STATEMENT​

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A pluridisciplinary artist, I create sound pieces, films and installations from field recordings. Working within a situated practice, I probe environments — urban, natural, agricultural — in search of presences and alterities, composing immersive environments where spectators are invited to experience their own porosity to the world and its interdependencies.

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Through the accumulation of elements, the entanglement of materials and sounds, or kineticism, my pieces weave a dialogue between the original and the artificial, the living and its anthropogenic transformation. Committed to transdisciplinarity, my work leads me to collaborate with scientists or local community actors, using natural or repurposed materials and a light, mobile setup that allows each context to nourish and transform the project.

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Two threads run through this practice. The first questions the extractivist cosmology — that worldview which reduces the real to resources, obscuring the profusion of forms of life, subjectivities and agencies that surround us. The second explores intersubjective relations between living beings — how prolonged listening to an environment, contact with its human and non-human inhabitants, transforms our way of perceiving and inhabiting the common world.

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My pieces seek to create a poetics of disorientation — a vertigo that invites us to rethink our place within this network and to envision an alternative cosmology, where the real would no longer be a resource but an interconnected living fabric.

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BIO

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Iga Vandenhove (France, 1989) is a sound artist, visual artist and filmmaker whose practice is rooted in field recording. Her sensible relationship to the world finds its origins in a childhood shared between the Hautes-Alpes and the Breton coastline, nourished by American, Polish and pied-noir heritage that early on sharpened her sensitivity to alterities and traversed environments. Learning to glean, observe and listen was a way of being in the world before it became an artistic method.

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After studying graphic design, she trained in documentary writing and directing at the Lussas film school and in sound creation at Phonurgia Nova. Winner of the Phonurgia Nova Field Recording Prize 2022 and graduate of the Beaux-Arts de Cergy (DNSEP with unanimous jury commendation), she pursues a field practice that takes her from the chalk cliffs of Étretat to the Arctic glaciers, from the Amazonian rainforest to the shores of Québec. Héritage érodé (2023), exhibited at the Jardins d'Étretat, and Les voix du Madidi (2022), acquired by the collection of the Musée Réattu in Arles, are among her most recognised works, also broadcast and covered by French and international media — Télérama, Beaux-Arts Magazine, France 3, and Bolivian media.

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She regularly collaborates with researchers and scientific institutions — notably the PMMH laboratory of the CNRS and ISMER-UQAR in Québec. Since 2025 she has been developing a major project around sea ice, the third chapter of which will take her in 2026 aboard the icebreaker Amundsen in the Arctic. Her first feature-length documentary, Peau de forêt, is currently in production with Avril Film.

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More details 

After studying graphic design, it was during a training in documentary writing and directing that she made her first short film in 2015, Les seigneurs, which explores the waiting experienced by migrant teenagers during the processing of their asylum applications. In the continuity of this documentary, Les madeleines sonores (2016-2019), a sound installation born from a collaboration with young migrants, uses the sonic medium as a vehicle for sensory memory, linking sound recording and testimony. Curious about the appropriation of means of expression and an active, activist cultural democratisation, she produced in 2020 for the company L'Île de la Tortue a series of podcasts around Les Clameuses, a group of self-proclaimed theatre critics from Clichy-sous-Bois. Iga Vandenhove also works on audiovisual documentary projects, including Northern Avenue (in progress), filmed in Armenia, which interrogates the collective memory of a place by combining photographic and phonographic mediums. In another project, Echap, a sound piece co-written with Noémie Fargier and Vanessa Vudo, made exclusively from field recordings captured around the world, navigates between real and imaginary territories, probing the spaces of freedom possible in an increasingly standardised society. In Les Voix du Madidi, a sound piece made in a natural park in Bolivia alongside forest rangers, the work explores the entanglement of animal, human and technological worlds. Her film Peau de forêt, currently being made in the Bolivian Amazon, examines how extractivism transforms the relationship between human beings and other living beings. Héritage érodé (2023), created with Isabel Judez, is a sound and visual installation exhibited at the Jardins d'Étretat until 2024 which, by representing the Aval cliff kinetically through more than 2,500 pieces of marine terrazzo, questions the disappearance of natural resources used and transformed by humans. Marée montante (2025), an immersive installation born from a residency on the Saint Lawrence River ice floe in Québec alongside Franco-Québécois physicists, brings together through chronophotography the undulation of the scientists' bodies during their field surveys and that of the sea ice they study — positing the hypothesis that prolonged observation of an environment ends up imprinting its rhythm into the very body of the one who studies it. Thousands of silhouettes deposited on geotextile, a material with a strong anthropogenic footprint, and a sonic experience at the hydrophone at the heart of the ice compose an immersive environment that questions the boundary between subject and object of knowledge.