INTERVIEW WITH SILVIA LEVENSON

by María Diaz de Vivar

María Diaz de Vivar: Who would you mention in the list of pioneers of artistic glass, from Mexico to Argentina?

Silvia Levenson: In Argentina I could name Nidea Danessa and Guillermo Patiño. In Mexico, to Raquel Stolarski. In Uruguay, Argueda Dicranco, especially from the artistic point of view.

MDV: How do you see the panorama of current manufacturing and marketing in the region and what peculiarities and strengths does glass art made here have?

SL: Strength is the enthusiasm to learn and develop new techniques. For example, the techniques that have to do with the experimental prints on glass that I use and share with others. Other countries have been developed and disseminated at the local level thanks to artists and researchers such as Graciela Olio, Paulina Rucco, Sol Carta, Natalia Gerscovich and Andrea Da Ponte.

The same occurs with the development of modeled glass paste developed by Teresa Apud and Dina Priess Dos Santos. In any case, it should be borne in mind that glass is an expensive material: the use of ovens, tools and other materials makes it unattainable for many. From Argentina, the production methods seek to simplify and seek other solutions.

MDV: And what would you say needs improvement and development?

SL: I think that self-criticism is needed and the desire to know what is being done or was done in other places. In recent years, many artists and artisans have improved the technique, but from an artistic point of view there is still a long way to go. It is about putting the works in glass in the context of contemporary art. If we think we are the best, it will be difficult for us to make a leap in quality. For me it was important to have traveled and come into contact with other works. The first time I went to the Bullseye in Portland, for example, I came across Narcisso Quagliata's “painting with light” panels, and a show by Bertil Vallien. The second time, it was Dale Chihuly blowing some giant pieces. This made me feel and corroborate that I knew very little about glass. I still had a lot to learn, and that instead of depressing me encourages me to look for what is worth communicating.

The positive part, at least in Argentina, is the existence of the Berazategui School, and of concrete realities such as the Cristalería San

Carlos. The level of what is taught is very good, what is missing is a leap in quality from an artistic point of view.

MDV: How do you see the future of glass artists from Mexico to Argentina and to the world?

SL: I believe that the future of glass artists in Latin America has to do with our continent. Sometimes what happens in other countries is idealized as if it were not the result of years of work and investment. Transporting works to the US or Europe from Argentina has a very high cost. Our challenge is to create a circuit of spaces, galleries and collectors in our countries. This does not mean that some artists have developed an original artistic language, and that they can find a place on an international scene; I wish you with all my heart. In the meantime, let's try to change our perspective and look at our continent and what we can develop. Perhaps it is about continuing to work to create ties, meetings, internships and scholarships that raise the level of local artists.