JUNE 2017 | The Collective Responsible For
The Collective Responsible For (TCRF) is an international artists’ collective founded in Dundee, Scotland that emphasises the construction of social interactions and occurrences that often take the form of festive events.
''TCRF are using this space to realise our social responsibility as a catalyst for change, with belief as an undertone to push our ideas forward.'
Image: The Collective Responsible For, 2017
AUGUST 2017 | Jamie Watt
While in residence, Jamie continued to draw on the anti-authoritarian, darkly comedic and democratic ethos of Scottish Art to investigate cultural tribalism, power structures and the fluid nature of truth and knowledge. Inspired by the theological and social forces that forged the modern world he merges the ecclesiastical with the proletarian and the historical with the contemporary to create iconoclastic arrangements. Spanning a wide range of media his practice often focuses on the recontextualisation of historical characters or artefacts to create a new discourse and understanding surrounding contemporary cultural identity.
Image: Jamie Watt, Making aluminium ingots, 2016.
AUGUST / SEPTEMBER 2017 | David Evan Mackay
David Mackay studied Art, Philosophy and Contemporary Practices. His first encounter with Italy was as a John Kinross Scholar, awarded by the Royal Scottish Academy of Art & Architecture. While in Collemacchia, David made work in a variety of media including performance, investigating his personal fragmented mythology, psychology, depression, happiness, memory, relationships with others and notion of self. A collaborative exhibition at Patriothall Gallery in Edinburgh titled ‘Give Me the Sun’ explored some of these themes.
Image: David Evan Mackay, 'Bemo The Red, The Comedy is Over', performance and sculpture, Collemacchia, 2017.
AUGUST / SEPTEMBER 2017 | Marwan Moujaes
My objective during the residency in Collemacchia was to capture signs from local places and turn these into images. Drawing on the history of the region, the ancient and contemporary migratory context and the ‘sublime’ of the landscapes, I produced in collaboration with Maha Yammine dialogues and assemblages to enable the design of new approaches to landscapes with the inhabitants of the region.
Offered in collaboration with artconnexion, Lille and funded by the Institut Français and Ville de Lille.
Image: Marwan Moujaes and Maha Yammine, 'Primum In Illam Lapidem Mittat', installation, 3 channel video installation, full HD, 6 min. Collemacchia, 2017.
SEPTEMBER / OCTOBER 2017 | Lee Hassall
During my time in Collemacchia I walked, drew, worked - with still and moving images - and was silent. I used judiciously ‘performed’, carefully ‘attuned’ (spoken) text to layer, alter, shatter, and/or transform normative modes of relating to and representing the picturesque1, landscape or place.
1 The etymology of the word ‘picturesque’, is revealed as being after the manner of painters, from the Italian pittoresco. With the Italian derivation ‘pittoresco’ - ‘pittor’ (“painter”), ‘esco’ (“like”), we have the supposition that the picturesque has little to do with landscape itself but is more a case of the picturesque being in the painter (or artist).
Image: Lee Hassall, Reading, Collemacchia, 2017.