Klara Lidén was born in Stockholm. She studied architecture at the School of Architecture at the Royal School of Technology in Stockholm (2000–04) before moving on fine art studies at the Universität der Künste in Berlin (2003) and the Konstfack (University College of Arts, Crafts, and Design) in Stockholm (2004–07). Her installations and video performances question the functions of private and public space, playing on the idea of the uncanny, as in her acclaimed work Unheimlich Manoeuvre (2007). Lidén makes use of found materials, urban detritus, and pre-existing urban structures—everything from cardboard and found advertising posters to police barricades and pieces of old carpet—to create solid-seeming structures that nonetheless convey a feeling of melancholy. As curators from the New Museum in New York put it, “Lidén also uses her body as a tool and a weapon to radically alter the space of the museum and expose it to the material and political realities of the world outside.” She “engages with the folds and fabrics of cities she passes through, adapting public space to her own needs in the creation of surprisingly intimate, domesticated environments.” The artist’s numerous solo shows in Europe and the US have included exhibitions as the Serpentine Gallery, London (2010), the Moderna Museet, Stockholm (2011), and the New Museum in New York (2012). In 2009, Lidén’s work was included in the Danish and Nordic Pavilions at the fifty-third Venice Biennale, and she received a special mention from the jury of the fifty-fourth Venice Biennale. Her work is included in the collections of the Museum of Modern Art in New York, the Moderna Museet in Stockholm, and the Astrup Fearnley Museet in Oslo, among others.