversation-with-jonas-lund",
      "label": "Phillips interview"
    }
  ],
  "bibliography": [
    {
      "category": "In the AB[500]: Art Blocks",
      "entries": [
        {
          "note": "The token record documents an individual Race Condition output and its extensive generative attributes.",
          "url": "https://www.artblocks.io/collections/presents/projects/0x99a9b7c1116f9ceeb1652de04d5969cce509b069/393/tokens/393000324",
          "label": "Art Blocks token record",
          "meta": "collection · 2023"
        }
      ]
    },
    {
      "category": "Interviews",
      "entries": [
        {
          "note": "Lund discusses value, token economies, audience participation, and the continuing challenges that drive his practice.",
          "url": "https://www.expanded.art/articles/jonas-lund-in-conversation-with-anika-meier",
          "label": "Expanded.art",
          "meta": "interview · 2023"
        },
        {
          "note": "The artist explains why market critique must operate within the systems it examines.",
          "url": "https://www.phaidon.com/en-us/blogs/artspace/the-artist-s-guide-to-selling-out-in-style",
          "label": "Artspace and Phaidon",
          "meta": "interview · 2016"
        }
      ]
    },
    {
      "category": "Press and criticism",
      "entries": [
        {
          "note": "The Guardian reports on Operation Earnest Voice as a four-day performance using fake news and advertising to expose online political manipulation.",
          "url": "https://www.theguardian.com/artanddesign/2019/jan/11/performance-art-piece-spends-four-days-trying-to-reverse-brexit",
          "label": "The Guardian",
          "meta": "criticism · 2019"
        },
        {
          "note": "WELT profiles Lund’s engagement with art-market economics, optimization, and flipping.",
          "url": "https://www.welt.de/kultur/article136752335/Wenn-Gemaelde-zu-Trojanern-werden.html",
          "label": "WELT",
          "meta": "profile · 2015"
        }
      ]
    },
    {
      "category": "Museums and institutions",
      "entries": [
        {
          "note": "ZKM’s artist record documents Lund’s works, publications, exhibitions, and talks within its program and collection context.",
          "url": "https://zkm.de/en/persons/jonas-lund",
          "label": "ZKM",
          "meta": "institutional profile · ongoing"
        },
        {
          "note": "SCHIRN interviews Lund about The Fly on the Wall and his use of online disruption to expose network behavior.",
          "url": "https://www.schirn.de/en/schirnmag/the-fly-on-the-wall-2020-interview-interviews-en/",
          "label": "SCHIRN",
          "meta": "museum interview · 2020"
        }
      ]
    },
    {
      "category": "Galleries and exhibitions",
      "entries": [
        {
          "note": "The Francisco Carolinum exhibition presents six chapters on algorithms, attention, networks, and value in the art world.",
          "url": "https://jonaslund.com/exhibitions/studio-visit-how-to-make-art-in-the-age-of-algorithms",
          "label": "Studio Visit",
          "meta": "exhibition · 2022"
        },
        {
          "note": "Tique considers Studio Practice as a staged production system structured around labor, judgment, and commercial success.",
          "url": "https://tique.art/features/jonas-lund-studio-practice-biz/",
          "label": "Tique",
          "meta": "exhibition feature · 2014"
        }
      ]
    },
    {
      "category": "Essays, talks and podcasts",
      "entries": [
        {
          "note": "The artist’s project archive documents Selfsurfing as a 2012 Chrome extension and performance that clones his browser in real time.",
          "url": "https://jonaslund.com/works/selfsurfing/",
          "label": "Selfsurfing",
          "meta": "project archive · 2012"
        }
      ]
    },
    {
      "category": "Profiles and archives",
      "entries": [
        {
          "note": "Raster aggregates Jonas Lund's tokenized works across platforms.",
          "url": "https://www.raster.art/artist/jonas-lund",
          "label": "Raster",
          "meta": "profile · ongoing"
        },
        {
          "note": "Lund’s curriculum vitae records exhibitions, education, teaching, talks, commissions, and published criticism.",
          "url": "https://cdn.jonaslund.com/wp-content/uploads/2023/07/27153008/jonaslund_cv_2023-07.pdf",
          "label": "Jonas Lund CV",
          "meta": "archive · 2023"
        }
      ]
    },
    {
      "category": "Catalogues",
      "entries": [
        {
          "note": "The Critical Mass press kit situates Lund’s exhibition within his longer investigation of delegation, markets, and audience agency.",
          "url": "https://critical-mass.network/pdf/CriticalMass.pdf",
          "label": "Critical Mass",
          "meta": "catalogue · 2017"
        }
      ]
    }
  ],
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    "date": "2026-07-11",
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  "license_note": "Dossier prose is CC0. Embedded Art Blocks renders are not: they remain the property of their respective artists and holders.",
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}