Signe Lidén´s work spans from sound installations, sculpture, video and performance to more documentary forms such as sound essays and archives. She is interested in how places and their histories resonate; in memory, through narratives and various materials, as ideological manifestations and political territories.
Lidén’s project The Tidal Sense (2019) consisted of a residency, exhibition and seminar, commissioned by LIAF. Field Modulations is a serias of works and exhibitions created during Sound Art Residency at St. Johns College in Oxford. Vertical Studies, a collaboration with Espen Sommer Eide, created the performance Acoustic Shadows and Boundary Reflections (2017) realised at the Sonic Acts Festival (Amsterdam) and Borealis Festival (Bergen) and Altitude and History (2016) for the Dark Ecology project. Lidén made the installation series Writings for Resonance, European Sound Art Network (2013-14), and collaborated with Steve Rowell and Annesofie Norn on The Cold Coast Archive (2010-12), a project about the Global Seed Vault launched at the Centre for PostNatural History. She was commissioned to make works for SALT, Volt, the Hordaland Art Center, Kunsthall Oslo, Ny Musikk, Touch Radio, and the Interferenze New Arts Festival, among others.
I have a contribution in Living Earth -Field Notes from the Dark Ecology Project
SNÆ, issue 2 2013 and issue 4 (soon to be online): 2015
Salomé Voegelin writes about my work in her latest book: Sonic Possible Worlds
On The Cold Coast Archive in Bonnie Fortune´s book An Edge Effect: Art&Ecology in the Nordic Landscapes
Salomé Voegelin´s article in The Wire.
Holes, Caves and Archives and Inscriptions by Harold Schellinx for Resonance
Text for STRATIGRAFI by Roar Sletteland (Norwegian and English)
Review/Evaluation on “Under” (Nordic Sound Art final work evaluation) by Christina Kubisch
Interview in We Make Money Not Art by Régine Debatty
four questions, In Place by Jez Riley French