Difference between revisions of "Signe Lidén"

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Signe Lidén (1981) is a Norwegian artist based in [[Bergen]]. Her sound installations and improvised performances approaches sound in both an aesthetic and scientific way, combining the use of home-built electromagnetic receivers, analog and modified electronic and computer based interfaces in various ways.
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[[Image:Signe_Liden_2016.jpg|thumb|350px]]
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'''Signe Lidén''' is an artist based in [[Oslo]]. Her work explores relations between place, sensing and sound. Through field recording, instrument-building and conversations, she approaches place as a dynamic produced by geological, biological and atmospheric processes, as well as social and economic relations. Her work spans sound installations, video and performance to more documentary forms such as sound essays and archives.
  
Her installations are often sonic and spatial examinations of social and cultural phenomena through an experiential form of research.  
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Lidén has an MA from the Academy of Arts in Bergen and graduated from the [[Nordic Sound Art]] MA program in 2012. Lidén’s project ''[https://signeliden.com/?p=1994 The Tidal Sense]'' (2019) consisted of a residency, exhibition and seminar, commissioned by LIAF. ''[https://signeliden.com/?p=1948 Field Modulations]'' is a series of works and exhibitions created during Sound Art Residency at St John’s College, Oxford. ''[https://signeliden.com/?p=1672 Vertical Studies]'', a collaboration with [[Espen Sommer Eide]], generated the performance ''[https://signeliden.com/?p=1720 Acoustic Shadows and Boundary Reflections]'' (2017), shared at the [[Sonic Acts Festival]] (Amsterdam) and [[Borealis|Borealis Festival]] (Bergen), and ''[https://signeliden.com/?p=1672 Altitude and History]'' (2016) for the Dark Ecology project. The collaboration ''[http://www.coldcoastarchive.org/ The Cold Coast Archive]'' (2010–2012) was launched at the Centre for PostNatural History (Pittsburgh, 2012) and presented at The Long Now Foundation (2012), Eastern Bloc (Montreal, 2016) and L´Atelier (Nantes, 2019). She was commissioned to make works for SALT, Volt, the Hordaland Art Centre, Kunsthall Oslo, nyMusikk and Touch Radio, among others. Lidén has initiated the group projects [https://paviljong.flytedokk.org Pavilion Wetland] and [https://arm.flytedokk.org/ Academy of Rhythmorphology]. [https://signeliden.com/?page_id=736 (2022)]
  
Signe Lidén has studied at the Academy of Arts in Oslo and has over the last years shown her works in exhibitions and festivals in Denmark, Germany and Norway.
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; Articles and interviews
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* Regine, [http://we-make-money-not-art.com/archives/2012/05/the-cold-coast-archive-future.php "The Cold Coast Archive: Future Artifacts from the Svalbard Global Seed Vault"], ''we-make-money-not-art.com'', May 2012.
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* Regine, [http://we-make-money-not-art.com/archives/2012/09/interview-with-signe-liden.php "Interview with sound artist Signe Lidén"], ''we-make-money-not-art.com'', Sep 2012.
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* Harold Schellinx, [http://resonancenetwork.wordpress.com/2013/05/01/holes-caves-archives-inscriptions/ Holes, Caves, Archives and Inscriptions"], ''Resonance - European Sound Art Network'', May 2013. An interview with Signe Lidén about her work ''Writings'' (2013).
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* Salomé Voegelin, [https://www.thewire.co.uk/in-writing/collateral-damage/collateral-damage_salome-voegelin "Collateral Damage"], ''The Wire'', May 2014.
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* Salomé Voegelin, ''Sonic Possible Worlds'', Bloomsbury, 2014, pp 36-45.
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* Bonnie Fortune, "Cold Coast Archive: AnneSofie Norn & Signe Lidén" [Interview], in , ''An Edge Effect: Art & Ecology in the Nordic Landscapes'', ed. Bonnie Fortune, Chicago: Half Letter Press, 2014, pp 142-167. [https://halfletterpress.com/an-edge-effect-art-ecology-in-the-nordic-landscape-pdf-5/] [http://www.bonniefortune.info/overview/an-edge-effect-art-ecology-in-the-nordic-landscape/]
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* Daniela Cascella, "S.", in Cascella, ''F.M.R.L.: Footnotes, Mirages, Refrains and Leftovers of Writing Sound'', London: Zero Books, 2015.
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* Daniela Cascella, "Field of Heaven and Meteorites", in ''The Imaginary Reader'', ed. Marie Nerland, Bergen: Volt, 2016. [http://www.v-o-l-t.no/index.php?/prosjekter-2016/the-imaginary-reader/]
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* Signe Lidén, "krysning/пересечение/conflux", in ''Living Earth: Field Notes From The Dark Ecology Project 2014-2016'', ed. Mirna Belina, Amsterdam: Sonic Acts Press, 2016, in 85-90. [http://www.darkecology.net/living-earth]
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* Oliver Lowenstein, [https://sculpturemagazine.art/signe-liden-the-sounds-of-place/ "Signe Lidén: The Sounds of Place"], ''Sculpture'', Washington, DC: International Sculpture Center, Jun 2020.
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* [http://signeliden.com/?page_id=736 more]
  
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; Links
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* [https://signeliden.com/ Personal website]
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* [https://paviljong.flytedokk.org Paviljong]
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* [https://arm.flytedokk.org/ Academy of Rhythmorphology]
  
http://signeliden.com/
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[[Category:Sound art]] [[Category:Field recording]] [[Category:Electromagnetism]]
 
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{{DEFAULTSORT:Liden, Signe}}
[[Category:Electromagnetism|Liden, Signe]]
 
[[Category:Sound art|Liden, Signe]]
 

Latest revision as of 12:37, 15 June 2022

Signe Liden 2016.jpg

Signe Lidén is an artist based in Oslo. Her work explores relations between place, sensing and sound. Through field recording, instrument-building and conversations, she approaches place as a dynamic produced by geological, biological and atmospheric processes, as well as social and economic relations. Her work spans sound installations, video and performance to more documentary forms such as sound essays and archives.

Lidén has an MA from the Academy of Arts in Bergen and graduated from the Nordic Sound Art MA program in 2012. Lidén’s project The Tidal Sense (2019) consisted of a residency, exhibition and seminar, commissioned by LIAF. Field Modulations is a series of works and exhibitions created during Sound Art Residency at St John’s College, Oxford. Vertical Studies, a collaboration with Espen Sommer Eide, generated the performance Acoustic Shadows and Boundary Reflections (2017), shared at the Sonic Acts Festival (Amsterdam) and Borealis Festival (Bergen), and Altitude and History (2016) for the Dark Ecology project. The collaboration The Cold Coast Archive (2010–2012) was launched at the Centre for PostNatural History (Pittsburgh, 2012) and presented at The Long Now Foundation (2012), Eastern Bloc (Montreal, 2016) and L´Atelier (Nantes, 2019). She was commissioned to make works for SALT, Volt, the Hordaland Art Centre, Kunsthall Oslo, nyMusikk and Touch Radio, among others. Lidén has initiated the group projects Pavilion Wetland and Academy of Rhythmorphology. (2022)

Articles and interviews
  • Regine, "The Cold Coast Archive: Future Artifacts from the Svalbard Global Seed Vault", we-make-money-not-art.com, May 2012.
  • Regine, "Interview with sound artist Signe Lidén", we-make-money-not-art.com, Sep 2012.
  • Harold Schellinx, Holes, Caves, Archives and Inscriptions", Resonance - European Sound Art Network, May 2013. An interview with Signe Lidén about her work Writings (2013).
  • Salomé Voegelin, "Collateral Damage", The Wire, May 2014.
  • Salomé Voegelin, Sonic Possible Worlds, Bloomsbury, 2014, pp 36-45.
  • Bonnie Fortune, "Cold Coast Archive: AnneSofie Norn & Signe Lidén" [Interview], in , An Edge Effect: Art & Ecology in the Nordic Landscapes, ed. Bonnie Fortune, Chicago: Half Letter Press, 2014, pp 142-167. [1] [2]
  • Daniela Cascella, "S.", in Cascella, F.M.R.L.: Footnotes, Mirages, Refrains and Leftovers of Writing Sound, London: Zero Books, 2015.
  • Daniela Cascella, "Field of Heaven and Meteorites", in The Imaginary Reader, ed. Marie Nerland, Bergen: Volt, 2016. [3]
  • Signe Lidén, "krysning/пересечение/conflux", in Living Earth: Field Notes From The Dark Ecology Project 2014-2016, ed. Mirna Belina, Amsterdam: Sonic Acts Press, 2016, in 85-90. [4]
  • Oliver Lowenstein, "Signe Lidén: The Sounds of Place", Sculpture, Washington, DC: International Sculpture Center, Jun 2020.
  • more
Links