There is a spot between the earth and the moon, and when you play a specific sound frequency you are transported away and disappear.
When you come back you hold an unknown object in your hands. The object is somewhat familiar to known objects, but its substance and ultimate identity are unknown.
The first to travel was Saint Olga, who came back after two years holding something like a seashell; it contained a mass of unknown information advancing the exploration of space. After her many others have been leaving. The project has been going on for several decades now. A space ship has been constructed around that spot. Waiting for those who return are those that never left; they tried to go but for some reason did not make it.
Only fragments of objects reappeared, new things for us to decipher.

Rule One: One entity per ride; no teams, no couples.

Rule Two: No artificial intelligences; whatever�s out there won�t stop for a smart machine, at least not the kind we know how to build.

Rule Three: Recording instruments are a waste of space; they always come back blank.

(from Hinterlands script for the exhibition)

OK 11 has been studied as a film location. Viewing its itinerary the authors have written a script inspired by William Gibson�s novel Hinterlands. During the building of the exhibition the script is played and filmed at the gallery.

The display at OK 11 consists of elements introduced in the space either preliminary or residual to the filming.

Practically filming has been used as a method for the production of the space.  The narrative is presented as residual of the cinematic action. The mental text, experienced in the itinerary of the exhibition forms the cinematic artifact.