In Rönnlund´s artistic practices he works with photography and film, installation and sculpture as well as with performance art. Anders Rönnlund's art has an agenda. A political captain. A pathos. It is also personal, self-experienced and low-voiced. The artist's experiences of places and situations where obvious abuse, injustice and oppression appear to be reproduced in his art. It makes us see, hear, feel, understand and draw conclusions as if we ourselves were witnesses, as if something terrible and incomprehensible gradually appears in our slumbering consciousness. Here we stand for signs and traces of events that we can only imagine and suspect but where we do not have access to all the facts.
“Estadio Nacional” The material for the series of artwork “Estadio Nacional” came after one of the artist's travels in Chile in 2008. The work is caused by an unexpected encounter with a stadium at Estadio Nacional in Santiago de Chile. The caretaker goes there every day and he wanted to show that he discovered that in certain light conditions, in a particular trailer light, you can see inscriptions in the cement on the walls from people who got inprisoned at the stadium for 10 days and then just disappeared. The inscpritions were buried under several layers of paint but could still be seen at entrance number 1 and 8. Anders Rönnlund photographed the inscriptions. Some were just fragments while others appeared clearer. Most were dated. September 11, 1973 and 10 days ahead. Then they stopped.
Among others Rönnlund has participated in several exhibitions outside the european art scene, for example at the Kanaya Art Museum in Japan, at the Centro Cultural Metropolitano in Quito/Ecuador or at the TCG Nordica in Kunming/China.