https://sorenlind.com Soren Lind Mon, 13 Mar 2023 15:24:29 +0000 https://sorenlind.com en https://sorenlind.com/Front-Page Fri, 14 Feb 2020 17:02:34 +0000 Soren Lind https://sorenlind.com/Front-Page 10 March 2024Release party for my novel Kontinuum on 16 March in Copenhagen 6 March 2024 Our latest film, Familiar Phantoms, will have its film festival premiere at CPH:DOX on 19 March https://sorenlind.com/Familiar-Phantoms-2023 Mon, 13 Mar 2023 15:24:29 +0000 Soren Lind https://sorenlind.com/Familiar-Phantoms-2023 Familiar Phantoms is an experimental documentary short film about memory, history and trauma. Blending live action, special effects, private family photos and archival footage, the film explores the impact on fiction on the creation and reinterpretation of memory. Familiar Phantoms is inspired by anecdotes from my family history and my old childhood in Bethlehem, making it my most personal film to date. Shot in a derelict mansion and a black studio, the film oscillates between slow, fluid exploratory sequences and fast-paced collages of objects, mementos, family photos and Super 8 footage, its visuals and editing mimicking the actual workings of memory, constantly revisiting the same imagery alongside new fragments in search of meaning – while alternating between storytelling and ruminations on memory. Familiar Phantoms, film, 42’, Larissa Sansour/Søren Lind, 2022 https://sorenlind.com/Misfortune-2022 Mon, 13 Mar 2023 15:14:34 +0000 Soren Lind https://sorenlind.com/Misfortune-2022 As If No Misfortune Had Occurred in the Night is a three-channel video work featuring an Arabic-language opera on loss, mourning and inherited trauma. A single aria is performed by Palestinian soprano Nour Darwish. The aria is a new composition by Lebanese composer Anthony Sahyoun, based on Gustav Mahler’s Kindertotenlieder and the Palestinian traditional song Mashaal. Filmed in a derelict chapel, the opera is accompanied archival material from Palestine and special effects. The piece is presented in black and white as a three-screen projection, like an altar triptych. As If No Misfortune Had Occurred in the Night, 3-channel film, 21’, Larissa Sansour/Søren Lind, 2022 https://sorenlind.com/In-Vitro-2019 Fri, 14 Feb 2020 17:02:35 +0000 Soren Lind https://sorenlind.com/In-Vitro-2019 Commissioned by the Danish Arts Foundation for the 58th Venice Biennale, In Vitro, co-directed with Søren Lind,  is a 2-channel Arabic-language sci-fi film filmed in black and white. It is set in the aftermath of an eco-disaster. An abandoned nuclear reactor under the biblical town of Bethlehem has been converted into an enormous orchard. Using heirloom seeds collected in the final days before the apocalypse, a group of scientists are preparing to replant the soil above. In Vitro, 2-channel film, 28’, Larissa Sansour/Søren Lind, 2019 https://sorenlind.com/Monument-for-Lost-Time-2019 Fri, 14 Feb 2020 17:02:35 +0000 Soren Lind https://sorenlind.com/Monument-for-Lost-Time-2019 Commissioned by the Danish Arts Foundation for the 58th Venice Biennale, Monument for Lost Time takes a psychological object from In Vitro's fiction and converts it to a physically imposing fact. The sphere is painted in Black 2.0, a shade so black that no light is reflected. This turns the sphere into an optical illusion, rendering it virtually absent, yet at the same time intimidatingly present and overwhelming, as an embodiment of inherited trauma.The floors are concrete, with interspersed tiles manufactured by a Anan Tiles in Nablus, creating an architectural intervention. The walls are light grey, and a soundscape based on low frequency vibrations plays as a backdrop. Monument for Lost Time, Larissa Sansour/Søren Lind, 2019 Photos: Ugo Carmeni https://sorenlind.com/AFTER-2019 Fri, 14 Feb 2020 17:02:35 +0000 Soren Lind https://sorenlind.com/AFTER-2019 AFTER combines film stills and production stills from In Vitro to tell a dystopian story of memory, heritage and nostalgia. AFTER, c-prints, Larissa Sansour and Søren Lind, 2019 https://sorenlind.com/Until-It-Was-Black-2017 Fri, 14 Feb 2020 17:02:36 +0000 Soren Lind https://sorenlind.com/Until-It-Was-Black-2017 And They Covered the Sky Until It Was Black is an installation made up of 1500 polyresin spaceships. The spaceships are 20cm in length and assume the shape of insects, so that they as group appear as a dark locust swarm. With the reference to the plagues of The Old Testament, the installation becomes a futuristic doomsday vision with biblical undertones. And They Covered the Sky Until It Was Black, Larissa Sansour/Søren Lind, 2017 https://sorenlind.com/Archaeology-in-Absentia-2017 Fri, 14 Feb 2020 17:02:36 +0000 Soren Lind https://sorenlind.com/Archaeology-in-Absentia-2017 Archaeology in Absentia is a sculptural installation of fifteen 20cm bronze munition replicas. Engraved on a disc inside each capsule are the coordinates, longitude and latitude, to a deposit of hand-painted porcelain plates with folkloric patterns buried in Palestine. With the porcelain itself absent from the installation, the bomb shells and the references they hold represent the archaeological artefacts in absentia. Archaeology in Absentia, Larissa Sansour/Søren Lind, 2016 https://sorenlind.com/In-the-Future-2016 Fri, 14 Feb 2020 17:02:36 +0000 Soren Lind https://sorenlind.com/In-the-Future-2016 In the Future They Ate From the Finest Porcelain resides in the cross-section between sci-fi, archaeology and politics. Combining live motion and CGI, the film explores the role of myth for history, fact and national identity.A narrative resistance group makes underground deposits of elaborate porcelain - suggested to belong to an entirely fictional civilisation. Their aim is to influence history and support future claims to their vanishing lands. Once unearthed, this tableware will prove the existence of this counterfeit people. By implementing a myth of its own, their work becomes a historical intervention - de facto creating a nation. In the Future They Ate from the Finest Porcelain, Larissa Sansour/Søren Lind, 2016 https://sorenlind.com/Revisionist-Production-Line-2016 Fri, 14 Feb 2020 17:02:36 +0000 Soren Lind https://sorenlind.com/Revisionist-Production-Line-2016 Revisionist Production Line is part of Sansour's recent body of works exploring the notion of archaeology as warfare. Instead of relying on artefacts already in the ground, Revisionist Production Line suggests that manufacturing and planting the archaeological evidence for future archaeologists to excavate might be the most reliable approach to establishing a favourable counter-narrative. Revisionist Production Line, Larissa Sansour/Søren Lind, 2016