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Iga Vandenhove (France, 1989) is a sound and visual artist and documentary filmmaker. She lives and works between France and the various countries her projects take her to (most recently Bolivia).

She draws on the polysemy of sound and vision, playing on superimpositions and entanglements to question the role played by our imaginations in apprehending our environment and in our inter-subjective relationships. Through these unlikely associations, she attempts to broaden the spectrum of possibilities as a counterpoint to an ankylosed system. 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. Her research focuses on the relationship between urban and natural contexts, on the liminal spaces between fiction and reality, the natural and the artificial. Her artistic practice is built on a sensitive encounter with a particular terrain, and the form that emerges is constructed in dialogue with the social, material, ecological and technological ecosystem of a place. She enjoys practicing field recording in singular ecosystems and during adventurous activities (skiing, climbing, mountaineering, trekking), exploring the interactions between an environment and what inhabits or passes through it.

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. ) His film Peau de forêt, shot in Bolivia, is currently in production with Avril film

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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.

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