ENCLAVE LAND ART

Edition

2018

concept of the residency

The first Edition of Enclave Land Art, was focused in the human being and the interrelation within a rural context. Nature was represented as a heritage and bond of traditions and habits, as well as a reflexion about the sensation of belonging to a place’s, and this place to its inhabitants. Thanks to a historic research of the territory, Enclave wanted to point the focus in the density of population’s problem, proposing a symbolic artistic repopulation.
In this second edition of Enclave Land Art, located in Peyagolosa’s Natural Park, nature will have even more importance. The concept will talk about the relationship of human being with the nature, considered as a living element, which has been interpreted from all civilisations from the beginning of the times. They represented and tried to explain these phenomena, which didn’t understand, in a sacrum, mythological or scientist’s way. The key point of the residency will be nature as a symbol, and the representation that contemporary art makes of it nowadays.
There are two iconic points which characterise the natural park and enlighten the two versions of this symbolic representation made by human being: San Joan and Santa Ágata’s sanctuary and Penyagolosa’s peak. These two representative places lead to routes, legends and devotions along the centuries. Following this symbolical idea, Enclave proposes to celebrate this residency during summer solstice, on the 24th of June, the shortest night of the year and when these two kind of allegories happen at the same time thanks to pagan and religious rites.
Playing with these two elements and their iconography, the artists will make an interpretation of these signs and what all this millenary’s symbology means to them, bringing it to their own research within Contemporary Land Art’s context.

ARTISTS

ANA MENESES NARANJO

  • BIO

    Interdisciplinar artist who explores the possible intersecciones between art, nature and the self. She has exhibited in a group shows in different cities of Spain like in Valdelarte Contemporary Environmental Art Center (Huelva), Palacio de la Merced (Córdoba) or Muestra Reciclarte. She exhibited internationally in Leiden (Netherlands) in 2017 and developed a symposium/residence in Nettetal (Germany) in 2018. 
    She developed also a Performatic drawing workshop in Valdelarte (Huesca, Spain) about a possible interaction with nature to create drawings.

Sunčica Pasuljević Kandić

  • BIO

    Sunčica Pasuljević Kandić is a media artist, cultural worker and researcher who currently work at New media department at the Academy of Arts in Novi Sad, Serbia. As an artist she is interested in different ways we communicate to each other and our environnment. She is exploring this through visual semantics and psychigeography in her projects: Semantic-psychogeography and Journal of semiosis. She has exhibited across Serbia, Italy, BiH and Finland.
    As a cultural worker and researcher she is interested in our virtual environment and data. She has been working in NGO sector where she implemented and organized various projects in area of contemporary art practices, IT, art&science that dealth with this subjects. As a project manager at Institute for Flexible Cultures and Technologies – NAPON she organized projects such as Techno – Ecologies, Mapping of digital cultural heritage, Society, art & technology – Open school for creative ideas etc.

François Davin

  • BIO

    French and Australian artist, born in Paris 1945, Knighted in 2000 “Chevalier des Arts et des Lettres”, International Deputy of the French Visual Artists Union, Honorary President of Artists in Nature International Network.
    Initially, his sculptures, paintings, engravings, artist books, were presented in salons, art fairs and museums, in France and abroad. 3 galleries in Paris and New York State presented his pieces in personal and collective shows, including FIAC Paris.
    Since 1991, Francois Davin restricted his creation to site-specific art. For him, it means a succession of “acts of art” in a dialogue with the places for which he creates. He believes that these acts, sort of ceremonies, can help reveal, balance, heal (?), those places. The images that remain are merely traces, permanent or ephemeral, of these ceremonies. Often, his images ‘rediscover’; lost or potential myths: he calls that ‘Mythical Archeology’. He invites the inhabitants of the sites to share his acts of art.
    He has created more than 120 large scale site-specific pieces on the 5 continents. 

Justin Tyler Tate

  • BIO

    Justin Tyler Tate was born in Canada, grew up in the United States and now works internationally. Receiving his Bachelor of Fine Arts from NSCAD University and a Master of Fine Arts from Helsinki Academy of Fine Arts, his work combines elements of sculpture, installation, media, performance as well as social art. During the past decade as a professional artist he has exhibited more than 100 projects, in +20 countries and on 4 continents. His practice draws knowledge from various fields and marries them in order to find solutions to contemporary problems. Architecture, carpentry, botany, cooking, electronics, chemistry, new-media, and more are all merged under a singular umbrella of artistic production. Tate is occasionally a curator, author, social designer as well as a frequent workshop facilitator focusing on utilization of available materials, tools and site specificity.

Silvina Soria

  • BIO

    Silvina Soria’s search for subtlety in sculpture has led her to work using steel rods, wire and threads, each of which allows for different approaches to construction and ways of thinking about volume, space and site specificity. Referencing subterranean systems and maps, the artist builds complex structures that emerge from a nucleus and expand centrifugally as a rhizome. The physicality of her three dimensional drawings generates projections and shadows that add a further experimental dimension to the work.
    Silvina received her first degree in Sculpture, Sculpture Professorship and Arts Education from the School of Visual Arts Prilidiano Pueyrredon, Buenos Aires, Argentina, in 2003. She subsequently completed her postgraduate studies in Contemporary Sculpture in 2004.
    Since 2003, the artist has been dedicated to her studio practice of sculpture and sculptural jewellery in conjunction with her teaching career. In 2009, after participating in an artist’s residency at Cite Culture, Paris, Silvina moved to London where she lived until December 2018. She has recently moved to Valencia. 
    From 2011 until 2017 she ran ForumArts, an Arts Organisation that delivered opportunities and support to artists including two Sculpture Symposiums in England.
    Silvina was shortlisted for the Via Arts Prize and exhibited at the Brazilian Embassy (London, 2017). Silvina has  exhibited across the UK, at London venues including Collier Bristow Gallery (2017); Jealous Gallery (2016); Central Space Gallery (2015) and the National Theatre (2015) and at Oxford Brookes University (Oxford, 2015); William Bennington Gallery Sculpture Park, Coombe Trenchard (Devon, 2015).
    She has participated in numerous international Sculpture Symposiums in Argentina, Italy and Chile including XXIV Symposium, Ex Tempore Internazionale di scultura su legno, Belluno, Italy (2009), VIII Sculpture Symposium, Pieve Tesino, Trento, Italy (2009) and I Symposium of Sculpture of the New Generation of the Country. Resistencia, Argentina (2003) where she obtained the 3rd Prize.

HELGA PAVSKAN

  • BIO

    Helga has got an MA of cultural study; in my case visual anthropology (Rijeka 2015, www.ffri.uniri.hr, plus Media arts and practices attended on Apuri.hr 2014, plus Croatian language two years, long time ago). In themes like Enclave offers, 20 years ago my interest provoked my first step as technical assistant in local fine arts continuous – workshop for cultural landscape. That interest was prolonged on fifteen years long’s period – in more innovative- urban culture projects with neighborhood community, and in recycled old factory for youth club activities. I liked to be occupied with projects formulated as collective creativity process, educative too, in giving new imaginative (collage and story) perspective of older/actual socio-city views.
    I continued with free expressions activities in different regions of Croatia, explained as People’s private touristic catalogues. Then, I decided to rest a little from ‘full time inventions job’, so with taking rest in benches in five years I . For one born and stayed on specific Adriatic coast, in 1976, that is for now nice collection, still surprising me; besides newly assistance in international ethnographical project of a historian, or animating in museums or galleries there is lot experiences in ‘partisan’ voluntary team work, as part of organising volunteers & activities team, or as an (co)author of creative workshops, exhibitions, and pro-educational public happening /some strongly dedicated also to people with disability/ basically ngo Spirit www.spirit-ri.hr and www.poriluk.com- archive.

MILAGROS ARIAS

  • BIO

    Artist from the Fine Arts and Design School of the Pontifical Catholic University of Peru, where she has been taught for six consecutive years. She has also taught workshops and subjects in different institutions such as the National Superior Autonomous School of Fine Arts of Peru.
    Her sculptural work is made with natural materials that she gathers from walks, looking for communication with the inhabitants of the communities of those places, from whom she learns the traditional techniques and the symbolic relationship that they give to Nature. Predominately woven works with vegetal fibers, stones, wood, beeswax and craft paper, as well as interventions in the natural landscape. Drawing is paramount in her creative process and forms an essential part of her projects; recently she has begun to investigate new digital media, without neglecting her topics of interest: landscape and nature.
    Her research in the artistic field shows great interest in rescuing traditional artistic techniques from pre-Columbian Peruvian cultures, which is reflected both in her work and in workshops held in the Amazon, with which she seeks to engage in a technical, artistic and cultural exchange among the participants. She seeks to maintain a close relationship with urban and natural landscapes, consecuently, she has participated in collaborative projects such as the Memory Sanctuary La Hoyada with SHICRAS Architects and is part of the Interdisciplinary Research Group EMPLAZAR: Space + Art + Public. She has participated in different group exhibitions and had her first solo exhibition in 2015. She has been chosen to participate in artistic residencies in Spain and Italy, keeping in line with her artistic proposals in relation to the natural landscape. In 2018, she graduated with a Master’s Degree in Artistic Production from the Polytechnic University of Valencia, Majoring in Public Art with a focus on Contemporary Thought and Landscape and Nature.

PROJECTS

PROJECT GALLERY

ANA MENESES PROJECT

Ana Meneses Naranjo

My project is a performance with religious and pagan components, with the aim of putting together traditions and ancestral knowledge, as a syncretic action. It’s intended to be a participatory event in which we come back to ancient local practices and our own primal knowledge as humans in a contemporary manner, to re-connect with the fundamental experience of life. In order to achieve this, we will perform a pilgrimage route from the San Juan Bautista de Penyagolosa’s Sanctuary, to the Penyagolosa Peak, following a medieval tradition. Once we get there, we will build a pyramid using a solsticial rectangle based on that exact latitude, and use it to explore the effect of geometry in our bodies and within the space around us. Lastly, we will recite the “Gozos de San Juan de Penyagolosa”, traditional local poems, and have a talk to share our experiences.

MAPPING

Sunčica Pasuljević Kandić

My work at Penyagolosa will be focused on our connection to the spaces and places that surround us. It will be done in two parts.
For the public I would like to make a map out in the open. The idea is to represent the experience of the natual environment through collected thoughts, sound, written text, impessions ect. The whole idea is to make visitors more aware of the place that surrounds them, the things that we see everywhere but don‘t pay attention to anymore or guide them to explore it in a new way.
For the artist gathered I would prepare a box Kit with few thing that shaped our experience in Penyagolosa. The idea is to leave the Kit to future residents of Enclave residency in order to shape the collective experience of the place and share the individual notion of moments spent there.

PROJECT GALLERY

PROJECT GALLERY

El Arca del Agua

François Davin

The project consists in building an Ark to save the Water, like Noah built one to save God’s creation from the Deluge
It takes into account the sacredness given to Water by the Pelegrins de Les Useres in their prayer to the Sanctuary of Sant Joan de Penyagolosa.
El Arca del Agua is a visual project involving the population of Vistabella del Maestrat.
A thin, low platform, in the shape of a long canoe, The Ark, will receive the water containers offered by the inhabitants. Beautiful or modest, idle, mis-matched, useless jugs, deep plates, cups, bottles, buckets, jars, dishes, vases… These will be filled with water.
10m long overall; Platform: L: 7m, W: 80cm, H: 60cm+containers
On the day before the official opening, François Davin will prepare food and invite all the involved inhabitants to share it on-site.

G(N)ASH

Justin Tyler Tate

G(N)ASH is part land art and part installation. The installation breaks the homogeneity of the landscape to create a hybrid that is both environment and architecture, establishing a symbiotic relationship between nature and culture.
Built into the face of the landscape of Penyagolosa’s Natural Park, it affects how the environment is perceived. As viewers look upon it, the work becomes many things simultaneously: an engineered structure working with the environment; human being-made architecture to be used by animals as an artificial cave to hide from the sun and rain; a stitched wound in the land; and it also appears as a toothy grin, personifying the landscape as an entity which is then easier to empathize with. The structure utilizes the unique form of the local landscape in Penyagolosa’s Natural Park as an asset to be worked with, preserving its basic shape while also modifying it. Art/engineering, natural/artificial, conceptual/representative, as well as environment/architecture all converge through G(N)ASH.

PROJECT GALLERY

PROJECT GALLERY

Pilgrimage. From the Series Inner Territories

Silvina Soria

The possibility of working at Penyagolosa Natural Park, set me in the mood to connect with nature on a ceremonial way and at the same time to open a dialogue with the pagan, the religious and the public.
‘Pilgrimage’ From the Series Inner Territories, consist on building a stone labyrinth around a central structure- kind of temple to the sun or altar-, where people can walk through. The idea is to create an experience both aesthetic and playful that gives us the opportunity to think about our personal journeys, as a symbol of life itself and its obstacles, on how much can we decide on our own path, and how much comes from outside.
Departing from ‘Los caminos de Penyagolosa’ that enable the pilgrims to reach a place of worship and ceremony, this labyrinth will expand as a rhizome, alluding to the history that characterizes Penyagolosa and Sanctuary of San Juan, not only from the religious side but also as the search and inner strength that moves us all humans.
A labyrinth is a universal and spiritual symbol that represents the path of purification in the search for the center of oneself. In the Middle Ages it symbolized the pilgrimage on the arduous path to reach God. And the labyrinth can also be a space of ornamental purposes for recreation. That is what I intend to generate in this opportunity, to develop an eclectic and participatory intervention in which each one can give their own
emotional value.

HELGA PAVSKAN PROJECT

Helga Pavskan

I would like to contribute in colaborative process, with final product – specific narrative and photo material. The process will be compiled of interviews –not excatly documentaristic, yet -open, deep, i.e. taken in ethnographical method (anonymously or voluntarily with name). Narrative part would be diary with photos and notes, stories from interviews, framed by theory based on cultural analysis, dedicated to
context; nature -people -sacred -landscape -art- myth- purpose.
Encouriging but not interrupting interviews would along with photo & theory make concrete interesting essay, usuful for popular-scientific presentation on different media and periodical reviews.
Open interviews/ talks taken on terrain have possibility to inspire artists more. For instance – supposing that artists in Penyagolosa Natural Park could consider themselves as being on journey that will make difference in their life, more-less transformational change, such conversation could invoke that awareness. E.g. if somebody is more occupied by moment of summer solsticium; the story will start from there, or the same if somebody is more connected with sanctuaries- made by people or just spaced of nature, or dedicated to mother Earth; talks would just encourage.
Some issues; how artists feel or consider necesitty in humans, or their own, depending on narratives &visuals in understing and constructing lives/ purposes? ‘Constructing’ means creating new things and viceversa, understanding patrimonial, by reconstructing those values. Backuped in mostly phenomenal theory and experienced in direct land-art, research will give new perspective on shaping sort of old and contemporary myth, sacral within everyday artistic skills and pararel work on issue- how artists prolong those arhetypal values that they feel/understand…Special attention as one part of research is given to nature as allpervasive phenomenon.
So, I find Enclave project as one that could definitely strongly help me in my continuous research; supplying it with real people and their creative resources, and involving me personally completely. In turn to Enclave project I would give – deep research of process- recorded and analysed in written popular- scientific work/ essey form (in english and in croatian languages), as well as collage diary form. Those works will be applied for ethnographic and/or university periodicals, or linked with their pages.

PROJECT GALLERY

PROJECT GALLERY

PUERTA AL SOL

Milagros Arias

The proposal consists of building a solar observatory with the intention of returning to an ancestral rite made by different cultures of the world that maintained a close relationship with the sun and their natural environment. The sculptural installation will be made with natural materials found and collected along the way to the chosen point, which should be on top of a hill of Natural Park Peñagolosa and the orientation will be from east to west, corresponding with the cyclical movement of the sun. This location is strategic, because it has to be positioned in such a way that it aligns to the sun at sunrise and sunset, otherwise it would lose the status of a solar observatory.
The act of traveling, walking and pilgrimage are practices that are strictly involved in the project, as part of the artistic process and as an aesthetic aspect in itself. It is relevant to consider that the dates coincide with the summer solstice season and the day that I will begin construction is June 28th, the night of the full moon.

VIDEOS

Sequence of videos which recapitulate the process of creation of the projects and the day by day’s Residency Enclave Land Art Vistabella 2018.