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Lina Selander [Videonale.14]

*1973, in Stockholm SWE, lives and works in Stockholm SWE
Studied at University of Gothenburg SWE, Royal Institute of Art, Stockholm SWE and Valand School of Fine Arts, Gothenburg SWE

Exhibitions [selection]:

2012 Selected work 2007-2011, Skanes Konstförening, Malmö, SWE [S]

         Anteroom of the Real, Subjective Projections, Bielefelder Kunstverein, GER [S]

         Sinopale Biennale for Contemporary Art. Wisdom of Shadow: Art in the Era of Corrupted Information.    

         Sinop TUR

         Manifesta 9, The European Biennial of Contemporary Art. The Deep of the Modern, Gent BEL

         La Zona, Neue Gesellschaft für Bildende Kunst, Berlin GER

2011 Lenin’s Lamp Glows In the Peasant’s Hut, Index – The Swedsish Contemporary Art Foundation,
         Stockholm SWE [S]

         Light Box, Centre Georges Pompidou, Paris FRA [S]

2010 Around the Cave of the Double Tombs, Vita Kuben, Umea SWE [S]

2008 When the Sun Sets It’s All Red, Then It Disappears, Nordin Gallery, Stockholm SWE [S]

         Les Rencontres Internationales, Centre Pompidou, Paris FRA


Lina Selander x

Anteroom of the Real, 2012, 14 min., no sound, colour [VIDEONALE.14]

In “Anteroom of the Real” Lila Selander uses photographs to tell a tale running backwards in time. The photographs are stacked on a black background, which gives the appearance of a passe-partout frame. Every few seconds the topmost picture is removed by a woman’s hand, revealing the one underneath. Lina Selander takes the viewer “by the hand” and leads them through a sequence of photographs back to the starting point of the tale.

Bit by bit, the viewer is confronted with the catastrophe of the Chernoby atomic power station and its effects. To start with, they see pictures of the deserted, ruined city Prypjat: The camera’s journeys through the empty rooms of a school or a factory show the destruction of the settlement. The tension rises as the sequence of photographs runs towards the final picture. This shows a hand on one of the power station’s control switches, visualising the instant which led to the far-reaching catastrophe of April 26 1986. The film is notable for the absence of sound and its unmoving pictures. In this way the emphasis lies on the photographs shown and their inherent tale.

Daniela Pöstinger

Lina Selander [ Videonale.14 ]