Post on 19-Mar-2016
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. Visits. M. A. Carretero.
Last April was frantic about
our visits to various players
in the world glazier.
We started the month with
our visit to Malta to meet
the four glass factories in
the country: Mdina Glass,
Glass Valletta, Gozo Phoe-
nician Glass and Glass.
The first three are located in
the complex Ta'Qali crafts-
man on the island of Malta,
and the fourth on the island
of Gozo.
From what I saw in their
work, we devoted much
more to produce for the
tourism sector to contribute
their works to strengthen
the arts sector.
It may be that the effects
of the crisis largely limited its
production of works of art
and have to adhere to the
production of parts at low
cost for the customer.
We could also meet in Mal-
ta to Paco and Chris, arti-
sans performing their pro-
duction under the name
Craft Carakulis.
They have recently arrived
Spanish and based in Va-
lletta.
Cris is the one that produ-
ces works of jewelry
including glass in them and
Paco is dedicated, in addi-
tion to working with Cris, to
make sculptures in wood.
On 11, 18 and 25 have at-
tended the lecture of MAVA
"Glass in ... Science, Office
and Art" with assistance from
Alicia Durán, Mario Sergio
Ramos and Yolanda Taba-
nera.
On day 28 we visited the ex-
hibition of the works of An-
gela Teunissen at the Tech
Museum of La Granja
(Segovia), then we have
continued to Segovia to see
the XXXII Crafts Fair, where
we could chat with our
friends Natalia Benchoam,
Rosa Mendez, Carlos Pinilla,
Reynald Blasco and Miguel
Angel Zamora, Mariana
Grande, Aura Redondo and
Susana Aparicio.
For us it is a true pleasure to
meet new artistesanos using
glass as the main element
for the creation of his artistic
works and also be en-
contrárnoslos in other events
where they can participate
and share and discuss their
new experiences since the
last time we had saw.
Whenever we end on the
issue of lack of unity that is
felt between the various
components of Spanish
glassmaker world excepting
our Catalan friends.
And always we conclude
that the origin of this lack of
unity is fundamental ele-
ments of lack of time and
lack of confidence in the
need to respect the "other"
to the personal work.
It is also a factor that discou-
rages enhance binding ne-
gative experiences that
have lived in similar previous
initiatives.
We always offer the same
arguments:
As for time commitment
we offer our coopera-
tion through AVANCE
for not having to spend
any time in the neces-
sary bureaucratic tasks
that arise in any type of
association.
As for the lack of confi-
dence in a fair compe-
tition and the possibility
of an execrable piracy,
we question the con-
clusion that if the "other"
has enough technique
to copy what you need
to do if you can make
your own work?
The issue of negative
past experiences in simi-
lar projects and has a
worse solution must be
based on mutual trust,
wishes to take advanta-
ge of this type of pro-
ject and the necessary
control measures for
these negative past ex-
periences not longer
occur.
Since our Association we re-
main fully confident that the
union in these difficult times
it is absolutely necessary and
continue to show our willing-
ness to collaborate with the
Spanish glassmaker world in
accordance with the purpo-
ses stated in AVANCE.
Nuestra sede:Nuestra sede:
Castillo Grande deCastillo Grande de
S.J. de ValderasS.J. de Valderas
Avda. Los Castillos, s/nAvda. Los Castillos, s/n
28925 ALCORCÓN.28925 ALCORCÓN.
(MADRID)(MADRID)
info@amigosmava.orginfo@amigosmava.org
Monthly Newsletter
Newsletters
Lucio Bubacco
Page 2
C O N T E N T S :
Part of the month 3
Established artists 4
Young artists 4
The ERE in CNV 5
¡Queen Sofia in Lafiore 6
Research line 7
Activities in Museums 8
Our trip to Malta 11
Fragility against crises 12
Activities on the MAVA 13
Glass and radioactivity 14
Technical Glass 15
News 16
Culture 2012 16
Glass houses 17
Corallo house in Guatemala 17
The glass museum 18
Staiend glass in Guadalupe 19
Glass recycling 20
Cultural tours 21
Culture 2012 Programme 21
Rosa Mendez in Slovenia 22
Enrique de Lucas award 23
Exposure in Guatemala 24
Other trends 25
Catalorg in L’Olleria 26
Glass workshop in Murcia 27
Pablo Pizarro exposure 28
Design in glass 29
Vitrium in Alcorcon 30
How does 31
”Touch the oracle” 32
Angela Teunissen 33
Exposure in Mexico 34
Work the Norberto Chutrau 35
Glass of sea 36
Trockel in the Queen Sofia 37
Directorate 38
Intellectual Proper-
ty Law
TITLE VI. CINEMATO-
GRAPHIC AND OTHER
AUDIOVISUAL WORKS.
They are creations ex-
pressed by associated
images, with or without
sound, which is inten-
ded to be shown by
means of projection
apparatus or any other
means of public com-
munication of image
and sound, regardless
of the nature of the
material media such
works.
The authors of an au-
diovisual work:
The director-
producer.
The authors of the
plot, adaptation
and the screen-
play or dialogue.
The authors of mu-
sical compositions,
with or without
words, specially
created for this
work.
It will always be neces-
sary permission of the
authors for exploitation,
by making available to
the public of copies in
whatever mode or for-
mat for use in the
home, or through pu-
blic communication
through broadcasting.
The authors may have
its contribution in isola-
tion, if not prejudice the
normal exploitation of
the audiovisual work.
When authors sign con-
tracts with a producer
for the production the-
reof, shall be presu-
med, unless otherwise
agreed in the contract
and secure the inaliena-
ble right to equitable re-
muneration, to have
transferred his rental
right.
The author who has
transferred or assigned
to a producer his rental
right concerning a pho-
nogram or an original or
a copy of an audiovisual
recording shall retain the
inalienable right to recei-
ve equitable remunera-
tion for the rental there-
of.
Such compensation shall
be payable to those put
into effect the opera-
tions of rental to the pu-
blic in their capacity as
heirs of the owners of the
corresponding right to
authorize such rental.
U R G E N T N E W SU R G E N T N E W SU R G E N T N E W S
Last minute.
Like a great tide of glass, that's the best way we can describe what you
did the French artist Baptiste Aerial Debombourg in creating a facility in
Brauweiler Abber, Benedict monastery near Cologne, Germany.
While the glass touches the ground, Debombourg creates a layered ef-
fect of ocean tides that are covering the floor, giving a magnificent result.
The work was completed on 14 April this year and it took over 420 hours to
complete.
SPECIAL INTEREST:
Part of the month
The ERE in CNV
Queen Sofia in Lafiore
Our trip to Malta
Activities on the MAVA
News
Our activities
Glass recycling
How does
Important issue: the Intellectual Property Law (XV) M.A.C.(XV) M.A.C.(XV) M.A.C.
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Part of de month. Theodor G. Seller.
hometown (1961-1964), where he
teaches young people the art of
glass workers.
In fact, he was employed for some
years in the glass factory Zwiessel,
until in 1975 it stop working to esta-
blish independently.
Shortly after opening his own studio
and started his career with a first
exhibition in Coburg (1977).
In 1979 will be selected to join the
international traveling exhibition
New Glass: A Worldwide Survey, or-
ganized by Cornign Museum of
Glass.
During the decades of 70 and 80
complete their knowledge on tech-
niques of glass in Murano, Italy, and
in various American universities
where he was also invited to hold
exhibitions and educational works-
hops.
Professor at the Institut Für Werkstoff-
wissenschaften (until 1990), Universi-
ty of Erlangen and Frauenau also
participates in various exhibitions of
relevance as organized in 1983 in
London, under the title of Germann
Glass Today.
The International Exhibition of Kana-
zawa in his editions of 1988 and
1990, and several calls for the sam-
ple and Liege Classic Contempora-
ry Sculpture in Glass.
He knows the work with glass, with
the same ease using different tech-
niques and processes almost al-
ways blowing hot air, hand-
modeled and candilón.
Transparent masses with or without
color that shape human faces and
references, sometimes close to abs-
traction.
The inclusion of other materials such
as fabrics, skin, bone, etc.., Often in
his works.
His work is in the best museums in
the world, from Corning to the
Kunstmuseum Dusseldorf, from the
Ebeltoft Glasmuseum the Musee
des Arts Decoratifs in Paris, from the
National Museum of Ukraine to
Wagga-Wagga City of Australia.
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Erwin Eisch and Theodor Sellner
and are the two leading represen-
tatives of New Glass in Germany.
As Eisch, Sellner is from a popula-
tion-honored glass: Zwiessel in Lo-
wer Bavaria.
His first contact with the glass is
blown into the state school in his
Page 4
Established artists. Lucio Bubacco. Your web
Young artists. Emilie Haman.
Emilie Haman was the winner of
the contest Emerge 2012.
He was born in the French city of
Vannes-le-Châtel.
In his opinion "The art glass is beco-
ming more feminine and my work I
deal a lot of femininity.
I asked no questions when I deci-
ded to go.
Without having felt the effects, I
realize, however, in terms of con-
temporary art galleries or large
schools, as the Fine Arts, the men
are still well represented.
Men rely on men. "
In this contest Bulselle Co. our
friends Esther Luesma and Xavi Ve-
ga have been awarded the Good
Design Award for his work "Autumn
leaves"
Bubacco, born in Murano in 1957,
began working with glass as a
child, making small animals.
At fifteen he received his artisan's
license and began marketing fla-
meworked Venetian memories.
His fascination with anatomy, equi-
ne and human, we drew slowly
push beyond perceived technical
limits of his craft.
His large free standing sculpture,
worked hot and annealed during
the process, is unique in Murano
glass.
His pieces challenge our notion of
the glass, mainly emphasizing the
decorative and whimsical, the for-
mation and plasticity, rather than a
detailed elaboration or narrative
content presented as a mini-
installation.
In 1980 he began studying anato-
mical drawing with the Venetian
artist Alessandro Rossi.
His style takes a new dimension: the
movement of the figure becomes
the central theme of his work.
His masterpieces are made in Mu-
rano glass, also called "soft glass"
because of its high content of so-
da, which is famous for its charac-
teristic brightness and ideal for the
process of "lume".
Not only does the red rod blow.
Sets before our eyes the little vices,
the essence of greed that have
become small cockroaches, small
bugs that hide and feed on the
crumbs that fall from the big table,
the table of the Marquis de Sade,
Borgia or Madame Pompadour
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The ERE in Centro Nacional del Vidrio.
The National Glass Centre
(NSC) approved during the
special meeting held betwe-
en the Board and members of
the Board, the Ministry of Pu-
blic Works and National Heri-
tage's request for an ICO €
300,000, with another packa-
ge, "which would solve the
employment regulation file in
one or two weeks, "as noted
by the director of CNV, Aurea
Juárez.
Measures designed to address
the drop in sales has been the
center, which approved an
ERE in the month of January,
Juarez said "the splendid work
of National Heritage", who for-
malized a contract with the
SEC for the restoration and
maintenance of the decora-
tion of the Royal Palaces of
the country.
Also, the director added that
the measures agreed shall be
authorized the conversion of
CNV in Society Limited and a
possible agreement with the
Junta de Castilla y Leon to fi-
nance international exhibi-
tions to bring products Sego-
via center around the world.
Although the measure is not
final with the regional
government, as Juarez said,
"are being studied from the
Board other additional grants."
The National Glass Centre an-
nounced earlier this week the
possibility of extending for two
months and the ERE as a pre-
ventive measure that has un-
dergone since early this year
by the withdrawal of subsidy
of € 300,000 names of the Bo-
ard for this year.
Juarez said the decision,
which affects 54 of the 70 wor-
kers, was taken as a precau-
tion and to prevent the May 1,
if they do not support, the
center can not afford.
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Page 6
Queen Sofia in Lafiore.
Her Majesty, Queen Sofia, held last
April 4 private visit with President of
the Balearic Government, Jose Ra-
mon Bauza, the Lafiore glass facto-
ry, located in the Mallorcan town
of s'Esgleieta, on the road Vallde-
mossa.
Sources of the Government to Eu-
ropa Press that the royal family had
moved to the Balearic Executive
hope that this visit was strictly priva-
te, so no notice has been given to
the media, except for regional te-
levision, IB3, yes it has been sprea-
ding the images.
It so happens that this is the first visit
by Queen Sofia, accompanied by
officials of the Balearic Islands after
his son, Inaki Urdangarin, declared
on 25 and 26 February as a defen-
dant in the Courts of Palma, in un-
der Case investigating alleged irre-
gularities in the Nóos Institute.
Those sources have explained that
the Queen's visit to the company,
has produced glass after Bauza to
give away an object Lafiore Reyes,
who liked to Sofia and who came
to place it on the Christmas table
La Zarzuela.
So after receiving this gift, the Que-
en went to the Balearic president
he would like it with him to visit the
company Mallorca as it was inte-
rested in learning the art factory
and the glass.
Thus, as reported by the Balearic
Executive in a statement during his
visit, His Majesty has shown "interest"
in the traditional technique and ar-
tistic glass Majorcan Majorcan
craftsmen employed by the com-
pany.
The owner of this family business, Mi-
quel Tortella, has guided the Queen
Bauza and the facilities of the fac-
tory and have been enjoying a de-
monstration of artistic glass making
"the traditional method," faithful to
the work systems used "for over 2000
years."
Thus, Sofia and the President of the
Government have been informed
about the inclusion for the first time
in Spain the melting furnace of the
type 'day tank', purchased by the
company, which has allowed "an
innovation in glass melting and ma-
lleability back. "
Also, following the demonstration,
have accessed the inside of the
tent of exposure of the parts and
have known the new designs and
colors characteristic of the glass
company, achieved with mineral
pigments.
During the tour, there have been
recent parts of the collections that
have been presented at the trade
fairs in Madrid and Frankfurt in
which the company Mallorca.
The Lafiore company visit ended
with a photograph of Queen Sofia
with all the staff of the factory and
shop Lafiore.
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Line of research: Inclusions (III).
Estefanía Sanz Lobo.
2. Another difficulty related to both
physical and chemical characteris-
tics of glass as the artistic process
of melting the glass temperature
needed to reach full merger, which
we can place at 815 ° C.
Some metallic materials melt at lo-
wer temperature, so that their be-
havior by including them in the vi-
treous mass may be unexpected.
Other materials of organic nature
and disappear completely calci-
ned or leave just a trace of ash.
3. Finally, and also due to the mel-
ting technique adopted, with un-
controlled gas bubbles produced
from the combustion of organic
materials or the presence of oxides
of metals.
Also appear uncontrolled air bub-
bles, if the material is thick or con-
sists of small fragments that trap air
(eg, sand).
These bubbles are trapped betwe-
en two sheets of glass to melt
them.
Types of inclusions encountered.
The classify into two groups: orga-
nic and inorganic.
Among the first are included those
with an animal or plant origin, al-
beit distant: bones, feathers, wood
chips, fabrics, paper …
Among the latter have been parti-
cularly interesting metal, although
it has been experimented with ce-
ramics and glass fibers, sand, etc.
III.2.4.3. Organic inclusions.
The main problem is that these in-
clusions carry combustion: some
substances give off gases when
burned, which are trapped within
the glass piece.
These gases tend to give a black
tone, which comes to fully opacify
the glass.
At other times, the subject expe-
rienced is consumed leaving no
trace, just a fingerprint or some as-
hes.
These two tests (Fig. 1 and Fig 2)
have been made with burlap.
In Figure 1, was impregnated un-
derlay ceramic enamel blue dissol-
ved in water and, after drying, was
placed between two glass sheets.
2 is simply burlap.
In Fig 1 shows how the combustion
gases have created a large bub-
ble in the center of the workpiece,
which has been marked lines co-
rresponding to the weft of the fa-
bric.
In Figure 2, which is placed so that
part of the fabric was left out of
the glass, the gases to escape, and
there was a completely opaque
black area surrounded ash showing
traces of the fabric.
The sample in Figure 3 is a splinter of
wood, as shown in the picture, just
leaves a small footprint and some
ash.
Combustion gases have been eva-
cuated perhaps because the trap-
ped bubble is transparent.
In Figure 4 we see a test paper,
which is also seen a slight trace of
ash.
As in the previous case, nor has
trapped black smoke.
The test of Figure 5 contains human
hair enclosed in sandwich between
two sheets of glass.
Hair not only leaves an opaque
black, but also has a rough texture
feature.
Around burnt organic matter there
is a large gas bubble transparent.
For the test of Figure 6 we used a
goose, the calcined leaves a fine
and delicate strokes around a cen-
tral black opaque.
As in the previous case, there is also
a bubble of gas around the mate-
rial calcined.
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Activities in Museums I.
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Activities in Museums II.
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Activities in Museums III.
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Our trip to Malta.
Last April we were in Malta visiting,
among other wonders, the glass-
works that exist there.
On the island of Malta firms visited
Mdina Glass, Glass and Phoenician
Glass Valletta.
On the island of Gozo Gozo visited
the factory of Glass.
The three factories on the island of
Malta are located in complex craft
workshops located in a former air-
field hangars Ta'Qali, near the city
of Mdina.
This airfield was used in World War II
as Allied planes shuttle and the ba-
se of the British air outside.
Gozo factory is also located in a
complex of craft workshops.
All of them consist of a workshop
for the work of handling the glass
and that visitors can observe the
transformation of the glass and a
store to sell products that are ma-
nufactured there.
The firm Mdina Glass, above all,
has spread throughout the island
different outlets for their produc-
tion.
A great idea that makes it easier
for the tourist who will not see the
factory can admire and buy their
products in other stores of the pla-
ces you visit.
They all use the technique of glass
blowing, either the air well in mold,
and Mdina Glass saw one of the
teachers using the technique of
torch or candilón.
What I see is that we have good fa-
cilities to perform their jobs.
We saw, however many parts that
could be applied within the mea-
ning of art glass, since most are ma-
de by applying the same standards
of design and industry standards,
even from the beginning to the end
the conception of the piece is per-
formed manually by a glazier.
In Mdina Glass saw some of his best
pieces with a clear influence of Pi-
casso's work.
In Valletta Glas was very curious to
see the varied collection of repro-
ductions on glass and electric gui-
tars of various sizes.
In Phoenician Glass we thought we
saw an increased interest in perfor-
ming art works such as the example
to illustrate this article.
We also saw the presence of the
economic crisis in the tents of these
factories, as the price cuts announ-
ced in coming up to 50% of its va-
lue.
It is very evident to visitors look
around the parts and lower cost,
however, higher quality parts with a
higher price are located in remote
areas and a number of visitors al-
most nonexistent.
View images
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Take home a glass like the princesses
Elena and Cristina, best serve liquor in
a dish worthy of an ambassador or de-
corate your home with a table as the
centers that received the Zarzuela Pa-
lace gift by the City the Royal Site of
San Ildefonso to mark the link with the
Prince of Asturias Letizia.
Receptions your guests will not be the
same, have a sovereign excellence.
Everything is close at hand and pocket
thanks to an initiative of the Founda-
tion of the National Glass Centre (NSC)
who runs Aurea Juarez.
The success of the market that opened
in the headquarters at Christmas gran-
jeña made the institution to repeat the
experience during the last Easter to
dispose of their stock of their craft pie-
ces.
"These are items that were discarded
because they have a small tare imper-
ceptible and that failed quality tests,"
says the official of the entity.
Good because of that have welco-
med the attractive discounts of up to
70% in some of these jewels that are
the sign of the cultural and industrial
identity of an entire municipality, as
presumably the ruler of the Royal Site,
Jose Luis Vazquez.
Management has decided to main-
tain and encourage this market with
the carving of the cups, glasses, bot-
tles, decanters, paperweights and de-
canters live and direct customers to
take home your custom artwork.
For the modest price of 3 euros can
record their initials, the name leaves
something more expensive, 10 euros,
while details of the date carved out for
8 euros.
Have had to resort to this exhibition for
commercial purposes because the
blow is closed because of a record of
employment regulation that has been
extended two months after the Junta
de Castilla y Leon nominative with-
draw a grant for the current course.
Angela Teunissen or permanent Mau-
mejean Stained Glass of the ninete-
enth and twentieth centuries, and are
one of the most important funds has
the foundation.
These works are in the process of cata-
loging and comprise approximately
more than 9,000 drawings, 6,288 pho-
tographic plates, 26,130 meters square
of cardboard and 26 windows.
Visitors can also immerse yourself in the
history and development of glass tech-
nology used in different manufacturing
processes.
A large melting furnace built under
one of the two towering domes of the
Nave Horn chairs this journey through
the diverse machinery illustrating the
history of this cottage industry: from a
nineteenth-century French mill of hea-
vy granite wheels that moved by water
power to grind the raw material to hori-
zontal drum screens, crushers grinders,
mixers, enfornadoras, crucibles or ro-
lling.
Many of these models were rescued
from the ruins of the old Royal Factory.
A sample of that survival is possible.
Expectant optimism
While guiding the path of the facilities
which in turn travel tour groups, visitors
and school trips loose, both confess to
be expectant, worried, but with an au-
ra of optimism stronger than the glass
handle, display and work.
Another of those pillars supporting the
National Glass Centre is training. The
Royal Glass Factory has the only School
of Glass in Spain.
A unique professional educational op-
portunities and pioneer who began his
career as such in October 2006 in res-
ponse to the need to provide a tea-
ching equivalent to the long-standing
degrees, degrees now with the as-
sumption of Bologna Treaty and the
new European convergence space.
Formative and artistic side that dates
back to 1990 with workshop programs.
In 2009 he graduated the first class.
Students between 25 and 30 students,
the future talents of this discipline who-
se education is marked by a very inter-
national mark, claim the makers.
The other leg of the supporting bank
earnings today CNV is the store.
The showcase gives to the customer's
eyes collections of unique handmade
and unique, handmade by the masters
of the House using a historical mold
and following the same techniques as
their predecessors in the Royal Glass
Factory.
Sweet jars, bottles, cups ... exponents
of a real hearth industry wants to con-
front the crisis.
The fragility defies crisis.
Cut tap gifts.
Before and fractured the production
and marketing other blows by the
hammer of economic and financial
adversity.
The reduction or even suppression aids
and belt-tightening policies imposed
by administrations and which provi-
ded for the prohibition by law of insti-
tutional gifts cut the liquidity, solvency
and diminished the closed major sales
taps.
So the direction of the market devised
the formula to output at an affordable
cost to the cumulative production.
The particular merchant National
Glass Centre resented as ERE could
not help weighing about 53 workers.
Whenever making paralyzed as a re-
sult of temporary file happy-although
still taking orders and orders some re-
servation, as Cecilio says Straw, res-
ponsible for production, at present on-
ly a dozen employees maintain the
dynamics of the founding of the CNV.
The board of the Foundation of the
National Glass Centre met last Friday
and gave some guidelines to give
new direction to the organization, stre-
amline and release of these marketing
corsets that have so far restricted its
distribution channels and have led to
this " difficult situation "that has ope-
ned a rift in the future once the Royal
Crystal factory.
Paloma Pastor is responsible for the
exhibition space.
It is the part where the National Glass
Centre the visitor reveals the delicate
beauty of this material in its various
forms and techniques.
This lack of activity has led to demons-
trations of the furnaces have to admi-
re and discover through an audiovi-
sual.
At present, among other collections,
the Museum of Glass The Farm is home
to the temporary exhibition of the artist
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Activities on the MAVA. Conferencies.
In April last the MAVA organized
the cycle "Glass in ... Science, Offi-
ce and Art" consists of three confe-
rences:
"The future is in the glass" by Ali-
cia Duran.
"Profession: glass torch" by Mario
Sergio Ramos.
"Relationship glass artist-
craftsman" by Yolanda Tabane-
ra.
In the first conference, Alicia
Durán, PhD and researcher at the
CSIC, which appears in the image
illustrating this article, we made a
well documented statement of the
definition and characteristics of
glass, its structure, its properties, its
origin and development , its various
techniques, composition and evo-
lution. History of optical glass,
new glass, fiber optics, glass in as-
trophysics, advanced glazing, glass
and climate change, energy ba-
lances in special glazing and inte-
grated energy capture through the
glass.
The entire conference can be vie-
wed on YouTube via the following
links:
Alicia Duran I
Alicia Duran II
Alicia Duran III
Mario Sergio Ramos told us its ori-
gins in the world glazier, the difficul-
ties he had to overcome his self-
training in the handling of the glass
through the torch and his recent
attendance at courses run by Paul
Stankard and Lucio Bubacco Cor-
ning (USA) and in Italy.
Then we went with a description of
various pieces by him through slide
shows. He ended his presentation
with a demonstration in the works-
hop of his technique MAVA window
and delighted us with the realiza-
tion of the figure of a lizard.
The full conference and demonstra-
tion can be viewed on YouTube via
the following links:
Mario I
Mario II
Mario
Yolanda Tabanera made us a des-
cription of their backgrounds in art,
their education and their forays into
the performance of works of art
using various elements such as
hemp, ceramics, works on paper,
etc..
In the production of glass parts, Yo-
landa takes its design and execu-
tion goes through a master glass-
maker.
His works in glass ranging from small
parts to large installations, such as
those in the Monastery of Santa
María la Real in Nájera, in the Fine
Arts in Madrid, in the oven of the
Citadel, and in Pamplona.
Some of his works of small and me-
dium sized part of the exhibition Is
there anybody there? Recently pre-
sented at the MAVA.
We are waiting for us permission to
make public the videotape of his
lecture.
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Glass to determine the radioactivity.
The Environmental Molecular Scien-
ces Laboratory (EMSL) of the De-
partment of Energy of the United
States is currently immersed in an
international program studying
glass pieces 1,800 years old from a
Roman shipwreck and a reservoir.
The main objective of this research
is not archeology, scientists are
analyzing samples for thousands of
years to assess how to eliminate fu-
ture radioactive waste safely
through the process of vitrification.
The glass dissolves very slowly, and
this is the main reason that is cu-
rrently being used to store radioac-
tive waste.
However, this advantage also pre-
sents a challenge: It is difficult to
conduct experiments over periods
long enough to allow scientists to
collect the results needed to refine
the computer simulations used to
calculate the behavior of the stabi-
lity of the vitrified waste for thou-
sands of years.
The study of dissolution of glass re-
quires a sophisticated instrumenta-
tion and glass former.
The test piece longest man-made
simulated nuclear waste glass has
been about 25 years.
But now, scientists Denis Strachan
and Joseph Ryan, National Labo-
ratory Pacific Northwest (PNNL)
have sought the collaboration of
EMSL and Italian colleagues for the
analysis of Roman glass remains re-
cently collected in Italy.
They will have to do with the most
modern technological means,
such as the LEAP system.
The LEAP is a system of atom probe
tomography can produce accura-
te images in 3-D chemical.
An inset map of atoms of Iulia Felix
glass recovered through the system
of atom probe tomography, or LE-
AP.
The red dots are carbon atoms
and oxygen atoms blue dots.
A source of ancient glass is Iulia Fe-
lix, a common merchant ship that
sank corbita type north of the
Adriatic Sea on the II-III century.
In the hold of Iulia Felix, along with
560 amphorae and some bronze
objects, there was a large wooden
barrel of approximately 1.4 meters
high with nearly 11,000 pieces of
glass.
The fragments came from a wide
variety of mugs, small vases, trays,
cups, bottles and dishes.
These fragments of glass, green,
blue and white, had been stored in
a barrel with intent to be recycled
into new glass.
In early 2011, the PNNL team wor-
ked with the University of Padua in
Italy to obtain samples of glass re-
covered from the Iulia Felix.
Glass was also recovered from an
excavation of a Roman villa than
1,800 years ago in the nearby town
of Aquileia.
And besides, are collaborating with
French scientists to study a third
sample glass of the same age from
a shipwreck off the southern coast
of France near the island of Embiez.
Evidence from the study will be inte-
grated with computer models to
improve simulations of the dissolu-
tion of the glass. The techniques
used in these studies are already
being applied in simulated corro-
sion of waste glass for accurate
comparisons between different ty-
pes of glass. Moreover, the results
enable engineers to use the incredi-
ble durability of vitrified waste with
confidence to the design of the
container.
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Glass techniques. Color palette (XII).
Estefanía Sanz Lobo
Following ELSKUS (1980), it is prefe-
rable to use only powdered gum
arabic.
The procedure would be: palette
extends over a glass enamel a spo-
onful of finely ground, with a thick-
ness of about 2 mm.
About this glaze, sprinkle powde-
red gum arabic, until the cover as
snow but still see the nail under it.
Both components are mixed and
water is added slowly until it acqui-
res the consistency of liquid yogurt.
Should be left for a few minutes be-
fore use.
To find the proportion of enamel,
gum and water, the author propo-
ses an empirical method.
If the paint runs without preserving
the form given, is too much water.
If, once dry the brush, it goes to run
his fingers, has little gum arabic.
If the paint is not even scratching
with a fingernail, have too much
gum.
In Figure 1 are some test samples
with different glazes and agents.
In the above acquired gum arabic
was used in liquid state below the
gum arabic powder was used (1 st
left) and liquid (central) to give
best results from the liquid mixture,
contrary to expectations.
If you want to put several layers of
overlapping color, find the pro-
blem that a diluted to the previous
layer.
This is inevitable if the lower layer
does not carry any type of binder
(sugar gum), but only water.
If it was used a solution of gum ara-
bic, there are several procedures:
Baking between coats.
The result is high quality but expen-
sive.
Also MORTON (1999) suggests that
when painting on glass very com-
plex reasons, the glazes can be
applied in several successive firings
to achieve different effects.
When working layer upon layer,
cooking between them, will achie-
ve better results than if you work on
a single firing.
Mix the second layer with a wa-
ter repellent agent, if used be-
low gum arabic, as turpentine or
alcohol.
In Figure 2 presents a test basis with
different glazes.
These enamels are mixed with wa-
ter and acacia.
About them has spread gray ena-
mel dissolved in turpentine and co-
paiba balsam.
In the test of Figure 3 have been
used as diluents of colored glazes
water and turpentine.
About them has spread gray ena-
mel and gum arabic dissolved in
vinegar.
RESULTS: When the turpentine is
used as diluent in the upper layer,
dragging the color.
If the bottom layer was dissolved in
water alone, the color is partially
driven by the stroke of the upper
layer.
The top layer is more uniform and
has a better finish when dissolved
in copaiba balsam.
In other tests verified that the alco-
hol also gives good results in the
top layer, although the texture fi-
nish is not as good as the copaiba.
An interesting substitute for sugar
water are the type sodas Seven
Up.
To make the colors more opaque
white pigment is added, to make
them more transparent, add flux.
The use of certain diluents also in-
fluences the results of mixing colors.
Although there was talk of this mat-
ter, incidiremos again.
As an example, get an orange hue
by mixing red and yellow is not so
easy, and it was noted that the
component oxides of some colors
react chemically with each other
with unexpected results. Also the
binders used, or the fact be above
the glass or from glass influences
the results obtained.
In Figure 4 an example of different
mixtures of red and yellow for oran-
ge, placed on the surface and gum
arabic dissolved in liquid (top row)
and dust (bottom row).
Degussa colors for decorating glass
virtually disappear, as they are for
low temperature.
Colors L2298 (Maquimetal) with
VA2760 (Reflex C) react to marrón-
bronce.
The colors DV0860 and VP3115
(Reflex C.) result in a dull vermilion,
which mixed with arabic powder
melts wrong.
Finally, the two colors of red and
yellow chips Bohle give a bronze
orange.
In Figure 5 the same sandwich mix-
tures give different results: the two
Degussa enamels for glass give a
good orange, but opaque instead
of disappearing, the other dark reds
are blends, the colors L2298
(Maquimetal) and VA2760
(Reflections C.), react to black, the
bright vermilion mixture DV0860 and
VP3115 (Reflections BC), now give a
dark red opaque, and the two co-
lors of chips Bohle, give a tone of
red cherry and orange bronze with
good transparency.
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N E W S (I).
Culture 2012.
New web ACAV.
ziers have begun including links to
natural and legal persons loca-
ted mainly in Catalonia and have
the glass as the main element of
their artistic achievements.
They also include information on
how the visitor can be associated
with the ACAV and provide the
number of the account you must
deposit the membership fee.
In the section "News" includes nu-
merous links to further information
on the review mentioning. Also in
this section are abundant refe-
rences to the world news related
to glassmaking in Catalonia.
Its design seems very simple and
practical, and will be one of the
sources to which we will go for
information on the news that we
deem to be of interest to include
in our newsletter.
So, congratulations! ACAV friends
for this contribution to the world
glazier.
Last March the sample were visiting
the Thyssen Museum and the Caja
Madrid Foundation dedicated to
Russian painter Marc Chagall.
At the Museum presents over 170
works by the painter made from the
beginning until the return of the Uni-
ted States, and the Foundation, with
free admission, more than 160 works
after his return to Europe.
The museum displays numerous de-
signs that Chagall sheets included in
the book of fables of La Fontaine
and in an edition of the Bible.
In this exhibition of works from the first
half of his life, full of references to ele-
ments, fetish for the painter: his
hometown of Vitesck, fiddle, the
cow, the pair of lovers, the Wande-
ring Jew, the rooster, the window, the
waning moon, the bouquets of flo-
wers.
In the tables of the Fundación Caja
Madrid, which belong to the second
half of his life, Chagall makes a great
reference to the world of the circus,
which was a big fan.
Chagall refused to participate in the
Cubist movement was in full swing
when he moved to France, but many
of his works part of the essential fea-
tures of this movement.
The painting of this magnificent artist
has no concern for reality when you
place the objects included in his
paintings.
He seems to care much reflection
that accompanies each of the pro-
portionality of space allocated to
them in the set.
In some of the fragments of his works
seems as if the frame had been pla-
ced upside down. So you can see
some of the houses upside down or
the meaning of the brush from the
bottom up, when I was supposed ot-
herwise.
Harmony in color is one of the essen-
tial features that we have seen in his
creations. The bright red, deep blue,
green hope, the immaculate white of
the figure of the bride ......
The figure of the wandering Jew with
the bag on his back and Rabbi with
the Torah are a constant in the work
of Chagall and manifest the lingering
memory of the origin of the painter.
The two loves of his life, Baba Beauty
and feature prominently in his works,
Bella in the first half of his life (he died
in 1948) and Baba in the second.
Chagall's life was marked by two
world wars and the Bolshevik Revolu-
tion. His disappointment in the direc-
tion they took revolutionary politics
made him leave his beloved home-
land and move to Paris.
But always longed for a very intense
his beloved people, the Jewish reli-
gion, the sound of the violin and the
figure of the candle seem to remem-
ber always keep the hope of a possi-
ble renewal of the happy past.
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On April 23 made its appearance in
cyberspace the new website of the
Catalan Association of Art of Glass.
A very good news for those of us
interested in everything that su-
rrounds the world glazier.
On the web you can find
numerous related information in
Catalan glass and its users in any of
its forms.
We also offer a wealth of useful links
to access many pages of all types
of schools, colleges, fairs, museums,
craft organizations, magazines, au-
diovisual spaces and other links.
In the section on information gla-
Page 17
N E W S (II).
plasterboard to organize the spa-
ce.
The award plasterboard, which
has been held for over 20 years, is
endowed with 1,000 euros and va-
lues the best architectural idea
presented by the students.
Winners have the right to partici-
pate in the national phase, which
will fail in Madrid and in which the
prize amounts to 6,000 euros, ac-
cording to the educational institu-
tion.
And there were two runners from
600 euros for the job 'Out the box'
by Juan Bautista Martinez and Al-
berto Tomás Muñoz Bonmatí and
'Space Invaders' by Francis Falber-
to Jseús Almonte and Miranda Ca-
rrasco Requena. The coordinators
and the jury have expressed satis-
faction with the high level of parti-
cipants.
Glass houses.
Construction: CONARQ, Peace Ar-
chitecture.
Located in a wooded and
mountainous topography and bro-
ken, the house integrates nature
coast being true to the purpose to
respect the forest and introduce it
to the architecture of the house.
The design was drawn up looking
sort the spaces around the trees for
the purpose of not overturned.
The plant is mostly free and the
home is ordered on slopes.
Both longitudinal walls are mostly
glass and looking achieve permea-
bility outward, trying to integrate
the most of interior architecture
with the advantages of the surroun-
ding nature.
We used the exposed concrete
formwork with rustic wood construc-
tion as the main element, genera-
ting textures whose language dialo-
gue with the local forest.
Corallo home in Guatemala City.
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A project to convert the structure of
a building as the crisis has left half-
built in eight glass houses, opened
in a forest of pillars with leisure and
workplaces has won the plasterbo-
ard, failed at the Polytechnic Uni-
versity of Cartagena (UPCT).
The winning project, submitted un-
der the theme "Clear in the woods',
was developed by three students
from the School of Architecture and
Building Engineering: Dilly Emma-
nuelle Garcia, Sergio Gimenez Fer-
nandez and Jose Maria Mateo To-
rres.
Students have developed a project
that, with very simple operations,
generate a forest of pillars of
Year built: 2010-2011.
Place of Performance: Santa Rosa-
lia, Guatemala City, Guatemala.
Author of the design: Peace Archi-
tecture - Alejandro Paz.
Partners in the project: Axel Mendo-
za, Gabriel Rodriguez, Alex
Titus, Mario Roberto Paz.
Claudia Pezzarossi, Wolfgang Sho-
enbeck.
Landscape Design: Pokorny and
Valencia - Landscape Architecture.
Consulting Structural: Structural
Consultants.
Page 18
The glass in Museums: Lalique.
Until now if you wanted to see the
work of Rene Lalique in Europe,
one of the most revolutionary artists
of the Art Deco, you had to go to
Lisbon to Calouste Gulbenkian Mu-
seum.
But since last July, in the French re-
gion of Alsace is a museum in the
same place where the great crea-
tor built a glass factory, is in a villa-
ge called Wingen sur Moder, near
Strasbourg.
For many, Lalique (1860-1945) was'
the glass Rodin ',' a poet of the
glass, the jeweler of the Belle Epo-
que ... while for others it was much
more than that, was the inventor of
modern jewelry.
Her earrings, brooches, tiaras, co-
mbs ... are the most imaginative
pieces, made with great taste and
elegance and more elaborate
techniques.
The creative genius of Rene Lalique
led him to experiment and used
without any problems, materials un-
til now rare as ivory, semiprecious
stones, horn, enamel, glass ....
Created many of the most repre-
sentative jewelry Art Nouveau
taking as inspiration what he called
the three F's: 'femme, fleur, fau-
ne' (female, flowers and fauna).
That is, the female body, animals
(especially dragonflies and other
insects) and nature with its flowers
and fruit trees.
At the height of his career as a je-
weler, and tired of being copied
their designs, Lalique gradually
change the way and let the noble
metals to become a glazier.
His early experiments date back to
the 1890s, but it was his encounter
with the perfumer François Coty in
1908 decisive.
From that moment he decided to
leave jewelry and dedicated not
only to create works of art in glass
bottles but also to produce the
greatest perfumers of the time.
The Lalique Museum is designed by
the firm of architect Jean-Michel
Wilmotte has managed to integra-
te this former glass factory in the
middle of the eighteenth century
an exceptional landscape.
The building, 900 square meters, is
half buried in the topography of
the land on which stands the roof
just painted green that mimics the
environment.
At the heart of the building is hid-
den an ornamental garden, for-
ming a cloister. It is very modern
and very ecofriendly at the same
time.
The museum exhibits in chronologi-
cal order, a permanent exhibition
of the artist's varied works, including
550 drawings, jewelry, vases, dishes,
lamps, vases …
At the entrance of the great main
hall is an imposing glass lamp made
by the artist's son, Marc Lalique in
1951, and was restored for the mu-
seum's opening.
The spider weighs about 1.7 tons,
measuring three meters high and
consists of more than 300 pieces. It
is truly amazing!
A party that is more like the room
Silvio Denz, which displays about
230 bottles of perfume old never
seen so far.
They are a genuine sculptures, a
beautiful glass bottles created by
Lalique in series to market somet-
hing as refined as a perfume in
small translucent artworks.
If you visit this summer, from July 13
to November 11, 2012, an exhibition
of his daughter Suzanne Lalique, a
good opportunity to discover the
sensitivity of this artist who used his
talent to create works in porcelain,
glass, textiles or clothing for theater.
Lalique Museum. Rue de Hochberg.
Wingen-sur Moder (Alsace) France.
Tel 890 814 0033 388.
Less than an hour from Strasbourg
by TGV.
Direct flights to Strasbourg with Vue-
ling from Madrid and Barcelona.
Open Tuesday to Sunday from 10 to
19 hours.
Entry fee: 6 euros. www.musee-
lalique.com
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The Treaty of Guadalupe Monastery Windows (I).
Fernando Cortes Pizarro.
The recent restoration of stained
glass important treatise preserved
in the Monastery of Guadalupe
(Cáceres, Spain), has motivated
the writing of this article, presented
as a sort of annotated reading it.
It has placed special emphasis on
those aspects of the original text
that refer to the craft of glass ma-
king, such as techniques and met-
hods of work or the many tips and
tricks offered, fruit of the author's
own experience.
It also made frequent comparisons
between the situation in mid-
seventeenth century and the pre-
sent.
Introduction
The "Brebe treaty as the bedrieras
traçar have and that luck is cut bi-
drio" written in the mid-seventeenth
century and restored in the Institute
of Cultural Heritage of Spain in Ma-
drid in 2010, is undoubtedly a text
of exceptional importance for the
history of the window.
This manuscript was located for
more than a century in the archi-
ves of the Royal Monastery of
Santa Maria de Guadalupe in Ca-
ceres, not having carried out any
study written on it until the nineties
of last century, when Victor Nieto
published Warden the first compre-
hensive study of the history of the
Spanish glass. "
Recently, Bartholomew Diaz Miran-
da after a thorough review of the
manuscript date it reaches the mid
-seventeenth century, probably
around 1647, and draws Fray Alon-
so de Madrid, a friar Jerome's own
monastery of Guadalupe as the
most likely author of the , providing
important documentation to sup-
port his hypothesis.
Nieto Warden, V., 1998: 233-235.
Miranda Diaz, B., 2007: 342
While there are many texts in Euro-
pe or treaties that deal with the
manufacture of glass, those devo-
ted to art and technique of stained
glass are much more scarce and
most were written during the Midd-
le Ages.
Among these we highlight Hera-
clius and Theophilus, the twelfth
century and those of Antonio da
Pisa and Cennino Cennini, the
fourteenth century.
The Treaty of Guadalupe is the re-
sult of a specific period in the history
of the window, from the late sixte-
enth century, in which there was a
clear decline of the art and conse-
quently a loss of knowledge for
centuries.
During the second half of the se-
venteenth and early eighteenth
centuries were written in Spain two
major treaties such as the Cat-
hedral of Segovia, "Treaty on the
glass factory ..." John Danis and
"How to make windows ... "by Fran-
cisco Herranz, drawn up jointly bet-
ween 1676 and 1690, and the" Se-
cret Treaty of stained glass painting
with fire "by Francisco Sanchez Mar-
tinez, 1718.
Years later, in 1774, Pierre Le Vieil
France wrote in the famous "L'Art
de la Peinture sur verre et de la Vi-
trerie", probably the last great trea-
tise on the window, which closed a
period of decline and began new
recovery phase of this art from the
nineteenth century.
All of these Spanish treaties mentio-
ned have in common a clear desire
to write down the processes, tech-
niques and working methods of
glassmaking craft essentials in order
to preserve and transmit, mainly a
reduced environment, foreground
and thus prevent return to lost or, as
in the case of the text of Guadalu-
pe, save costs to the Holy House.
Indeed, as rightly pointed out Diaz
Look, these three texts were con-
ceived as "secreteros" or notebooks
for internal use, but to be printed
and disseminated on a large scale.
It is precisely these characteristics
and the specifics of their content,
these treaties have not been revea-
led until recently.
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Recycling. Javier Peña Andres visit.
Last Friday April 20 received Tec-
nun Javier Andrés Peña.
Javier is a Doctor of Science from
the Polytechnic University of Cata-
lonia, where he is also University
Professor and researcher.
He is also professor and head of
the Department of Science and
Technology Elisava School of De-
sign where they had the opportuni-
ty to meet you.
Besides all this, Javier is Scientific
Director and curator of Mater.
The Mater is a center for materials
belonging to the FAD (Promotion of
Arts and Design) in Barcelona.
It is a library that is available a wide
selection of innovative materials in
the world.
Besides being a basis for consulta-
tion, Mater done consulting work
for companies seeking assistance
in the selection of materials for so-
me projects.
As a condition to be met by the
materials to appear in the databa-
se Mater, is that these materials are
available for sale to the public.
In the hour and a quarter-long talk,
Javier raised the interesting theory
that the problem of energy in the
world is actually a problem of ma-
terials.
And not just in terms of recycling is
concerned, something already
much discussed.
We know that can be reused many
materials, including steel and plas-
tics, and while in the latter case af-
ter recycling properties are not the
same as the original plastic, resul-
ting recycled plastic can be used
for some less demanding applica-
tion.
But as I said Javier, not only can sa-
ve energy by recycling, but there
are plenty of materials with different
properties that can save many
electrical, engines, etc. …
As an example, shape memory ma-
terials: imagine the awning of a te-
rrace.
Currently the most advanced aw-
nings incorporate electric motors
that regulate their movement
through a knob or a facility auto-
mation.
Suppose that the awning will install
a system extension and collection
of materials with shape memory
materials which, when the sun is gi-
ving them and reach a certain tem-
perature, stretch alone dragging
them to the sheet and, when the
sun and reduce heat, picking up his
contract once the awning.
On the other hand, imagine that
recycled glass, applying a pre-
treatment, we get that store sun-
light during the day then at night
illuminate particular stay.
Can we design public buildings illu-
minated in this way? Would not it
be a good way to save electrical
and harness solar energy? How
would a pool whose tiles were ma-
de of this material could uniformly
illuminate the pool without electri-
cal installations can also pose a
risk?
All these solutions and were raised
by Javier in a very interesting talk in
which we all aware of the need to
exploit the wide range of materials
currently available worldwide.
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Page 21
Our activities.
In this section we detail the activities which take place this month, corresponding to the cultural visits related to the glass and outputs that we as provided in the program CULTURE 2012.
Cultural Tours.
Culture 2012 Programme.
This May Nacho visit the exhibi-
tion Raised in Crystal Palaces
and Velazquez, the Retiro Park in
Madrid.
Using different media, from pho-
tography to installation, archi-
tecture or video, Criado explo-
red the relationships at once
complementary and mutually
exclusive body and architectu-
re, between text and image,
between image and space.
And the dynamics that lead to
these dichotomies, said the di-
rector of the Reina Sofía, can
only be understood with the
help of someone to complete it.
Hence the name, Agents Part-
ners, which can be either peo-
ple who are put off the works as
time goes on them: such as ter-
mites have eaten the wood of
some of the pieces that can be
seen in exposure. Rotten timbers,
rusted iron, broken glass ... all
your stuff home in a life that pas-
ses, they all support the future of
a time it becomes, and, with pa-
tience, eventually destroying
them.
"While the art of the late twen-
tieth century is an art space, as
the two dimensions of painting,
or the three-dimensional archi-
tecture, Nacho Criado is an art
of time."
"He did not like to look back,
and surely would have created
something different." Put a selec-
tion of his works under one roof,
however, provides an overview
of the whole, "you can see your
drift."
In the early days of this May, and taking
advantage of going to visit the Roma-
nesque Palencia, we will approach the
workshop Llavador Ana Belen is in the
industrial town of Palencia Guardo.
Ana Belen is a young veteran in hand-
ling the torch to create glass pieces.
Since we observed their knowledge on
this issue in its participation in the Holly
Fair in the town of Soria Oncala.
In our next newsletter we will have our
impressions of this visit.
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Rosa Mendez in Slovenia.
In 1977, the city of Slovenj Gradec
organized the "First Exhibition of Arts
and Crafts Slovenian."
When the products of art and
crafts were displayed at the Galle-
ry of Fine Arts in Slovenj Gradec
was offered the chance to embark
on a biennial trade show activity.
1977 in Slovenia, however, marks
the "birth year" of a new era for arts
and crafts activities, at that time
had begun to decline.
What was lacking, in particular,
was the appropriate transfer of skills
in technology and design and eva-
luation practices of experts, which
should have provided significant
employment opportunities and
new revenue streams.
Later, in 1994 set up a system of as-
sessment and marking of art and
craft products, resulting in the 90's
"Art & Craft Slovenia Rokodelstvo"
brand name.
The products began to be syste-
matically evaluated using criteria
from the experts.
Those who have been selected by
the expert commission in the
Chamber of Crafts and Small Busi-
ness of Slovenia, in possession of
the most universal quality are clear-
ly marked.
Like all products that meet certain
quality criteria are marked with a
label recognizable respective mar-
kets gradually began to be regula-
ted and also a remarkable level of
recognition has been achieved.
At the same time, biennial Slovenj
Gradec (some were also held in
Ljubljana) began to act as a high
quality showcase for creativity, co-
vering a period of two years and
an important opportunity for the
marketing of products question.
In 2012, 18 exhibitions will be held in
Slovenj Gradec (some also in Ljubl-
jana).
Some authors whose work has be-
en rounded to the achievements
of all life and creative work, were
awarded the "Golden Tendril" a ti-
tle of excellence by the Chamber
of Crafts and Small Business of Slo-
venia, which is the owner and
chief organizer exhibition.
Another attempt to regulate the
situation with regard to art and
craft activities in Slovenia was in
2001.
A system comprising about 13 or 14
centers in regional arts and crafts,
and partly subject, and was crea-
ted the main center of Ljubljana.
Between 18 April and 31 May, the
Art Gallery in Slovenj Gradec
Koroška will host the 19th exhibition
of international crafts.
The products of art of Slovenia will be
presented in parallel with the pro-
ducts of the craftsmen of several Eu-
ropean Union countries that had res-
ponded to the invitation for your
cooperation.
The exhibition will showcase the
creative achievements that repre-
sent the continuation of historical
memory, a component of the intan-
gible cultural heritage and at the sa-
me time, a latest finding various
forms of expression.
The best craftsmen, both in Slovenia
and abroad will be presented. His
works are made of wood, stone,
clay, wicker, straw (including raffia
and grass), glass, iron, paper, natural
fibers, wool, leather and wax, and
include embroidery and bobbin
work.
Natural materials make their own
contribution to current efforts to-
wards sustainable development, im-
proving the quality of human existen-
ce, offering a wide range of valua-
ble improvements.
The exhibition presents, as an exam-
ple of international communication
through activities and remarkable
skills in the future could help create
new jobs, promote employment of
people with disabilities, generate
considerable tourism potential and
improving the identity of regional
cultures in Europe.
The sponsor of this exhibition highlight
is the President of the Republic of Slo-
venia, Dr Danilo Türk at the front.
During the time of exposure, artisans
will gather at an international confe-
rence on the future challenges fa-
cing the creative arts and crafts in
Europe as well as numerous events,
meetings and art and craft works-
hops.
Parallel to this, Slovenj Gradec will
also host an exhibition of arts and
crafts and works of fine art by mem-
bers of the Slovenian Association of
disabled workers and members of
associations of disabled people
across Europe.
Our friend Rosa Mendez participate
in this event with his "Collection Sub-
marine".
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Enrique de Lucas Award.
The jury praised the innovation
and creativity of the piece, and
the use of technology in the
craftsmanship.
In this second edition of the Inter-
national Exhibition artisans partici-
pated from 32 countries in Euro-
pe, Africa and Asia.
Lucas was one of four Spanish arti-
sans invited to this festival, which
also involved a craftsman jeweler
in Salamanca, a potter from Gra-
nada and a specialist felt Biscay.
As part of this Expo also develo-
ped an International Seminar on
Innovation and Creativity in Arts
and Crafts and Craftsman Job Ex-
po.
CRAFTS AND INNOVATION
Enrique de Lucas (Toledo, 1969)
has a long career marked by a
mixture of tradition, design, art
and technology applied to crafts-
manship.
Among his awards highlights the
third prize in the VIII Design Ap-
plied to the Craft of Castilla-La
Mancha (1993), the first prize in
the twentieth edition of this com-
petition (2007), and the INNOVA
Award at the Third Awards Natio-
nal Crafts (2008).
His most renowned and revolutio-
nary techniques are Placal, a ty-
pe of coating on ceramic base
and Vitreolux, an application of
LED technology for lighting art
glass.
The craftsman Enrique de Lucas
Toledo Adral Creations has been
awarded the International Ex-
hibition of Crafts and Traditional
Crafts, organized by the city of
Muscat (Sultanate of Oman) in
collaboration with the Research
Center of History, Art and Islamic
Culture (IRCICA) Istanbul
(Turkey).
Lucas has won the second prize
in the category of colored glass
enamel worth 3,000 dollars.
The winning work is a colored
glass plate and recorded with
built-in LED lighting enhances
color varieties of the piece.
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Exposure in Guatemala.
Sometimes you do not know exac-
tly which paint.
Simply draw a line and another
and another.
Then follows the process the same
figure asked to complete.
At that time, Wunderlich says that's
when it really is connected to the
inside and try it out in their art.
So every day. But the process of
creating his most recent works was
longer than normal.
However, every effort yields its fruit,
and now returns to public space to
present their latest shows.
Since last April 18 in Gallery Ana Lu-
cia Gomez-Latin American Art (16
Calle 7-30 Zone 14), is open the ex-
hibition "scenarios to a World of
Light" by the Guatemalan artist El-
sie Wunderlich.
The exhibition will remain until early
May. Admission is free.
"Scenarios for a World of Light" pre-
sents a new evolution of Wunder-
lich, since it is the first time using
glass as an artistic material.
The process is very complex and
laborious. It starts from the study at
the time of conception, usually
through the paint.
Some works are to be externe as
sculpture and glass.
Painting is the most important pro-
cess, because everything comes
from there, says Wunderlich.
And through the work there can
evolve.
In this sample, we find from pain-
tings to sculptures, some inlaid with
glass, usually cast in a circular sha-
pe and pictorial decorations.
Glass is a technical introduction
that presents the artist for this ex-
hibition.
But for that reason, each piece has
a further development, especially
the times required by this material.
In a flat glass, begins to decorate
on the reverse depicting the pain-
ting, which was previously develo-
ped.
Each form of painting, is done by
small traces of painted glass. Other
details the powder obtained with
glass and some enamels.
But for the glass baking process,
must be very careful, because so-
metimes the dye changes too, and
this could be detrimental to the
work.
The process leads to the same
glass furnace several times.
Finally, when the glass is finished,
you are given a spherical shape
(for most parts).
Then, something that also requires
patience and dedication, is to
embed the glass on the piece of
sculpture, to not notice that they
are two separate parts, but there is
one after the other.
As a piece of furniture, most of the-
se pieces that have decorative
glass, also have an option for a
light (provided by an energy saving
bulb) is behind or under the work,
and light the building, probably,
hence the name of exposure.
But more than a technical matter
or material, "Scenarios for a World
of Light" is more thematic.
Wunderlich plastic metaphors
about dawn, light and circular
worlds are common.
LANDSCAPE TRADITION
In the beginning, when Wunderlich
was interested in artistic creation,
began in one of the greatest tradi-
tions of Guatemala, such as lands-
cape painting.
His hand began to get used to the
brush with this trend.
But soon he began to discover his
own style, and although this trend
continues landscape, makes his
way.
And is that instead of showing the
landscape as it should see, shows
how she sees it from within.
Then, the view is scrambled from
their eyes.
Since then, it has evolved, and is
now in a phase of further evolution.
First was the passage of realistic
landscape to one that is subjective
sublimizado the artist's eye.
Then was the transition from pain-
ting to sculpture, and now, the use
of decorative glass as an addition
to the sculpture.
And this trend being very personal
landscape, Wunderlich found in
the leaves of the trees are greater
expression.
Y is the leaves, although all are in
the same way, one can say that no
is equal to another.
Each is a world in its own way.
Each leaf has different colors, colo-
red by their position on the light, or
by their longevity.
But rather than take a trip to the
natural world that is probably seve-
ral miles from home, the option
Wunderlich preference is to bring
nature into artificial environments
such as urban ones.
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Other trends. Creative arts in Morocco.
The artist's dream: leave all to dedica-
te themselves to create carefree, at
least for a period.
If this is added an idyllic location in an
endless virgin beach, in a house that
looks like a luxury resort equipped
workshops and sharing the room with
other interesting artists, it seems too
much to ask.
If it were not for all that is given just to
see fulfilled the dreams of others.
Take names and specific to this game
synergistic.
The Artists Private paradise exists and is
called Ifitry. It is 40 kilometers from Es-
saouira, Morocco, isolated to the
point of not having internet or phone
coverage.
You get there only by invitation of the
hosts, the media group Maroc Pre-
mium magazine and Arts du Maroc,
with expenses covered stay.
The artist agrees to allow the organi-
zers to 50% of the works produced the-
re.
Since it began in early 2011, have pas-
sed through this place more than 200
artists from around the world, from Ja-
pan and China to the United States,
France or Canada.
Thus are forming a collection of inter-
national contemporary art in the mu-
seum that will house being built three
miles away, but in the meantime have
a built Contemporary Art Center in
front of the residence next to the
workshops.
Mostapha Romli, commercial photo-
grapher and artist, is the soul of this
project.
"What we want is to put Morocco in
the international contemporary art
map," he says.
The most recent was invited to Ifitry
Oliviero Toscani, who, according
Romli said humorously: "Too comforta-
ble for an artist."
From 7 to 17 April there was a group of
Spanish residents, curated by Zara Fer-
nandez, Cultural Association of the
Western Mediterranean (MED-OCC),
and invited by the Ministry of Culture
of Spain in the program of New Urban
Cultures Festival , which is being deve-
loped in Casablanca during this
month.
"They are artists of different genera-
tions because what we value is the
professional and human experience,"
said Romli.
"This is not for art students. In fact, I see
it more like a laboratory than a single
residence.
We want you to have all the facilities
to develop a project to investigate
and which in turn may be related to
each other. I think that's always rewar-
ding, "said Romli.
Spanish artists were invited on this oc-
casion Ximo Friend, Tone Carbajo, En-
carna Cepedal Jose Freixanes, Diego
Moya, Teresa Muniz, Fernando Vargas
and Marina Verdugo.
Zara Fernandez says he formed the
group "people who have worked with
cross-cultural issues and are sensitive
to the Arab world."
"Being isolated and works much bet-
ter," says Ximo Amigo (Valencia,
1965).
He made a painting Ifitry clearly allu-
des to the motto of the project's edge
(the abyss).
"I am a mad Blue and here everything
is blue and white," he adds.
"Having worked closely with other ar-
tists allows us to share concerns and
ways to resolve them. Also, being here
is a respite from the situation in Spain. "
Joseph Freixanes (Pontevedra, 1953)
worked on a part that is like a memory
card, a map.
Marina Vargas (Granada, 1980) used a
typical carpet on which he painted a
Sacred Heart.
Fernando Verdugo (Seville, 1942) used
as a reason the model tiles of the Al-
hambra and Tono Carbajo (Vigo,
1960) conducted a performance with
a verse in Arabic calligraphy on the
edge of the sea.
Teresa Muniz also adopted the colors
for his paintings of the landscape
(Madrid, 1942) and Diego Moya (Jaen,
1943), director of this project, combi-
ning signs of the technological age
with the lands of different places.
Ifitry is the name of a holy place. As
women, Islam did not permit to erect a
chapel in his memory. Built a mara-
bout, but dedicated to another saint.
The artists' residence and recovered
the legend pays homage.
"The architecture simulates two shrines
and a medina," said Romli.
Ten bungalows, spa, swimming pool,
organic garden and a communal di-
ning room with views and notable lo-
cal chefs.
"Doing this project has taken more
than ten years of paperwork, construc-
tion and commissioning.
It takes patience and clear thinking.
This is a private and independent, we
have no state aid. "
However, it is not just international art.
A priority of this project is also giving
greater visibility to the Moroccan ar-
tists.
"Here we very late in this regard, we
have no contemporary art museums
and other countries.
We like Spain in the seventies, but we
expect the State to do things the delay
will be higher.
The culture in Morocco is to be built by
the Moroccans.
So we have taken this initiative to crea-
te a network of relations in June that
now includes the completion of the
First Biennial of Casablanca. "
Diego Moya believes that this initiative
is a good example in times of cuts to
culture: "In Spain it is diluting the achie-
vements so far.
Morocco is emerging spontaneously in
a world that rejects associative Wes-
tern individualistic interests. "
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Historical catalog L'Ollería.
The City of l'Olleria through its De-
partment of Culture has prepared
a comprehensive program to com-
memorate the month of the book,
which as highlighted by the area
councilor, Engo Jesus "has been
made with his own resources and
we wanted to include a variety of
activities aimed at a wide audien-
ce, both adult and child. "
On April 23 opened an exhibition
that features "one of the first glass
catalogs published by a company
of our town, dates from 1933 and
belonged to the glass company
Elena Gisbert Bolinches-La Primiti-
va, which had the first glass furna-
ce in our town dating from S. XVII,
"said Engo.
The exhibition is located in the li-
brary "a perfect place to enjoy a re
-written document so important to
us as it reflects our history as mas-
ters of glass and the importance
and tradition of this industry in l'O-
lleria."
On the other hand, explained that
in addition to the catalog, which is
shown by way of panels that can
be read in a more comfortable,
the exhibition is supplemented with
30 pieces of glass from private co-
llections and the City, parts that are
the catalog of 1933.
This exhibition has been coordinated
by Jose Vicente Vidal, a graduate in
information science and local histo-
rian.
On the other hand, on Tuesday, May
4 will present "The social commit-
ment of a politician Krause: Rafael
Albiñana and the Institution for the
Education of Women of Valencia"
by the author Ana Maria Reig.
The presentation will take place at
20 hours in the library. Meanwhile, on
May 18, Xavier Aliaga present his
work "Vides desafinades".
And 21, there will be a workshop
"Introduction to Social Networks" and
23 one of "Sources of Information for
the Occupation" in collaboration
with IDEO-AEDL to attend these
workshops prior registration is requi-
red at the library or http://
www.bibliotecaspublicas.es/lolleria
through its website.
In addition, on Mondays and Satur-
days in May there will be workshops
for children in the library of l'Olleria.
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Glass workshop in Murcia (XI).
JIMENEZ PEDRO CASTILLO
JULIO NAVARRO PALAZÓN
JACQUES THIRIOT
Is in the southeast quadrant of
the workshop, in the vicinity of
the access door (Fig. 3).
This is undoubtedly the most
complex of the oven and also
dug the most enigmatic: the first
is that it was remade five times
and the second to the questions
posed by their formal and func-
tional aspects.
Moreover, successive reforms
have significantly affected their
oldest remains, hindering further
attempts to return.
The oven has two construction
phases: the first shows two re-
constructions and the second
one.
The access pit (¿ashtray?) Was
located to the west in the furna-
ces of the first phase, which we
now occupy.
At all stages of this phase, the
oven, which is polygonal outside
plant, is built from a central pit
surrounded by elongated or not
sidewalks.
In the first stage is very poorly re-
tained because of their reuse
and partial destruction by suc-
cessive ovens, so it is impossible
to restore its elevation (Fig. 13).
It opens to the west by an ac-
cess pit that has few traces of fi-
re.
The foundation pit is filled with
material destruction (including a
bar ahornar) on which the furna-
ce was built with bricks taken
from clay.
A central trench 50 cm wide and
gentle slope, was apparently li-
ned with benches with a height
of between 10 and 30 cm.
The header may also have side-
walk, although we can not secu-
re it for the bad state it was that
part.
This hypothesis is supported by
the presence in the southeast
corner of the oven, cut a tile ac-
cording to a curved path, which
may be the rest of the inner wall
of the bench.
In the background are still some
traces of flushing which may co-
rrespond to a soft start leaning it
would close the bottom of the
second or third stage of the
oven.
The side walls are retalladas at
several levels, apparently for the
construction of the furnace be-
low.
In these walls there are small
fragments of lead and galena
with red oxide structures can co-
me later and have seeped
through cracks.
In the second stage, the oven
apparently reproduces the type
seen in the above, since the
plant and orientation are the sa-
me as above, which is utilized as
a basis.
The outer perimeter could be
polygonal (Fig. 14, Fig. 22), alt-
hough inside the plant seems to
have been oval, with lateral
benches.
The central pit with a depth of
0.35 m and 0.45 m, is a little wi-
der, thanks to a slight displace-
ment of its north wall, and, abo-
ve all, a little shorter, as is done
in adobe pending a new auc-
tion in pretty strong on the pre-
ceding.
Suffered great mutilations due to
the furnace to be superimposed
so that only retained about 35 or
45 cm of elevation.
In the construction fill of this stage
were found traces of lead.
In the third stage, the oven also
appears to maintain the same
type and orientation (Fig. 15).
Its central pit was more than 1.50
m long by 48 cm wide with a slo-
pe that was accentuated after
the previous oven partially terra-
ced with sandy silt.
This oven could be longer than
the preceding.
He distinguishes between two
successive sub-stages of a coa-
ting on all radial brick rowlock of
the risers from the curb to reduce
slightly the width of the pit.
Unable to clearly define the
boundary of a hypothetical low-
lying south sidewalk.
Could indicate a semicircular
crack this wall oven or is it the
mark of a subsequent oven?
A lump of galena found inside his
south sidewalk construction may
come from the south wall of the
oven later.
Despite traces of lead or galena
found these furnaces do not ap-
pear were intended for fusion be-
cause the mineral discovered is
contemporary and belongs to la-
ter stages.
The structure resembles that of
the furnace 4 and the specimen
unearthed in Belluga Square.
Its operation will be considered
after the analysis of the structure
of the post.
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Exhibition of Pablo Pizarro.
The Carlos V Hotel, located in the
C / Trastámara, No. 1, continues its
spring cultural program with the
opening of the exhibition "Ferrum et
speculum" Alcarrenian sculptor ba-
sed in Toledo, Pablo Pizarro.
The exhibition brings together a do-
zen works that the sculptor shows
his mastery of glass casting techni-
ques and was inaugurated on
Thursday 26 April.
A few months ago Pablo Pizarro
staged a major exhibition at the
Arms Factory at Toledo.
Sculptures of great size and weight,
rooted to the ground anchor pla-
tes, authentic metal trees showing
fruits of glass, or colored sheets
created from melted bottles and
cut lanterns love, and worms with
heads that seemed to sniff litrona
the air in search of prey.
On this occasion shows the counter-
point: small creations suitable for in-
doors but with the same force that
large.
Iron is used as a balanced media
that glass gems engastan various
shapes and colors, all with the com-
mon denominator of glass recycling.
This small inkwells and bottles that
originally contained the most diverse
liquids, take on new life and we sug-
gest a guessing game in which we
are forced to think about the past
uses of the vessels and in its present
conversion as objects art class.
Paul Pizarro, a native of Madrid, very
young moved to Sigüenza where he
had contact with several teachers
who penetrated into the world of
art.
Trained at the National Glass Centre
of La Granja, his work underwent a
quantum leap to call at the shop Al-
bendiego Marta Ugarte, and start
the investigation of the artistic possi-
bilities of glass in different varieties of
blown merger.
The exhibition "Ferrum et speculum",
installed in the hall, opened in the
hotel room of Charles V. Viridiana
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Brilliant design in glass.
Bright Future: New Designs in Glass,
presented at the Pratt Manhattan
Gallery until May 5, "... explores sus-
tainability, the manipulation of light
and contrast ancient and modern
influences in contemporary glass."
From sculptures, tables and lamps,
made by designers and artists from
around the world, the exhibition re-
flects on the aesthetic role of glass
in everyday life.
The exhibition curated by Sarah Ar-
cher, the Philadelphia Art Alliance,
addresses the power of the glass
and its various uses, both aestheti-
cally and functionally, in addition
coincides with the fifty years of de-
velopment of the study of art glass
in the United States, which is part in
more than 160 presentations on this
in the entire United States during
2012.
The pieces in the sample, in addi-
tion to its artistic quality, ergonomics
have proven their ability and useful-
ness in their various fields.
Archer says he has tried to mix both
parts made with traditional techni-
ques, with the most sophisticated
and innovative, or ancient techni-
ques of glass blowing mixed with
heat-resistant fibers that leave pat-
terns on the glass surface, and from
high-tech materials, to new and the
Litracon (concrete that has beco-
me clear by the addition of glass),
the glass sensitivity of an iPhone, or
heat-sensitive glass that changes
color when touched, or new uses in
architecture.
Artists and firms involved: Lindsay
Adelmann Studio, Werner Alisslinger
and CIAV, Omer Arbel for Bocci,
Alison Berger, Amiram Biton, James
Carpentier Design Associates, Mar-
co Dessi for J. & L. Lobmery, GlasPro
Switchable Privacy Glass, Helen
Lee, Aron Losonczi / Litracon, Ingo
Maurer, Giovanni Moretti srl for Car-
los Moretti, Murano, Moving Color,
Bruce Munro, Tom Patti, Robert
Stadler, SWITCH Lighting, Hulger
and Samuel Wilkinson, Liana Yaros-
lavsky.
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Vitrium in Alcorcon.
You may have heard of the `Magic
Waterfall 'masterpiece' by the
association Vitrium '.
This work, which is located at the
Cultural Center Cooperating Burón
`Margarita 'is not the only one the
group performs.
Vitrium `'is dedicated to the craft of
glass. Lamps, trays and boxes are
some of the works that the
association is responsible for
developing.
"It is not purely decorative objects
but all have a utility," said Santiago
Benedí Galvan, president of the
association.
The group has participated in
numerous activities such as the
Craft Fair organized by the
municipality or exposures made
every year in various cultural
centers.
Highlights its involvement with the
MAVA (Museum of Art Glass
Alcorcón) in school activities.
Under the heading `Tuesday to
MAVA '" children make a practice
of merging into a plate of 7-8 cm.
They themselves put the chips
(crushed glass) or glass plates and
make the design you want.
We we put the plates in the oven
and come on Monday to pick it
up, "said President 'Vitrium'.
His works cover a variety of styles,
from classic to modern. In fact, do
not always work with existing
designs, but made many designs
the association itself.
The techniques are performed
tiffanys, fusion and tiling. Tiffanys
figures is composed of pieces of
glass, "Cut the pieces of glass, are
lined with copper and it extends
the tin so that all parts are subject,
"said Santiago Galvan Benedí.
Fusion technology refers to a fritted
glass plate.
They stick to the plate "heat drop a
mold and take the form" to the
president of the association.
Mosaic is a film hit the lasetas
(broken glass) and coat with
aguaplast to be subject.
According to James Galvan
Benedí, is a job that takes time.
His work is strongly influenced by
the machinery used. Thus, the glass
in the furnace remains 3-4 hours.
herefore, it is not surprising that take
one day at least do one of the
works.
Vitrium `', which has 10 members
whose average age is around 45,
does its work only as a hobby:"
We are a nonprofit association.
What we perceive from the sale of
the work you invest in plant and
equipment. Thanks to these sales
was able to buy machinery "said
association president.
A machine that has a relatively
high cost. The oven, for example,
will cost 2,500 euros.
The association `Vitrium 'was
founded more than 10 years: We
were students Tiffanys Workshop
offered by the People's University of
Alcorcón (UPA)," said Santiago
Galvan Benedí.
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How does.
This month we include some pictures of the technique practiced by Lucio Bubacco.
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"Touch the oracle" by Michael Petry.
your only means of communication.
Petry then permanently sealed
glass bottles leaving hidden con-
tent.
Joshua Wall D shows a 250 blown
glass stones are hand-watered by
the floor of the gallery.
The Wall of Joshua D refers to the
biblical story of Joshua and the
walls of Jericho torn.
Resembling small stones, these glass
stones evoke the magma of the
earth and the many colors that are
within, like the Petry own artistic im-
pression of the natural environment.
When he visited the museum, was
surprised by the volcanic rock that
forms the walls of the museum buil-
ding.
Petry's work is a direct response to
the architecture of Palm Springs Art
Museum and its location near the
Joshua Tree National Park.
The dilemma. The third component
of the installation is a sound work's
dilemma is played regularly by the
gallery and offers the possibility of
sound as a work of art itself.
Using a text by Petry with music by
John Powell and Gavin Greena-
way's piece shows male and fema-
le voice singing a dialogue.
The colloquial themes of the piece
is inspired by the historical connec-
tion of Palm Springs and Hollywood
cinema.
Organized by the Palm Springs Art
Museum, this exhibition is partially
funded by the Council of the Mu-
seum of Contemporary Art, Donna
MacMillan, Myrna Kaplan, Thelma
and Gilbert Schnitzer, the Art Allian-
ce for Contemporary Glass, Libby
and Burton Hoffman, and Berengo
Glass Studio Murano, Italy.
The exhibition The Touch of the
Oracle, the multimedia artist and
director of the Museum of London
Contemporary (MOCA London)
Michael Petry, takes place until 29
July at the Palm Springs Art Mu-
seum, in the City of Palm Springs,
California (USA) .
The sample account in all areas
with the written explanation of the
works in both English and Spanish.
The exhibition is closely related to
the book The Touch of the Oracle:
Works 2003/12, just Petry, since the-
re are several parts to the collec-
tion on paper collected.
The digital version of the book is
available at this link: michaelpe-
try.net / projects.html
The book is available on the websi-
te of the publisher Thames and
Hudson:
ww.thamesandhudson.com/97809
56911612.html
Oracle In Touch (The Touch of the
Oracle) are three monumental site-
specific installations: Golden sho-
wer, The Wall of Joshua D and the
dilemma.
These works provide an opportunity
for viewers to experience concep-
tual site-specific works made by Mi-
chael Petry who takes inspiration
from art history, mythology, and
contemporary culture.
Every single piece relates and inte-
racts with others and with visitors,
creating an environment full of
sound and visual complexity.
Petry did not really make each of
his artworks, but seeks highly skilled
craftsmen which works to light their
conceptual ideas.
For these installations, he has wor-
ked with teams of glassblowers ins-
pired and composers to create
works that require a high level of
technical expertise.
Pissing is a facility of 100 recepta-
cles shaped glass beads with gilt
mirrors that refer to the Greek myth
of Danae, who was pregnant by
the god Zeus to spray it with a drizz-
le of golden water.
Petry invited 100 international artists
to lay a book, a poem, an object
or text into glass containers, asking
them to imagine being locked in a
tower and having the bottle as
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Angela Teunissen in La Granja.
The Dutch artist Angela Teunissen
out in the Tech Museum of La
Granja (Segovia) a collection of his
most recent.
On day 28 we visited the exhibition
and we were very pleased the
quality of parts.
It had previously seen several of
them in his home and studio in Ma-
drid and whose visit we record in
our Bulletin No. 43 for the month of
April.
The presentation of these magnifi-
cent pieces in the
exhibition, in our view, we do not
consider the most appropriate, sin-
ce we believe that the sculptures in
glass should be able to see in all its
aspects, not only from the front,
and in this case, being located wit-
hin the exhibitors, you can not enjoy
the effect of light on the parts from
all angles.
We therefore believe that the sculp-
tures in glass, except for very justi-
fied safety reasons, be exposed on
plinths. You can see images of the
exhibition on the link below.
This exhibition, as discussed in our
Bulletin No. 43 has been rejected by
the leadership of our MAVA, consi-
dering that does not conform to the
line of the Museum.
Apparently, the Tech Museum of La
Granja line should have a less de-
manding than that of our Museum.
After the visit to the Museum of La
Granja to Segovia we drove to see
our friends glassmakers at the XXXII
National Crafts Fair.
They are present in this show, which
runs until next May 2, by the glass
sector, Redondo Aura, Susana Apa-
ricio (Sussanglass), Mario Ramos
and Mariana Grande (Vitreus Ignis),
Miguel Angel Blasco and Reinaldo
Zamora (Fulkolor ), Carlos J. Pinilla
(Lume Glass), Rosa Mendez and
Natalia YR Benchoam (Artistic Stai-
ned NYRB).
Fair, as a whole, consists of 52
stands, so that the presence of
glass sector or 13.5% of all exhibitors.
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Exhibition in Mexico.
The city Mexicana de Taxco, requi-
red to strengthen the tourist indus-
try with the help of all, being a mel-
ting pot of culture and expression
unique in the country, said the ma-
yor, Marco Antonio Martinez Sierra
during the opening of the exhibi-
tion process Vitreous Art blown
glass art at the Museum of Colonial
Art Northern art group and coordi-
nated by the National School of
Plastic Arts (ENAP) of the Autono-
mous University of Mexico (UNAM).
Sierra Martinez, who was with the
cultural community, teachers and
subject matter experts on the sam-
ple of derivatives techniques in
glass, said the target in addition to
being a silversmith, is a wealth of
artistic expression.
From its architecture to the same
relief, as their traditions, customs
and the work of craftsmen silvers-
miths art reflecting taxqueño he
said.
He called the country's artists to ta-
ke into account Taxco, to present
their works and we engalanen with
their jobs.
He recalled that the required desti-
nation of visitors and promotion, so
if institutions rely on to bring their
materials to the site, he said, will
have the presence of tourism in its
various forms, as in this case the cul-
ture.
He said that the weekend will be
two major conventions and reli-
gious tourism as well as them artists
and culture lovers francs promoters
hope will be the city of silver that
requires a financial balance, the
situation being experienced by the
population.
In the event the mayor was accom-
panied by Sierra Martinez ENAP co-
ordinator, Jorge Soto Curiel, direc-
tor of the blown glass factory Arte-
Norte, Miguel Angel Gonzalez,
among others, who cut the ribbon
and made a tour of the facilities to
meet parts involved.
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Norberto Chutrau exposes "Playing with fire".
It is self-taught and started in the
art of glass fusing in 2007, and then
take specialized courses in the Bull-
seye glass factory in Portland, USA.
Since his return he participated in
several samples of the National Ex-
hibition of Art Glass in Berazategui,
Buenos Aires, and the expo Artists
Borges Cultural Center in October
2009.
The following year he won second
prize at the XIII National Exhibition
of Art Stained Glass of Mar del Pla-
ta.
Last year he was invited to exhibit
at the Museum of Fine Arts and cu-
rrently presents her work at the Mu-
seum of Fine Arts Quinquela Martin.
Several of his works were purcha-
sed by domestic and foreign co-
llectors.
Mother Mary in the chapel of the
church of Mar del Plata has placed
his "Cross of Hope" and the Nauti-
cal Club of Fort Tandil is located
"Weathervane Nautical".
The proposal
Gnocchini Indiana says: "Made of
fused glass, including other ele-
ments such as granite or iron sculp-
tures Chutrau Norberto recover
from a contemporary perspective
and own totem-like forms that con-
tain a proposal on earth.
His works show a careful selection
of raw materials and execution
processes, where the author looks
further its ability to condense a rich
world view of possibilities, finding
textual resolutions, color, contrast
materials, brightness and transpa-
rency.
By linking propositions, the works
range from the suggestive buoyan-
cy of lines arranged in patterns or
shades, to the gestures of the stro-
kes and subtle representation of
figures and landscapes that make
faces using the modulation of con-
tours and full planes.
Norberto parts are conceived with
tools of all kinds in the shelter
workshop where we see the moun-
tain landscape from the large win-
dows. Alchemist, sculptor, crafts-
man, all profiles are combined
when defining the task of who gets
to raise a personal universe and
metaphorical. "
The artist
- It's going to be exhibiting in Bue-
nos Aires …
- Yes, the museum Quinquela Mar-
tin, from 28 April for a month.
- How did contact with this space?
- It was through some friends from
Buenos Aires who had direct con-
tact with the curator of Buenos Ai-
res and he is known Gnocchini In-
diana, so that was so fluid.
- How was the process?
- He took photos of the works, then
move some pieces and the mu-
seum decided to exhibit my work.
- What space the museum will be
exhibiting?
- In the room Victorica Miguel,
which is quite large. I have four
works which were exhibited at the
Museum of Fine Arts and I also star-
ted to produce new parts for wear.
In total there will be 23 works.
- The proposal, what is?
- 'It's always "playing with fire", with
temperatures. I have some work
where I spent the limit of 820 degre-
es and went to 950, then I got new
effects with the material, which I
call "boiled glass" because it really is
in a liquid state and generates a
very nice visual effects.
- How does it feel to be able to ex-
hibit in this space?
- With great pride and humility, I see
what people will say. I invited many
glass artists. Although it may seem
quaint, I know what my colleagues
are saying.
- What are your expectations?
- Two months ago I started to move
the pieces to Buenos Aires, where I
have the basis for the works. The 24
will travel to assemble the work and
after that, will only see the public
response.
- About accompanying from Tan-
dil?
- He has pledged Indiana Frolik
Gnocchini and architect, who has
a work of mine, besides my family
and other friends.
- What is the proposal for this new
year?
- I was looking at some pictures of
U.S. homes have walls made from
recycled glass. I'm working a while
with beer bottles. The short and do
glasses or other items, and people
really like. This deformation of the
bottles I find useful for recycling.
ow I see the frames. I think this
could be replicated in schools as a
way to help the environment or le-
arn a trade.
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How is sea glass? .
The origins of sea glass
Sea glass is created from glass bot-
tles and other objects of this mate-
rial are thrown overboard.
The unfortunate benefit of someo-
ne who throws his garbage is that
after months or years a beautiful
piece of sea glass shape and so-
metimes reaches the coast.
Due to more stringent policies and
forces wildlife officials in most states
of sea glass has become increasin-
gly rare because they throw the
trash in places that are not suitable
is strictly forbidden.
Glass formation sea
When a glass object thrown into
the sea or a large body of water,
waves or current break it, then you
scratch the surface.
This continuous action of the sea
gradually creating a piece of art to
collect on the beach or on the
shores of the Great Lakes.
The sharp edges of the piece of
glass become more smooth and
soft to the touch, so do not cut it
when you pick up your pieces of
frozen sea glass.
The freezing of sea glass
You can see that the glass has be-
en collected beach seems to be
frozen.
This is due to hydration process that
occurs in the ocean.
Baking soda and lime found in the
glass are slowly shedding due to
continuous contact with water.
This causes the appearance of
freezing.
As explained by National Geo-
graphic, sea glass hunters have a
sort of code of conduct, whereby if
you find a piece of glass that still
has edges let you return to where
the sea was to finish his work.
If one traces the network, find do-
zens of people who collect this type
of stones that come out periodica-
lly and look for the beaches, prefe-
rably at low tide and after a storm.
Many of them are jewelers who
then sell the stones in necklaces
and earrings, and they abhor the
sea glass created artificially.
But how long does the sea to crea-
te one of these little gems of colors?
Richard LaMotte, author of book
"Pure Sea Glass" and possessor of a
collection of over 3,000 pieces, says
the sea takes about ten years to
polish and rounding the edges of a
glass and 20 to 30 years to leave it
completely smooth.
However, in his collection there we-
re stones tumbling into the sea for
over a hundred years.
Some of these fragments, for exam-
ple, belonged to bottles of beer
manufactured in the late ninete-
enth and early twentieth centuries,
and they can still read inscriptions
on the brand or content.
In fact, if you go to the beach and
you're lucky, you can still find a
small stone which read the letters of
Coca-Cola or some other refresh-
ment.
A nice example of what the sea
can do with our trash.
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Trockel in the Queen Sofia.
The exhibition "A cosmos", curated
by Lynne Cooke Rosemarie Trockel
and presents a world shaped by
the ideas and the affinities of Troc-
kel.
The exhibition will cover a wide ran-
ge of works from different periods
and cultures, will bring together
pieces that are not usually asses-
sed jointly.
Works in a more conventional fall
within the scope of science, but
because of its sophistication and
refinement venture into the field of
art, pieces will be exhibited along-
side that, despite having originally
a primarily aesthetic purpose, soon
showed their great value to scien-
ce.
Thus, the delicate glass replicas of
sea creatures and flowers created
in the nineteenth century by the
Blaschkas for the study of acade-
mic naturalists will show along with
the watercolors of the seventeenth
century artist Maria SybillaMerian,
whose representations of flora and
fauna , as beautiful as impeccably
precise, proved to be invaluable for
scientific study.
Trockel's contempt for conventional
hierarchies of art, along with his in-
terest in media and materials that
once were associated with forms of
local art or craft, also influences the
selection.
For example, an assembly of the
sixties of the twentieth century radi-
cal feminist Ruth Francken, will sha-
re space with wool sculptures of Ju-
dith Scott, artist marginally affected
by Down syndrome.
The exhibition will also see pottery
created by the very Trockel, along
with new works in glass.
This unique set provides new filters
through which they can share the
unique and influential practice
Trockel over nearly three decades.
It also offers the vision of one of the
most admired artists in active and
independent, a prospect that may
be familiar to (some of) the details
but it is wonderfully innovative in its
entirety.
From 22 May to 24 September,
2012.
Museo Nacional Centro de Arte Re-
ina Sofia | Building Sabatini | Plan-
tan3 | Santa Isabel 52 | 28012 Ma-
drid
+34 91 7741000
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Castillo de San José de
Valderas.
Avda. Los Castillos, s/n
28925 ALCORCÓN
MADRID
Nuestro Boletín tiene su
redacción en:
Al vidrio por la cultura
The Association of Friends of
MAVA was incorporated on Ju-
ne 21, 2003 in accordance with
existing management.
The purpose of this Association is
to promote, encourage and
support many cultural activities
in the broadest terms, are rela-
ted to the mission and activities
of the Glass Art Museum of Al-
corcon.
Our goal is to develop and co-
llaborate with other public or pri-
vate entities to promote, protect
and promote the art and culture. www.amigosmava.org
Presidente honorario
Javier Gómez Gómez
Presidente
Miguel Angel Carretero Gómez
Vicepresidente
Pablo Bravo García
Secretaria
Teresa Fernández Romojaro
Tesorera
Mª Angeles Cañas Santos
Vocales
Rosa García Montemayor
Evangelina del Poyo
Diego Martín García
Francisco Martín García
José María Gallardo Breña
Mª Luisa Martínez García.
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Glass Workshop. Images.
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Fig. 1 Fig. 2
Fig. 3 Fig. 4
Fig. 5 Fig. 6
Page 40
Techniques. Images.
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Fig. 1
Fig. 2 Fig. 3
Fig. 4 Fig. 5
Page 41
Glass Workshop. Images.
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Fig. 3
Lámina 42
Fig. 13
Fig. 14
Fig. 15
Page 42
Our visit to Malta. Images (I).
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Our visit to Malta. Images (II).
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Our visit to Malta. Images (III).
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Angela Teunissen in La Granja . Images.
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