APRIL / MAY 2018 | Dominique Cameron
Get Lost: In which ways is it possible to articulate the physical and psychological conditions of being lost, and are the stories we make a way of finding home?
My practice centres on walking. I repeatedly walk the lines drawn on maps, exploring what I find on the route; drawing, painting and writing about the encounters made with the landscape and its people. These walks form the basis for new narratives about transience, familiarity, solitude and memory. I explored the woodlands around Collemacchia, walking random, undefined paths in order to get myself in effect, lost. Through drawing and text I articulated a sense of place which is unknown, and considered what the markers, memories and visual vocabulary might be that we carry with us to project onto new landscapes.
Image: Only the wind, mixed media on paper,142 x 60 cm, 05.12.17
MAY 2018 | Annabel Howland
Prompted by the consequences of the 2008 financial crisis, I launched the research-based project, Producers-Parasites-Hosts, (2012-). The meeting points of art, science and finance are navigated by exploring cooperation/cheating, stability/instability and profit/loss. This project and related work about the 450 million-year old symbioses between plants and fungi focus on two questions: What motivated so many natural scientists to switch to investment banking in the 1980s? How does a fungus ‘decide’ which way to grow to find a plant it can ‘trade’ nutrients with? In Collemacchia walking acted as a performative approach to engage with my guiding theme of ‘switch points’ or decisions that lead to a change of direction.
Image: Given Space / Gegeven ruimte (detail, photos given by Jan Theun van Rees), cut-out photographs pinned to wall. 330 cm x 275 cm, 2015
MAY / JUNE 2018 | Dee Heddon
I researched, thought and wrote about the place of forests as sites of loss and renewal: memorials to loss and remembering, environments of devastation and restoration, harbingers of despair and hope. This research contributes to my forthcoming monograph, Performing Landscapes: Forests, which aims to explore the multiple relationships between performance and forests. What can forests and our relationships with them tell us about loss and renewal?
Dee Heddon holds the James Arnott Chair in Drama at the University of Glasgow. She has written widely about autobiography and performance, contemporary performance, and walking as an aesthetic practice (including The Walking Library). Her work on forests is an emerging research venture. Her father was a forester.
Image: Walking Library, Crossroads, Bothy Walk
JUNE 2018 | Emily Fong
Emily Fong’s practice investigates containment: the body as container and the container as body. She is curious about observing humanity in the inanimate by drawing from life. How can the language of objects be used in new ways to understand the embodiment of human existence? Is there a path to freedom through play? The media she uses varies from the timeless to the trashy. During Emily's residency in Collemacchia she worked with a carnet-de-voyage technique to make drawings that helped her to shed old skin and turn her close attention to the environment.
Image: Emily Fong,
Portrait by Sinclair Cunningham Photography, 2018
AUGUST 2018 | Martina Geccelli
Trained as an architect and sculptor I work intensely with photography, and run the independent artist-led project space RAUMX London. Using the language of the image to investigate the familiar, The Vanishing Point project will contribute to (re)search into individual and collective identity. Embracing the concept of continual change, I will research my specific surroundings, expose myself to the past and present of the village, its architecture and its nature. My methods will be recollection of the visual and archiving of the new. This residency is also an opportunity to delve into my Italian ancestry, and my story of immigration and displacement. Living away from my first language, German, I am interested in language’s specificities. Image and word, representation and word: who knows what I will hear, read and see in Collemacchia?
Image: Insomnia, Studio Hombroich, 2012
SEPTEMBER 2018 | Fabien Marques <<IDEAL>> Resident
My works stems from historical, scientific and visual research and explores territories marked by invisible stories where past moments are re-contextualized. This residence will enable me to better understand issues of migration in an Italian political context marked by the rejection of European ideas and the return to populism. How does the province of Isernia experience contemporary migratory flows today? How can the Brexit process and the question of independence be put into perspective in this territory, thousands of miles away from Edinburgh or London? And how are local communities affected? I will concentrate on notions of identity and homeland, questioning Ernst Bloch's idea of 'Heimat'; being between a sense of belonging and the freedom to leave.
The <<IDEAL>> Residency is for artists based in the Hauts de France region of France and is organised in partnership with artconnexion, contemporary art production and mediation consultants, Lille. Supported by the City of Lille and the Institut Français.
Image: Ottaedro, 2018, installation view, Salon de Montrouge (detail)
OCTOBER 2018 | Beverley Hood, Morna Young, Sarah Rose Graber and Tom Flint
“When you die, you become the subject of stories.”
What would happen if you could truly control how the world remembers you after you’re gone? Not just in a story, but in a true experience that shares with people who you were. Through live performance, Augmented Reality, Virtual Reality, and 360 filming, artists and creative technologists Beverley Hood, Tom Flint, Sarah Rose Graber, and Morna Young have teamed up to explore this idea. During their residency they will create a pilot for a VR experience that presents an immersive performance of a life digitally remembered.
Image: Morna Young, Development Session at National Theatre of Scotland