BIO

​

Orientation

​

Iga Vandenhove (France, 1989) is a multidisciplinary artist working in the media of installation, visual and sound art, multimedia and documentary film. Inhabited by the eclecticism of her multicultural family background, which includes Polish, American, Flemish and Algerian pied-noir origins, her work revolves around perception and ecosophy. In this work of decentering, she surveys and anchors her projects around the world, physically immersing herself in territories and biotopes under tension in order to experiment with singular states of the body in a quest for horizontality and connection to the living. 

​

In her artwork, she plays with the principle of illusion, understood as a “bug of perception that differs from objective reality”, to highlight the links that exist between the senses, sensations and affects, and our thought processes, inner paradigms and relationships to otherness. Using polysemous sounds and images, superimpositions and entanglements, she explores the tipping point between objectivity and subjectivity, blurring the lines between the real and the imaginary. Through these unlikely associations, she proposes to broaden the spectrum of the possible, seeing in these connections a way of sketching out new personal and collective mythologies. 

​

Lately, she has been exploring the resonances between the animal, technological and human worlds, questioning their impact on contemporary ecosystem cycles as well as the anthropization of territories. The tension between urban, rural and natural contexts and between living beings leads her to question co-presence, interdependence, the original and the artificial, the liminal space between fiction and reality, ecosystem cycles, the anthropic imprint and the similarities between systems of patriarchal domination and those of over-exploitation of nature.

​

After studying graphic design, she trained as a documentary filmmaker at Cifap and the Lussas documentary school (where she helped write the film Peau de forêt), and as a sound designer at Phonurgia (with Félix Blume and Jules Wysocki). ​Her work has won the Field Recording prize at Phonurgia Nova 2022 for "Les voix du Madidi", and has been relayed by several national and international media (Télérama, 4'33, Pagina Siete, Postdata TV, Mega TV) and festivals (Siestes sonores au jardin des plantes, Longueur d'ondes, Les docs de Noirmoutier, Les Yeux Ouverts #5, Le point Ephémère... ) and recently supported by the Lussas documentary school (writing assistance for the film Peau de forêt and a producers' meeting day. ) Her film Peau de forêt, shot in Bolivia, is currently in production with Avril film

​

More details 

​

After studying graphic design, it was during a training course in documentary writing and directing that she made her first short film, Les seigneurs, in 2015, which looks at the wait for migrant teenagers during the period when their files are being processed. Following on from this documentary, Les madeleines sonores (2016-2019), a sound installation born of work with young migrants, makes the medium of sound the vehicle for expressing a sensory memory, linking sound recording and speaking. Curious about the appropriation of means of expression and active, activist cultural democratization, in 2020 she produced a series of podcasts for the L'Île de la Tortue company, based around the Clameuses, a group of female theatre-goers from Clichy-sous-Bois who are self-proclaimed theatre critics. In another project, Echap, a sound piece co-written with Noémie Fargier and Vanessa Vudo and based exclusively on field recordings taken around the world, navigates between real and imaginary territories, probing possible spaces of freedom in an increasingly standardized society. In Les Voix du Madidi, a sound piece recorded with forest rangers in a Bolivian nature park, we explore the entanglement of animal, human and technological worlds. Her film Peau de forêt, currently being made in the Bolivian Amazon, focuses on how extractivism is changing the relationship between human beings and other living beings. His latest creation, Héritage Erodé, created with Isabel Judez, is a plastic and sound installation exhibited in the gardens of Etretat. By kinetically representing the downstream cliff with more than 2,500 pieces of marine terrazzo, it questions the disappearance of natural resources used and transformed by humans.