In Ill-Will Vibeke Tandberg starts out with her own art, and her own novels. Tandberg reflects in an open, sharp and playful way on her working processes, problems of interpretation, form and content in art and literature. She is particularly interested in how a work appears to its creator, before it finds its way out into the world, and for the border between meaning and non-meaning, whether she enters into dialogue with Samuel Beckett, Humpty-Dumpty, Maurice Blanchot or Susan Sontag, plays Wordfeud or tries to figure out the user’s manual to the house she lives in during a residency in Nikko in Japan.