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När solen går ner är den alldeles röd, sen försvinner den
Lina Selander

Lina Selander’s work When the sun sets it’s all red, then it disappears takes Jean-Luc Godard’s 1967 film La Chinoise as its starting point. Examining the relationship between political, utopian and emotional expressions in words and images, it explores the revolutionary zeal of a time and the desire to start all over again.

La Chinoise is a film in the making, a film that tells the story of a revolutionary and truth-seeking common narrative while at the same time trying to be a part of it, sharing its inherent expressions and problems. Lina Selander’s film is also a work in the making, engaging and evolving around Godard’s film and the questions it addresses and responds to. But it is also an installation about photography and storytelling.

Most of the photographs in the series of stills are from the 1968 student revolts in Paris and Stockholm, taken at meetings and demonstrations. But they also show other motifs, such as a close-up of a growing blob of moisture on a news reel showing Chairman Mao swimming in the Yellow River, personal photos and some stills from La Chinoise. All the images have been photographed with flash and all the photos have a white circular reflection on them which may represent or constitute a common space where the spectator’s space and that of the motif overlap, but where they are also defined as separate – a blinding dazzle or hole in the image which ultimately blocks any final narrative and forces itself into the motifs and events that are being documented. 

Keywords Montage, Essay, Documentary
Aspect ratio 1.33:1 (4:3)
Prod. format Generic SD-video
Duration 00:09:27
Language Swedish
Color Color
Year 2008
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About the artist

Lina Selander

Born 1973, lives and works in Stockholm, Sweden. Lina Selander works mainly with moving images in film and video, but also with photography, text and sound. Her works are often installations where these different medias and components converge and interrelate to one another. She is interested in the image’s ability and lack of ability to reproduce time, experience and memories and she explores how different narrative forms and techniques transform and change a story. Her works investigate film as medium, examining its possibilities and limitations as form of expression, and they often raise questions about history, media archeology and authenticity.

Selander’s work has been shown at Index, The Swedish Contemporary Art Foundation, Moderna Museet and in international group shows, biennales and festivals, for example in the Manifesta 9 in Genk, Bucharest Biennale 2010, the Media Art Biennale in Seoul, Korea. She will represent Sweden in the next Venice Biennale 2015.