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Principe d`inertie soulève la question de l`objet mobile et de sa trajectoire. Ce film-essai met en parallèle notre perception du mouvement par rapport à l’espace et au temps, et la recherche de l’accélération absolue d’un père et sa fille lors d’une course de moto dragster.

Ibai Hernandorena (b.1975, St Jean de Luz), est un artiste plasticien diplomé de l’école nationale supérieure d’arts de Paris-Cergy en 2000. Il vit et travaille à Paris. Sa pratique est multi-disciplinaire, se centrant principalement sur l’installation, la sculpture, la vidéo et la photographie. Qu’il s’agisse de voyage, de rêverie ou de construction, Hernandorena questionne la nature des espaces. Faisant cohabiter plusieurs temporalités parfois incompatibles dans le réel, il leur conférant ainsi un caractère illusoire. Ibai Hernandorena a exposé au MAK Center, Los Angeles; Palais de Tokyo, Paris; APAP2010 festival, Anyang, Corée du Sud; Galerie Laurence Bernard, Genève; Villa Arson, Nice; Retina video art festival, Rome; Galerie Sintitulo et Frac PACA, Marseille; Nuit Blanche, Paris. Il a également été lauréat de commandes publiques à Paris-St Denis, Grenoble, Avignon, Marseille. Il est actuellement en production pour une commande des Nouveaux Commanditaires de la Fondation de France.

Water is a common chemical substance that is essential to all known forms of life. Water is considered a purifier in most religions. The Greek philosopher Empedocles held that water is one of the four classical elements along with fire, earth and air, and was regarded as the ylem, or basic substance of the universe. Water was also one of the five elements in traditional Chinese philosophy, along with earth, fire, wood, and metal. Water plays an important role in literature as a symbol of purification and permanent change. That`s why we want to make an installation with a hot water vaporizator-humidificator, images of water and the sound of rain, common to everyone. This VideoArt installation is something like a ritual, wants to modify the way we experience a particular space, trying to convert it in a familiar and confortable space, good for soul and body, common to everyone.

Rodrigo Hernández is a spanish artist that works on photography and video art. He has studied Arts and Media at Spain and Czech Republic (FAMU School of Arts). And he has arranged exhibitions around Europe (Spain, Andorra, France, Czech Republic). He is working on Spanish Television (RTVE) and cinema critics. Nowadays he is leading a project in Spain, called "Gira Peonza Project", they are investigating on the ontology of the digital image.

There he sits proudly on his motorbike, encompassed in majestic red and the dazzling admiration of the others. Round and round he goes, becoming more and more beautiful and exalted. For only he can explore the jungle. And no, he won’t hand over his motorbike, not even on loan. A playful re-enactment with reversed roles that takes aim at the hubris of the colonial conquerors.

The filmmaker and video artist was born in Mexico. He studied film at the Escuela Nacional de Artes Cinematográficas in Mexico City and at the Polish National Film School in ?ód?. He has made several short films and video works. He currently lives in Mexico where he is taking a doctorate in film theory while teaching film and making social documentaries. He is also developing his debut feature film.

Dans la trilogie Orange Pattern, la caméra explore l?espace, comme elle parcourrait la scène d?un crime. Latéralement, verticalement, profondément, elle se meut dans trois décors successifs et finit par s?immobiliser sur un détail, digne descendant du MacGuffin hitchcockien. Clément Dirié

Christophe Herreros est né le 11 Mai 1981 à Carcassonne, Diplômé de l`Ecole Nationale Supèrieure des Beaux-arts de Paris avec les félicitations du Jury à l`unanimité en 2009 après un passage au California Institute of the Arts. Il l`expose l`année d`après à la galerie Air de Paris dans l`exposition DREAMLANDZ avec Carsten Holler et Bruno Serralongue. Puis, dans l`exposition Yet to be Title avec Neil Beloufa et Jonathan Binet à la Galerie Gaudel de Stampa. On retrouve également son travail dans différents salons dont le Salon de Montrouge et Jeune Création à l`espace 104 à Paris dont il est le lauréat 2010. En 2012, il propose une installation à la galerie de multiples à Paris "Five Red Herrings" dans laquelle il propose un interprétation spatiale de sa vidéo polar "Orange Pattern". La même année il a présenté au Fresnoy Studio National des Arts Contemporains dont il sort diplômé avec les félicitations du jury à l`unanimité une installation vidéo "Le Dragon d`Or" dans laquelle un film en image de synthèse 3D réalisé en 24h à Taiwan par NMA fait face à un diamant en pierre de taille et un mobilier en chêne.

NOUVELLES HISTOIRES DE FANTOMES est le 7ème chapitre de LA TABLE DES MATIERES, un projet cinématographique d’Henri Herré avec Georges Didi-Huberman commencé en 2013. La table des matières, c’est le bureau de Georges Didi-Huberman où il étale tous ses documents, photos, fiches, livres et images pour en faire ses montages. Deux fois par ans, il propose à Henri Herré de venir avec sa caméra pour voir où il en est de son travail. En ce début de 2014, Georges Didi-Huberman venait de finir l’élaboration de son exposition au Palais de Tokyo « Nouvelles histoires de fantômes », il en décrit pas à pas la conception.

Sortir par les yeux » 15mn, extrait du 1er tournage d?avril 2013, est l?étape liminaire d?une documentation sur comment, où, avec quelle méthode, dans quelles conditions travaille Georges Didi-Huberman. Pour élaborer ses productions, il s?assied à la table de couturière qui lui sert de bureau. Il y étale ses éléments écrits et iconographiques : « je les tourne, je les retourne, je les reproduis, les annote, les classe, les cadre et les décadre, les monte et les démonte, façon de les « secouer ». Avec les gestes de l?artisan qu?il revendique être, son travail intellectuel se déroule concrètement sur cette table. D?où le titre LA TABLE DES MATIERES, projet qui se poursuivra sur plusieurs années. En 2013 il propose 7 heures de films de 15mn à 2h 45mn.

Georges Didi-Huberman est anthropologue des images. Il étudie l?effet que produisent les images sur l?homme (en tant qu?individu plongé dans sa culture). Si vous vous intéressez à l?histoire de l?art et à la philosophie, vous avez probablement rencontré Georges Didi-Huberman via ses quarante livres traduits en une dizaine de langues, ses expositions dans de grands musées européens, ou ses conférences à travers le monde. Il a renouvelé sa discipline en profondeur, avec le don particulier de parler aux artistes et aux penseurs par cette production protéiforme. Henri Herré est auteur et réalisateur de fictions et de documentaires.

An unusual cooperative project between curator and artist was set in motion by Harald Szeemann and Rudolf Herz in the summer of 2003. Their ultimate goal was to produce a film. Now – more than ten years after Szeemann's death – the film is ready to be shown. Harald Szeemann had invited Rudolf Herz to present the project “Prologo sul Lago Maggiore” at the exhibition “G 2003. Mostra internazionale d'Arte all'aperto” in Ascona, Switzerland: a mobile monument consisting of granite busts from the dismantled Lenin monument in Dresden (in former East Germany), which is tied down on a semitrailer. It was a preliminary project for the “Lenin on Tour,” a Europe-wide monument touring event Herz staged the following year under the motto “I show Lenin to my contemporaries. And the 21st century to Lenin. Who will explain it to him?” In turn, Rudolf Herz suggested to present a performance together: He invited Harald Szeemann to join him in the driver's cabin on the long “Prologo” trip and express his thoughts on Lenin. Both Szeemann's discourse on the topic and the journey across the Alps were filmed. The videotapes were long lost and only recently rediscovered. The concept of the film is an interweaving of the surreal and yet very real slow-moving Alpine crossing of the huge vagabonding monument and Szeemann's contemplations on whether or not Lenin had ever been on Monte Verità, the mythenshrouded hill, the center for society's dropouts, back-to-nature lifestyle reformers and Anarchists at the Lago Maggiore around 1900. Szeemann, whose grandfather had been Lenin’s barber in Bern, talks about today at the beginning of the new millennium: about art and politics, about the world situation after the Fall of the Berlin Wall and about the September 11 attacks on the World Trade Center. This was one of the last lengthy talks Szeemann delivered that was recorded before his death in February 2005. Harald Szeemann (1933–2005) was a Swiss curator, artist, and art historian. Having curated more than 200 exhibitions many of which have been characterized as groundbreaking, such as Live In Your Head: When Attitudes Become Form (1969), Happening and Fluxus (1970), Documenta 5 (1972). Szeemann is said to have helped redefine the role of an art curator.

Rudolf Herz (born 1954) is a German sculptor and media artist living in Munich. He was awarded several art prices and grants including the renowned Villa Massimo scholarship in Rome in 1995. Herz’ artistic interest focuses on highly sensitve historical topics and their relation to the present time. In 1997 he was a laureate in the competition for the "Memorial to the Murdered Jews of Europe" (1997). Herz is most renowned for his installation “Zugzwang” which was internationally exhibited, including at The Jewish Museum, New York in 2002. One of his most recent works is a radio play (“Desperados or Hitler goes tot he movies“) about a lost anti-revolutionary film from 1919 which Herz could produce with the national broadcaster Bayerischer Rundfunk.

The first biennial for contemporary art is taking place in Venice in 1895. Over the past decade there has been a proper boom of such intercontinental art events on a global scale. Havana, Sao Paulo, Johannesburg, Dakar, Istanbul, Gwanju, Yokohama or Seoul, nowadays biennials are to be found worldwide. It seems to be good form to put local contexts in the service of a globalized modernity. Some people describe biennials as stimulants for neoliberal economies, as the globalization of globalization. Others try to look at them as competitive artistic events, just like the olympic games, and mourn about the loss of artistic subtlety. But all participants seem to profit. The gain of image is enormous, for the organizers as well as for the participants. On January the 28th 2005, Moscow claims one of the sought after places on the map of the International Art Inc. and opens its first biennial of contemporary art. Pelmeni or Bliny is documenting this event, asks for the ingredients of such a spectacle and examines the scale of decisions in such a win-win situation.

Dirk Herzog, born 1971 in Bad Bergzabern in Bad Berzabern, lives and works in Berlin.

The Disco is a nonfiction experimental portrait of Queer Deaf DJ Simon Eilbeck formed from a collection of 16mm film and location sound recordings encountering members of the queer, trans, alternative and non-binary communities who gather at his monthly disco Hot Mess at The Poetry Club, in Glasgow, Scotland. Encounters include artist and academic Conal McStravick, who responds to the film’s footage alongside their ongoing research on the filmmaker and AIDS activist Stuart Marshall, Trans femme artist Nat Walpole in her studio and interview with Leyre Mann Vadillo, who has attended the disco since its inception. The Disco considers the contingencies, intimacies and tensions of encounter, between filmmaker and subject, recorded at a time of precarity, austerity and crisis but contain illuminations on radical forms of assembly, queer dreaming, hapticality, on hospitality, care and consent. The film makes reference to Hours for Jerome by Nathaniel Dorsky, Wittgenstein by Derek Jarman and the biography and works of Belgian experimental composer Henri Pousseur. It is his first work for cinema.

Alex Hetherington is a visual artist who works with 16mm film. Recent films include The Disco (2025), which opened the Glasgow Short Film Festival, 2025 and has screened at Queer North Film Festival, Elevation Film and MIX NYC Queer Experimental Film Festival; An Actress Prepares (2025) with artist William Joys based on historic 16mm documentation of Joys' live performances, with screenings including the ICA, London; Hybrids, a film for television (2023), Sister Films (2023) commissioned by CCA Annex, accompanied by an essay by Jessica Higgins published by MAP magazine and Ilam Actual (version) (2023) with Luke Fowler commissioned by Arts&Heritage. During summer 2022 he presented SEEN AND NOT SEEN, an installation of new 16mms at the CCA, Glasgow alongside recent works by Berlin-based artist Scott Caruth. His recent cinematography credits include film work for Hannan Jones at The Common Guild, Glasgow and Collective Gallery, Edinburgh and on her short film Dear F… (2022), Alia Syed’s exhibition at CCA, Glasgow in 2025, and Conor Baird at Glasgow Project Room in 2024. He recently presented a 16mm camera workshop Taking Time/A cinema of small gestures with LUX Scotland, July 2025. His writing on film includes commissions on works by Rosalind Nashashibi, Margaret Salmon, Karen Cunningham, Savinder Bual, Helen McCrorie and Laida Lertxundi. 

Tiphaine, 30, moves to Berlin to be an artist, but soon discovers that she landed in the city of failure and that she doesn't even seem to be writing her own fate. Who is the mysterious man who seems to be narrating her life?

Manon Heugel was born in Paris in 1981 and started working as an actor before completing her film education at the Femis (Paris) with a screenwriting Master's degree in 2013. She lives between Paris, France and Berlin, Germany. Her first short, The Prison Guard's Daughter, produced by Lumina Films, was selected in fifteen international festivals in 2015. In 2019, her video art installation EROS, a collaboration with contemporary dance choreographer Meritxell Checa, presented at the Palais de la Découverte (Paris), addressed gender and race issues in sexuality. Manon also wrote NO FUTURE! The Punk Years and Positively Living (about AIDS survivors) two documentary features for ARTE, the French-German European TV network. She uses many media to work on storytelling, often mixing fiction with documentary and video art. Her graphic novel, Forté, was published in 2019 by Dargaud. She wrote and directed many narrative and creative podcasts for Louie Media.

Curious about creating a new image quality, Elias Heuninck made a digital camera. A very simple one. Instead of using a complex sensor to capture the whole image in a fraction of a second, it builds up the image pixel by pixel by making one simple measurement at a time. The camera starts at the top left corner and works its way to the bottom right one, just as you are reading this text. To get the information for each position, the camera shoots a short pulse of laser light towards its subject and waits for the light-echo to return. It is then able to find the distance between itself and the object that reflected the light. The collected measurements do not show anything recognisable yet. The data has to be translated first in order to be visible as a greyscale image. With an exposure time of four days (and up to four weeks), it is not the most practical camera around, but it allows Elias to work directly with the building blocks of the picture itself. The resulting images are digital by nature, yet the visual resemblance with prints from the early days of photography is striking. Whereas the conventional camera is a darkroom that captures light, this camera is more like a lighthouse. Since every point in the image is a distance measurement, the image becomes a map. The video is a slideshow of scenes and letters. The letters are selected from an archive of the correspondence of William Henry Fox Talbot, a pioneer in negative-positive photography.

Elias Heuninck (1986) studied media art at the School of Arts in Ghent. He got interested in the use of a contemporary form of the landscape-image for various experiments. His works do sometimes involve different media, but they always touch on the material of film and the notion of cinema. He gently disorients the audience by changing the perspective in space, on paper, or in a digital data file.

"In Time - Episode 1" is the first of a series of Episodes based around the ballroom dancing schools and clubs of Croatia, Bosnia, etc. For a period of a year or more, the artist and the crew attend ballroom dancing lessons with the intention of making a film. The relationship between the artist, the crew, and the club is one which changes constantly as their roles and positions within this triad switch from being filmmakers, to beginners of dance. They archive everything on video, to use their own memories and the video archive as a memory aid in order to choose moments that occurred in reality and transform them into cinematic events. This offer is open to everyone in and around the club. Here, a participant of a ballroom dancing class is accused of drinking. This event forms the basis for a visual exploration of the possibilities offered in fiction, documentary and drama.

Born in London in 1965, Nicole Hewitt attended primary school in Zagreb, Croatia. She graduated from the Brighton Polytechnic Art College and specialized in model animation at the Jiri Trnka studio of animated films in Prague. She has a MA in Fine Art Media from the Slade School of Fine Art (2002). She is currently a research student at the Slade attached to the Anthropology department of UCL. She has made numerous short, animated, and experimental films since 1986, and has been screened and awarded at numerous international festivals and exhibitions. She participates in various multimedia performances and collaborative projects, and teaches experimental film and animation at the Zagreb Academy of Fine Art.

Taking as its starting point the Neolithic figurines found throughout the Danube region from Croatia to the Black Sea through Serbia, Romania, North Macedonia,Bulgaria and Greece Women Minor Speculations is part road trip, part time travel and part speculative fiction using fragments of time, archaeological fragments, sound fragments and imaginary audio files trying to weave a potential whole from many distinct parts. During a period of four years I collected materials in film, images, sounds, and text dealing with remains as evidential material, with landscapes as witnesses, with interwoven biographies of archaeologists, their objects and subjects of research (the figurines, the constellations, cement, gossip and songs) in an exploration of how real and unreal objects of material culture produce gendered interpretations, collisions and hallucinations of public accounts, using technologies of memory, data storage devices to fracture the official historical narrative through minor histories, minor narratives and minor speculations. Shot over a fiveyear period on 35mm, 16mm, digital Bolex, Digital 8, mobile phones and still cameras the film involves a tentative encounter of two female explorers in south eastern Europe meeting through materials and separated by 6000 years.

Nicole Hewitt is a visual artist working in film, video, installation, performance, spoken word and text. Her work has recently been shown at The Museum of Contemporary Art Zagreb, Pogon Centre for Independent Culture, Zagreb; Sonic Acts Academy, Amsterdam, The Museum of Modern and Contemporary Art Rijeka; Invisible Savicenta – Savicenta; international festivals such as Days of Croatian Film, Hiroshima International Festival of Animation, International Documentary Film Festival Amsterdam, Festival of New Film Split, Rencontres Internationales Paris/Berlin/Madrid, International Film Festival Rotterdam, EMAF, New Media Festival Seoul, Mumbai International Film Festival, Montreal International Festival of New Cinema and New Media, etc. Retrospectives of her film, video and animation work were parts of Holland International Animation Film Festival Utrecht (2007) and ANIMATEKA (2006), Nicole Hewitt, Museums Quartier Vienna, 2004; Nicole Hewitt, Galerija Nova, Zagreb, 2004; UrbanFestival, Zagreb, 2011; Spaport Biennial 2009/2010, Banja Luka; Women With Vision, Walker Art Centre, Minneapolis, 2008, Insert, Retrospective of Croatian Video Art, MSU, Zagreb, 2006; Here Tomorrow, MSU Zagreb, 2002., etc.). Hewitt is cofounder of the artist run collective Studio Pangolin , is part of the sound collective Soundspiels and teaches at The Academy of Fine Arts, Zagreb. Hewitt lives and works in Zagreb and London.

The sound track consists of documentary audio from the preparations for the Vienese Opera Ball in Vienna, the images are reconstructions with Croatian actors and students of the events I filmed while attending the reharsals, auditions and preparations for the Ball. Croatia hopes to emulate the Vienese Opera Ball in February 2005.

Born in London in 1965. Attended primary school in Zagreb, Croatia, graduated from Brighton Polytechnic Art College, specialised in model animation at the Jiri Trnka studio of animated films in Prague. MA in Fine Art Media at the Slade School of Fine Art, 2002.Is currently a research student at the Slade attached to the Anthropology department of UCL. Has made numerous short, animated and experimental films since 1986, screened and awarded at numerous international festivals and exhibitions. Participates in various multimedia performances and collaborative projects. Teaches experimental film and animation at the Zagreb Academy of Fine Art. (selected films: IN/DIVIDU; IN BETWEEN; PIGS, ETC; GLORIA; BRIDGE;WALTZ)

"Tornade Vidéo" Video 4 min. 2004 This film is part of an installation and was orignally intended to be projected onto a large, outstretched spiral in the exhibition space. We see a man walking and running through different landscapes, day and night, as if he was looking to escape imminent disaster, which is none other than the whirling that takes him away, just like a tornado.

I wanted to use the video to put forward the data that brings out the sculpture field and even more our relationship to space. These filmed experimentations are a way to realize the forces, pressure, movements, and speeds that act upon a body. The specific devices used for the video shoot (or for their installation in the form of video sculptures) allow the emergence of these forces' and movements' power, of which, for the most part, we are unconscious.

The film begun in september 2008, in Exarhia, a major centre of social protest in the heart of Athens. As the months passed and the political situation of Greece evolved, the film became the canvas on which fragments of stories finally laid, composing the tattered landscape of a country in crisis.

Born in 1987 in Paris, Daphné Hérétakis studied documentary filmmaking at the University Paris 8. She currently lives in Paris and Athens. She has directed experimental documentary short films since 2008.

The Phone Booth Project A collaboration between Lily Hibberd and Curtis Taylor The Phone Booth Project presents the special and quotidian role of phone booths in remote Western Desert communities from the perspective of the Martu people living there. Realised as a theatrical installation, three video screens create an immersion into physical sensation and happenings around the booths. Working collaboratively with Martu communities we have made a video installation that explores the use of phone booths in these remote desert regions. A rare insight into the independence and adaptation of modern telecommunications by Martu people across the vast Western Desert of aboriginal Australia.

understanding significant Australian historical events and sites. Her reflexive and collaborative, projects investigate collective, historical, philosophical and psychological aspects of memory and time. Since 2011, she has been commissioned ten community art projects. Lily has an established international career, exhibiting frequently in solo and curated exhibitions, most recently presenting the Ice Pendulum at the Paris Nuit Blanche. She is currently working with the Musée des arts et Métiers on a solo project for their 2015 exhibition on Measures of Time. She is represented by Galerie de Roussan, Paris. Curtis TAYLOR is an actor, emerging film writer/director and a young Martu leader. He is currently undertaking a Bachelor of Culture, Communications and Media at Murdoch University. Curtis has worked as Community Coordinator and Youth Development Officer at Martu Media (a division of Kanyirninpa Jukurrpa), where he spent 18 months working on `Yiwarra Kuju: The Canning Stock Route` as a filmmaker and youth ambassador. Curtis was the recipient of 2011 Western Australian Youth Art Award and Wesfarmers Youth Scholarship.

In 1991 the Jeu de Paume National Gallery became a place of exhibition, a place of contemporary art, and a place of photography. It was not until 2004 that the Gallery fused with both the National Centre of Photography and the Photographic Patrimony, residing at the Sully Hotel in the Marais. Since then, the Gallery sites are exclusively dedicated to contemporary photography, as well as to video and cinema. It welcomes artists from all over the world, thus privileging a synchronic approach of historic moments of art's journey, notably, of photography and and its emotions since its creation up to its contemporary transformations. Image as an artistic expression is touched and revealed in the diversity of its modes of appearance. Anxious to attract its public, the Jeu de Paume National Gallery configures its exhibitions as sources of knowledge, and organizes educational projections, conferences, and symposiums. From the exhibition "Support/Surface" working with the functional across the folded canvases and paintings of Louis Cane, or the knotted ends of twine of André Valensi, to the Arman exhibition, pieces of daily newspapers melted into plexiglass, to the photography art of Joël Meyerowitz, images are discovered at the Gallery in all of their singularity. It gives something to think about.

Danièle Hibon is the head of cinema programming at the Jeu de Paume National Gallery in Paris. She studied classic art and philosophy, and specialized in art history. She has been the head of the 'bureau d'accompagnement de l'avance sur recettes' at the National Centre of Cinematography. Since 1995 she has co-organized a cycle of cine-conferences with Henri Foucault of l'Ensad and Jean-Claude Biette of l'Ensba destined for students at these two art schools. This unique initiative is animated by the constant anxiety to make known the figures of contemporary art and little known filmmakers, and to create events where, in their presence, a genuine dialogue about the questions and problems of art and cinema can be held. In 1995, during a retrospective at the Gallery, Danièle Hibon firmly pushed for the permission to make two filmmakers, Yervant Gianikian and Angela Ricci Lucchi, known to the French public.

The private atmosphere of a Dutch living room is breached by the disturbing presence of a large oak tree that slowly enters the room. Close-ups of different kinds of furniture, potted plants, souvenirs and other personal belongings are carefully depicted. No longer protected from the outside by the thin sheets of glass, the vacuum is cancelled when the large oak tree enters the room, confronting the viewer with the impact this has to both tree and home. Being both realistic and absurd, the confrontation between the tree and the home raises questions about the meaning and symbolism of the tree and the private domain, and its representational aspects towards the outside world.

Roderick Hietbrink (b. 1975, the Netherlands) is a visual artist. He received his BA in Fine Art from the Art Academy St. Joost in Breda in 1999 and his MA in Fine Art from the Piet Zwart Institute in Rotterdam in 2002. He is a current resident at the Rijksakademie van beeldende kunsten in Amsterdam. His work is shown internationally in solo and group exhibitions at Museum Boijmans van Beuningen Rotterdam, Künstlerhaus Bethanien Berlin, Artspace Visual Arts Centre in Sydney, SMART Project Space Amsterdam and Where Where Exhibition Space in Beijing. Roderick Hietbrink lives and works in Amsterdam and Rotterdam, the Netherlands.

A mountain range in fog and snow. Human absence, ancient sacred places. Traces appear: Dirt roads, antennas, transmission lines. Human faces, behind windows and rain. A city.

Miguel Hilari (1985. Aymara/German) is a documentary filmmaker. His work centers around migration, urbanization and history. It has played and was awarded at various international festivals. He lives and works in La Paz.

A group of travellers of unknown origin arrive out of nowhere into an open landscape. Over the course of a day, they explore and scan the environment with their unique handmade triangular antennae. Through their sensual decoding of information and hypnotic choreography of sign language, a necessity of care for this strange and beautiful planet emerges.

Claudia Hill is a Berlin-based cross-disciplinary artist who makes objects that create possibilities for personal encounters and community. Hill’s work developed from a career in fashion presenting her collections between New York and Japan. As her designs expanded beyond the boundaries of the industry, she made costumes for choreographer William Forsythe, The Wooster Group, and became a frequent collaborator with choreographer Meg Stuart. Her interventions range from performative designs to constructing large scale, textile based sculptures, and conceiving participatory actions for art centers such as Centre Pompidou Paris, and ZKM Center for Art and Media, Karlsruhe. Hill’s own artist film Kon’voi’ has been presented in several international film festivals. She is currently developing new work for Supernova, an artist group formed around Damaged Goods´ Sketches/Notebook (extended version) for the HAU Berlin 2018 season.