In 2014, artist Olafur Eliasson and filmmaker Claire Denis connected for the first time to explore and discuss their common fascination with phenomena that have not yet been fully explained by science – such as black holes – and their shared interest in abstraction. This short film by Denis, contemplating tests for Eliasson's work ‘Contact’, is one outcome of that conversation which would eventually lead to their collaboration on Denis's film High Life (2018), in which Eliasson designed the light installations at the films end.

Monte and his daughter are the last survivors of a damned and dangerous mission to deep space. The crew—death-row inmates led by a doctor with sinister motives—has vanished. As the mystery of what happened onboard the ship is unraveled, father and daughter must rely on each other to survive as they hurtle toward the oblivion of a black hole.

Staatsoper Berlin’s new production of Rameau’s tragédie lyrique, directed by Alletta Collins; featuring costumes, sets and lighting designed by Ólafur Eliasson; and musical direction by Simon Rattle, who makes his debut with the Freiburg Baroque Orchestra.

Staatsoper Berlin’s new production of Rameau’s tragédie lyrique, directed by Alletta Collins; featuring costumes, sets and lighting designed by Ólafur Eliasson; and musical direction by Simon Rattle, who makes his debut with the Freiburg Baroque Orchestra.

Staatsoper Berlin’s new production of Rameau’s tragédie lyrique, directed by Alletta Collins; featuring costumes, sets and lighting designed by Ólafur Eliasson; and musical direction by Simon Rattle, who makes his debut with the Freiburg Baroque Orchestra.

The short film composition, created together with UK-based music producer Koreless, combined over 150 field recordings of local animals who depend on the health of the Great Salt Lake, including hundreds of species of birds, amphibians, insects, and mammals. Drawn from existing archives as well as new recordings made for the project, the nature sounds have been mixed and translated into a musical composition that differs greatly from how the sounds would be encountered in the wild. The non-human voices are amplified and arranged into rhythmic beats to appeal to the human audience, so that they might perceive the lake in a new light and recognize its vulnerability. The film was projected as part of an art installation in downtown Salt Lake City, Utah, in March and April, 2026.

The short film composition, created together with UK-based music producer Koreless, combined over 150 field recordings of local animals who depend on the health of the Great Salt Lake, including hundreds of species of birds, amphibians, insects, and mammals. Drawn from existing archives as well as new recordings made for the project, the nature sounds have been mixed and translated into a musical composition that differs greatly from how the sounds would be encountered in the wild. The non-human voices are amplified and arranged into rhythmic beats to appeal to the human audience, so that they might perceive the lake in a new light and recognize its vulnerability. The film was projected as part of an art installation in downtown Salt Lake City, Utah, in March and April, 2026.