Wednesday, 13 June 2018


Giulia: Your interest in the animal world is evident since the beginning of your artistic career, but I was surprised when I noticed that in your first artwork you portrayed the human figure. What happened then? Where the human figure has gone? Can you tell me the reason of this change of topic?
Andrea: I realized I’m not interested for the moment in working with human figure. Although I don’t dismiss the possibility of working with it again. I worked with human figure for many years since I was studying fine arts and I got bored of it.
G: The animals you model have an inner strength that brings them to be really dynamic. I’m looking at your works exhibited in a white cube space and I’m comparing them with the recent experiments you did in Lumbier. There you exhibited open air, but you had full respect of the environment as you decided to remove all the works installed to prevent a contamination of the soil. In this way, after two months of residency there’s nothing left, but I guess this experience had a strong impact on your personality. Can you tell me how do you feel about this? Weren’t you sad or scared of throwing everything away?
A: For me it was a real challenge to work in the landscape because it was the first time I did that. My work has to do with the respect of nature and that’s why it would be a contradiction to leave the clay there. As I was psychologically prepared for a long time about the idea of throwing everything to the trash, at the moment I did it, it was fine for me. Of course it would have been nice to save this works but I new I couldn’t and I’m very happy with the pictures I took. I guess that one of the qualities of land art is its ephemeral life and that’s also part of its complicity and beauty!
G: The work “Landscape” you developed in Lumbier is a reference to the mountains and their shape. I see it through the pictures of the installation. “360 feathers” is another site specific work realized in Spain. All the colors you used have created an evident contrast with the surrounding landscape. Your intervention is not mimetic and it doesn’t hide itself in the nature. Can you explain the reason why you decided to work with pop colors? They seem to underline something, as if they were trying to fill an emptiness. How did they communicate with the nature they habit?
A: I wanted to do some works that could dialogue with its surrounding no matter the color I used. I think that part of the challenge was to be able to connect geometrical figures (as the ones in “Landscape”) and bright colors with thesurroundings and be able to generate an equilibrated contrast and at the same time do something that could connect physically and metaphorically to the landscape. That’s why I decided that the color should have been the protagonist and should have been able to generate a contrast, which gave at the same time a new meaning or “spirit” to the place where the work was installed. The color also, as you say, underlines a specific zone of the landscape I chose, for me it was like trying to write poetry over nature but with shapes and colors.
G: Do you think the work you did in Lumbier has something in common with the Land Art?
A: Of Course! I saw a lot of Land Art pictures to get inspired.
G: The two main figures we encounter when approaching your work are animals or abstract shapes. They are two distinct spheres that present specific features. The animals have an identity and they are all different one from the other while the abstract shapes come from the same mold and they change just in the colors. When do you feel the necessity to switch from a production to the other?
A: The process of making my animals consists on modeling a first copy and then making its mold. I can use it to reproduce a figure several times, but making every copy differently, in order to see some differences. After a while I started paying attention to the molds of the animals I was doing and I realized I needed to do something with them. That’s how I started thinking about reproducing part of this molds with clay so that these “meaningless reproduction tools” could have a new aim and could be transformed into art pieces by themselves. When I started working with them, little by little abstraction started to take place in my work and I saw that there were new and interesting possibilities. I also discovered that, in one hand, I could continue working with my “animal/nature concern” but in a less literally way, by using the negatives of the animals I modeled and also, new ideas started to came to my mind. Not only I could work with animal shape molds, but also, I could work straightly with abstraction and geometry so that a new and maybe completely different project could be done, inspired of course on this molds I had. And for this type of project I needed to work with molds: making the mold of the mold of some animal or other interesting shapes I did, then reproducing them in clay, then making the mold of the mold of the mold... and finally trying to make a difference in each piece by intervening the shape of each one in a very subtle way so that they look like they are the same, but none of themis the same as the other. So my work now doesn’t have to do only with animals and nature, but I’m discovering new and different possibilities that also can be done with ceramics but that will probably have completely different meanings. And that’s what I love about art! 
G: How’s the experience of a residency abroad? Lumbier is totally different from Tokyo. What are the advantages and the disadvantages of being isolated from the chaos? 
A: Advantages: Having extra time to work on your own. With the help of the silence and the isolation I had the opportunity to connect with myself in a deeper way so new inspiration came to me. When you are surrounded by stress, to many people, to many information, too much to be done, it’s very hard to get connected with your own art and feelings, so this was a good chance.
Disadvantages: Loneliness and cold weather really affected to my mood somehow. I felt lonely sometimes because the other artist in residence arrived a month later than me. I think my energy went slowly to a “low battery mood” and that affected a lot to the production I was making.

Giulia Gelmini, Spring 2018 curator-in-residence at Calle Mayor 54. She is contributor at: ATP diary and Made in mindmagazine. 
Andrea Rodríguez Vial, Spring 2018 artist-in-residence at Calle Mayor 54.

Friday, 8 June 2018


Last May, we had first curator-in-residence at Calle Mayor 54.
Giulia Gelmini (Italy, 1993) has a great education related with: art, curatorial studies, art market, communication and fundraising . And, although young, she also has interesting working experience. She spent three days at the house reviewing Yugo Kohrogi's portfolio, and, making questions to understand his work here. It has been a positive experience to have her at Calle Mayor 54. She gave light to several issues. We will definitely invite more curators in future.
Her working method is based on the interview. We found out some things about Yugo's working process, as:
-How he uses a phone application -similar to Photoshop- to inspire the movement, the blurry images he paints.
-He likes to paint the mouth, because it is the gate to the human interior.
-He mixes oil-painting and acrylic, or, at least one over the other.
Soon, you will be able to read here the article she wrote about his work.
If you would like to know more about Giulia Gelmini, you can read her articles in two magazines where she is currently contributor: ATP diary and Made in mindmagazine. 

Thursday, 17 May 2018


Although he lives upstairs, I almost don't see him, he is always in his studio, very committed to his work; we communicate through internet.
He is doing multi layered oil-paintings; about a dozen of canvases or so, in which he applies many coats of colour. It seems a meticulous long process. He has a curious painting technique. All I can tell you by now, it is the images are inspired by the Easter procession.
 Vicepresident Joselito follows artists work with attention and devotion; sometimes, he also tastes it.
 Yugo masters blurry effects. (On the photo, a painting in an early stage)
Sun dried oil-paintings, like the tomatoes.
 I feel he got the main idea: Spanish processions are a really scary live show:
 The Procession...or the Hell?
Enlarged to show detail 
One more layer on the right side.

Thursday, 10 May 2018


Andrea Rodriguez Vial -artist in residence at Calle Mayor 54- having a video conference with Giulia Gelmini in Italy.

As Andrea Rodriguez Vial arrived and was leaving earlier -to link her residence at Calle Mayor 54 with another one at EKWC, in the Netherlands-, we set a videoconference with Italian curator Giulia Gelmini.
Giulia is the first curator at Calle Mayor 54. The purpose of this encounters is to connect artists with curators. It seems -at least to me-, curators work with institutions and artists too. But, mostly apart, not together; like two parallel roads.
The common thread of their conversation was:
1) The artist statement coherence. Sometimes, artists don't say all it could be said about their work.  Another times, there is not a real match between the artwork and what the artist says. The purpose of sort out this topic, it is just for the artist benefit and own knowledge, and the exercise of re-thinking her/his own concepts and ideas.
2) Having a review of her/his work here, a feedback; plus an article, that later the artist could use to accompany his/her work.
Giulia's approach to artist work it is based on the interview. She made some key questions to have a better understanding and know Andrea's line of work.
Andrea's previous work
Here some notes I took from their conversation:
-Giulia suggested Andrea to research further about "anthropocentrism" (one of her recurrent themes), look for authors, to enrich her artist statement, making it more solid.
-In reference to another Andrea's subject, "extinction", she also suggested to reflect further in the role of nature, the exploitation, and how to enclose this topics in the artwork. Giulia suggested some ideas to develop further a theme on "anthropocentrism", "extinction", as representing the human being control over the animals, as maybe, a political act; or a scene of man and animal together, and so on... But Andrea disagreed, she doesn't like the idea of a narrative art, she prefers to suggest, or just present the sculpture for a freer interpretation. She summarized: "The more I know the human being, the more I love my dog".
Andrea's previous work
-Giulia asked for her technique choice, why ceramics and not other media. Andrea is very enthusiastic about ceramics. For her, clay has no limits, the whole Universe can be represented with it, she said.
Part of Andrea's production at Calle Mayor 54
-About her other geometrical works, Andrea was saying how its production relaxes her, like a mandala, the repetition, looking for shapes, patterns... 
Part of Andrea's production at Calle Mayor 54
Andrea already left Calle Mayor 54. Some weeks later Giulia send her a file with some questions. Now, she is working writing an article.
Thank you both Andrea and Giulia for sharing your work process.

Giulia Gelmini is contributor in:

Tuesday, 1 May 2018


Open call for Autumn 2018 residencies at Calle Mayor 54
Application deadline: May 31st
Residence: September 15th- December 15th 2018
Number of resident artists: 3
Call for innovative visual artists.
-Read more about:
-Apply online:

Thursday, 26 April 2018

SUMMER COURSES II: Electroacoustic sound art production by Verónica Mota

In this workshop, participants will learn how to produce their own sound works, using their own recordings (recorded during the workshop) and further processing. The mentor will focus on Musique Concrète techniques mixed with electronic sound production. This electro-acoustic workshop has Delia Derbyshire and John Cage’s works as intellectual and sonic reference points. 
We will learn how to record professional audio samplers, the world of field recordings and audio formats, including also, the more accessible ways to record on your own sound using your cellphone. After this, an introduction to Musique Concrète techniques and sound art production, plus a first sight of Ableton Live software: Audio Effects, Instruments, Recording, Audio-Editing and audio mixdowns.
At the end, all participants will create a 10 minute sound art composition by themselves using all the elements learned in this workshop, including self made audio and field recordings, as well as, audio software and sound art creative techniques.

Who's the mentor?

Verónica Mota (México, 1977), is a professional sound artist settled in Berlin. Her works encompass analogue and digital synthesis, field recordings and Musique Concrète techniques, often displaying her proficiency at playing a variety of instruments. She has produced a large body of soundtrack work for radio, film and performance, and, with Cubop & Espectra Negra, as a solo artist in her own right. ​
She is also the founder and curator behind Urban Arts Berlin, a non-profit arts organization based in Berlin, Germany. She works at bringing together excellent talents from all over the world. Her experience and hard work have found a fantastic global resonance in the field of sonic art. She has become one of the most important curators for supporting international female composers and musicians in Berlin. She does not, however, exclude male artists. ​
Urban Arts Berlin Radio has become a new of her current projects where she presents and promotes the work of sound artists she has released under the Urban Arts Berlin label. Particularly relevant for her radio show is her excellent project Synthesis with two Volumes and a total of 75 sound works by professional composers -with a strong female presence- from all over the world. Urban Arts Berlin Radio is streamed in three platforms including Radio Resonance Extra in the United Kingdom, The Pi Radio Verbund Network and Urban Arts Berlin in Germany. ​
Since 2016 she also became member of The Ready Orchestra which brings together 21 female soloists based in Berlin with a classic, electronic, electro-acoustic and experimental background.

Headed for: Artists and anyone, who without a background in music wants to enter sound art.

Software needed: Ableton Live (It can be the free trial version). Also Headphones + Laptop

Diploma: Yes

Length: 1 day / 5 hours

Date: June 16, 2018

Language: To be determined yet: English or Spanish. Book your place soon and decide the workshop language.

Price: 95 € (Ask for a patronage certificate at Calle Mayor 54 and get money back after the tax declaration in your country. In Spain is 75% back). If you sign up before May 5th, pay only 80 €.

Where: c/ Mayor, 54. 31440. Lumbier. Navarra. Spain.

Accommodation: There are a few places to stay in Lumbier: a camping, a hotel, a rural house. Also, there are two 2 rooms to rent in the house, at Calle Mayor 54.

Limited places


En el taller "Producción de arte sonoro electroacústico", impartido por Verónica Mota, los participantes aprenderán a producir sus propios trabajos sonoros. Durante el taller realizarán grabaciones que luego procesarán. Utilizarán técnicas de Musique Concrète y producción electrónica de sonido. La referencia intelectual del curso gira en torno a las figuras de Delia Derbyshire y John Cage.
Los asistentes aprenderán: a grabar samplers de una manera profesional; conocerán el mundo de grabaciones de campo y formatos de audio; explorarán modos más accesibles de grabación, como el móvil. Después de esto, habrá una introducción a la música concreta y a la producción de arte sonoro. Así como, una presentación del software Ableton Live: efectos de sonido, instrumentos, grabaciones, auto edición y audio mixdowns.
Todos los participantes crearán una composición de arte sonoro de 10 minutos durante el taller, utilizando todos los recursos aprendidos en el mismo: como self-made audio y grabaciones de campo, software de sonido y técnicas de creación de arte sonoro.

¿Quién es la profesora?

Verónica Mota (México, 1977) es una artista sonora profesional afincada en Berlín. Su obra comprende: trabajos de síntesis analógica y digital, grabaciones de campo, aplicación de técnicas de Musique Concrète, a menudo demuestra su virtuosismo tocando una variedad de instrumentos. A su vez, ha producido una gran cantidad de bandas sonoras  para radio, cine y representaciones. Es también solista en Cubob & Espectra Negra.
Por otra parte, es comisaria y fundadora de Urban Arts Berlin, una organización sin ánimo de lucro en Berlín. Su trabajo consiste en juntar talentos musicales de todo el mundo, siendo una referencia internacional del arte sonoro. Es una de las comisarias internacionales más relevantes apoyando la creación musical de mujeres. Esto, sin excluir a artistas masculinos.
Urban Arts Berlin Radio es uno de sus proyectos actuales, una plataforma donde promociona el trabajo de artistas bajo el sello has Urban Arts Berlin.
Desde el 2016 es también miembro de The Ready Orchestra, formada por 21 mujeres solistas residentes en Berlín, con difentes perfiles musicales, que van desde lo electrónico, a lo clásico, lo electroacústico o lo experimental.

A quién va dirigido: A artistas, a cualquier persona que, sin tener un perfil musical quiera iniciarse en el arte sonoro.

Software necesario: Ableton Live (Puede ser la versión de prueba). También auriculares y portátil.

Diploma: Sí.

Duración: 1 día / 5 horas

Fecha: 16 de Junio 2018

Idioma: Por determinar. Puede ser en inglés o en castellano. Reserva tu plaza pronto y decide en qué idioma será el curso.

Precio: 95 euros. (Solicita un certificado de mecenazgo a Calle Mayor 54 y consigue la devolución del 75% del importe - 71,25€ - cuando hagas la declaración de la renta). Apúntate antes del 5 de mayo y paga sólo 80 euros (Con el certificado de mecenazgo 60€ a devolver).

Dónde: c/ Mayor, 54. 31440. Lumbier. Navarra.

Alojamiento: Hay algunos lugares en los que pernoctar en Lumbier: un camping, un hotel, una o dos casas rurales. También hay dos habitaciones que se pueden alquilar en la casa.

Plazas limitadas

Preguntas/Apuntarse al curso:

Tuesday, 10 April 2018

SUMMER COURSES I: Instalación artística y nuevos formatos expositivos by Irma Marco

Un curso para la comprensión y práctica de la instalación como recurso artístico. Los asistentes aprenderán algunas técnicas que permitan contextualizar y situar el trabajo artístico o aplicarlo en el espacio expositivo.
La instalación, como género artístico, tiene su origen en las vanguardias; así como, también unas características definidas que han permitido su desarrollo durante la segunda mitad del siglo XX y a posteriori. El ready-made de Duchamp, obras de polifacéticos artistas como Joseph Beuys o Nam June Paik, pueden citarse como referentes históricos de la instalación. Pero, más allá de su realidad como género artístico, en este curso enfocaremos la instalación como una herramienta de aprendizaje, mediante la cual, los asistentes serán capaces de repensar su trabajo artístico; dándole un nuevo formato y enriqueciéndolo.

-Comprender los conceptos básicos relacionados con la práctica y la planificación de la instalación en el mundo del arte.
-Ser capaz de dirigir las inquietudes y potencialidades propias hacia nuevas metas y perspectivas.
-Aprender a realizar un buen uso de los materiales con la finalidad de situar de manera óptima la obra en un contexto expositivo, teniendo en cuenta tanto factores materiales como espaciales, temporales o económicos.
-Comprender los aspectos propios de la obra, para a partir de la reflexión sobre el concepto, la ubicación, la disposición o el material de la misma, poder reformular la manera de mostrarla, haciéndola más atractiva o más visible en el espacio.
-Plantear nuevas posibilidades de desarrollar la obra en espacios dimensionales nuevos (dos o tres dimensiones, proyecciones, etc...).

La metodología empleada será un compuesto de clase teórica, en la que nos centraremos en la exposición y debate de conceptos básicos, herramientas, técnicas y materiales, y de clase práctica, en la que se aplicará lo aprendido en el módulo teórico, orientado principalmente a la realización del trabajo de final de curso. El curso finalizará con el montaje de una exposición a partir de todos los proyectos desarrollados por cada alumno durante las sesiones de lectivas.

¿Quién es la profesora?
Irma Marco (Valencia, 1981) es licenciada en Bellas Artes, y máster de producción artística en la especialidad de Pensamiento Contemporáneo y Cultura Visual. Actualmente es artista en residencia en Fabra i Coats - Fábrica de Creación (Barcelona). 
Ha expuesto y participado en SonarPrimavera ProHybrid Matter en Arts Santa Mònica (Barcelona), La Plaza en Primavera de Matadero, Picnic Sessions en CA2M, Fundación telefónica (Madrid), Autoedit II en Centro Huarte (Navarra), Cartografías de la Creatividad en el Museo del Carmen (Valencia), con itinerancia por varios países de América Latina y en 1,2,3,... Grabando!,  entre otros. También ha coordinado debates y participado en conferencias y simposios.

A quién va dirigido: A artistas, profesores de arte, estudiantes que quieran explorar ideas para presentar su obra en el ámbito de la instalación. A cualquier persona que, sin tener un perfil artístico, quiera entrar en el mundo de la práctica creativa desde esta perspectiva.


Duración: 2 días / 14 horas. 

Fecha: 21 y 22 de Julio 2018.

Idioma: Español. (If you would like to attend, and language is an impediment for you, we could make a simultaneous translation)

Precio: 110 euros. (Solicita un certificado de mecenazgo a Calle Mayor 54 y consigue la devolución del 75% del importe: 82,50€ cuando hagas la declaración de la renta)

Dónde: c/ Mayor, 54. 31440. Lumbier. Navarra. España.

Alojamiento: Hay algunos lugares en los que pernoctar en Lumbier: un camping, un hotel, una o dos casas rurales. También hay dos habitaciones que se pueden alquilar en la casa.

Plazas limitadas

Preguntas/Apuntarse al curso:

Friday, 16 March 2018


Some unfinished oil paintings, where he is yearning to capture the intensity of nature.
Yugo is the meticulous type. I am personally fond of artists who after them, everything is as before, not like a battle was fought at the studio...Just somebody was working there. 
A shabby extra studio for dirty stuff.

Yugo Kohrogi's site:

He is having now some paintings in an exhibition in Japan organized by Mr. Takahasi, one of Japan's greater art collectors: