Video Works by Lasse Lau



Stem - Sound from the Tropical

Sound from the Hallways

Pine Nuts



Older Works

Here is the old Kran Film Collective trailer that I did in the late 1990s. I captured it, together with Johanne Madsen. We explored the then rapid transition of Berlin city with my old Super8 camera.   


Sound from the Hallways

Photographs by Arne Kaiser

About Lasse Lau

Lasse Lau (born 1974, Denmark) is an award-winning visual artist and filmmaker who looks at the spatial dimension of power to better understand society’s social struggles. His work addresses challenges and pitfalls in the relational and representational capitalist monolithic readings of space. His most recent film, Lykkelænder– The Raven and The Seagull– looks into the complex identity struggles of Greenland’s quest for cultural and constitutional independence. The relationship between Greenland and Denmark is full of fantasy and myths and these myths are what Danish artist Lau reflects and reacts upon. 


His films have won Grand prix Nanook – Jean Rouch in France, the Golden Raven in Russia, World Cinema Doc at Kansas Filmfest, Nordic:Dox Award at CPH:DOX*, 1st prize at Fokus Videokunst Festival, and an honorary mention at Festival Der Nationen.


His films have been shown at Beirut Art Center, the British Museum, BOZAR, Cimatheque, CPH:DOX, Darb 1718, Edith-Russ-Haus fur Medienkunst, Festival d'arts vidéo Clermont Farrand, Fotografisk Center, Green Lantern, Kunsthallen Nikolaj, Lumiar Cité, Malmö konsthall, Medrar for Contemporary Art, MOMA PS1, Museu Nacional de Arte Contemporânea Lisboa, Museum of Resistance Torino, OCAT, Smart Project Space, Zagreb Museum of Contemporary Art, Westfälische Kunstverein and WRO Media Art Biennale. 


Lasse Lau studied at the Whitney Museum Independent Study Program, Berlin University of Art and the Funen Academy of Fine Art in Denmark. 

News and Updates

Headlines and Stories

Solo - Exhibition at Fotografisk Center Copenhagen

Subjectivities - Institutions in Crisis, Jan 12th - March 10th 2019, Solo Exhibition at Fotografisk Center in Denmark

The educational institutions and traditions of the Enlightenment have left their Eurocentric traces on the cultural and scientific views of our time. The systems and ways of viewing and gathering knowledge, which were established in the Seventeenth and eighteenth century, extend far into the 21st century, and formed the way we perceive and reasoning with the world today. However, these very same institutions and their reasoning have their pitfalls and are in decline – both the buildings and perhaps also the systems which they house – and thus incarnate. This exhibition investigate structures and subjectivities surrounding their operatus modus. 

Sound from the Tropical / Stem premieres at Rencontres Internationales

Rencontres Internationales Paris / Berlin 2018

STEM (Sound from the Tropical) is a film about the migration of plants and botanical gardens in decay. Years of neglects of the Lisbon University Garden have created a romantic environment where the garden is growing wild. The film investigates the displacement in migration and morphology of plants. And investigates some of the post-colonial environmental ramifications of transfer into new subjectivities of the"other." The film came together as is a collaboration between the filmmaker and the German sound artist Max Schneider. Together they traveled Brazil to sound record 17 unique plants. The film features an interview with professor James Clifford, author of "The Predicament of Culture: Twentieth-Century Ethnography, Literature, and Art" and "Routes: Travel and Translation in the Late 20th Century" (1997).

Winner of Nordic:Dox Award

Lykkelænder winner of CPH DOX: Nordic:Dox Award 2018

‘Lykkelænder" is an art film that reveals postcolonial myths that surround the colonizing of the north in a place that mostly only knows from films.

Where film tends to build archetypes and signifiers around mythical collective consciousness Lykkelænder follows the people's struggle for independence.

Lykkelænder will make the artificial absurd, the synthetic staged, and the unreal real as a cinematic tool to subvert what we see and take for granted.’

The film is supported by New Danish Screen and Naalakkersuisut - Government of Greenland.

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    ©2017 by Lasse Lau