concept of the residency

Enclave wants to recall the transitory character of the territory during the Reconquista, that was used overall as a common path for transhumance and migration. This allowed the area to preserve its archaeological remains in forms of paths, tracks and lanes which anyone can finds in the territory of Maestrat. We can name the paths of pilgrimage of Saint John, the lane of the Star or the Roman Bridge. This territory, due to the low density of population that have habitated the area along the centuries, has been favoured in the conservation of fauna and flora as well as its archaeological rests in detriment of human development. This is a problem which has been extended in neighbour communities, but in the area of Vistabella has been a constant against which the Vistabella’s inhabitants have fought from the middle of XX Century, as a consequence of ‘La Plana’s’ industrialisation.
Thanks to the intervention of some institutions and people, the area remains alive. Enclave wants to contribute artistically in a symbolic repopulation which brings people to the territory and increase the value of the natural and cultural existent environment. The artistic residency in Vistabella turns around the concept of coexistence between people from all over the world and the local inhabitants. The result is a legacy which represents the materialisation of this concept of communion between individuals and the start of an artistic relationship with the territory.



  • BIO

    Italian artist based in Catanzaro. He has studied painting and sculpture in Catanzaro’s Fine Arts Academy. He has participated in several exhibitions and international awards and obtained prestigious results like the 1st price in XXIII edition of “Premio Internazionale di Scultura Edgardo Mannucci”, as well as in “Prix CartoonSEA”. In 2012 was within the finalists of the Artists Residency, with a grant given by Dena Foundation for Contemporary Art in collaboration with Museo Marca of Catanzaro. His work turns around painting, sculpture and installation, without limits of medium or definition of styles, with certain pretention to the identity and contemporary precariousness.


  • BIO

    Carmela Cosco (Catanzaro, 1989) in 2013 obtained a Degree in Painting at the Academy of Fine Arts of Catanzaro, then attends the second level in the same Academy of Sculpture. Multi-faceted and multi-material, her work ranges between various ways of expression with no technical issues or limitations. Her main research is based on sculpture and installation, but does not neglect the interest in painting and drawing. Often her works have a connotation with the space as a dialogue with the place where they are, adopting the site- specific way as a solution. Her work is always regards social issues, focused particularly with extreme criticism about all consumerist dynamics and the direct consequences on the individual. In her artistic research, her landscape is her mind, able to seize the thousand grades of a communication addressed to falsehood, where she describes the story of a life lived in search of truth. She plays with wisdom and intimacy, as well as with the values of a borderline society, trying to measure the small tracks that still can help us to be placed in the right way.


  • BIO

    Italian artist based in Catanzaro.
    He has studied painting and sculpture in Catanzaro’s Fine Arts Academy. He has participated in several exhibitions and international awards and obtained prestigious results like the 1st price in XXIII edition of “Premio Internazionale di Scultura Edgardo Mannucci”, as well as in “Prix CartoonSEA”. In 2012 was within the finalists of the Artists Residency, with a grant given by Dena Foundation for Contemporary Art in collaboration with Museo
    Marca of Catanzaro. His work turns around painting, sculpture and installation, without limits of medium or definition of styles, with certain pretention to the identity and contemporary precariousness.


  • BIO

    Rosie Leventon makes sculptural installations, for indoors and environmental art in the landscape. She is always experimenting with new materials and using them in innovative ways, such as Celotex Insulation, central heating pipes, recycled mobile phones and paperbacks, as well as more durable stone, water and earth.
    Some of Leventon’s installations comprise radical interventions into the interior architecture of a building. She has constructed false floors that float on water and which shift under foot. Her outdoor installations sometimes highly ambitious in scale often have a functional, regional element, providing water for animals, for example, or promoting biodiversity and regeneration. Her work is grounded in a sensitive concern for the natural environment and how we use it. Leventon sees her work as interweaving a kind of personal archaeology with the archaeology of contemporary society and the physical archaeology of places.
    She works internationally including Poland, Russia, Italy Czech Republic, Switzerland, USA, Spain, Germany, France, Japan and Denmark.


  • BIO

    Hui-Ying Tsai is a Taiwanese artist based in New York. She comes from a family which values Taiwanese heritage with strong aesthetic practice in art and music. Her mother played an important rule of developing her love of literature. Her technical skills started from clay hand building, and later still life drawing, though the early conceptual and aesthetic development is self taught. Her academic fine arts training started from National Kaohsiung Normal University. When she became a licensed High School Art teacher in Taiwan, she wanted to push her art internationally. At the age of 24 she came to the US pursuing her MFA degree in San Francisco Art Institute majoring in New Genres. She has been exhibiting internationally in Taiwan, USA, Korea, and Ireland over a decade. A series of digital work was collected by National Taiwan Museum of Fine Arts in 2010. The same year she also collaborated with the Office of Economic and Workforce Development and the San Francisco Arts Commission developed community based project.


  • BIO

    Emmanuele Panzarini was born in Padua in 1984.
    His research encompasses photography, sculpture, digital art and installation, with special attention to the site-specific interventions. He graduated of the three-year and a specialist DAMS in Padua, he spent a year as an Erasmus student in Bilbao: these experiences have influenced his beginnings as a photographer. The early works are characterized by the use of architecture as a language to interpret the space around us, using different techniques and devices based on the specific project. He later developed a collection of photographic works that increasingly found an installation as a strong medium of expression. Using Google Maps and Google Street View as tools of investigation, he analyzed the many changes of the territory made by humans to meet their own needs. In the last period, the installation has become his predominant art field. To stimulate the audience, making the subject involved, is one of the requirements of his research, especially for environmental installations of important dimensions.
    He has exhibited in several cities, in Italy and abroad, including: Ancona, Annecy (FR), Belfast (UK), Bologna, Como, Genoa, Hamburg (DE), Mantua, Marseille (FR), Milan, Padua, Rome, Thessaloniki (GR), Trieste, Verona and Vicenza.


  • BIO

    Seila Fernández Arconada is a multidisciplinary artist-researcher based in Bristol (UK). She has an BA-MA Fine Art, distinction 2009) from the University of the Basque Country and an MA Fine Art from UWE, Bristol (distinction, 2012).
    She has co-directed The Land of the Summer People, a multidisciplinary collaborative project with the Water Engineering Department, Bristol University, funded by EPSRC. She has been working on Some:When, celebrating cohesion through the watery heritage of the Somerset Levels and Moors, a collaborative-socially engaged project with the artist Jethro Brice. Both projects focus on climate change looking at flooding in Somerset and receive funding from the Somerset Community Foundation. In addition, she has been invited to work in the field of art and post-conflict communities, a current socially engaged art project in the Donetsk Oblast (Ukraine).
    She has delivered numerous cross-disciplinary workshops and interventions, recent examples include: AGU International Conference on Resilience in place?: Just do it?! Governing for Resilience in Vulnerable Places, Groningen, and On Earth, Plymouth.
    Seila also co-directs the collective Functional Collaborative Futures and Mixing Fields, an interdisciplinary collaborative platform with art and non-art specialists and has been an artist selected at Transnational Dialogues, an International cross-media platform. She has received grants from European Alternatives and the Artists’ International Fund of the British Council and Arts Council England for 2014.
    She has exhibited internationally, recently exhibiting at Imagined Landscapes at the Royal West of England Academy (Bristol, UK) and currently at the B-SIDE Festival (Dorset, UK). She is currently working in the project “Mūsu? Pasaules koks” a socially engaged art project in Aizpute (Latvia).




Leonardo Cannistrà

His work has been made by thick thread and want to discuss about a social issue that involve contemporary precariousness and identity. A geometric spider’s web symbolises human being’s hand depicted suspended among the trees which are its support. Leonardo tries to represent the symbiosis between human being and nature with the possibility of coexist without invade or degenerate it.


Carmela Cosco

Over the centuries we have suffered an increased/decreased development regarding consumption and social values. The human being in his contemporaneity has “collided” with their own moral responsibilities, forgetting that civil ethics are part of every single person who, intentionally or unintentionally, is related to each other and to the earth. Modern life has brought a lot of apparent wellbeing but in reality, there is crushing us slowly right in the absence of critical consciousness that is no longer part of our daily lives. Based on the thought of the sociologist and theorist of emotional intelligence Edgar Morin, my research is strongly linked to the nature of work, the man and his behaviour as well as its shortcomings. My project idea was to play a vascular system that being branched on a wall, and these blood vessels were only elements found in nature. We sap of the earth, our blood flows the essence of this world, and what we put in place.




Andrea Abbatangelo

Andrea’s project wants to hybridise the artistic practice with other experiences, mainly derivate by the observation of the landscape and small landscapist architecture. From these perspectives, his research was focused in the analysis of the surrounding landscape in order to detects the primary groups (woods, forestall environments etc…) uncontaminated by human activity, the residues (all the territorial portions not used by the human being, because they have been abandoned or have a difficult access etc…) and the secondary landscapes (which represent the geographical correspondence to the no-places of Marc Augé urban and suburban). The finality of the project consists in creating an environmental installation destined to determinate a small reserve, a Democratic Refugee, a place for the species which don’t find space in other places: some of them will be herbaceous (pioneer species) with a spontaneous origin which will open path in this new space of diversity.
The environmental sculpture consists in eight blocs of terracotta (which were produced working the autochthon earth, cooked in situ, and these contribute to obtain a gradual landscape of the territory in its new locus) which form a ring of two meters of diameter installed in the local land.


Rosie Leventon

Currently she is much interested in such structures as Wind Towers, Dovecots and Pottery kilns – the sort of buildings not much in evidence in our modern world.
Enclave for her means something enclosed and separate from normal streets and houses. It is quite small, a shelter, perhaps private and inaccessible, a refuge and a place of safety for some minority group.
An enclave seems slightly exotic, standing apart from normal everyday society.
Her ideas for an artwork could use material from the well known Ceramics Industry of the region of Valencia and Vistabella. The red clay products such as bricks and roof ceramic tiles are much in evidence and would be ideal when used with mortar for building the walls, using traditional materials but in a new way. It would be a circular tower- like piece with an open brickwork design in its highest part to allow the circulation of air, and its material and building methods should connect it to the locality. There is a wood structure or armature in the inside, and a glimpse of the interior may be possible through a narrow window.




Hui-Ying Tsai

Habitation is a nomadic performative site-specific installation project that involves the study of local site. I travel around the world to built a nesting structure around my body using local materials in public. Each piece will response to local natural environment, architecture, history, and urban development.
I have been an active interdisciplinary artist for over 10 years. rough my career, my focus and media went through several stages: from self-exploration (inward) to living condition (outward); and from representative to presence. Since early 2016, I started a new performance piece as part of my everyday life. The collective theme in my work has been about border. No matter it is the border of a tangible space, spiritual realm, social or political territory, the boundary is constantly influx and always being recreated and altered. Territory is such a fragile concept that is created along with the fundamental survival need. Human even desire to claim the ownership of nature, and create all kinds of invisible borders to limit others and self. I want to tell natural/cultural stories about the communities via my works.


Emmanuele Panzarini

The Land Art intervention, represents a “metaphysical enclave”. The visitor is invited to interact with the piece constituted by 4 wooden elements which symbolise the 4 corners of an imaginary cube. In geometry the cube represents a closed figure. In this case, the 4 sculptures, permit to draw up a space of a squared plant without barriers, consenting in this way the visitor to pass across in 4 different ways.
Wooden Cube dialogue with the meaning of Enclave and give the viewer the possibility to reflect about the differences between close and open space, in and out, ourselves and the others. These conflicts are now more than ever contemporary, overall in front of several strong impacting issues such are economical crisis, religious conflicts and the important phenomena of immigration.




Seila Fernández

‘here-NO-W-here’ is a project inspired in the transitory link between human being, water and the notion of place. She has worked within the limits between visible and invisible with the local population; the process itself and the final result has been presented in two places, one invisible part (buried in a close place) and a visible part placed in the Font de Dalt, because is one of the few places with current water which currently emanates from the interior of the mountain. This sculptural result contains histories of the present in one eco-system that will be altered along the time.


Sequence of videos which recapitulate the process of creation of the projects and the day by day’s Residency Enclave Land Art Vistabella 2016.