The music of the Danish composer Kirstine Lindemann seeks to parse the dynamic space between self and other. Through diverse formats—instrumental music, staged works incorporating movement and electronics, and installations—Lindemann investigates the complexities of interrelation: separation, entanglement, and where the boundaries that seem to divide us grow indistinct.  

Lindemann’s work is an invitation to draw you into that latent virtual potential inherent in the interaction between beings who mistake themselves for being separate individuals, that place we can occupy and invent together once we drop the defences. It’s an invitation and one that is well worth accepting.
Macon Holt, Passive-Agressive

For Lindemann’s installation Between Strings, she has written a series of works in which performers interact with the installation’s room-length strings and each other through sound, light, and movement, for a tactile portrait of human relations. TRIO (2022) finds two performers who magick between themselves a single shadow, their breathing sonified via analog processing. In BREATH (2022), Lindemann funneled further research on the breath as a musical instrument and physical gesture—ultimately as a collaboration with lung disease patients—towards a bristling encounter with our shared existential rudiment. As a recorder player, she is a member of the feminist collective Damkapellet and an active part of the improvised music scene. She has received awards from TUF Chamber Music Festival (IS) and the Amsterdam Fringe Festival (NL) for her work as a musician.

It was liberating when Kirstine Lindemann joined and led the synth-aesthetics away from itself and into the body. The piece, TRIO, fascinated by its telepathy between the two performers, who – with eyes closed – seemed introspective and connected at the same time (…) What did Lindemann’s x-ray display? A curious release of the minimoog as a part of a bodily ritual.
Jakob Gustav Winckler, Seismograf (free translation)

Many of Lindemann’s pieces are motivated by a fascination with interdependence and reactivity. Her early chamber work Further and Back (2015/2020), in which musicians inevitably fail to imitate one another, has spawned many iterations, including one for Neue Vocalsolisten Stuttgart (DE). Lindemann’s research on AI’s failures to render vocal performances has yielded the DR P2-commissioned chamber work Cyborg Songs – I’m a Scoglio (2024), which received its own DR podcast, and its future orchestral version for Odense Symfoniorkester (2025); other upcoming projects include pieces for Andreas Borregaard (DK)/Zubin Kanga (GB) and Ensemble Kompopolex (PO).

Kirstine is a strong voice on the scene of new music. With distinctive works where sensuality and physical expression reaches beyond the music, Kirstine mesmerizes her audience through her inciting presence.
Kitt Johnson, X-act

Lindemann is a recipient of some of Denmark’s most prestigious composition awards, including the 2025 Carl Nielsen and Anne Marie Carl-Nielsens Honorary Award, among the country’s top cultural prizes, and that same organization’s 2021 Talent Award; the 2024 Pelle Prize for a composer who is “not afraid to go against the norms of our time”; the Danish Composers’ Association 2024 Nye Veje special work grant; and the Danish Arts Foundation’s Den Unge Kunstneriske Elite grant. Her work has been programmed at festivals and institutions across Europe, including the mumok (AT), Heroines of Sound (DE), Nordic Music Days (SCT), Theaterhaus Stuttgart (DE), Sound of Stockholm (SE), Harpa (IS), the Helsinki Music Centre (FI), and Impuls Festival (AT), among many others.