Video HD, 01:00:00
Hyper digital collage, crossfade technique, text animation
In — U – Turn [I], Juliana Herrero traces a delicate thread between memory, reflection, and transformation. A cat drifts through a dreamlike underwater corridor inside a time capsule — a visual poem shaped by analogue-digital collage, rhythm, and floating text. The voice of the swimmer, the artist, freedom, and intention echo quietly beneath the surface on the other side of this journey, where music enters a glass box. The cat appears exactly at the corner where once only words hinted at its presence. This new loop — silent, colorful, and alive with emotional intelligence — expands Herrero’s Habitat into a multiverse of soft encounters and imagined returns: where the ethereal meets the embodied, merging the cyborg, the natural, and the artefact we all inhabit, and where meaning and process unfold between the lines.
Credits:
Camera 1: Juliana Herrero
Camera 2: Nicolás Herrero
Text Animation: David Toarniczky
Concept, Editing & Direction: Juliana Herrero
Special thanks to my friends and colleagues Mikio Saito and Carolina Boettner, and to my prof. Mark Leckey who guided my work when I was a guest student at the film class.
(2012) Exhibition „Emotionale Passagen 2012“, WUK Vienna, Projektraum
Invisible Cities – on blankets
Video installation (performed)
Site-specific screening
Variable dimensions
Collaged Film (2006) 16mm stop motion, digital edited
Sound: collage from body sounds recordings and found footage internet
With intervention live by Ivana Reyero
A site-specific video installation that unfolds across soft, suspended surfaces—blankets as both screen and signifier. The work references Invisible Cities by Italo Calvino, reimagining the act of storytelling through an ephemeral architecture of cloth, image, and projected memory.
Performed and screened in context, the installation transforms the everyday into a poetic site of projection. The blankets, at once intimate and provisional, carry moving images that blur the line between the domestic and the imagined, the visible and the remembered.
By shifting the screen away from rigidity and toward a tactile, temporal surface, Invisible Cities – on blankets becomes a gesture of soft mapping—an invitation to inhabit spaces that are fleeting, folded, and in transit.
