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 will be exploring the woodlands around Collemacchia, walking random, undefined paths in order to get myself in effect, lost. Through drawing and text I will articulate a sense of place which is unknown, and consider 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 will act 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 will be researching, thinking and writing 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 will contribute 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? Emily will be using her time in Collemacchia to shed old skin and turn her close attention to the environment. The media she uses varies from the timeless to the trashy; however what she will find to work with in Collemacchia is yet to be discovered.


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 | Artist working and living in the Nord and Pas-de-Calais region of France


<<IDEAL>> Residency in Collemacchia


An Open Call will be announced in the coming months for the three-week residency <<IDEAL>>. Applications will be open to artists based in the Nord and Pas-de-Calais region of France. The residency is organised in partnership with artconnexion, contemporary art production and mediation consultants, Lille.


This project is supported by the City of Lille and the French Institute.


Image: Google and the Google logo are registered trademarks of Google Inc., used with permission

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.




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.


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.


AUGUST / SEPTEMBER 2017 | David Mackay


David Mackay studied Art, Philosophy and Contemporary Practices. He was awarded the Royal Scottish Academy of Art & Architecture John Kinross Scholarship to study in Florence. During his time there he suffered a terrible loss. His current practice is concerned with working through his personal fragmented mythology, psychology, depression, happiness, memory, relationships with others and notion of self. A recent collaborative exhibition at Patriothall Gallery in Edinburgh titled ‘Give Me the Sun’ explored some of these themes which he now seeks to build and elaborate upon.


Image: David Mackay, 'Bemo The Red, The Comedy is Over', performance and sculpture, Collemacchia, 2017.


AUGUST 2017 | Jamie Watt


Jamie Watt draws 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 D Watt, Making aluminium ingots, 2016.


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' is using this space to realise its social responsibility as a catalyst for change, taking belief as an undertone to push our ideas forward.'


Image: The Collective Responsible For, 2017