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Volume II — Number 109

April 2018

Monthly Newsletter

Newsletter

Alison Lowry • The Trinity.

M. A. Carretero.

For quite some time we have been following the struggle that is taking place in the Platform "Save the La Trinidad Glass Factory", in Seville, to save the factory from real estate speculation.

Luis Rodríguez Caso was its founder in 1900, and he was also the promoter of the Ibero-American Exhibition of Seville in 1929.

the demolition of two ships of the La Trinidad Glass Factory

Over the last few years, however, the bankruptcy of One of the first measures the owner of the land, was the recruitment of the 'Edificarte Promoción Belgian Francisco Thirion, Inmobiliaria', sharpened the who brought his qualified abandonment and ruin of the The platform is integrated experience. factory complex, which has by 28 neighborhood been subject to various associations, merchants, With him began a saga of illegal occupations and cultural, conservationists glassmakers who worked in episodes of pillage, even and ecologists. this factory until the 1970s, destroyed tempering and with a large family Among them are the annealing furnaces, as well component.

Historical Association as some boilers, an aerial Retiro Obrero, Ecologists in glass transport facility and a Action, Baetica Nostra and The factory was installed in melting furnace, in a the Avda. De Miraflores, and Velázquez for Seville. performance that was even although it passed through elevated to Justice.

The Platform defends that different owners and situations, it maintained its in the oldest ship a civic As indicated in a newspaper activity until 2007, being the article in the month of June center must go and in which in which it has more only artisanal industry of 1014, "Since 2008, the" protection, built in 1926, go production of blown glass in Save the Trinity "Platform a school workshop and the Andalusia. has been engaged in the Museum of Glass.

The group of funds of the "La defense of the conservation of the industrial complex of As we inform on page 12 of Trinidad Glass Factory" this Bulletin, the Governing includes the funds of the "La the Glass Factory. In its functional integrity, therefore Board of the City Council of Trinidad Glass Factory", "Escuela -Taller La Trinidad" patrimonial integrity, Seville will provisionally and "Former Workers of the represented by its buildings, approve the Special Plan by the offices of its former and work will begin with the Trinidad Labor Limited workers and by the facilities first priority of the works of Company" that joined the that had not been protected AHPSE in 2001 and 2007. consolidation of the in the Order of September 4, protected buildings, which Nuestra sede: 2001, when it was registered After eight years battling, it will be executed by the Castillo Grande de in the General Catalog of seems that the time has owners .

S.J. de Valderas Andalusian Historical come to activate the Avda. Los Castillos, s/n As it appears in the Heritage, with specific resurrection of the dead 28925 ALCORCÓN. Provincial Historical Archive Trinidad, closed more than a character, as Place of (MADRID) of Seville, the history of the decade ago and victim after Ethnological Interest (BOJA nº 110 of September 22, the economic crisis that info@amigosmava.org La Trinidad Glass Factory 2001) ". is linked for many reasons stopped the plan to rehabilitate the factory as to the history of Seville in Bearing in mind that one of public equipment and build the s. XX. houses in the rest of the plot. the aims of our Association is the dissemination of the glass culture in all areas, we The Platform "Save the La welcome the progress being Trinidad Glass Factory" made by the Sevillian made public its strongest Platform and congratulate protest for the untimely decision to bring in January them for their tireless work in the struggle to keep the 2011 to the Planning Commission of the Planning image alive from the La Trinidad glass factory.

Department of Seville the request for authorization of

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Volume II — Number 109

April 2018

S P E C I A L I NT E R E S T: •

Part of the month

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New class of glass

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Glass in a rash

Directive 2010/75 / EU of the European Parliament and of the Council, of November 24, 2010, on industrial emissions.

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The Obsidian

Art. 3. Definitions.

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Activities on the MAVA

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News

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Our activities

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Glass recycling

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How does

18) 'dangerous substances' means substances or mixtures defined in Article 3 of Regulation (EC) No 1272/2008 of the European Parliament on the classification, labeling and packaging of substances and mixtures;

CONTENT:

20) 'groundwater': defined in Article 2, point 2 of Directive 2000/60 / EC of the European Parliament, establishing a Community framework for action in the field of water policy; 21) 'soil' means the upper layer of the earth's crust between the bedrock and the surface; the soil is composed of mineral particles, organic matter, water, air and living organisms;

Piece of the month

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Established artists

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Young artists

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New class of glass

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Glass in a rash

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The Obsidian

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Activities Museums

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Activities on the MAVA

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More about La Trinidad

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New life of La Trinidad

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Plans for Saint Lucia

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IKEA Art Event 2018

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Roman glass in Museums

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News

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Culture 2018

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The stained glass in Spain

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"The sculpture in glass"

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The glass in museums

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Recycling

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Cultural visits

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Culture 2018 program

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Viewpoint in the Rock

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Other trends

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Mario Sergio Ramos, master glassmaker who, together with Mariana Grande Midón, form the firm Vitreus Ignis, will participate again this year in the miniatures fair to be held at the Marriott Hotel, Chicago, at the end of this month of April.

Ali Kaaf in Palma

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Surely, as in previous

The mystery of mummy

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Tvitec in Uría Menéndez

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Covadonga Casado

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Could be another Marie Curie

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How do

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María José Arjona

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Saint Gobain extends

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Old glass in the Pampa

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CreArt dual exposure

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Monument to 11M

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Berazategui restores

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The university of the future

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22. 'environmental inspection': any action, such as on19) "baseline report": site visits, monitoring information on the of emissions and status of soil and verification of internal groundwater reports and contamination by monitoring relevant hazardous documents, substances;

verification of selfmonitoring, verification of used techniques and adaptation of the environmental management of the installation, carried carried out by or on behalf of the competent authority to check and encourage the adaptation of the facilities to the conditions of the permits and to control, if necessary, their environmental impact; 23) 'poultry' means poultry as defined in Article 2, point 1, of Council Directive 90/539 / EEC, concerning the sanitary police conditions governing Community trade and imports of poultry and hatching eggs from third countries;

• Mario Sergio Ramos in Chicago.

Mario Sergio Ramos, master glassmaker who, together with Mariana Grande Midón, form the firm Vitreus Ignis, will participate again this year in the miniatures fair to be held at the Marriott Hotel, Chicago, at the end of this month of April.

Surely, as in previous years, you will get a resounding success with their mini-products made of glass.

Mario has managed to be one of the references worldwide in the field of miniatures.

Barbosa, more production 37 The glass Avila and Mexico 38 Polo Enriquez

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Board Of Directors

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17-01-13. Requesting inventory of the components of the permanent collection of MAVA.

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11-06-13. Possibility of receipt by the MAVA documentation on glass offered by the President of the Spanish Association of Science.

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11-11-13. Requesting information on the agreement with the Community of Madrid to install social services in the MAVA.

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Piece of the month. Isabel de Obaldía.

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April 2018

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Isabel de Obaldía is a plastic artist who was born in Washington (1957) but grew up and lived in the city of Panama, Republic of Panama, where she acquired all that cultural influence and symbolism and that incorporates them in her work, resulting in powerful sculptures that recall images of ancient and tribal art.

this teaches him the basics, and that is what the istmeña likes so much, that on more than one occasion in his next holidays, his predilection was to go for three weeks to study carved in glass and little he soon learns the demanding technique.

The sculptures of Isabel De Obaldía tell the senses of the spectator something on the From pictures of an aggressive outside, but if you are curious force during the 1970s and to look inside them, you will early 1980s, Isabel De Obaldía see other forms, other worlds, then went on to make other stories. sculptures of a beauty Each piece of his, composed between calm and enigmatic. of fascinating anthills, In more recent years his eye is alligators, panthers and on the benefits of glass, crocodiles, has its own transparent material that personality, life and character. attracts him a lot because it is The final result is exquisite, solid and fragile at the same although few should know how time. complicated it is to make them.

At the end of the 1980s, just Is that to be a sculptor requires before the most critical a special personality. moments of the military Hers is an art of patience and dictatorship, of thinking about risks. The word easy has no oil paintings, the curiosity of space in this class of Isabel de Obaldía passes to the textures of the sculptures. proposals. While chance does appear without being invited.

Then, an uncle advises him to That of a sculptor is an take summer courses at the occupation governed by Pilchuck Glass Studio in precise sequences and Washington (United States). stages. In his case, his She listens, makes luggage sculptures start with sketches and goes there. that he creates on a blank In one of the halls of this sheet and then he transports academic institution he finds them to a model in clay or his destiny. Observe a German plaster. student who carves in glass Then he makes the prototype and is amazed. in wax, as it is done when Between signs, because the working in bronze. Build boy does not know English, separately the body and the

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rest of the parts of their animals to then build a whole.

It makes another mold with the glass that will be the one that will end up in the oven for days or weeks, according to its dimensions and complexities.

With glass, the control of the technical part, he admits, is not enough. From the hand of the surprising chance forms that do not wait or plan, or come to the surface new colors from introducing silver, copper or aluminum.

Then, carefully and tenderly release the piece from the mold. A first cleaning is done, followed by others, not forgetting to polish and file as needed.

The final result leads to the conclusion that it is worth the wait, follow the steps, and physical efforts and emotions.

Lately, Isabel De Obaldía wants to go further. She has begun to concentrate more on bronze, a pending issue that she had for years and now promises to fulfill herself.

Although he has already done some tests, his idea in the near future is to deepen his desire to join glass with bronze in his sculptures. He has it on the agenda and promises to do it in the short term.

In 2012 the MAVA presented a temporary exhibition of the artist and which was part of the work we present as "Piece of the month", entitled "Ojeado".

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Our web

Established artists. Alison Lowry.

April 2018

work is held in several public collections; the Arts Council of Northern Ireland recently made a second purchase for their collection.

Volume II — Number 109

Her work is inspired by her interest in objects and antique Irish textiles.

This fascination with lace and embroidery started with some family ‘heirlooms’ - a collection of beautiful and intricate Irish white work hand made by female relatives generations ago.

She says, “These beautiful works of art were utilititarian items such as tablecloths and sheets - they must have taken years to embroider!

The stories those textiles could tell, if only they could talk.

Alison Lowry is a glass artist ‘Glass Art’ at the Royal living and working in Belfast. Dublin Show in 2009, the Silver Medal at the Royal In 2009, she graduated from Ulster Arts Club’s Annual the University of Ulster with a Exhibition in 2010 and the first-class honours degree in Warm Glass Prize in 2010 Art and Design. and 2011.

Since then she has won Alison exhibits both locally numerous awards including and internationally and her first place in the category,

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Of course at the time these items were considered to be mere ‘womens' work’.

Not craft, and definitely not fine art! Part of my practice tries to redress this balance by creating sculpture - ‘high art’ - out of these much misaligned fabrics.”

Emerging artists. Kathryn Wightman.

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efforts with a tremendous sense of precision, combining up-to-date technologies with manual work to create multi-layered illusion images.

Kathryn Wightman obtained her BA and MA from the University of Sunderland. In 2011, she completed PhD research (also at the University of Sunderland) focusing on the development and application of creative printmaking processes for the decoration of blown glass.

She recently relocated to New Zealand to teach at the Wanganui Glass School.

Having developed a strong visual aesthetic rooted in textiles and pattern design, Wightman is successfully integrating digital technologies and hand-based skills into her practice.

She won the Gold award in Emerge 2014 and the 2014 Ranamok Prize and the Kvadrat prize Whether it's the tools she makes to do her work in the 4th edition of YOUNG GLASS, at the or the work itself, Wightman approaches her Ebeltoft Museum.

He was born in 1983 in Sunderland (UK).

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New class of glass.

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April 2018

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Researchers in materials have produced a new family of glass based on metals and organic compounds that accumulates up to the original silica in the capacity of glass formation.

Lightning and volcanoes produce glass, and humans have been making glass from silicon dioxide since prehistory.

Industrialization brought us boron-based glass, polymer glasses and metal lenses.

The ability to form glass is the ability of a liquid to prevent crystallization during cooling.

"Glass is a liquid frozen in a material similar to solid in a noncrystalline form," says Professor of Science and Materials Engineering at the University of Pennsylvania (Penn State) John C. Mauro, author of the research.

"Mechanically it behaves like a solid, but it's somewhere between a liquid and a solid," he adds in a statement.

The key to making glass is to melt the source materials and somehow get them to cool so that crystals do not form.

One way to do this is by cooling or suffocating them quickly, so that the time available for crystal formation is shortened due to the rapid drop in temperature.

The basic silica glass has a tetrahedral structure with silicon in the center and four oxygen atoms in the corners.

A tetrahedron is a triangular pyramid. Each oxygen joins another tetrahedron centered on silicon.

synthesized, mixed with hydrated zinc nitrate and a solvent.

The mixture melts at approximately 800 degrees The organic metal glass that Fahrenheit (426.67 degrees scientists produced replaces zinc Celsius). with silicon, but uses two similar The temperature is important but different organic compounds because the mixture must melt in the corners: imidazolate and completely, but not reach benzimidazolate. approximately 980 degrees These organic molecules take Fahrenheit (526.67 degrees place at random from the oxygen Celsius), at which point the atoms in the corners of the molten glass will vaporize. tetrahedron.

The researchers analyzed some The silica glass had the best properties of the materials using ability to form glass of all the a variety of spectroscopic glasses until the researchers approaches and X-ray diffraction. synthesized zinc-based ZIF-62 They also measured the organic zinc glass, the mechanical properties and optical researchers reported in the transmission of the molten glass. digital edition of 'Science Advances'.

Some of these tests were conducted at Corning Inc., in They noted that the more Corning, New York, United benzimidazolate is incorporated States. into the metal / organic framework, the better the glass- "This family of glasses is so new forming capacity. that, although we have determined its capacity for glass The more viscous liquids with formation and some other the more bulky ligands tend to properties, we have not fully better resist crystallization. characterized all its material ZIF-62 has the best glass properties," says Mauro, "It is capacity of 50 existing glasses also necessary to investigate how and, although standard silica to extend this process to the glass is fragile, organic metal making". glass is much more flexible, The researchers would also like which can also increase its glass to identify other metal-organic -forming capacity. combinations to make different Zinc-based organic glass is lenses. harder to produce than silica Next, they plan to analyze a glass because the organic cobalt glass. compounds imidazolate and benzimidazolate must first be

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Glass in a supereruption.

Volume II — Number 109

April 2018

had discussed the potential of finding the Toba fragments in the sediments of our archaeological site, and with his eagle eye, he found one," says Curtis W. Marean, project manager of the Pinnacle Point excavations. Marean is the associate director of the Institute of Human Origins at Arizona State University and an honorary professor at the Center for Coastal Paleociencia at Nelson Mandela University, South Africa.

Marean showed the image of the fragment to Eugene Smith, a volcanologist at the University of Nevada in Las Vegas, United States, and Smith confirmed that it was a volcanic fragment.

The first modern humans on the coast of South Africa prospered coinciding with the eruption of the supervolcano Mount Toba in Indonesia, about 74,000 years ago. The large amount of ash emitted into the atmosphere by the eruption spread over much of the planet, and reached Africa across the Indian Ocean, producing a drastic change in weather conditions.

gatherers in Africa 74,000 years ago would have had no idea of the reason for the sudden and devastating change in climate. Hunger sets in and the very young and old die, so their social groups are devastated, and their society is on the verge of collapse.

The effect of the Toba eruption would certainly have affected some Some human groups were taken to the ecosystems more than others, extreme of survival, while others possibly creating areas - called settled in coastal areas of South Africa shelters - in which some human and living on fishing resources, groups did better than others paradoxically consolidated at that time. throughout the event. If your group lived in a shelter of that type, it would The effect of Mount Toba, a have depended to a large extent on supervolcano that dwarfs even the the type of resources available. massive eruptions of Yellowstone, in the United States, from the deepest Coastal resources, such as shellfish, past, would have had a much larger are highly nutritious and less and prolonged impact on people susceptible to eruption than plants and around the world, according to new animals in inland areas. research, published in Nature When the column of fire, smoke and The scale of the ash fall alone testifies debris exploded on the summit of to the magnitude of the environmental Mount Toba, he spat out rocks, gases disaster. Large amounts of aerosols and small microscopic pieces injected into the atmosphere would (criptofra) of glass that, under a severely reduce sunlight, with microscope, have a characteristic estimates ranging from 25 to 90 hook shape produced when the glass percent reduction in light. fractures in a bubble.

Under these conditions, the death of the plants is predictable, and there is evidence of significant droughts, forest fires and changes in the plant community in East Africa just after the eruption of Toba.

If Mount Tambora created such devastation for a full year - and Tambora was a setback compared to Toba - we can imagine a global catastrophe with the eruption of Toba, an event that lasted several years and that took life to the edge of extinction.

In Indonesia, the source of destruction would have been evident to the terrified witnesses, just before they died. However, a family of hunter-

Penetrated in the atmosphere, these invisible fragments spread throughout the world. The researcher Panagiotis (Takis) Karkanas, director of the Malcolm H. Wiener Laboratory of Archaeological Science of the American School of Classical Studies, in Greece, saw a single fragment of this explosion under a microscope in a part of archaeological sediment coated with resin.

"The Pinnacle Point study took me back to the study of glass fragments from my thesis 40 years earlier," says Smith. At the beginning of the study, the team brought in expert scientist Christine Lane, who trained graduate student Amber Ciravolo in the necessary techniques.

Racheal Johnsen then joined Ciravalo as a laboratory manager and developed new techniques. From scratch, with the support of the National Science Foundation, they developed the 'Cryptotephra Laboratory for Archaeological and Geological Research', which is now involved in projects not only in Africa, but in Italy, Nevada and Utah.

Enclosed in that fragment of volcanic glass is a distinctive chemical mark, a mark that scientists can use to track the killer eruption. In their article in 'Nature', the team describes how to find these fragments in two archaeological sites on the coast of South Africa, takes those remains of the eruption to Toba by chemical footprints and documents a continuous human occupation throughout the volcanic event.

"Many previous studies have tried to prove the hypothesis that Toba devastated human populations," says Marean, "but they have failed because they have not been able to present definitive evidence linking a human occupation to the exact moment of the event."

Most studies have analyzed whether Toba caused an environmental change or not. Yes, but these analyzes lack the necessary archaeological data to show how Toba affected humans, according to these experts. The Pinnacle Point The fragment came from an team measured everything on site with archaeological site in a rocky refuge pinpoint accuracy with a "total station", called Pinnacle Point 5-6, on the south a laser measuring device integrated coast of South Africa, near the town of into laptops for accurate, error-free Mossel Bay. The sediments date from recording. about 74,000 years ago. "Takis and I

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Obsidian in the Stone Age.

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April 2018

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Environmental factors may have stimulated a change in human behavior, encouraging more widespread dispersion, trade and the creation of new tools.

The researchers point out that such climate variability makes food availability unpredictable for human hunter-gatherers, in turn driving greater mobility, gathering Several new studies highlight the information and perhaps trade. major environmental, ecological Such changes are evident in the archaeological evidence, and technological changes that according to Potts and his occurred in East Africa before colleagues. the Middle Stone Age approximately 300,000 years Whereas, previously, 98 percent ago, at a time when anatomically of the rock used to make tools modern humans were evolving. came from a small area located First, a study by Rick Potts of the in the Olorgesailie Basin (it covered only 5 kilometers), Program on Human Origins of the Smithsonian Institution of the about 320,000 years ago the tools were replaced by obsidian United States and colleagues (volcanic glass) from regions analyzes well-preserved further away, an indication of sediments in the Olorgesailie basin in Kenya, discovering that potential travel and trade. This represents a significant revision for about 800,000 years the in the behavior of African region underwent a hominids at or near the time of transformation. The sediments the origin of 'Homo sapiens', say suggest that the Olorgesailie Basin was mostly alluvial plains the authors. until approximately 800,000 EARLY TECHNOLOGY AND years ago, when it exhibited COMMERCE more and more fluctuations A separate study by Alison between the humid and arid Brooks of the Department of states.

Anthropology at the College of In addition, the carbon isotopes of the soil samples suggest that the region became a vast prairie.

Around this time, mammalian fauna experienced a dramatic rotation, with many specialized and large body grazing lineages, including some species of elephants and horses, which became extinct. Instead, taxa related to smaller body sizes emerged, which according to the authors is another sign of climatic variability.

Arts and Sciences at Columbia University in New York, United States, and colleagues provides more details about artifacts made by humans excavated in the Olorgesailie basin, including weapons (and also pigments) that shed information on early technology and trade.

The authors based their work mainly on evaluations in five sites covering the period between approximately 500,000

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and 298,000 years ago, finding clear differences in the types of tools in older and younger sites.

While the older sites contained larger and more bulky weapons, such as hand axes, which were made of localized volcanic rock, one of the more recent sites had much smaller and more refined weapons of a different style.

About 42 percent of the latest tools were created from obsidian, of which there is no local source, the authors note. In addition, some 46,000 obsidian flakes were recovered from the site, indicating that obsidian was introduced as raw material and was handled on site rather than imported as finished artifacts.

In addition, scientists discovered that the second most common exotic raw material was green, brown or white chert. Of particular interest is a piece of ocher pigment with two perforated holes, which makes it one of the oldest known wellknown pigments, say the authors, noting that bright exotic red and black rocks may have been valued, and it was worth it transport them, because of their intense color, to use them as a symbolic communicator of identity or state.

Finally, Brooks's team also found animal remains in the vicinity of the sites, suggesting that early modern humans may have subsisted in part thanks to small animals.

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Activities Museums I.

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Activities Museums II.

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Activities Museums III.

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Activities on the MAVA. FUSIÓN Contest.

Volume II — Number 109

April 2018

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In November 2017 the Museum of Art in Glass of Alcorcón - MAVA and Fundesarte announced the call for the glass jewelry contest, Fusión, which was born with the aim of making known the new talents and values of contemporary Spanish jewelry with glass.

Last 24th of February the deadline for submission of candidatures to participate in this contest and the subsequent exhibition, which will open the MAVA on April 6 coinciding with the European Days of Crafts. In this call, a

total of 166 proposals have been received from 53 creators.

Museum, National Glass Center Foundation; Mª Luisa Martínez García, director, Museum of Art in Glass of The selection committee Alcorcón-MAVA and Laura composed of Lala de Dios Miguel Baumann, Teijeira, vice president, Oficio responsible, Fundesarte; has y Arte, Association of selected 42 pieces / Artisans of Spain; Cristina collections made by 29 Giménez Raurell, curator, artists from all over the Museo Cerralbo; Soledad country.

Hernández de la Rosa, president, Designers From the organization want Association of Madrid to thank all the people who (DIMAD); Enrique Loewe participated and Lynch, president of honor, congratulations to the Loewe Foundation; Paloma selected authors, who have Pastor Rey de Viñas, director already received a of the Technological confirmation by email.

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More about La Trinidad.

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April 2018

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The municipal delegate of Urban Habitat, Culture and Tourism, Antonio Muñoz, representing the City of Seville, and Rocío Estévez, on behalf of the Compensation Board of PERI No. 5 Glass Factory, signed last March, in the presence of the citizen platform Save the Factory of the Trinity, the Urban Agreement of collaboration that allows the unblocking of the soils located between the Round of Capuchins and Carretera de Carmona.

importance that resolves a situation that has been stuck for years with an agreement that protects the heritage, recovers public spaces, revitalizes this area of the city and generates a new residential development in Seville," he explained.

Antonio Muñoz.

This special plan sets the conditions for the urban development of the land, as well as the protection zone of the old factory, which is extended to three auxiliary buildings and the enclosure wall of the avenue.

taken place seven years later.

The agreement reached and signed allows to unlock this special plan by harmonizing the requirements of the owners with the citizen interests to increase the protection of the industrial and general heritage of the city, in favor of the urban and residential development of this strategic sector of Seville.

In this sense, both the delegate of Habitat Urbano as the representative of the Board of Compensation After this agreement, the and the president of the Governing Board will platform Save the Factory provisionally approve the of the Trinity, Basilio The inclusion of these Special Plan and work will Moreno, have elements as protected begin with the first priority congratulated the release assets was approved by of the works of of this matter, which the the Municipal Plenary in consolidation of the March 2011 at the proposal delegate has defined as « protected buildings, which cystic problem and of the citizen platform will be executed by the Salvemos la Fábrica de la pending subject of the owners.

Trinidad, and since then it city».

"It is a strategic agreement has been pending for the city and of great approval, which has now

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The new life of La Trinidad Glass Factory.

Volume II — Number 109

April 2018

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Today is the news article published by the Platform in the month of June 2014 in the pages of andaluciainformacion.es: The news of the salvation of the La Trinidad Glass Factory in Seville constitutes a cornerstone for a new way of understanding public action in matters of cultural heritage and acquires an extraordinary value that expresses the appropriation that citizens and their representatives must make in around the socalled emerging assets as it is, in this case, the industrial one.

The citizens of today, of 2014 and those of future generations have the right to the preservation, knowledge and enjoyment of a heritage asset as rich and complex as is this factory, and administrations to conserve it, so that its reactivation is become a factor of urban, social and economic regeneration of the sector included between the Capuchinos round, the Miraflores avenue and the Carmona road.

Since 2008, the "Save the Trinity" Platform has been committed to the conservation of the industrial complex of the Glass Factory. In its functional integrity, therefore patrimonial integrity, represented by its buildings, by the offices of its former workers and by the facilities that had not been protected in the Order of September 4, 2001, when it was registered in the General Catalog

reached and its drafting proposal from the Planning Department of the new PERI NO 5, which guarantees the conservation of the Glass Factory; to the political forces with representation in the Now, the two industrial buildings current Consistory, their whose demolition is avoided, commitment to one of the main called Nave 2 Warehouse and examples of Sevillian and Nave 3 Decorado, allow us to Andalusian industrialization, and to design an integral rehabilitation all citizens, the support provided project that, from the elaboration throughout this long process. of a Master Plan, contemplates And especially we express our the future uses that, as a gratitude to the neighbors and proposal, the Platform defends merchants of Miraflores, who have Citizen: Barrio Social Center, always believed in the historical Museum of La Trinidad Glass importance of the Glass Factory Factory and Industrialization of and in the value of the urban Seville and Glass Workshop landscape of their houses, their School. factories, their sociability model, The protection achieved by the their trade of proximity and its La Trinidad Glass Factory public spaces. The "Salvemos La consolidates the fundamental Trinidad Platform" will continue paradigm of industrial heritage, working to design a project that which can be defined as the ensures the conservation of such recognition of the processes of an exceptional industrial economic activities, extraction, monument. transformation, storage, management, transportation and In these moments in which society demands greater transparency consumption, material and immaterial character, marked by and participation, the process of the constant modification of their citizen patrimonial appropriation that has been carried out in the sources of energy, their tools, last ten years in relation to the La their machinery, their technical procedures, their labor relations, Trinidad Glass Factory by the residents of its urban environment their elaborated products and and social is a good example of their workspaces, but that together constitute the authentic the way forward. concept of Place of work.

(They signed this article, on behalf From the "Salvemos La Trinidad of the Salvemos La Trinidad Platform" we would like to thank Platform, Basilio Moreno, Julián Sobrino, Marina Sanz, José the current Government of Garrido and David Gómez).

Seville City Council for the compliance of the agreements of Andalusian Historical Heritage, with specific character, as Place of Ethnological Interest (BOJA nº 110 of September 22, 2001).

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Plans for Saint Lucia.

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April 2018

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A sociocultural activation program, a green infrastructure, an urban intervention project, a cultural education and dissemination plan, and a pictorial mural are the five ideas selected to revitalize and regenerate the Santa Lucía port district in Cartagena.

In a statement, Factoría Cultural Región de Murcia has indicated that these five projects, which must now achieve funding through the administrations or the sponsorship of companies, have been presented today by their creators in the Dársena de Santiago, one of the five locations selected, together with the Fisherman's Square, the Church of Santiago Apóstol, the Museum of Glass and the Rambla.

Architectural Reconversion', contemplates the creation of an urban green infrastructure in Santa Lucia, unifying the social and ecological in the Rambla.

The third selected idea, called 'The neighborhood between seams', includes an urban intervention that aims to articulate the urban and social fabric of the area, identifying black spots and coordinating with the agents involved to carry out reprogramming of solar and info-affective devices.

'Vitreous Project' will carry out a plan of education and cultural heritage dissemination of the port neighborhood, integrating the fields of heritage education, cultural action, tourism, employment generation, environmental The first selected idea, called awareness, local crafts and 'Chirrete_Project', consists of a social inclusion for the program of socio-cultural socioeconomic sustainability of activation that causes an the area. impact on the multiple social Finally, 'Frascolor' entails the agents that cohabit its territory. realization of a pictorial mural For its part, 'CoRRE, Coordination of Recovery and

on the outer walls of the Glass Museum, with which its

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authors aim to revitalize the area recovering trades and occupations that have been important in the neighborhood, giving color and vitality to the places, highlighting the importance of glass in people's lives.

The authors of these projects become part of the 10-month Port-City Santa Lucía Innovation and Development Program. Carlos Baztán, advisor of Factoría Cultural, will tutor these initiatives, monitoring and evaluating them.

They will also benefit from the Innovation Plan, a training itinerary that aims to develop the Tourist Port of Cartagena, carried out in collaboration with the Port Authority of Cartagena, generating a viable business model.

They will have a workspace at Murcia's Factoría Cultural, located in the Párraga Center of Murcia, and up to half a month's stay at Factoría Cultural Madrid.

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IKEA Art Event 2018.

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April 2018

Nathan Jurevicius, Australian artist, illustrator and toy designer based in Canada, is best known for his dreamy psychedelic animation worlds and his limited edition "Art Toys".

Now that I know more about the glass and the production process, I would love to make a whole line of glass. " And, like IKEA, he thinks that art should be for everyone. "I think the future of art will be about accessibility and reach a wider audience," he says.

JUNKO MIZUNO

According to IKEA, art should not be exclusively in galleries and museums, it also has its space at home. That's why with IKEA Art Event they have invited contemporary artists from all over the world to co-create art that can have space in any house, turning it into a more dynamic, beautiful and fun space.

For IKEA Art Event 2018 they have invited eight contemporary artists representing different artistic expressions, each producing a glass figure. Most of the artists had never worked with glass and were eager to face the challenges and possibilities presented by this material. To produce the handmade figures, the artists collaborated with some of the most talented glass teachers in the world, located in Målerås, right in the center of Småland, Sweden, very close to the heart of IKEA. The result? A collection of eight cheerful glass figures, expressive and accessible, with a whole world inside.

The IKEA Art Event 2018 collection is launched in May. The figures are produced in the Målerås glass factory in Småland, very close to where the IKEA story began.

Being one of the few glass factories still active in Sweden, Målerås was founded in 1890.

In the words of Henrik Most, Creative Leader of the IKEA Art Event project, "We wanted to see what happened when an old artisan tradition was combined with young artistic forms. I think we found something interesting that we hope will introduce the art of glass into a new generation. " "Working with glass, a material of long and amazing tradition, we had the opportunity to elevate it to the contemporary scene," says Henrik Most.

MICHAEL LAU "My piece is called Soul Toy. I believe that each work of art contains a soul.

The eyes and tongue of Soul Toy allude to the letters of 'toy', while the shape of the figure itself suggests the appearance of a soul. I think this speaks of the work in a fun way "

pop culture, music, fashion, sport and lifestyle.

This is the first time he has worked with glass. "Normally, I create my figures on vinyl, sometimes also in plastic. When I make sculptures, I work with fiberglass, stainless steel. I like to work with new media, so this was a very interesting opportunity for me. Glass has a lot of limitations in terms of production, so I learned a lot, "says Lau.

"I wanted to make a simple but beautiful figure inspired by vintage collectible figures and toys from the late 60s and early 70s. I named it Nocturnal because I am a night person.

I was also working on the design at night! "Says the Japanese artist established in the United States.

The first time Junko has worked glass as a creative medium has been at IKEA Art Event 2018. "It has been an interesting process and I have learned a lot. We work exchanging emails, sketches and photos, as I always do with toy manufacturers. It was the first time I designed a cast glass figurine COARSE that we had to talk about and modify a "We asked: 'What about the fox who is lot. I'd love to do it again if I had the not so intelligent, who does not want to chance. " deceive anyone?' This fox is shy, LUDVIG LÖFGREN vulnerable, afraid of the world. Always on alert, but never ready for the attack, "I like to work with powerful symbols he is an intruder among his species. " like the eye. Turquoise represents protection against the "evil eye".

Los Angeles-based German duo Mark Ludvig Löfgren was born and raised in Landwehr and Sven Wasch have the Swedish "Kingdom of Glass". Being sculpted designer toys since 2003. an accredited teacher of glass, he is Known for their unique style of the only artist participating in the sculpture, their pieces often express project who is familiar with glass. He is the vulnerability we try to hide. now known as the driving force to take Although they love their exclusive Swedish glass art to the next level. world of designer toys, they also like to Ludvig is also delighted that this project observe the interaction of a new audience with their art. This is what led gives his work environment the them to collaborate with IKEA. In IKEA opportunity to reach a wider audience.

"We are showing new ways of working Art Event 2018 it will be the first time with glass. And it's an international that the duo works in glass. release, so many people may have ARKIV VILMANSA some relationship with art. " "My figure is called Hira, which means JOE LEDBETTER 'pleasant dreams'. It is an abstract "The first design I did in my life was a visualization of the life we have gone rabbit. The people reacted. It was through. A character entangled in a biographical. And it significantly power struggle to emerge into the opened the doors to the world of toy supreme realm. I wanted to express that life is simple, "says the Indonesian design. Therefore, it was natural to make a glass rabbit, "says Joe, based artist. in Los Angeles.

Like most artists involved in this project, this was the first time I worked Accustomed to working with plastic, with glass. "The production method is this was Joe's first project with glass. very different from the one I'm used to. "Glass has many specific requirements and many obstacles.

I am surprised by the ability of glassblowers, it is a truly special and With plastic, you can form it for longer. difficult talent ", says Arkiv.

With glass, you only have one chance, NATHAN JUREVICIUS

"The owl forms an important part of my Lithuanian heritage, appearing excessively in mythology. The owls are nocturnal and to this I have given the name of "Sutemos", which means Hong Kong artist Michael Lau is known 'the evening'. That is also the time of for his urban vinyl art that combines the day when I am most creative, when my ideas flow, "says Nathan.

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you have to get it right the first time. " JAMES JARVIS "Drawing forms the basis of all my work, but this is exciting because it is a different type of product, in a material that has an authentic history. I had not realized that glass blowing is such a human thing and such an organic process, "says Jarvis.

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The Roman glass in museums in Madrid (XXXVII).

Volume II — Number 109

April 2018

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Eduardo Alonso Cereza

With the blowing glass is made by investing less time than required by the use of traditional techniques.

Rapidly the glass products produced through the blowing will compete for its speed in the manufacture and for the variety of forms and dimensions, with those made in other matters.

Harden believes that "in the eyes of the user, glass presented another advantage: thanks to its smooth surface, impervious to common dirt, it was easy to polish it and reuse it, which is also a note for a long time, that is, when it had begun to coat materials such as ceramics with a glass layer, which in effect was substantially glass. " Blown glass began to assume an increasing importance in many sectors of the domestic and social

life as well as in the habits of and possibly this was imported all or part of Egypt, the people.

Harden considers that with that is, expensive for the this technique one enters a majority of the population. phase of utilitarian character. When the blown glass The glass vessels that were appears, it is concentrated on the coasts of Syria and Egypt, originally luxury objects, especially in Alexandria. used and appreciated by a minority, in less than a century are spread throughout the Empire.

The glass factories in the West were surely founded by Syrian glassmakers.

The forms are varied, many of them are new and appear in the second half of the 1st century AD, but in later centuries the emergence of different forms in the West is limited.

To Rome, pacified after the civil wars, glaziers arrive who quickly establish workshops in all the provinces of the Empire.

Starts a period of peace and stability based on a strong centralized government, It is believed that the first helped by an efficient glass made with the blow technique was in a mold, but bureaucracy. air blowing was also used These circumstances occur soon. under Emperor Augustus and his successors, and with them According to Isings, glass the arrival of glassmakers was was known in Italy before favored. the Roman period, as the discoveries carried out in the Etruscan tombs have shown,

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N E W S (I).

• Esther Ferreiro.

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April 2018

usual rooms of the Castelo that houses the exhibition, but the kitchen, which Ferreiro will transform to his taste to frame his collection Unha xanela á beleza.

Always willing to experiment, not only in the exhibition space but also in her creations, the craftswoman plays for the first time with wood, combining it with glass and metal to offer contrasting textures and sensations. the set will be signed by Esther Art and craftsmanship continue to Ferreiro, an artisan from Santa be the axis of action of the Castelo Comba who specializes in innovative silver and Murano glass de Vimianzo, as well as an jewelry. interesting incentive for visitors.

The next exhibition that will house In this case, it will not be any of the Until April 24.

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The exhibition will be placed in the Castelo from March 24 to April 24, so it is an excellent alternative for those who visit Vimianzo during Holy Week.

Culture 2018. affection that united them throughout their lives, the deep aesthetic community that exists between them is the guiding thread of the exhibition.

Last March we visited the MAPFRE Recoletos Foundation hall in Madrid, where they present an exhibition that explores the friendship of three great artists of the 20th century: André Derain (1880-1954), Balthus (Balthasar Klossowski) (1908- 2001)

The exhibition, with about 240 works, has the generous support of numerous private collections and international institutions, including the Fondation Giacometti, Paris; Musées d'Orsay and de l'Orangerie, Paris; Albright Knox Art Gallery, Buffalo; Minneapolis Institute of Art; The Pierre and Tana Matisse Foundation, New York; Hirshhorn Museum and Sculpture Garden, Washington D.C .; Musée and Alberto Giacometti (1901 Picasso, Antibes; Musée -1966).

National Picasso, Paris; Musée d'Art Moderne de la The looks of these three Ville de Paris; Tate, London; artists, never before Fondation Beyeler, Basel or confronted, coincide in the Kunsthaus, Zurich. same demand of what the work of art should be.

The exhibition can be visited until next May 6.

Far beyond the mutual admiration and sincere

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N E W S (II).

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The stained glass windows in Spain.

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April 2018

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The Visigoths had alabaster lattices, but it is in the Romanesque that the stained glass windows appear timidly.

Glasses united by lead rods, associated with Christianity.

During the 12th century the window in Spain was almost ignored and those that had come from foreign masters.

The walls did not have

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spaces because they were thick to hold the buildings.

With the Gothic, the weight goes to the buttresses and windows are opened.

Then white light becomes color: it is the Celestial Jerusalem.

The stained-glass windows whose color has been kepttell stories framed in medallions, figures, scenes that occupy the entire window ...

A world of images that continues to act on the soul of man.

In the Renaissance the These are 20 of the most Gothic is considered an representative in Spain, in artifice and the stained glass order of seniority. windows begin to disappear.

The sculpture in glass.

This work covers the historical precedents of glass sculpture and its evolution from its most remote manifestations to the present day, without cultural or geographic limits, as well as execution and conservation techniques as heritage assets.

This study is a multi and interdisciplinary meeting point that unites the historical and technological aspects of glass, as a sculptural material, and its interaction with the environment, in terms of its restoration and conservation.

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This last aspect is linked to the characteristics of the work of art, in addition to the intrinsic properties of the glass and to which its conforming process confers, the presence of other materials and their degradation processes, the quality of the conservation environment or exhibition, and the expectation of future interventions or restorations.

Its authors are M.A. Villegas Broncano, J.A. Durán Suárez, A. Sorroche Cruz and J.M. Fernández Navarro.

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The glass in Museums: Linnich.

Our web

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April 2018

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The German Stained Glass Museum is housed in a converted old mill located in the center of Linnich. It was bought by the city in 1983, after the plant had been closed.

is a tributary of the Rur. This water was used to move the wheel of the mill.

with the Chamber of Architects and the Ministry of Construction and Housing of NRW. For the Christian Weitz took over the mill 2000 prize, the independent jury, chaired by the architect Prof. on February 18, 1847. First, he Hans Rollmann (SaarbrĂźcken), worked through the change, selected 26 buildings of more From 1986, the initiative of the which means that the farmer than 200 presented that reconcile citizens of Linna, who followed delivered his grain and design, ecological and social the tradition of the stained glass recovered the flour that was qualities with a profitable windows in Linnich and the obtained from it. Later, the structure in a special way.

Rhineland, suggested that a production changed so that museum of stained glass be Weitz bought the grain and sold Among other things, the jury said installed in this mill. A sponsoring the flour to the bakeries. Both about the renovation (1994association was created to work water wheels were replaced by a 1997): the demolition of parts of on the organization and financing turbine during the Industrial the building made the ancient of the project.

Revolution; the old machines for walls of the city visible and the two wheelchairs imported from design of the building was In 1989, an architectural improved. A glass wall is at the competition was tendered for the England. In 1880, Christian Weitz handed over the mill to his same time an exhibition for the renovation and redesign of the sons Heinrich and Richard, who main building and a screen for old mill in a stained-glass then built a second larger mill in glass paints, which seem very museum. The central aspects 1907 at the back of the building. transparent due to this natural were the preservation of the fabric of the building, in particular A technical revision of the factory lighting. took place in 1935. the silo tower, the restoration of The preservation of the old tree the facade and a new conception For economic reasons, the population and the economic of the entrance area in harmony factory was closed and sold on inclusion of new load carrying with the existing architecture.

March 31, 1966. parts in the old building of the main factory are convincing.

The renovation began in 1994, From the flour mill to the and the museum was inaugurated on November 29, 1997.

stained glass museum

In 2000, the German Museum of Glass Arts in Linnich received Evolution of the museum the "Exemplary Buildings" prize building in the state of North RhineIn 1608 a factory was founded in Westphalia and the Chamber of Architects in North RhineLinnich where oil was extracted for the first time. Some time later, Westphalia (AKNW). the change to rye and wheat The "awarding of exemplary occurred. The building is located buildings in NRW" is carried out on the so-called mill pond, which every five years in cooperation

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The panoramic elevator fits the concept of construction in its filigree design. ... The value of the project is due to the fact that the museum has achieved a successful connection between the new components that have been carefully integrated into the old building substance.

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Recycling. National Congress of Recovery and Recycling.

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April 2018

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The 6th International Recovery and Recycling Fair (SRR 2018), to be held from June 13 to 15, will place special emphasis on the 20 years of environmental legislation that "have advanced the management of waste in Spain".

According to Ifema, these advances have "increased and improved" the percentages of recovery of materials and the recycling of them, from metals and plastics to paper or cardboard through wood, vehicles, tires, industrial oil and glass, among other aspects .

To commemorate these two decades, the 'Plaza 20 años' has been designed, with diverse information on the activity and regulations on recovery and waste management between 1998 and 2018, and a networking area.

On March 20, the Organizing Committee of SRR 2018 met, which promotes FER together with AEDRA.

Spanish Association of Paper and Cardboard Recycling Recuperators (REPACAR), Gloria Lázaro.

On the other hand, they are During the meeting, the shaping the days on companies and entities Circular Economy, to be that formed part of this held during the Fair and in organization outlined the which many organizations activities and sectoral will participate, in addition, events of the call.

SIGRAUTO will celebrate the delivery of its Awards The meeting was attended for Innovation on June 13, by the general director of while the 16th Congress the Spanish Federation of National Recovery and Recovery and Recycling Recycling FER will take (FER), Alicia Garcíaplace, once again, in the Franco; the president of context of SRR on June 14 the National Association of and 15, and this year within Environmental Auditors the fair itself. and Verifiers (ANAVAM), Trinidad Bausela; the "They are unique occasions general secretary of the to bring together National Glass Recycling representatives of Association (ANAREVI), companies related to the Lucrecia Marín; the recovery sector in Spain, general director of the representatives in the Spanish Association for the Environment of the various Environmental Treatment Public Administrations, as of Out-of-Use Vehicles well as other experts and (SIGRAUTO), Manuel professionals directly Kindelan; and the head of involved in recovery and the Technical Area of the recycling." , says Ifema.

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• Our activities.

Volume II — Number 109

April 2018

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 2018.

• Cultural visits.

For the first time the leading glass manufacturers AGC, Guardian and Saint Gobain will sit together in

Madrid at the same table to discuss those aspects of architectural glass that should be known by professionals in the sector.

Veteco Glass, Asefave and the Vitrea magazine of InterempresasMedia jointly organize in Madrid the round table THE GLASS, AN ARCHITECTURAL SOLUTION. The meeting will take place on April 11 in the Press Room of IFEMA's South Building.

Our President will be present at this meeting.

• CULTURE 2018 program.

In this month of April we will visit the Prado Museum to see the Rubens exhibition. Sketch painter.

Rubens is the most important painter of sketches in the history of European art. While we barely know about a dozen oil sketches before him, we still have about 450 in his hand.

The exhibition is organized jointly with the Museum Boijmans Van Beuningen of Rotterdam, and will also be seen in that Dutch city.

The exhibition will open on the 10th of this month of April and may be visited until August 5 of this year.

The practice of making oil The Museo del Prado presents an sketches was initiated by a few exhibition that aims to draw artists in the sixteenth century, attention to this aspect of Rubens' such as Polidoro da Caravaggio, art and will include 82 sketches, Federico Barrocci, Tintoretto or as well as around 20 paintings, Veronese. drawings and other works that This practice, however, is help to contextualize the exceptional in his work. Based sketches. on these precedents, Rubens turned the painted sketch into a

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fundamental part of artistic practice. This is proved by the numbers: while we only know a few sketches of his predecessors, there are still about 500 sketches of the master of Antwerp.

This makes him the most important painter of sketches in the history of European art.

He made them for different reasons: to try different ideas for a composition or a figure; as samples to present to a client; as reminders of a face or some work of art that he could incorporate into his paintings; as designs for book covers, stamps, parts of a building or ephemeral constructions.

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Viewpoint in the Rock of Gibraltar.

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April 2018

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Laser sword in hand (how could it be otherwise), Mark Hamill, the actor who plays the most important jedi in the history of cinema, has been commissioned to inaugurate an imperious structure that could well happen to be the setting of a new Star Wars delivery.

intergalactic saga was forceful when entering for the first time in this glass universe: "The strength is intense in this skywalk," he said, referring to a scene from the film in which Darth Vader mentioned these words.

The staging of the celebration of the opening has been considered a success On the rock of Gibraltar, 340 because, accompanying the meters above sea level, the actor was commissioned to cut main architects of the construction of the viewpoint the opening ribbon of this was carried out, and the magnificent glass vantage point from which it is possible aforementioned interpreter, also attended by two iconic to enjoy unparalleled views. imperial guards to what The observatory allows us to everyone recognizes for its contemplate, at the same time, striking white armor. the continents of Africa and Despite being formed by fourEurope, as well as the exact place where the Mediterranean centimeter-thick glass panels, its strength is beyond doubt Sea and the Atlantic Ocean and would be able to withstand meet. the weight of up to eleven It would support the weight vehicles or five elephants. of five elephants Largely thanks to the 30,000 Accompanied by Fabian kilos of steel that have been Picardo, the main minister of used to support the set of the British colony, the glass plates. protagonist of the best-known

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The corridors of the skywall have a width of two and a half meters and are formed by transparent walls and translucent floor, helping to raise this viewpoint becomes an unforgettable experience.

In addition, it is capable of withstanding gales of up to 150 kilometers per hour.

The idea of making this new project a viewpoint was born in the Madrid studio MAYICE, which the Gibraltar company ARC Design chose to carry out the design of this attractive architectural work.

After the plan was granted in 2014, the viewpoint began to be built on the Mount Misery Battery, a defensive platform that was originally used to spot enemy ships.

Thanks to its location, the glass vantage point allows an unparalleled 360-degree vision.

Without a doubt, a great reason to visit Gibraltar.

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• Other trends. Miguel Hernández away from the poet-pastor.

Volume II — Number 109

April 2018

and he used to do it, to the surprise of the friends who were with him, in the middle of the city. "Where is Miguel?"

They asked. And Miguel had climbed to the top of a tree and from there imitated the song of a goldfinch.

Stereotypes Miguel Hernández circulated a stereotype for many years that had little to do with his biographical reality.

He was seen as a poor and poorly cultivated family, because, he told himself, he had barely been able to go to school as a child.

Far from the truth, as his biographer José Luis Ferris shows in his excellent book Passions, Prison and Death of a Poet, that cliché of the poet-pastor, to which Hernández himself contributed to a large extent, has blurred the clear On March 28, 1942, Miguel Hernández image of his person and ballasting the recognition of his powerful and always died in the prison of Alicante. The exciting poetry. disease, malnutrition and the repressive prison conditions of the To begin to dismantle that false image immediate post-war ended with him, at we have to say that he was not a poor the age of 31 years. child, but a child of modest family, but A round number is neither fulfilled nor of his death nor of his birth, and perhaps for that reason it has more value and meaning to remember it here and now, because doubtful memory is that which only responds to the arithmetic caprice of commemorations.

with resources to get ahead in the depressed Spain of the early twentieth century.

The short life of Miguel Hernández was marked by two great passions: for his love of nature and, on the literary level, from a very young age, by his attraction to the poetic word.

It passed through three different schools, and the last one, that of Santo Domingo, a private school of the Jesuits.

And not home either with the truth that it was a young man without training.

He went to school until he was 14 years old, which few children in rural areas could afford then.

But Miguel realizes that his poetic attempts were somewhat outdated if they were compared with what the poets of the 27th generation were writing at that time, to which he, by strict chronology, belongs.

Behind When he returns to Orihuela he decides to change and catch up, and he does so by getting on the train of neogongorismo, without realizing that this train was already a thing of the past.

The problem of Miguel Hernández is that he always lags behind the dominant aesthetic movements: he ends up in gongorismo (Expert in Moons, 1933) when it was no longer an act claim and had become a relic; then he dedicates himself to the sonnet and to the measured art (the ray that does not stop, 1936) when what prevailed was the free verse, and will go through the surrealism in his odes to Neruda and Aleixandre, the least personal of his poetry, when the advance party of the 27 began to leave behind that style.

During the war will write two books in which begins to be perceived a gradual expressive depuration: Wind of the people (1937) and the man lurks (1939), but it will not be until Songbook and ballads of absences, published posthumously in 1958 -for criticism, today, its best and most authentic work -, when the voice of the poet refines, it becomes thinner and loses all the formidable rhetorical artifice that had characterized it.

Miguel then arrives at the maximum nudity and the greatest expressive In it Miguel studied thanks to the And let it be said that we do not say "interested generosity" of the teachers, efficacy. poetry, but, in broader terms, the aware of their talent, and with the Many of them are poems composed in poetic word, since his first vocation expectation of being able to guide prison, in lamentable conditions. was to be a theatrical author, not a them towards their seminary. The Fumbled and turned of many things poet. With the theater he thought he image of a somewhat "feral" poet does (upon learning that Stalin had signed a could make a living. not correspond therefore to reality. pact with Hitler is angry), he retreats The first thing that Miguel Hernández into the depths of his privacy: his wife, Physically he was a young fibrous, wrote was precisely a play, Who has his new son, the memory of his thin, of medium height; his face, seen you and who sees you and homeland, his ancestors, They seem to following the description of Neruda, shadow of what you were, in the line of had some potato in his work, with summon him from the beyond to the sacramental cars of our Golden marked cheekbones, light green eyes, perpetuate his blood.

Age. and the head crowned by scanty hair, Because Hernandez is perhaps one of which he also insisted on wearing very MORE INFORMATION the poets who has exalted sexuality short. with greater vigor from poetry, and not Returning to her passion for nature, for erotic pleasure, but for his Miguel was like a creature born of her He was attracted to the effort and instinctive fatality, his necessary exercise in the open air. And if he did - "elemental naked nature", Juan it in the company of friends, the delight obligation and obedience to Biblical Ramón Jiménez called it -, all vitality, mandate to "grow and multiply." was for him complete. all enthusiasm, and in the intimate secret of what the earth is: its blooms , Playing ball was his favorite sport. In Of sex it has a primordial sense, a its fruits, the name of each tree, the genesis, as if it were a gift from the his town team he was known, song of the countless birds, which he according to Ferris, for "el Barbacha", nature that he loved so much, and from knew how to imitate like no other. which he will jump, like a seed, the which means "caracol", because, living spark of the son. although a good player, he was The boy from Orihuela felt he was a child of nature, with a clear awareness somewhat slow in his movements.

The kiss in the night of the spouses Some early poem wrote about soccer. of what that meant. An earthly gift, an has its perfect incarnation in the son. elementary form of wisdom that you When he arrived in Madrid at the end From there, from that primary love for have but you do not learn. of 1931, few poets of his age had a life, the Songbook and ballads are more solid and complete literary He was fascinated by water and, as born. soon as he could, he went to the river education than he. He knew Virgilio well, Fray Luis de León and San Juan Beautiful songs that do not remember to bathe or, if it rained, he would de la Cruz, Góngora and Quevedo. at all neither those of Lorca nor those expose himself joyfully as he fell from of Alberti, a pitfall that he managed to the drops until he soaked himself with The theater of Lope and Calderón avoid admirably, and in which Miguel that purifying and sacred manna. were familiar to him. Also Verlaine and Hernández has managed to turn his Aleixandre remembers him lying on his Gabriel Miró would come to conform pain and discouragement into the best their taste. face in the water of the streams to and most enduring poetry. drink. And he liked to climb the trees

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Ali Kaaf in Palma de Mallorca.

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April 2018

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Ali Kaaf (1977, Oran, Algeria) presented last March at the Maior Gallery in Palma (C / Can Sales, 10) the show Dins a garbell is not able to keep the sun, which wants to show the "essential" work of This artist, who tries to "connect with his identity".

The selection of pieces includes works on paper with ink and blown glass sculptures, which are part of their artistic language and dialogue with space.

therefore finds in the paper a means to transmit the fragility and sensitivity of its themes.

The pieces that he exhibits, of abstract silhouettes, focus on the use of the (no) black color, in all its possible variations.

The artist deconstructs ways to achieve new spatial structures.

His biography focuses on philosophical issues. "All this time I have been searching, with my A work influenced by the points, the depth", says European and Arab Ali Kaaf in relation to his cultural tradition, which works with ink, which converge in his work after constitute an his life experience in investigation within the Syria, the United States, limits of the controllable Beirut or Berlin, giving it and suppose an an archaic air. experimentation with the The work of Ali Kaaf tries materials. to escape from the Among his techniques creative conception of are pictorial, glass, painting in "the West" and photography and video, www.amigosmava.org

or graphic editing, and his creation process is "paused", based on an "editorial" line, in a series work.

Ali Kaaf was born in Oran (Algeria) and grew up in Damascus (Syria).

After studying in Beirut and Germany and doing several residencies in Berkeley (United States), he currently lives in Berlin.

In his artistic curriculum there are fifty exhibitions, which have traveled through a diverse geography, from Germany, Italy or Poland to the United States, Beirut or Jordan.

The Maior Gallery already hosted it in its headquarters in Pollença in a collective exhibition in 2008, and now bet again on the artist.

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The mystery of the invisible mummy.

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April 2018

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How can a mummy be invisible, inside a sarcophagus?

In 1860, the University of Sydney acquired an Egyptian sarcophagus whose description said "it was empty or full of rubble."

After verifying that, in fact, it was full of what looked like stones and earth, they closed it and exposed the sarcophagus in the museum of the university.

are only stones and earth.

It simply looks like an empty sarcophagus that has been filled with debris.

If they had extracted the content possibly the mystery would have ended, but being so condensed and embedded in the sarcophagus, they decided to leave it there, so as not to damage it.

More than a century later, one of the museum's researchers came up with an x-ray of the One hundred and fifty sarcophagus, and they years later, a 3D scanner has revealed that there is a found something strange.

2,500-year-old mummy Surprised by the finding, among the rubble. they decided to carry out a tomography, which makes Supposedly it is the hundreds of x-rays and priestess Mer-Neith-it-is, assembles them together who lived about the year to create a 3D image.

600 BC. How is it possible that nobody saw this invisible mummy, taking into account that in a sarcophagus hardly fits a person?

When the researchers opened the sarcophagus 150 years ago, in its interior it seems that there

The image revealed the existence of bones, remains of bandages, resin, and about 7,000 glass beads.

Part of the resin had been spilled on the inside of the skull. It was an Egyptian mummy in every rule.

The hieroglyphics of the

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sarcophagus indicate that it is the priestess Mer-Neith-it -is, who served in the temple of the lion-headed goddess, Sekhmet.

He lived in the year 600 BC. The 7,000 glass beads in the sarcophagus seem to confirm it, but according to the museum manager of the University of Sydney, Jamie Fraser, sometimes the sarcophagi were reused, so we do not know if the current moma was the original one that the hieroglyphs describe .

The presence of debris seems to be due to grave robbers, since the position of the bones is not natural, as if they had been removed. And there is no object of value.

The mystery of the invisible mummy has been solved, and the University of Sydney has been pleasantly surprised, because it acquired an empty sarcophagus that a century and a half later contains a mummy from 2,500 years ago.

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Tvitec in the new headquarters of Uría Menéndez.

Volume II — Number 109

April 2018

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The law firm Uría Menéndez is one of the most prestigious in Europe. For the office work more than a thousand people in different parts of the world and its new headquarters, in line with the prestige of the firm, will have a really iconic design in the urban center of Madrid.

enclosure.

Further. all the pieces were tempered and submitted to the HST, and digitally printed with white motifs that provide a unique design with high durability to the finish.

glasses from the Planitherm XN II (Saint Gobain) range and the incorporation of Low Iron.

The architectural and eco-efficient glass of Tvitec contributes to the concept of bioclimatic façade of the building.

In addition to the eco-efficiency of Tvitec glass in construction, the Glass has transformed the lamination process adds an façade of an old building on important component of sound Calle Suero de Quiñones 42, insulation to the security, given both from an aesthetic point of In total Tvitec supplied more than that the new headquarters is view and from energy efficiency. 2,000 meters of various highlocated in a very central area of quality architectural glass the capital of Spain.

Tvitec has supplied entirely to solutions for the new the Proinler facades, who have Tvitec has all its automated headquarters of Uría and been responsible for its transformation processes, with the Menéndez Abogados. installation, all the lining of the latest technology in double building, which in addition to the The interior skin of the building glazing, up to 12 meters, tempered high-performance glazed has insulating glass units in and silk-screened. solutions, incorporates half a double glazing over which are dozen large-format pieces that In the line of laminate Tvitec not superimposed with holes the draw attention to the facade only stands out in the field of the aforementioned tempered, principal, conceptualized as a large format, but in all the finishes laminated and screen-printed bioclimatic reference. that demand the most demanding parts of large size, but also market through high levels of similar ones of smaller These are pieces of 10 meters quality both in the clean rooms dimensions along the sides of long by three wide that crown the and in the manipulation of the building. work, designed by the intercalary and submission of the prestigious architectural studio of In this way, the architectural and pieces to the pressure of your Rafael de la Hoz. eco-efficient glass of Tvitec autoclave system. contributes to the concept of Tvitec has exhibited in this Tvitec optimizes the lamination of bioclimatic façade that the project all its capacity for handrails of great resistance in all architects designed to favor transformation in the rolling of the thicknesses and also that of greater ventilation in summer large-scale products. pieces in which aesthetics is and the conservation of more fundamental either through digital Each of the six 10-meter units heat in winter. screen printing or the incorporation has been laminated with For large pieces of 10 meters, of Vanceva of a wide range of Sentryglass to add security and which Tvitec is one of the few to colors. acoustic insulation to the process in Europe, we opted for Tvitec has supplied Proinler with laminated, tempered and screenprinted glasses of 10 meters from the facade.

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Page 27

Covadonga Casado and glass.

Volume II — Number 109

April 2018

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There are many fathers and mothers who, when the unruly member of their offspring communicates that they will study fine arts, keep a minute of silence for their uncertain future in the workplace.

people close to them who do not give up at the first failure.

According to Covadonga, the mistake is part of the race and the change is not achieved by the easy way.

"In the artistic world it is Although today, in Spain, almost important to be surrounded by any study that moves away from people who want to change the scientific-technical branches things, who want to improve and is steeped in the aura of job who do not settle for going fast insecurity, once you are aware of because that does not change it, the only option is not to stop anything". and not settle.

Only this way, through the "You have to leave the comfort movement, new possibilities zone and see what lies beyond," arise, those that are hardly found says Covadonga Casado, an in Asturias, which is why Oviedo artist based in Lisbon, Covadonga has been residing where he expands his education outside of the Principality since with a master's degree that 2012. combines science and art from the discipline of glass: "They In his opinion, for the artistic teach us how to work from many panorama of the region to begin techniques understanding the to boil, many things would be reason for their behavior," he needed, among which it says. enumerates teaching centers, workshops of different disciplines After three years in Valencia, one and, above all, "to learn to listen in Prague and another dedicated to young people and their to answering his doubts, Lisbon proposals. » materializes as a "fascinating and full of opportunities" city. And for In the Portuguese capital his day these to be presented "it is begins on the other side of the essential that things happen river. Almost an hour's drive to around you, even if they have attend the faculty of science and nothing to do with art". technology of the Universidade Nova, located in the heart of Since getting ahead in that world Lisbon, where things happen. is not easy, it is important to have

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"It is necessary to be in the middle of the noise," he stresses.

Despite the time lost by taking three means of transport daily, she feels that the city has welcomed her instantly.

«I really like the soul of the place. Sometimes, when turning a street it seems that suddenly you are in a town and when you return to turn in the city again ».

Everything is fine as long as you do not have to face the rhythm of life of its inhabitants. According to him, the calm of the Portuguese is something exasperating, such that "if you need something for which you depend on someone, it is the end".

His future, for the moment, will not be located in Asturias, which he misses both his family and friends, as his workshop, the green or the smell of rain.

«I just do not miss that feeling of feeling that from there you can not launch the flight».

Although definitively he has not thought of anything, "the soil and the soil and, although I will not feed, I never leave. I will go and look for opportunities wherever there are, but I will not leave forever. "

Page 28

The Spanish that could be another Marie Curie.

Volume II — Number 109

April 2018

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It was a pioneer among scientists in Spain, but its name is almost unknown. About 90 years ago, it was formed so that the country would be at the forefront in the science of atoms and radioactive elements, but the end of the Civil War cut short its plans.

Piedad de la Cierva had the opportunity to travel abroad and learn in select environments when few women could do it; and, although he could not develop a career in what he had been prepared for, he did not stop researching in other fields.

scientific research was very oriented towards war and armament. Otero de Navascués creates the Institute of Optics, which reports directly to the CSIC, and Piedad de la Cierva sets out to investigate night vision and binoculars, "a demand of the dictatorship in those times of war.

For this, they created anti-reflective sheets that covered the lenses and prisms, something that allowed to see targets in bad conditions of vision.

The 40s were also the years of the autarchic economy, and the regime wanted the optical glass, essential at Piedad de la Cierva and Viudes was that time to manufacture binoculars brought up in a family from Murcia at the beginning of the 20th century. Born and cameras, to be produced in in 1912, her father, Juan de la Cierva y Spain.

López (first cousin of the inventor of Until then it was imported from the autogyro), despite his strict and Germany, Liechtenstein and the conservative nature, wanted his United States. In 1945, Otero de daughter to have an adequate training Navascués left the Optics Institute and to the new times that were running for created the Laboratory and women.

Investigation Workshop of the Army "That was complicated at the time, because there were very few who were in college," says Inmaculada Alva, a professor at the University of Navarra and researcher of his figure.

The Civil War changed the future of artificial radiation and atomic research in Spain. The outbreak caught De la Cierva in Madrid. Due to the right-wing nature of his family, he takes refuge in the Norwegian embassy, where he meets José María Otero de Navascués, a military man and scientist who in the Franco regime would have a very important scientific career, "besides, with many economic means at his disposal. "

General Staff, where he hired De la Cierva as a civilian worker.

In 1946, he sent it to the American country, and for two years he traveled to the main optical glass factories to see how it was made. Also, he goes to the small Central European nation to buy the machinery. Upon his return to Spain he directs the work so that optical glass begins to be manufactured and distributed at the industrial level.

At that moment she remembers that, in her childhood, the same material was used so that the blocks of ice would not melt when transported. De la Cierva remembers that insulating power and begins to analyze the husk.

Thus, it discovers that it has a large percentage of silica, which is obtained after burning in powerful kilns: it still has the glass kilns at its disposal and does the experiments there.

In this way, it generates a white material of the appearance of the sand with which refractory bricks can be built, that is, they are not altered with the high temperatures of the fire.

"It is very important precisely for the construction of boilers and ships." All this made him win in 1966, again, the Juan de la Cierva prize.

However, he also suffered the sexism of the time. In 1941 "he went on to a competitive examination for a university chair along with another woman. There were five candidates for three places.

He got the rumor that they would not give the position to any woman, "explains the researcher. "She wanted to present herself anyway, because she had invested a lot of effort, but in fact they only gave the place to two of the men, and the other preferred to leave her empty before giving it to one of the women."

His figure has gone very unnoticed, Alva describes, "but it seems to me that there is now a discovery of his person, that there is an interest in knowing who he was, what he did ...

It was the first but not the last time that because he was a woman who was a From there, she goes to the Francoist prize was won. In the 50s, the Navy pioneer in many ways ". zone with a safe-conduct and works as no longer interested in the The monographs about male scientists a professor of Physics and Chemistry industrialization of optical glass, and of his time who shared space with her at the Osuna Institute and as a nurse even wants to remove the ovens that barely name her. And if the Civil War at the front. After the end of the war, exist in Madrid to build a sports center. had not changed Spain forever, the Otero de Navascués, knowing the De la Cierva "sees that her subject history of science in the country would talent of De la Cierva, decides to sign has lost interest" and begins to look have been very different thanks to it. It her for his team. for new ones. Thus, he learns that in could become, if the Franco regime Although the conflict had ended in the the United States they were interested had not prevented it, something like country, another was forged in Europe, in rice husks. our Marie Curie. and would end up exploding a few months later. "The type of industry and For this work he won the Juan de la Cierva technical research prize in 1955, the award that bore the name of his relative.

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How does it.

Volume II — Number 109

April 2018

This month we include some pictures of the technique practiced by Alison Lowry.

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Page 30

The 'performance' of María José Arjona.

Volume II — Number 109

April 2018

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Something unusual happens in the Museum of Modern Art in Bogotá (MamBo) for a few weeks: its facilities rumble because of the roar of four thousand glass bottles that contain water and collide with each other.

The noise comes from the entrance hall and is able to penetrate its walls, to the ears of surprised passers-by who are not aware of what goes on inside.

Already in the space the scene does not stop being shocking, because all the bottles hang from the ceiling, leaving only 15 centimeters of space between these and the ground, covered by a sheet of black Plexiglas that causes a visual effect in which the bottles are reflected in a special way giving them depth.

This strident sound is the work of the Colombian artist María José Arjona, who moves horizontally across the floor, as part of her "Line of Life" performance, and collides with the thousands of bottles, creating a large-scale sound instrument .

This 'performance' is part of his exhibition 'You have to know yourself infinite', in which through objects, reactivations, photographs, drawings, writings, actions and sound pieces, the artist deploys her body of work in an exhibition that occupies the MamBo architecture in its

entirety, until May 26, through literally talks about the female five different spaces that allow us body", says Arjona while moving to understand the cyclical nature. his hands, covered by 'a mantle 'of small red dots, a sign that he But, during the almost three had been working on one of his months that the exhibition lasts, works minutes before, in which Arjona will not be alone. If so, he transformed some of the walls the public would miss the of the museum with red soap opportunity to be able to bubbles that exploded against approach in the same space and them, creating a scene that leads time several of the the viewer to think of the violence 'performances' that he has and in death. presented throughout his 20year career. Therefore, since it is The artist, born in Bogotá in 1973 impossible for the artist to and graduated in 1999 from the perform several actions Higher Academy of Arts of simultaneously, some of these Bogotá (Asab), is also interested 'performances' will be performed in the fluidity of the body in by artists who she trained and relation to certain concepts that who will give them their own remain static in a society as interpretation. conservative as the Colombian one. Therefore, this exhibition, For example, you can see rather than establishing linear performance as 'All The Others points to tell his work, raises a In Me', presented in the fourth series of works with which he edition of the Moroccan Biennial, asks certain questions about the in which the artist took off fifty body. pieces of underwear in a dynamic that included sitting on For Arjona, the whole experience a chair, lighting a light bulb that of 'performance' rests with the hung over his head, remove a body, hence it is considered as a garment, turn off the light and vehicle and a means. "It has a lot walk to the other chair, where he to do with the title of the turned on the light to put on a exhibition, I think it's an infinite, a black suit and took off some place where you have multiple underwear. Later, he turned off possibilities to relate to yourself, the light, went back to the other the world and everything that chair and repeated the action. comes close to you. It is up to you to know what possibilities to "This work is going to be articulate to say what you want to reactivated in the MamBo by a say and communicate, in relation male dancer, something that is to another infinite, "says the very interesting because it is the Colombian artist. only one in all my work that

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Page 31

Saint Gobain expands facilities.

Volume II — Number 109

April 2018

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The Spanish subsidiary of the insulation business of the Saint-Gobain group, Isover, is expanding its facilities located in the Alcarrian town of Azuqueca de Henares.

As the Nueva Alcarria newspaper reports, a few weeks ago the works began in these facilities in the province of Guadalajara to expand the surface of the plant in order to house a new production line of insulation solutions for rehabilitation.

From Isover confirm the work, but have not wanted to reveal more details about the amount of the investment or what specific products will be produced in this new line, the fourth with which Azuqueca factory, focused on the production of glass wool and rock wool.

The new line will become operational in the second half of 2018.

This payment is part of the investment announced in February by the isolation division of the French group SaintGobain, which will allocate € 45 million to the expansion of three of its plants, one of which is Azuqueca.

which has been growing slightly in the last year thanks to the recovery of the local market and the increase in European demand, as the plant already exports a quarter of its production.

Isover is one of the leading companies in the Thus, the multinational is Spanish insulation expanding its facilities in market, as detailed in the Chemillé (France), with latest report on the the addition of a new rock Insulators market in Spain line and a new furnace, prepared by Alimarket which will enter service in Construcción. mid-2019 and will occupy Worldwide, the isolation a new facility of 4,500 division of Saint-Gobain, m2. with 37 production plants, This investment will be is part of the French destined to the French group's interior solutions market consumption. business, together with its roofing business.

The third expansion will take place in the group's These two lines of factory in Vidalengo business entered € 6,884 (Italy), also during this million in 2017. year.

For their part, the SaintThe Azuqueca factory Gobain group increases its exports consolidated sales of € 40,810 million in the same Saint-Gobain Isover period, with 176,450 Iberica invoiced € 60.35 employees. million in 2016, with a staff of 205 employees,

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Page 32

Ancient glass in the Argentine Pampa.

Volume II — Number 109

April 2018

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Researchers have found, near the Argentine town of Parera, elements belonging to the nineteenth century.

They have already done other work in the province and the next excavation will be near Vértiz.

Two archaeologists from the University of Buenos Aires (UBA) work at the La Estrella bowling alley, near Parera, where a rural school used to operate.

They reveal archaeological remains in order to provide information from a period of history that ranges from the withdrawal of the military forces to the arrival of the railroad and the founding of the first towns.

Virginia Pineau and Carlos Landa, together with their work team, explained that there is not much information about what happened in the rural life of the villages in this area of La Pampa.

In a talk with the Zonal News portal, the UBA professor of Archeology and professor Virginia Pineau said that they have been working in the north of the Pampa for ten years.

"We were working in Mariano Miró and in the Upper Italy area, where there was a bar called Bordarampé y Cía., Which we call Posta El Caldén. In front of that bowling there passed a road that linked Intendente Alvear with Parera and that also passed through the bowling place La Estrella ", he explained.

Pineau reported that they came to the place for the first time "a few years ago, we met the school, which was still in operation, we met their teachers, the children, the place, we made a very general first exploration, we saw that there was material on the surface" .

The archaeologist explained that "we are interested in being able to excavate and see the materials that

we find here in La Estrella to be where there was a process of able to compare with those found in change in the short term."

Bordarampé y Cía. and those that On the space analyzed, Pineau said appear in other sites. " that "this area is no longer a border He explained that "this material that area with indigenous biases and all we find on the surface are pieces of that question of conflict to become a glass that clearly belong to an older zone of agricultural production and glass, from the late nineteenth all that change occurs in these century, early twentieth century, fifteen or twenty years, which is a there are also remains of slabs and relatively short period to study. " stoneware material, which is like a The archaeologists of the UBA have ceramic from which the old Bols already made other investigations in bottles were made and that is an La Pampa. "We were in Naicó a indicator because they were used while ago, we were also in the at a certain historical moment ".

Upper Italy area excavating some In addition, he indicated that they places like San Eduardo and found "the base of a stoneware Bordarampé, which we call Posta El bottle of beer that was Caldén, now we are in Parera and manufactured in Glasgow then we have to do an evaluation in (Scotland) towards the second half the laboratory of the materials found of the 19th century and that was no "Commented Pineau. longer manufactured in the 20th He said that "this work continues century, and that material was from with the excavation of new sites and the bowling alley Star". analyzing the materials found, to Historic hollow then present works, expose them in congresses and provide information The archaeologist Pineau on rural pampas archeology. We will explained that, together with her probably go back to La Estrella to team, they work "in a subdiscipline do a second campaign, we also that is the historical archeology, plan to dig at El Toro, near Vértiz. " that works with the problem after the arrival of the Spaniards to He pointed out that "although there America and allows us to also is some synthesis, the work is never incorporate historical documents, finished, it is infinite because there be it chronicles of travelers, are always new sites to dig, new historical maps, paintings, questions, new doubts". drawings ... ".

Pineau rescued "the support of the He explained that "this period of Secretariat of Culture of the history, from the withdrawal of the Province, the Provincial Historical Army from the province in 1884 Archive, the intendants in each of until the first towns are emerging in the locations we visited, people the early twentieth century with the linked to culture, local historians." arrival of the railroad, are about "We are interested in being able to fifteen years where there is a gap in transmit this information that we the studies of national history, is a collect to the people of each locality period that is little worked ". we visit, because otherwise our The teacher said that they found work would not make sense. We are the work important because "we recovering Pampean history, we are can contribute from our area not from La Pampa but we love the information to this historical period province, "he concluded.

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Page 33

CreArt dual exposure.

Volume II — Number 109

April 2018

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Two artists combine their work to reflect on the geographic and cultural barriers of Europe today, in the first Dual exhibition of the European Project CreArt that is exhibited in the Patio Herreriano Museum in Valladolid.

The artist from Valladolid born in Germany, Bettina Geisselmann, reproduces in her work "Transient horizons" European borders from different periods in glass and tin, materials that suggest the resistance and fragility and with which The two artists, Bettina she tries to make the Geisselmann (Valladolid) viewers reflect: " what and Ana Kovacic point do borders affect (Croatia), presented their individuals? works in a public call "Geisselmann asked. together with 54 other candidates from where For its part, in an they were selected, as audiovisual format reported by entitled "Where is the Commissioner Naiara home", the Croatian artist Valdano at a press Ana Kovacic collects the conference. testimonies of Croatian

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emigrants who currently live in Sttutgart for economic and political reasons, with the intention of reflecting on social and personal memory and the internal borders of each person.

The work of both artists will remain exposed in the Patio Herreriano until the 15th of this month of April.

Throughout the project, dual exhibitions will also be presented in cities in France, Poland and Croatia, in which, as in this one, a local artist and another from the CreArt network will participate.

Page 34

Restoration of the 11M monument.

Volume II — Number 109

April 2018

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The mayor of Madrid, Manuela Carmena, said from the event in the Retiro in homage to the 192 killed in the jihadist attacks on trains that the City of Madrid will advance 300,000 euros to replace the monument in Atocha and expected to be ready by 2019 .

agreement signed with ADIF-Renfe.

of condolences to the victims, printed on it.

The City Council is "practically doing a new work".

This membrane is kept upright by a pressurization system, which means that when the room loses pressure, the membrane is released and punctual breaks occur.

"The whole internal part will be new and we will advance the amount so that it can be done this year as a Financially Sustainable Investment (IFS)".

As for the plaques to victims of terrorism, Manuela Carmena has "I would like to think that indicated that some have in 2019 we will be able to already been installed see the new monument," and others have to be the mayor said. finished.

The monument consists The City is waiting for the of an outer skin of glass deliveries of the ceramics where an inner What the Consistory will company. membrane is slightly do is advance the money supported with messages stipulated in the Carmena recalled that the City Council, responsible for the maintenance of the monument, found that "unfortunately the works were not well done from the start".

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Page 35

The School of Berazategui restores stained glass.

Volume II — Number 109

April 2018

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The Berazategui Municipal Glass School, the only one of its kind in Latin America, placed the first stained glass windows restored by its teachers in the church of Nuestra Señora de Luján.

The objective is to carry out the same procedure with the rest of the pieces, until completing the 12 old windows of this historic parish, a work that will be developed in stages and will extend throughout the year.

"The process is called 'restoration in stained glass' and consists of removing from its frame the glasses that have been painted with synthetic enamel; bake them, to burn any vestige of paint that they could have and leave them totally clean; re-glaze them, always respecting the original color and design; bake them again; and finally put them back in the church ", explained Margarita Pino, teacher and director of the Municipal School, who added that the teachers also had to replace the lead from the edges and sides of the first four vitro worked because they were very old".

On the other hand, from the Parroquia Nuestra Señora de Luján, the oldest in the district, they were very grateful and

and that almost all the staff of teachers of the School are participating with great "We are very happy because it enthusiasm. " is a very well done job, which In this sense, Desiree shows that they have put a lot Hernando, one of the teachers participating in the intervention, of love and commitment. A work that, in addition, from the said: "For this great challenge we are using everything we economic point of view we learned in the School of Glass, would not have been able to where I had the opportunity to do on our own. And the train since adolescence and stained glass windows are where today I work as teacher. doing very well, just as they So this initiative seems like an were at the beginning, as we excellent opportunity to be able have seen in photos. So we to turn everything I learned into are very grateful for this something for the community. " beautiful gesture of the Municipality and, for us, it A unique school in the region means a sign of affection, The Municipal School of Glass "said Father Quique, parish priest of this church in the San of Berazategui is unique in Francisco neighborhood, built South America and operates in the San Francisco Municipal in 1895.

Complex, located on 23rd and Regarding the state of the 149th streets. stained glass, Pino analyzed: His work on the treatment of "They have more than a this material distinguishes the century and are not national, because for those years in the district, both in Argentina and abroad. country glass was not manufactured, but came from Currently, he grants the title of Europe, generally of Spanish Artistic Glass Technician (2or Italian labor. And they were year career) and provides painted with European lustres, workshops on the discipline at very nice, but that were various levels, such as Molded already quite deteriorated by and thermoformed, Lighting the passage of time. So his screens, Glass painting, Glass restoration was necessary. screen printing, Thermofusion, That is why it makes me very Thermofusion for jewelry and proud that we are the ones Stained glass. chosen to carry out this work enthusiastic about the arrival of the first restored pieces, which were already placed.

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Page 36

The university of the future.

Volume II — Number 109

April 2018

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A large transparent building will be the headquarters of a university institute in Switzerland.

The building, almost entirely materialized in glass, was designed by the famous Japanese architect Sou Fujimoto.

At first glance it seems a monument to fragility, but rather it is just the opposite.

After winning a preliminary project competition, the Japanese architect Sou Fujimoto designed a large building whose structure is based on the stacking of glass cubes and metal beams that will house the HSG Learning Center of the University of St. Gallen, in Switzerland.

The proposal, baptized

by Fujimoto as Open Grid -Choices of Tomorrow, responded to a requirement based on a futuristic image that alludes to the challenges of digitalization.

developed in glass from floor to ceiling.

On the other hand, the internal glass dividers can be rearranged to allow the sizes of the different spaces, shapes and designs to change to suit the needs of students and The cubes will vary in height from 3.5 meters to teachers.

18.5 meters, forming Fujimoto had already different geometries experienced steel grids linked to each other from when he projected the a framework of white Serpentine Pavilion metal beams, a typical Gallery in London in feature of Fujimoto's 2013. works.

According to the In the sector of smaller University, the 16sheds, outdoor green member jury chose the terraces with shrubs and Open Grid proposal for its abundant vegetation are "highly developed didactic projected, a natural concept and architectural space that is proposed as ambition". a meeting place for the The construction is students. scheduled to begin in Both the facade and the 2019 and would be interior walls will be completed in three years. almost completely

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Page 37

The Barbosa group increases its production.

Volume II — Number 109

April 2018

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The Barbosa & Almeida group will be able to produce up to 500 million more bottles a year with the expansion of its factory in Villafranca.

the Portuguese group has (officially BA Glass Spain in Villafranca, where it has his social and fiscal address in Spain).

The construction of a third furnace and two more warehouses will involve the investment of 40 million and the creation of 80 more direct jobs, so that the glass factory will have 380 workers before the end of the year.

The idea of the group, according to Sandra Soares, its president, after visiting President Vara, is that the construction of the new furnace begins in May and may be completed between September and October.

In addition, it will invest another 25 million for the in-depth remodeling of the first existing furnace in the Villafranque installations.

Soares stressed that his company intends to continue investing in technology and achieve the environmental efficiency of the Extremadura plant.

This is some of the figures additional to those known on 14 January, when HOY informed in depth about the growth plans of what is the most profitable company that

Therefore, they will undertake projects in glass recycling lines.

Soares highlighted the collaboration of the Board with the initiatives of his

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group, a gratitude that also highlighted the mayor villafranqués, Ramón Ropero, to be resolved in record time the administrative procedures for the new expansion of the factory, the second in five years.

Ropero emphasized the importance of the glass factory, with twenty years of existence, not only for the local economy but also for Extremadura.

The Portuguese business group has twelve industries and 3,800 employees in seven countries in Europe.

Its total turnover amounted to 800 million in the last known year.

His jewel in the crown, for productivity, is the great facility that is located in Extremadura.

Page 38

The glass of Avila in Mexico.

Volume II — Number 109

April 2018

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The glass of the company Onyx Solar Avila has been chosen by Heineken to cover the facades of the factory that has opened in Chihuahua (Mexico), which will work 100% with renewable energy, as reported by both entities.

the filter of harmful ultraviolet radiation and infrared and the generation of clean energy .

Heineken has invested more than 400 million euros in the creation of this factory, which will create 300 direct jobs in Chihuahua (Mexico) and This photovoltaic glass, which will manufacture which generates "clean 600 million liters of beer and free" energy thanks per year, using "30 to the sun, follows the percent less water than corporate image of the any conventional Dutch firm with red, green brewer". and transparent colors.

"The sustainability The Onyx Solar glass attributes of this factory in was installed as a Chihuahua are not only ventilated facade and unique in the world, but curtain wall in the they will also be a buildings of the complex, reference on a global contributing to the scale for Heineken," said improvement of thermal Heineken Mexico insulation, the controlled president and CEO Dolf passage of natural light, Van Der Brink.

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In this sense, the manager has indicated that the design features and technological advances implemented in the plant will encourage the exploitation of a "circular economy model, with 100% of the waste generated reused."

For his part, the Director of Business Development of Onyx Solar in North America, Diego Cuevas, has assured that Heineken is "a leader in its sector", and that with this project demonstrates its commitment "firmer with the sustainable development and the innovation".

"We are very grateful for their commitment to Onyx Solar as a technological partner for the project," he added.

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Polo Enríquez.

Sante-Pizzol

Volume II — Number 109

April 2018

-The accounts with which they mount the bracelets are of their own creation, and they take out the material of old crystals, where do they get them?

- They are the remains of the stained glass that we make in the workshop, so it is a way to make the most of the material, and avoid waste. When older, we embed Murano glass murrinas, which are the ones that make those characteristic drawings.

-How do you get such a colorful and colorful glass? lavozdegalicia.es

completely handmade. If we add that I grew up in an environment where In his parents' house there was always everything was done by hand, the a workshop, so it is not surprising that desire to realize my ideas was given. when he created his own family this Professionally, I have been associated stay became indispensable. For his since the mid-80s with the AGA luck, his wife was of the same current, (Asociación Galega de Artesáns). and his children must carry it in their blood. Today Polo Enríquez (Madrid, -It says a new generation is coming 1956) is the one who runs the glass after you, does that mean your business, but he is very well supported children will continue the tradition? by his family. Alicia, his daughter, -That should be asked of them ... I can works hand in hand with him, giving him a new focus and modernizing the not say that they will continue it as such, I think they will improve it! My business. They have a workshop in children have grown up in the Cambre for almost 25 years, that workshop, seeing how things are done although it is not prepared for the and they value craftsmanship, and public, they have no problem in showing to make known what they do both have professionally oriented themselves towards creative and if they are previously contacted. technical ways. They know how we -More than 30 years dedicated to can improve the work and adapt the glass ... why glass? tradition to the time in which we live.

We are a very good team.

-By chance! He had a tea shop with partners in Santiago, and one of the -Comments that provide freshness, do regulars was Don José Mosquera you detect a style or a way of doing Vieites, a master glassmaker who something different? taught a course at the Royal Economic -Definitely! When my daughter was Society of Friends of the Country at that time. It was there where I started little I dedicated myself exclusively to the leaded stained glass. One day he in that world, and as I have always been a curious person, I continued to asked me for a glass pendant, and it was the trigger to start working fusing investigate and discover on my own, for costume jewelery, which has until I left the tea shop to dedicate resulted in all the products we have myself professionally to glass. today. As soon as he could, he started -Has a workshop, was it a personal doing things in the workshop, and project or does it come from a family? that's how we started with our accounts, which have become -If the workshop was small, it has something that is already recognizable always been one more stay in my and very personal. And of course she house, and the same thing happens to is the cause of the movement in social my wife, we come from very restless networks, brand image and website. In families, so having a workshop was as the workshop we all learn, and not natural as having a kitchen. In my only glass! case the workshop is focused on glass, of course, but it is always -Where did you learn the trade? available to adapt it to new projects of -After the first course of stained glass, all kinds, for us it is a place to learn. and then self-taught by -How did you land in the world of complementing courses such as the crafts? one taught in Madrid by Eduardo Nieto, de fusing, or the one given in La -From the moment you start to work Granja (Segovia), of painting on glass, the stained glass, the whole process is by the hand of the Italian master

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- They are imported glass plates, made by hand, so they have so many different tones and veins. What makes, in addition, that no piece is equal to another.

-Where can your products be found?

-In our website and eventually in markets and pop-ups that we advertise on our social networks, such as Instagram, where you can find us as @poloenriquez.

-All the items you make, for example, kitchen, are they for daily use?

-We insist a lot on that aspect, we like that our pieces are enjoyed every day, that's why all kitchen and bathroom products are dishwasher safe. At home we take care to check it, and in the same way we deny that "at the blacksmith's house a wooden spoon".

- Are they in charge of the whole elaboration process?

-Absolutely. The glass is supplied by a neighboring workshop, Aluminios Quintela, with old windows (except for stained glass). Our pieces are recycled glass and the whole process from the entrance of the window until the piece labeled and ready for sale comes out we do in the workshop. We can say that we are the first, the last and the only ones that manipulate the products before they reach their addressee.

-I'm very pleased with «pongotodo», it's a lifelong bowl, right?

- Yes, it is a familiar way that we have to call it, it is something very ours and we use it for that same thing, to put of everything.

-Do they work only with on-line sales?

-We are very small, but we differentiate two lines of business. The on-line part is dedicated to the fusing product, which is what we also offer in markets and pop-ups. And on the other hand the stained glass windows are custom made and in them the client is part of the process to arrive together at a result that fits their needs.

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Our Newsletter is worded in:

The Association of Friends of MAVA was incorporated on June 21, 2003 in accordance with current management.

April 2018

Castillo de San José de Valderas.

Avda. Los Castillos, s/n 28925 ALCORCÓN MADRID

The purpose of this Association is to promote, encourage and support many cultural activities, in the broadest terms,

When glass culture

are related to the mission and activities of the Museum of Glass Art Alcorcon.

Volume II — Number 109

Our goal is to develop and collaborate with other public or private entities in the promotion, protection and dissemination of art and culture.

Our members may be fees, benefac-

www.amigosmava.org • • • • • •

Presidente honorario Javier Gómez Gómez Presidente Miguel Angel Carretero Gómez Vicepresidente Pablo Bravo García Secretaria Rosa García Montemayor Tesorera Mª Angeles Cañas Santos Vocales Evangelina del Poyo Diego Martín García Francisco Martín García

tors, Full and juveniles.

José María Gallardo Breña