Bulletin nº 117 of the Friends of the MAVA.

Volume II — Number 117

January 2019

Monthly Newsletter

Newsletter

Angelina K. Pavlova  Happy New Year 2019.

The year 2018 is over and we are ready to start the journey of 2019.

M. A. Carretero.

not provided for publication, unless they attempt in any way with the honorability of third parties.

Museum of Decorative Arts in Prague.

In September of 2014 we visited the Vatican Museums This year 2019 will be the One of the topics that are where we could enjoy the eleventh in which our Bulletin continues to inform often repetitive in the Bulletin different pieces of glass that they exhibit in their our readers about the news is the news that we include informing about our trips, permanent collection. that is taking place on both the different places of topics related to glass. our national geography and In May of 2015 we were in Stourbridge (UK) to I have to emphasize that abroad, to visit places participate in the glass art the glass and the world that related to glassmaking biennial that has been held surrounds it are not topics topics. in that British town. that are topical in the different media and, much Thus, in those carried out In August 2016, we were in less, when I refer to artistic abroad, we report our two Gibraltar to visit the Crystal trips to France to visit in glass.

2011 and 2013 the biennials Gibraltar workshop.

For this reason, it is that are being carried out on In October 2018 we visited necessary to carry out a glass art in Strasbourg. the Japanese museums of conscientious research the Venetian Glass, in In April 2011 we were in work in order to fill the Hakone, the Institute of Art in Venice and visited the pages of our Bulletin with Glass and the Museum of Murano Glass Art Museum news that may be of Glass in Toyama and the (Italy) and the workshop of interest to our readers.

Glass Museum in Notojima.

Adriano Berengo.

For this reason we have In the month of June of this In July 2011 we visited the requested on several year we hope to report our occasions the collaboration Ebeltoft Glass Museum, in visit to the Corning Museum Denmark, to fulfill the of the artistesanos of the of Glass (USA) in which 100 glass of our country so that invitation of the Friends of artists, representing 32 they facilitate us references the Danish Museum to nationalities and working in participate in the 25th on exhibitions, works, Anniversary of its foundation. 25 countries, have been rehabilitations or other selected to exhibit at New subjects that can be of the In the month of October of Glass Now, a world interest of our readers, but that same year we visited exhibition of contemporary we have not obtained any Nuestra sede: the Turkish School of Glass. glass and the first exhibition type of support in this Castillo Grande de of this kind organized by the sense.

S.J. de Valderas In April 2012 we visited the Museum in 40 years.

Avda. Los Castillos, s/n So we continue insisting islands of Gozo and Malta to see their glass workshops.

But it would also be 28925 ALCORCÓN. that the pages of this (MADRID) Bulletin are available to all In May 2013 we were in the interesting that the pages of our Bulletin collected info@amigosmava.org those who make up the Czech Republic to visit the information on the visits world of glassmaking and Zelezny Brod Glass made by our readers and that no censorship is Museum, the Jablonec components of the showcase adopted for works that are Museum, the Lhotsky community of our country to Gallery, the Czech Glass other glassy corners of other School, the East Bohemian countries, since we are Museum, the Kamenicky aware that these visits are Senov Museum, the Novy made by graphic documents Bor Museum , Rückl Crystal, that consist in the different the Gallery and the Moser social networks.

Museum, the Pokomá Gallery, the Museum of So encourage and Eastern Bohemia and the collaborate with us in the edition of this Bulletin.

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Volume II — Number 117

January 2019

S P E C I A L I NT E R E S T: 

Part of the month



Interview with Vetraria



New Glass Now 2019



With the Director of MTV



Activities on the MAVA



News



Our activities



Glass recycling



How does

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

CONTENT:

Piece of the month

3

Established artists

4

Young artists

4

Interview with Vetraria

5

New Glass Now 2019

8

With the Director of MTV 9 Activities Museums

12

Activities on the MAVA

15

The glass in Bohemia

16

Conference of JM Tascón

17

Delivery of unique pieces

18

Rescue in La Granja

19

Roman glass in Museums

20

News

21

Culture 2019

21

School friends

22

Printing with glass

22

The glass in museums

23

Recycling

24

Cultural visits

25

Culture 2019 program

25

Oldest bottle

26

Other trends

27

Stained glass windows in Madrid

28

Simon Berasaluce

29

Luis García Zurdo

30

The Glass Factory

31

Vitrum 2019

32

How do

33

Jarilla Glass Museum

34

Saint Gobain figures

35

Missing identity

36

Exhibition in Pontevedra

37

The afflicted

38

Johnny Osorio and his stained glass

39

Artisans of the spheres

40

Amazing walkway

41

Lume Glass in Zaragoza

42

Board Of Directors

43

measures to refirst paragraph will ensure compliance suspend the as soon as possible; operation of the facilities, combustion c) that the facilities, incineration competent authority of waste, corequires the holder incineration of waste to take all or the corresponding Article 8 Nonappropriate part. compliance additional measures deemed necessary Article 9 Emission of 1. Member States by the competent greenhouse gases shall take the authority to renecessary 1. In the event that ensure compliance. measures to comply the greenhouse gas with the conditions In the event that the emissions of a facility of the permit. violation of the are specified in Annex conditions of the I of Directive 2. In case of permit poses an 2003/87 / EC in infringement of the imminent danger to relation to an activity permit conditions, human health or carried out in such Member States threatens to cause a facility, the permit shall ensure that: significant shall not include a a) the holder immediate adverse limit value emission immediately informs effect on the for direct emissions of the competent environment, and as that gas unless it is authority, and long as compliance necessary to ensure can not be ensured that no significant b) the owner in accordance with local pollution is immediately takes letters b) and c) the caused. the necessary



Cuban art in glass.

Cuban artists living in South Florida have agreed with the government authorities of the city of Hialeah to decorate the parks with glass sculptures that represent flamingos with different colors, reports Diario Miami.

The goal is to install between 30 and 40 sculptures in all that territory that currently hosts a large number of people from the Caribbean island.

For now you can see the one located at 7505 East and 12

Hialeah Avenue, very close to McDonald Park.

The selection of flamenco has a background and is differentiated from the other identity signs of other counties, such as the roosters of Little Havana, and the iconic peacocks of Coconut Grove.

The mayor of the city, Carlos Hernández, considered it a great idea, and helped to raise funds for the project.



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



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



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

www.amigosmava.org

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Piece of the month. Ann Wolff.

Volume II — Number 117

January 2019

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Germany and later worked Their objects are mostly monochromatic, often kept in as a designer in Sweden. warm earthy tones.

Between 1993 and 1998, Ann Wolff worked as a They radiate calm and professor at the Hochschule strength. Ann Wolff wanted In her 50 years of career, the more than profiled surfaces. für Bildende Künste (University of Arts) in sculptor has created several He processed the material in Hamburg. works that make people several different aggregate think.

Nowadays, he works as an phases, formed it, fused it, independent artist in Sweden Especially because glass, on painted it. Sometimes and Berlin. The Swedish the one hand, is transparent, abstract objects arose, royal family has acquired but it is a solid material. sometimes figures that tell several of his works. stories.

Translucency intensifies It has been awarded with sensual perception. There is What makes me strong? numerous international no other material that allows When does something prizes, among them the you to see it and at the same become art? All these recognized Coburger time see through it. questions keep Ann Wolff moving. For her, movement Glaspreis (1977), the The artist has dealt with Bayerischen Staatspreis and dance are important. glass all her life. With it he (1988), the Jurypreis of the has allowed him to see the In the dance theater, he was Toledo Art Museum (2005) world and take a look at his allowed to experiment with and the Award of Excellence aesthetic sentimentality, and Pina Bausch, made views of the Smithsonian Renwick has also created from there and then formed Collection, Washington. USA homogeneous objects. glass objects.

(2008).

The most recurrent themes Ann Wolff was born in His works have been that predominate in his Lübeck, Germany, in 1937, exhibited repeatedly in works are the condition of studied at the Hochschule several individual exhibitions woman and the room. für Gestaltung (University of around the world.

Design and Art) in Ulm, As one of the founders of the Studio Glass Movement, Ann Wolff was at the center of attention since the late sixties.

www.amigosmava.org

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Volume II — Number 117

January 2019



Established artists. Angelina K. Pavlova.

Our web

Arts of Wroclaw Poland in 1990.

Between 1985 and 1987 he had a master's degree in the UMPRUM reporter from Prague, Czech Republic, Stanislav Libenski.

In 1985 he graduated from the Academy of Fine Arts in Sofia, Bulgaria.

Skill and passion came together in a way that creates an effective synthesis.

Forms that remember primitivism and Fauvism, expression of the most frank and incisive tradition of the 20th century.

Reach today with the power of color and modeling of glass that stand out for their originality and attention Angelina Pavlova was He graduated from the to the development of born on December 10, Glass Department of technologies.

1963 in Sofia, Bulgaria. the Academy of Fine



Emerging artists. Flavie Audi.

Our web

Flavie Audi was born in Paris in 1986. In 2010 she graduated from the Architectural Association, RIBA Part II, London.

In 2014 he graduated from the Royal College of Arts, in masters of ceramics and glass, London.

The practice of Audi finds its starting point in the handling of glass. Glass plays a crucial role for the artist by contemplating a speculative utopian world in which humans create cosmic fragments and new types of landscape formations. Using the physical properties of glass, Flavie highlights the duality between the real and the virtual world.

Through its ubiquity in almost all contemporary forms of digital devices, glass becomes a signifier of the tension between the realms of the tangible and the digital, as well as a facilitator of the disappearance of physical objects.

www.amigosmava.org

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Interview with VETRARIA (1).

Volume II — Number 117

January 2019

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De eladelantado.com

At the beginning of everything there is light and fascination with stained glass. And continuing with the origin, in the beginning of Vetraria is Carlos MuĂąoz de Pablos; one of the best stained glass windows in the world, which began in the world of stained glass in the middle of the 20th century and since then has never ceased to investigate. The intellectual and academic of Fine Arts, he fused his knowledge in 1996 with two of his sons: Pablo and Alfonso. They have been together for more than 20 years and have become an international reference for glass, dedicated to the creation, restoration, conservation and dissemination of artistic stained glass.

- In all this time, what has changed more? The artistic consideration of stained glass? Techniques and technology?

- Pablo: We must distinguish between restoration, contemporary art and the use of stained glass in the everyday.

The world of restoration has changed a lot, because where there were no guidelines now there are. It has advanced conceptually and technically. The field of contemporary art has developed quite a lot because there are many more authors working.

And the field of the domestic practically does not exist. There is a great lack of knowledge and if people do not know it, they do not demand it.

In public buildings there is hardly any window and in the private one it is a minority. Keep in mind that glass is a restricted material and expensive to manufacture. Colored glass is only manufactured in a punctual and artisan way in a few places in Germany and France. In Spain no company.

ornament and art in a more complex way and that gave us Modernism and Art Deco. But after the Second World War with Rationalism and other demands of society, the shop window stopped having a clear field. My father has always thought of making autonomous panels and separating the window of the architecture.

As Pablo says, there is a very complex industry that without demand is lost. At the end of the 19th century, there were lots of companies that made wonderful grisailles and high quality glass and there were painters who knew pictorial procedures and had criteria. That was lost in the postwar period of the II G.M. and was disastrous for restoration and conservation in the West. But what are we going to do as contemporary artists in the world of stained glass? ...

We are in a critical period, full of uncertainty. The future is to be defined. We do not know what will happen.

-Carlos: Pablo and Alfonso have established two scenarios with great precision. After the II G.M. the architecture underwent a mutation, in the sense that in that rationalism and functionality of the concrete, the glass breaks in as enclosure. And it's going to incorporate fundamental things.

Float glass is a recent system that provides sheets of glass of great perfection, which dispenses with the polish that it had. You do not know, because you are very young, the moon polished glass: an almost casting moon that developed with hot rollers and had to be polished to leave the perfect two-sided planimetry. The float glass disappeared and bursts the glass as an enclosure in the architecture with an extraordinary power. It is no longer necessary to -Alfonso: Historically there have been close a building with a window. In processes in which the shop window addition, a window can not be closing has disappeared. After the Mannerism, a valuable building, because it in the Baroque, the window had a determines the interior and exterior of crisis because the architecture that a living space and the window is was the main source of demand for vulnerable. To that enclosure of flat, works of art disappeared and in that colorless glass, which is float glass, period the knowledge of procedures the invention of the polymers is joined. and materials was lost. Then, in the There is a thing called the butiral, nineteenth century there was a which together with the sweet glass resurgence with eclecticism and acts to create the anti-shock glass architecture, again, he understood with which in architecture the bars

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disappear. Technology and economics have changed the mission of the shop window and I believe that its future is to free it from the enclosure of architecture.

- Being three people in a company dedicated to creation, restoration and conservation, each one will be more interested in one of the aspects. With what does each one identify more?

- Pablo: An Aristotelian classification can not be established. It is a matter of non-preference method. I prefer to draw that to be leaded, but the work sends and a part is not understood without the other. The structure determines the shape and to be freer we have to master the metal and be painters and make grids ... You enter here and there is a blacksmith shop, when in a shop window there never has been because it has always been a separate trade. We try to dominate the set so that the result is the best; as much in restoration and conservation as in new work. We have been giving solutions that did not exist and adapting to the changes in architecture and that can only be done by having a total knowledge of the process.

-Alfonso: I understand the question in another way. I love restoration as a source of data because you are in contact with people from 500 or 200 years ago. The fact of seeing how those works were raised or how they have been deteriorating, serves to know more and to approach the new work is very useful restoration.

-Carlos: The restoration is a teacher not present: the old work is a source of essential knowledge. It is necessary to understand that seven different trades take part in a showcase: those who make the Sketches, the cardboard, the one who cuts the glass, the one who paints it, the one who cooks it, the one who leaded and the part of the metalwork and assembly. It is still a very complex process, beyond technology.

- Vetraria combines state-of-the-art technology with historical procedures. What techniques and procedures have been incombustible over time?

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Interview with VETRARIA (2).

Volume II — Number 117

January 2019

- Pablo: The arts require time to practice and learn them. This now does not exist because people do not have time and practicing an artistic discipline requires generosity of input. It is difficult to understand for someone who works with scheduled schedules.

- Carlos: The grisaille and I say it knowingly. Surely at this time there are very few in Europe who know grisaille as we do.

-Pablo: What has not changed are the grisailles, nor the yellows of silver: a coloration that is given superficially to the glass and once cooked it entails inside the glass without being adhered. That means you can color the glass by ion exchange; It is a chemical issue.

-Carlos: Silver yellow is lavished since the thirteenth and fourteenth centuries and has been a finding as important and complementary as grisaille. He has fulfilled the function; in the Gothic, for example, what in the altarpieces are gilded, in the stained-glass window it is made with silver yellow. Modeling and glass with grisaille is imitated.

Silver yellow can be used in a white glass, alternating with grisaille or it can exist in green and blue glass and gives green by juxtaposition. It gives an awesome game.

- What contributions are especially satisfied in Vetraria after having dedicated so much to what in other companies we call R & D & I? - Alfonso: There has never been a book of procedures in the shop window. And when, as in the Baroque, they stop making stained glass, as never has been written about it and the techniques are secret, knowledge is lost. The history of the shop window has always been to recover procedures. We set out to formulate that yellow of silver and we achieved the formula in 2007. We intend to publish the first book of pictorial Procedures of the stained-glass window, so as not to lose the knowledge about yellow, grisaille and the binders that, in the stained glass, they burn in the oven and leave no trace in such a way that when you see a stained glass window you do not know how it was painted.

-Carlos: You can not put Carbon 14.

-Alfonso: So, for example, we do not know what the Pierres de Chiverri would paint in the Cathedral of Segovia, because it is not written and it is very important in the painting to know the binders, fundamental to be able to develop a plastic language.

- When is that publication?

- (They think) ...

-Alfonso: We always have so much to do .., but we have to get to it.

-Carlos: You have to do it now. We permanently investigate, accumulate

- Carlos: In common are art and painting, applied to glass, which complicates everything because it is not only about painting but about knowing the behavior of those forms with respect to light. I always say that the shop administers the light from back to front, while in a painting it is the other way around. That light that manages the shop window complicates the process. You enter the Cathedral at experience and at a certain time it will a certain time and that light that colors the space can be perceived in a subtle be written. or even violent way. Painting can not -Alfonso: We have raised a priority do that. For that reason, I believe that scheme, with the first yellow silver what unites us is three-dimensional because we were without him. The painting. As I said at the beginning: the few manufacturers that did it, did not fate of the shop window is architecture, do it well and we were using a very old which is the meeting point of many one that my father had, at the disciplines and ours in particular. beginning of the 20th century and - Alfonso: Yes. Architecture with all that when it was running out and we it entails: materials, geometry. looked for a substitute in the market, we realized that there was not and we - Carlos: We are interested in all this got scared. because we want the show to be integrated. This, in turn, has an added -Carlos: We still keep some remains drawback: the window has to like the testimonies of a relic. accommodate the social architectural -Pablo: Now we make a fantastic function with which the work of the yellow. glass painter is submitted.

-Alfonso: With the grids the same - Alfonso: We are at the service of an happens. They are complicated to idea so that there is a conceptual, manufacture. We already have some luminous equilibrium. This does not made, although we do not reach the happen to an easel painter, who works quality of the best grisailles that were in isolation. We have to dialogue with made in the 30s of the last century. other disciplines.

-Carlos: Currently make a few - And to the father, what has the windows like the good ones of joint work meant? Is there a fear of Maumejean impossible due to lack of being pigeon-holed artistically? materials.

- Carlos: Not much less. I work in a -Pablo: We depend on the industry studio and under the workshop as little that makes the glass; we only as possible so as not to disturb. They transform it. The technology has also did not realize they were learning. improved the glass but it has done flat In the tool shop, for example, is its color, which limits the creative everything happened at the beginning possibilities and we work with a like a game but it was formative. support that has dorsal light and has - How is the work methodology in a to have movement that requires, in team of three? turn, the quality of the color.

- Pablo: It depends on what we are -Carlos: I have two emblematic doing. The dynamics are generated by samples with between 200 and 300 glasses. At this time the range we are the work itself. Many times we do several things at once. We share as we driving does not reach 2% of that. see the need.

-Pablo: There are houses like St. - Alfonso: The fact that we can all do Lambert and San Just that manufacture 2,500 references but that everything facilitates the work more than if there was a specialization. blown glass is not comparable.

- Carlos: I, now, above all, I draw and -Carlos: Glasses are very full colors, paint the window, because in other we do not know if they know how to tasks I get tired. make nuanced glass because it depends not only on the blowing but - The glass and metal architecture on the composition: of the proportional was an innovation of the second part of the coloring in the dough to be half of the nineteenth century, which colored and that the ancients did not allowed large glass surfaces with know how. unique shapes such as vaults and domes. Has there been any other - All three are graduates in Fine significant contribution in recent Arts, dedicated to a vocational years? work. What is it that attracted everyone to the world of glass?

- Carlos: The concrete. In the 60s concrete windows were really - Pablo: We are cradle glassmakers. interesting. What happens is that the The transmitting passion of my father glass is very stable, does not have has been a vital reference. dilatations as it happens in cement and - Alfonso: We were born in a glazier concrete. Cracks occurred between workshop and we are curious about glass and concrete, but it was not things; nothing else to see the perfected because that fashion was workshop, willing to investigate and outdated and architecture did not solve emerging needs. demand it.

www.amigosmava.org

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Interview with VETRARIA (3).

Volume II — Number 117

January 2019

- Alfonso: We have a very limited field as an expression and exhibition of the stained glass as art. Spain is a strange country, because being one of the countries in the world with more stained glass windows, we do not grant them the importance that in France and Germany, where as in the rest of northern Europe great stained glass windows were produced but they have had terrifying wars that ended with good part of them.

-Alfonso: We must bear in mind that we are moving towards a very technological society and the historical arts are in crisis. Before one, the Bank of Spain, made a spectacular building to demonstrate its solidity through an aesthetic and resorted to furniture, stained glass, paint ... Now, an airport wants to demonstrate technological development.

- Carlos: The last manifestation in Spain where all that set of artistic trades attended the service of a great architectural work was the Catalan Modernism, with Gaudí and others.

From the Second World War that changed and the Bahaus was the key: it melted all that aesthetic knowledge into a modernity, opening the door to industrial design that sums up what Alfonso says.

- Pablo: Now there are so many materials. Perhaps the vanguard in our field is being established with laminar glass printers, who put a photograph, put it on a 6 by 6 screen and place it in a building. There is language but there is no one who uses it. Let's say the architecture does not know what to do with it. The example is the buildings that have introduced colored laminar glass, such as León's MUSAC, but they are still paramentos.

What does the 21st century demand?

- Carlos: The iconography is a function of the building and the message, which is very varied, and abstraction plays a very important role. 'Less is everything'. In these moments it is easy to make a Rotko after Rotko but we must take into account the trajectory. That is the issue. Now there are no vanguards. In Painting, Lucian Freud is living together with abstracts, installations and performances. The characteristic of the avant-garde is that there are no vanguards.

- How do you define the keys that make Vetraria's language unique and different from others?

- Carlos: Sincerity and honesty.

- Alfonso: The commitment. We are in the Cathedral and we will do whatever it takes to serve what is there, to make it work. And so always, in Spain and where we work.

- Carlos: Commitment, yes. In the Cathedral, the last window we have made, The Final Judgment, has been exposed and when I finished drawing and painting that I realized that there was a head that I did not like. I told the Cabildo and they were surprised: How are they going to change something - Alfonso: This says a lot. The whole that we see very well? They thought.

Renaissance is produced because That is the issue, we have a there is an economic and political elite commitment to the Cathedral, but the whose wealth is invested in it, because first commitment is with ourselves and art has a meaning at that moment. that made us change it.

Now these elites have no relation to - Pablo: It's another differentiating art other than as objects of speculation element. Carlos painted his head and or refuge value. There is no one who he decides if he wants to change it. can stand a Leonardo or a Priority must be given to authorship.

Michelangelo.

When you decide to modify a job - Carlos: It is paradoxical that now art because you think it will be better, that is talked about more than what is is unquestionable. produced. You find artists that what - Carlos: The stained-glass windows they say with words is much more are works that correspond to a space interesting than their work. and sometimes they are close and - Alfonso: It is a reflection of that sometimes very far away. Knowing imposture and society does not how to dimension in space is one of demand art. the most risky things. My goal is that - Pablo: The positive aspect is that art the window is visible and has value in has been democratized and there are all distances; that what you see near, below, has substance and works more people doing things. There are those who paint and exhibit in a virtual equally that at 50 or 100 meters. That is the approach. gallery ...

- Does the cultural world assume - Alfonso: But the economic power limits the art and we have the example the importance of stained glass? in the glass. We need glass factories, - Pablo: It is a very closed field grisaille, otherwise, no windows will be because where do you see stained made. How do you have great glass ?. You go to an exhibition hall portraitists ?, When the portrait is and you see paint, but do you see? demanded and practiced.

We could give up architecture and make glass for exhibitions, but it would - We talked about the technical be something else. changes. And the iconography?

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- Carlos: The consideration does not correspond to the heritage of all the times we have. The cathedrals of Burgos, Malaga, Seville ..., have since the nineteenth century with fantastic stained glass. Here is founded Maumejean, whose artists are Spanish.

- Alfonso: And the coolest Art Decó does Martorell, a Spaniard who should know the whole world, but we do not have that awareness of being a powerhouse of the first order in stained glass.

- What is the imprint of Vetraria in his hometown ?. Has the Cathedral of Segovia been the point of union also for the artistic recognition of the three?

- Carlos: There have been very interesting works like the stained-glass windows of the Faculty of Philosophy and Letters of Madrid. It was a work of investigation with the glasses of fussing that we used, manufacturing a high percentage of the glasses.

- Alfonso: The first intervention of the three in a Cathedral was in the one in Castellón; a very interesting hard work and was the start. Almost a hundred stained glass windows. The Avila was the first restoration that we undertook with our own criteria that questioned certain international criteria.

- Pablo: We worked together with the Higher Center for Scientific Research and that of Avila was a very special work, in 2003. Then, in 2009, we arrived at the Cathedral of Segovia. In San Millán, we work together in the two side chapels.

- Carlos: I had done much before those of the apse and in the Alcázar there are stained glass windows of all times, and since the 59 I have worked there.

- Pablo: Now, the priority work and to which we dedicate more time for 10 years is to the Cathedral of Segovia.

- Alfonso: It's a very peculiar project because there has been a direct relationship with the Cabildo and that right now in the restoration is not given.

All are contests, bureaucracy and the system with so many obstacles prevents good restorations because you can not always respect the deadlines. You do not know what you are going to find and the treatments require a process. The Cathedral of Segovia is being exemplary.

- Carlos: The contact with the Cabildo is permanent and that communication is essential. Another important thing that is being done and is almost never done is to expose and assemble them before raising them to their location.

Knowing how to dimension, calculate and compose, see it in the short distance is a didactic task to learn to look up.

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New Glass Now 2019.

Volume II — Number 117

January 2019

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The Corning Museum of Glass (CMoG) announced that 100 artists, representing 32 nationalities and working in 25 countries, have been selected to exhibit in New Glass Now, a global survey of contemporary glass and the first exhibition of its kind organized by the Museum in 40 years.

The program, which will be available from May 12, 2019 to January 5, 2020, will include works ranging from large scale installations and delicate miniatures to videos and experiments in glass chemistry, all of which demonstrate the vitality and versatility of this dynamic material.

In the spring of 2018, CMoG welcomed the presentations of new works, carried out between 2015 and 2018 in which glass plays a fundamental role, for consideration by a panel integrated by Susie J. Silbert, curator of modern and contemporary glass in CMoG, and three invited curators, among them: Aric Chen, curator general of the M + museum, Hong Kong; Susanne Jøker Johnsen, artist and exhibition manager at the Royal Danish Academy of Fine Arts, Schools of Architecture, Design and Conservation, Denmark; and the American artist Beth Lipman.

hand," said Silbert.

"The exhibition explores how contemporary artists and designers have continued to reflect on this material and reimagining its role as a carrier of meaning with links to many aspects of society, cultural heritage and contemporary conversations.

New Glass Now is the third exhibition of an innovative series organized by the Museum to study contemporary glass on an international scale.

Glass 1959 and New Glass: A Worldwide Survey, organized in 1959 and 1979, respectively, played an important role in the creation and definition of the field of contemporary glass.

The 1959 exhibition helped to lay the foundations of what became the Studio Glass movement just a few years later, in 1962, and the 1979 exhibition promoted the collection by institutions and individuals, a new academic attention and a continuous artistic innovation.

The exhibitions of 1959 and 1979 will be reviewed in an exhibition, titled New Glass Then, in the Rakow Library of CMoG., Which complements the contemporary glass exhibition at the More than 1,400 artists, designers and same time. architects working in 52 countries, Karol Wight, president and CEO of from Argentina, Australia, Indonesia The Corning Museum of Glass, said: and Japan to the United States, the "New Glass Now continues with a United Kingdom and other countries, commitment of more than 60 years to presented works that are based on share the history of the medium for work with fireworks, glass, casting, more than 35 centuries, including the neon, carving and work in the oven contemporary development of art and among other techniques. design. . in glass. The exhibitions that "The works of art selected by our panel for the exhibition range from timely political commentary and investigations of the materiality of glass to explorations at the intersection of high technology and the

CMoG made in 1959 and 1979 defined the field of Studio Glass and attracted critical attention to the work done by glassmakers from all over the world. '

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We hope that New Glass Now continues with this important tradition and reveals new and exciting ideas about the work that is being done today around the world. " Coinciding with the opening of the exhibition, CMoG will publish the 40th anniversary number of New Glass Review, its annual printed magazine of contemporary glass.

Published since 1979, New Glass Review has attracted critical and popular attention to the material and the artists and designers who work with it.

The 2019 edition will include the 100 works of art and design objects chosen for the contemporary New Glass Now survey, as well as important contextual essays and information.

The publication is distributed in May of each year with GLASS: The UrbanGlass Art Quarterly and can be purchased at CMoG and online stores.

About Contemporary Glass in CMoG The Corning Museum of Glass is home to a contemporary glass collection that includes approximately 13,000 works, as well as several artists' residences, where they have the opportunity to investigate and experiment with new techniques.

The museum's 26,000-square-foot contemporary gallery, the world's largest space dedicated to the exhibition of contemporary glass art and design, is part of the Contemporary Art + Design Wing, designed by architect Thomas Phifer and Partners, and opened its doors in 2015. Susie J. Silbert has served as a curator of modern and contemporary glass since 2016.

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 With the Director of the Technological Museum of Glass (1).

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developed? What is your general condition?

We have the disadvantage that the extreme temperatures and inclement weather in La Granja force us to the continuous restoration of the building.

About two years ago, the roofs were restored, except for the two domes, because they required more intervention because cracks appeared outside the drum of one of them.

Of eldiasegovia.es. 15/12/2018.

The Foundation of the National Glass Center (FCNV), which occupies the former Royal Factory of Crystals of La Granja, one of the most important industrial buildings of the eighteenth century in Europe commissioned by Carlos IV to the royal rigger José Díaz Gamones - works together with the Ministry of Culture and the Institute of Cultural Heritage of Spain to recognize the blowing technique as a representative manifestation of the Intangible Cultural Heritage in our country, next year, as revealed in this interview by the director of the Technological Glass Museum of this installation, Paloma Pastor.

For this reason, the Ministry of Culture initiated a file for the pathological study of the two vaults, resulting in the drafting of a rehabilitation project to correct the deficiencies found. during this month of December, which will lay the foundations for the future of this institution.

In recent months, the Cultural Heritage Institute of Spain, the Ministry of Culture and the FCNV have worked intensively with the company awarded the project for the drafting of this document.

We are currently in the third and final phase that includes a study of pathologies, both in the building and in the environment; of cultural management and its environment, as well as conservation and maintenance, among others, in order to establish the criteria for action to be followed in accordance with the proposals made and their timetable.

The restoration of the vaults began last October, beginning reforms in the first dome of the museum.

How long will the works last?

It is planned to last about nine months. These actions do not harm the normal visit of the museum, security measures were taken to affect as little as possible.

The restoration is organized in three phases, a first, in the first dome; a second, in the second cupola of the museum, and a third and last phase that will focus on the central nave, which will have a greater presence, will be revalued.

The investment is around 1.5 million euros. The actions consist The three fundamental bases mainly in correcting the filtration music, production and training damp lesions and the will always be there. deterioration of the covering There are few centers at this systems to the outside, as well as time with this authenticity, not A master plan that will be the arrangement of mortars in only has the recovery of a very presented this December and poor condition in the interior, important industrial building been that will set the future guidelines sanitation of walls and floor, and registered, but it has been of this center, while important a new electrical installation. works are being addressed in the provided with a content, The building and especially the two domes, for 1.5 million euros. safeguarding the techniques. construction of the vaults, have What is the current moment in Although the plan is about to been for the architects of the present, where should any of the National Glass Center Ministry of Culture of great (CNV), initially conceived with the changes go? interest for its rarity and three areas of activity: Engranar well the three importance in the industrial Technological Museum of activities, which are different, but architecture of the eighteenth Glass, Technical and feed each other, that is key. century in Spain.

Production Area and the The museum can not live without Still remain to restore small Superior School of Glass? a training and without an oven, places in performances that will What has changed from this and vice versa. be marked by the master plan, initial conception?, Can it be which will also establish the We are in a building declared considered as the greatest schedule of interventions. reference for glass in Europe? BIC 20 years ago, exponent of European industrial Do you see any intervention in We are at a key moment. A architecture of the eighteenth the old dump of the Royal master plan of the Royal Glass century, what conservation Factory, for the analysis of the Factory is being developed from works are currently being materials that were used at the April, which will be presented In the medium term, together with other countries, the declaration of World Heritage by UNESCO will be sought, at a time when the trade is being lost.

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You work to protect the blowing technique, an occupation in extinction, what is the idea of this project ?, Is there currently a crisis of glassmakers ?, Is there a danger to the continuity of this activity?

The Real Fábrica de Cristales has been and continues to be a guarantor and transmitter center for glass work in Spain.

The craftsmen blowers, carvers and decorators that we currently have in production have learned and have been trained in this same institution and this is for us a great pride, and this is of course the way to go. time?

colors and designs, a technique Several years ago an excavation that requires great skill and expertise. was carried out, a very interesting work that brought out Outside the Museum we have the type of material, the also organized other temporary refractories that were used in the exhibitions, in addition to the kilns. exhibition 'Reflejos en la Historia' that could be seen in the Possibly the archaeological Segovia Museum. intervention of certain places is advised.

Are exhibitions maintained?

With what samples do you currently have them and what do you have in your portfolio for the next months?

In the Glass Museum of Marinha Grande we have organized an exhibition with the funds of the La Granja museum dedicated to contemporary Spanish glass.

The technique of blown glass presents in different areas of Spanish geography a set of historical, immaterial, technological and artistic values that make it worthy of recognition as a representative manifestation of Cultural Heritage in Spain.

One of the objectives of this Foundation of the CNV is to revalue, promote and safeguard the industrial heritage of glass in Spain.

There are unfortunately fewer and fewer artisan factories in We have work exhibited also in Spain, such as Gordiola, in We always try that the museum the Palace of Quintanar de Mallorca, and small kilns in has something new to show and Segovia. I refer to both the classic chandeliers and the latest Barcelona and other regions. make known to the public. For models of lamps, from the RFC + For that reason one of the this reason, we annually collection, all of which are part of objectives is to safeguard, care organize thematic exhibitions for and maintain these craft that ultimately try to complement the exhibition 'Companies that dream: Examples of passion'. techniques facing the future. All the stable collections of the of them require many years of museum by tackling very diverse In addition to temporary learning and therefore we must fields: design, history, art, exhibitions, we also organize take care so that they do not contemporary sculpture or other activities during the year, disappear. jewelery. such as concerts, conferences,

At this time you can see three temporary exhibitions: one by the sculptor Pedro García, 'Pliegues', until mid-February, which presents the latest works of this well-known sculptor who uses glass sheets that he then melts including organic and inorganic particles inside ; the contemporary glass exhibition, dedicated to 18 Portuguese artists, organized jointly with the Glass Museum of Marinha Grande in Portugal and the exhibition by Fratelli Toso, 19021980, until the end of February, where you can see the best works of this family muranesa, known above all for the manufacture of murrinas or different sections of glass threads of a great variety of

guided tours, didactic workshops for children, or experiential visits for adults.

We are working together with the Ministry of Culture and the Institute of Cultural Heritage of For the next year we are already Spain in this dossier to recognize the blowing technique as a working in different temporary exhibitions, we are going to bring representative manifestation of Spanish and foreign sculptors to the Intangible Cultural Heritage in our country next year. the museum and also design glass collections.

The crisis of teachers not only happens in Spain, also in other The most immediate is the countries, so we work in the inauguration of the Nativity international lists [Intangible scene exhibition, on December 21, at 7:00 pm, which, like every World Heritage] of UNESCO, along with Finland, Germany and year, is accompanied by a the Czech Republic, among concert of Christmas songs, others.

"Villancicos de La Granja", and we deliver the winning prizes of the children's crib contest.

It is a very endearing moment and practically the whole Farm participates.

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Currently, the people who work in the production are former students who learned the trade in this institution, which fills us with pride and shows that this has a

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century industrial architecture and a true hallmark for Segovia, as well as the permanent glass collections of La Granja, European glass, Maumejean stained glass, contemporary glass, or temporary exhibitions of very different countries and techniques; but, above all, it is the hand-blown workshop that is the center of attention of our visitors.

At this time the public that visits us can also see the technique of carving crystals, practically unknown.

future and has to move forward.

Do you see interest among young people to continue this profession? Where do they have an opportunity to train?

In addition there are older collections, such as European glass, from the sixteenth to the nineteenth century.

It must be remembered that the Royal Factory of Crystals of La The glass school is adapting to the current moment, offering the Granja was born in the eighteenth century with the new possibility of giving more dynasty of the Bourbons within technical courses of the reformist projects that the monographic character and of Spanish State implemented with different levels focused on artists, craftsmen, designers and the aim of creating an industrial fabric that would face the glass lovers.

European trade of these The possibility of incorporating products sumptuary, not only of regulated training projects such glass and glass, but also of as vocational training and other fabrics, silks, playing cards, medium-level courses is also porcelain or tapestries. being studied, which is currently Since there are no experts in being worked on.

Spain with sufficient skill to There is interest among young manufacture the well-known and people, although La Granja does desired Bohemian, English or not have the population of Venetian glasses, adapted to the Madrid ... new taste prevailing in Europe, it We speak of a costly technique, was forced, despite the difficulties and their costly even so there are ovens with less consumption. For example, maintenance, to bring specialists in interpretation centers, such as from other European countries of Nuevo Baztán, they demand us Bohemia , Germany, France, England, Ireland or Norway. to publicize the technique and, fortunately, we have the Preserving, safeguarding and opportunity to move a smaller making known this important furnace. legacy, which has been What would stand out from the maintained for centuries, despite own funds, the essence of the historical circumstances, is one of the main purposes of the old Royal Factory?

There is an important part of the Foundation. museum that is the technology of What is the impression, in glass that, with the oven, is one general, of the public when you know the old real factory of the claims for the visitor. and the techniques? Is La Of course we have one of the most important crystal collections Granja's glass still an of La Granja with funds from the international reference? Will it still be?

Ministry of Culture, attached to

the National Museum of Decorative Arts; of the Prado Museum, National Heritage and own funds.

It's not because I say so, but it's always very positive, and they come out delighted to come and see, both the building, a magnificent example of 18th-

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We value very much that, who goes to the old Royal Factory, appreciates what is behind each of the pieces: a good trade and many years of learning.

Regarding La Granja glass, we continue working to open new markets, not only in Spain - we are starting a new line of collaboration with the Corte Inglés for next year - but also outside of Spain, with the American market ( San Francisco), the European (Milan) and even Asian (India).

In a year, some 50,000 people can pass through this museum.

In this sense, do you show interest in buying at your point of sale, for example, now for the dates we enter?

What better gift for this Christmas than a glass from La Granja, made by hand?

People know how to distinguish very well a glass made in an artisan way, from the beginning to the end, of other industrial productions, where in each minute hundreds of pieces are manufactured.

After the visit to the museum, the public values more the good trade, the skill and the years of learning that are behind each of these pieces.

Face to these Christmas dates we have taken in the shop of the museum a special promotion in some pieces that will last until after Kings (January 7).

For the younger audience we have also launched new colored glass products, which we call rustic glass, that is, a somewhat more affordable glass for all pockets and with different designs, which is having great success among those who visit us.

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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. Bellini-Pezzoli Collection.

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The Museum of Art in Glass of Alcorcón (MAVA) premiered last June a new room dedicated to welcome the 46 new works donated from the collection of Aldo Bellini and Sandro Pezzoli.

plasticity and beauty, the technical sophistication of the works and the history of Italian glass of the last sixty years, both in design and in contemporary art.

Sandro Pezzoli, with his The new exhibition space of partner Aldo Bellini, now the museum has recalled the deceased, started his collection in the seventies, figure of Aldo Bellini, who died in 2006, and has put in acquiring pieces of Venetian value his fragile works along glass. with those of Sandro Pezzoli.

Over the years they expanded their eyes towards The 46 pieces of the new Room are polychrome works, American Studio Glass works, Australian, Japanese luminous, transparent and almost always worked in hot, and other European works. with predominance of the To the selection criteria of the technique of blown glass to technical and aesthetic cane. excellence of the work, a strong will was joined: to The entire Bellini-Pezzoli Collection consists of 1,500 support emerging artists. pieces of glass, composed of Fruit of this decision the unique works, series and youth of the authorship of the design objects. pieces is today undoubtedly The works of this collection, a hallmark of this collection. which are already part of Most of the pieces are MAVA's heritage, will allow signed by prominent artists the visiting public to prepare such as Lino Tagliapietra, an exhibition discourse that Carlo Moretti, Michele narrates, through creativity,

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Burato, Silvano Rubino, Maria Grazia Rossin, Laura and Alessandro Diaz de Santillana, Toni Zuccheri or Miriam di Fiore, among others.

Many of them are by Italian authorship and progress from the seventies to the present, which offers an account of the recent history of contemporary glass in one of the most influential countries.

In addition, some of the pieces have also been produced by famous "vetreries" (traditional Italian artisan glass workshops) such as Venini, Barovier & Toso, Majo, Archimede Seguso, Salviati, Barbini or Effetre Internazional.

Finally, we must also highlight a small group of pieces that have also arrived in Alcorcón, designed directly by famous Italian designers such as Gianni Versace, Ottavio Missoni, Mila Shön and Pierre Cardin.

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The art of glass in Bohemia.

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It is believed that the monastic order of the Benedictines first tried to produce glass industrially in the territory of the present Czech Republic.

They were the first to produce glass for the windows of churches and monasteries and the first glass factories were founded in Bohemia during the beginning of the thirteenth century.

The development of glass production in Czech lands would not have been possible without a sufficient supply of sand and wood, used as material for melting glass and fuel for glass furnaces, respectively.

HISTORY OF THE GLASS OF BOHEMIA IN THE CZECH REPUBLIC. In the sixteenth century, more than 30 glass factories were active in the current Czech Republic.

Czech glassware found much support for development, especially during the reign of the King and Emperor Rudolph II. The arrival of many gemstone carvers led these artists to learn how to carve the glass of Bohemia.

glass. The area around the Czech border has become the center of production and trade of the Czech glass industry.

As in other artistic fields, recorded Czech glass has become the backbone of many aesthetic approaches and trends, ranging from Art Nouveau richly decorated in the late nineteenth century to the austerity of functionalism in the early twenties . as well as many creative experiences of modern art.

Bohemian glass has always been identified by quality, thanks At that time, the Czech to which it has become known as glassmakers already produced colorless glass that was perfectly a unique export product. adapted to the decoration.

The most favorable conditions However, this success would not were found in the area near the have been possible without the The properties of transparent Czech border, where there was contribution of an army of artists, glass resembled natural quartz enough material for the designers, merchants and stone, so it acquired the name construction of the furnace, as teachers who approached this Bohemian crystal. well as the rapid water courses material with the greatest honor needed to operate the glass Caspar Lehmann, a jeweler and and respect despite the fantasy cutters and quartz mills. glass cutter who worked in the of fashion over the years. court of Rodolphe II, is important The history of the manufacture of for the history of Bohemian Although globalization makes Czech glass in the Middle Ages is glass. beauty secondary to the waves related to the reign of King of the ordinary and quality is Charles IV, who invited Venetian He advanced the technique of often neglected, the Bohemian glassmakers from the island of glass engraving to a new level, glass becomes a much soughtMurano to Prague. when he first used a cutting after object, especially by fans of machine with copper wheels. beauty, delicacy, perfection and They used local sources to The cutting machines of beauty. unique art produce stained glass. However, Lehmann gave rise to the Czech glassmakers of the time Vessiere Cristaux perpetuates massive success of Czech also produced medieval chalices baroque glass in the following this long tradition in the and other green-stained glass production of Bohemian glass, decades. products that became popular which offers hand blown among management courses and At the end of the seventeenth glassware and decorated with customers abroad, thanks to the and eighteenth centuries, many shapes and patterns. gradual development of new Bohemian glass practically had Glass jewelry, unique and glassworks and the efforts of no competition in Europe. It was original gifts. your sellers. more sought after by rich clients than the most famous Venetian

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Conference by Juan Manuel Tascón.

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"The difference in size between a nanometer and a meter is the same as that between a marble one centimeter in diameter and the Earth, which has a billion centimeters."

This was explained in the Club Prensa Asturiana of THE NEW SPAIN Juan Manuel Tascón, researcher of the National Incar-CSIC Coal Institute, who gave the conference entitled "Nanotechnology, carbon and the beings of nature", within the framework of the cycle of autumn talks by the Higher Council for Scientific Research (CSIC).

Juan Manuel Tascón, who was introduced by Ángeles Gómez, institutional delegate of the CSIC in Asturias, said that "a nanometer is a 1 with nine zeros in front".

He added that nanotechnology already affects almost all areas of life and is here to stay.

"It is usually taken to this science as a panacea, something that is useful for

everything, and is true in part, especially in the world of agriculture, health or biomedical field," said Tascón.

The scientist believes that "the miniaturization of materials is a great advantage when making new applications.

"All that is to increase the available area based on decreasing the size, will be positive," he said.

TV screens to make them brighter.

The researcher from the Coal Institute also made a bit of history and referred to the Lycurgus cup, a glass cup in a Roman glass cage of the 4th century that was made with a dichroic glass, which has different colors depending on whether the light passes or not through the material.

The glass takes on a ruby hue when the glass is illuminated from behind and green when "Another thing is the special illuminated frontally. properties that matter acquires at a reduced size," The effect is achieved by added the researcher. means of a glass with a small amount of gold and silver Tascón gave the example of nanoparticles dispersed in the gold, which at the nanoscale glass. becomes liquid at room temperature; the copper, "In the year 300 the artisans which becomes transparent, were already doing and the silicon that goes nanotechnology without from being an insulator to a knowing it," he said. conductor.

A similar process was carried "They are a bit like magical out in the Middle Ages with effects but they have a clear the stained glass windows of scientific explanation," he the cathedrals. said.

"When they needed to color a Tascón also referred to the glass of red they put gold quantum dots that carry the nanoparticles," said Tascón.

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Glass and its industry unite peoples. The Royal Site of San Ildefonso and the Portuguese town of Marinha Grande celebrate the twenty years of twinning between both municipalities and their glass centers.

An expedition from Granjeña led by the mayor of the Real Sitio, José Luis Vázquez, has traveled to Portuguese lands to reaffirm the friendship and union of two communities with a tradition linked to the Enlightenment, the eighteenth century.

The twinning between the Real Site and Marinha Grande arose because from Spain, through the National Glass Center Foundation (CNV), the creation of its namesake was promoted in the Portuguese country.

The then president of the Foundation of the CNV, the master glassmaker Carlos Muñoz de Pablos and the general director of the entity, Eliseo de Pablos, also participate in this visit to Portugal, where they gave a lecture on the tradition of glass in La Granja, together with the Portuguese stained glass authority par excellence, Fernando Quintas.

Later, within the framework of the commemoration of the Municipal Chamber of Marinha Grande, its president, Álvaro Orfao, delivered the keys of the city, in a solemn ceremony, to the mayor of the Real Sitio, as a message, not only of twinning, but also of gratitude for the impulse that from the granjeño City Council made the then regidor Félix Montes,

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to the union between both towns.

The visit continued with a demonstration of the two reference glass masters of each country, Diego Rodríguez, of the Real Fábrica de Crystals of La Granja, and Álvaro Poeiras, of Portugal, who shared work throughout the day.

The commemorative medals ceremony was also held at a ceremony presided over by the Minister of Culture of Portugal, in which the former president of the Chamber of Marinha Grande, Álvaro Neto; the president of the Real Crystals Factory, Andrés Ortega; the current mayor of the Real Sitio and the president of the Chamber of Marinha Grande, Cidalia Ferreira. The visit concluded with a commemorative concert.

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Rescue in La Granja.

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The Town Hall of the Royal Site of San Ildefonso has concluded the phase of archaeological prospecting on the surface of the House of the Polish, within the framework of the work begun in 2018 to recover this mansion, now in ruins, but of transcendental importance in the history of the historical industrial heritage.

A patrimonial value in oblivion, about whose recovery the consistory wants to make pivot one of the cultural axes for the period 2019-2021 and opt for the cultural 1.5.

To this end, the mayor has delegated to the now nonattached councilor, and president of the Friends of Glass Association of La Granja, Ricardo Hernanz, the project coordination work, which began in the summer of 2018 with a first intervention of sanitation , deconstruction and consolidation of the environment.

the polishing machine of John Dowling, a hydraulic polisher that through wheels and gears allowed to take over the work of 100 workers.

All a feat in his time, to the point that D'Alambert and Diderot pointed out in his Encyclopédie as one of the most advanced machines of the eighteenth century.

For the second phase work is carried out in two directions, a documentary, commissioned by the museum's management of the Royal Glass Factory and tending to chronicle the construction of the building and its link with the factory complex, and in parallel, new archaeological surveys to document the later uses that the building has had.

Hence, much of the interest is to recover the traces of the system of hydraulic use (catchment, channels, shots of the river Cambrones) both inside and outside.

"When the manufacture of glass declines, the house stops having its initial use, dedicating itself to different uses, stable of cattle, warehouse. Analyzing these aspects and also the paramentos This first survey, as explained by we can better refine the areas where you have to do Sonia Fernández of GROMA, prospections to identify the has already allowed some first hydraulic uses, "explains data of hydraulic systems to be Fernandez. incorporated into the documentation.

That would be a third phase, also complementary to a consolidation "Additionally, and fortuitously, project. " and by focusing the work in the whole area, we found defensive We are analyzing whether to systems of the Civil War", cover the house or seal the walls bunker, trenches and a shooter's in some way, "explains the nest, also incorporated into mayor, José Luis Vázquez, as a memory. way of protecting future archaeological prospection.

Second stage

The following thing has been to incorporate the ruin to the archaeological inventory, for which it has proceeded to this first prospection, in charge of the company GROMA, so much of The work, in which for the the plant of the building, like of moment the town council has the surroundings. invested € 8,600, has only just The importance of the House of begun. the Polish is that in 1761 hosted

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They are the first steps of what is intended to be the application in La Granja of the recovery works of the Casa de la Moneda in Segovia.

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The Roman glass in museums in Madrid (XLV).

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Eduardo Alonso Cereza

The meaning of assuming a certain artisan activity and what it represents is reflected in the organization of the Collegia or Corpora.

They are usually denominated with the term of corporation.

The assignment of this word is after the eighteenth century; in the Middle Ages different denominations appear attending to the regional diversities: Guil in Great Britain, Tilden in the Germanic Countries, Guilds in the Iberian Peninsula, and Colleges, Consulates, Paratici or Arts in Italy.

workers would belong to this in all likelihood they are the result of an Etruscan heritage. last category, although the manufacture was expensive and Most of the data concerning the professional associations reduced until the blown glass appeared. have been obtained through Other sources reflect some The Roman tradition offers us hierarchy in the different detailed information about the categories, and also that King Servius Tulius inscribed in the origins of professional associations; these would go public records the division of the Roman people in schools. back to the period in which Numa Pompilio reigned, who In the High Monarchical Age the suggested to the artisans the craftsmen were in charge of idea of grouping according to supplying the particular and social needs of the Roman the professional specialty in population with works that were Rome, leaving the village exclusively familiar, and were divided by trades. still far from constituting modes From this event emerges an ancient origin of professional of industrial production. epigraphy.

In different aspects the Roman associations.

Collegia were the precedent of According to Plutarco, the medieval ways of doing things. original craft categories were nine, arranged as follows: The Roman professional associations have often been flutists, jewelers (goldsmiths), carpenters, dyers, considered to represent an shoemakers, tanners, forgers, extension of the Sabine potters or vajilleros (vasai), institutions, or importation of and a last category where all Greek models, such as the Etairai, and possibly also heirs the other trades of Middle Eastern models.

We must think that the F.M. de Robertis considers that glassmakers and related

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Both Plutarco and other historians agree in granting a political significance to the action of Numa, which in order to face the differences maintained by the different ethnic groups made the decision to differentiate them by categories, meaning the principle that would guide the future Roman policy of " Divide et impera ".

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N E W S (I).

 Glass jewelery in Novelda.

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The Historical-Artistic Museum of Novelda will show two collections of historical jewels of the XII, XIII and XVIII centuries that it houses in its funds.

rings decorated with glass paste in the case of l'Alfossar, and medals and crucifixes from the auction of rosaries discovered in San Felipe.

The exhibition will remain open until January 26 and is composed of a set of eleven pieces from the necropolis of the site of l'Alfossar or Garroferets of the twelfth and thirteenth centuries, along with another collection of five pieces of the eighteenth century found in the crypt of the hermitage of San Felipe.

The proposal "Jewels with History" will be complemented with the realization of didactic workshops aimed at children on Saturdays, December 22 and January 19, in which, according to the director of the Novelda Historical-Artistic Museum, José Luis Pellín, " pieces of jewelry will be made with the technique of salt paste".

These are earrings and

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Culture 2019.

Last December we visited the Prado Museum again to see the exhibition "Museo del Prado 1819-2019. A place of memory. " Since the Royal Museum was opened on November 19, 1819 with funds from royal collections, this institution has become one of the main repositories of Western pictorial memory, a fundamental point of reference for Spanish culture and in a object of collective pride.

Two hundred years after its foundation, the Prado Museum reflects on all this and shares it with its visitors

in an exhibition format that for almost four months will convert its rooms A and B into a rich interpretation center of its development and historical significance.

The exhibition has a total of 168 original works, of which 134 are part of the own collections and the remaining 34 are received on loan from various national and international institutions -EU, Curated by Javier Portús, France, Hungary, United Chief of Conservation of Kingdom, Israel, Germany Spanish Painting (until 1700) and Russia - to create a of the Prado and in his own context that helps to words, the exhibition understand the Museo del "proposes a chronological Prado in relation to general journey through the evolution trends in European heritage of the museum, which is a policy and to show some of criterion that allows you to the terms of dialogue that underline what you have of contemporary artists have living institution and maintained with the especially permeable to the institution. historical swings of the country.

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N E W S (II).

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Friends of the Glass School.

82 enrolled this year and 32 more who will enter the following year.

They also serve parents and have their association to support their children in their education and learn work that will provide them with income.

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There are already 5 young people who have had support for entrepreneurship.

We present the new Board of Directors of the Association Friends of the School of Glass, in Honduras.

They are a group of people very committed to the # education and the # laborbased of young Hondurans and who put special effort into those who do not have the resources to be able to go to school.

formed by Engineer Francisco Gallo, as the new president; Licda. Elisa Martínez, vice president; Lic. Carlos Vindel, as treasurer; Engineer Flor Santos, as secretary; and Norma Flores and Gustavo Suazo as vocals.

Through the project School of Glass - El Progreso, Honduras and the support Education is a basic need for they make with young entrepreneurs, they are your country to have the achieving great results. development it deserves.

Taking stock: There are 64 The Friends Association of young graduates since 2015, the Glass School #AEV, is

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3D printing with molten glass.

The impact of these projects is extended to families and communities, reaching more than 400 people in #ElProgreso, #Honduras.

Thanks to their work to the foundations that collaborate: Veron Foundation, Fe y Alegría Honduras, NACAR Foundation, National Glass Center Foundation of the Royal Factory of Crystals of La Granja, the great philanthropists, the companies that help them and the team of faculty, cleaning and maintenance.

And they thank all those who follow them on social networks and who encourage them to continue for this cause. concept of the feasibility of creating transparent objects through the deposition of molten glass.

It also describes the complete redesign of the system, updating it to an industrial platform capable of achieving architectural results.

The four objectives of the enhanced G3DP2 platform were the increase in speed and scale and the improved repeatability and reliability.

Scientists from the MIT (Massachusetts Institute of Technology) have presented a new method of 3D printing for the additive digital manufacturing of transparent glass on an industrial scale.

Scientists report on how to The new G3DP2 platform, used to understand and control the convert molten glass into 3 meter behavior of printed glass, high columns, is described in an specifications, engineering article published in 3D Printing and and control of the platform, Additive Manufacturing. and the design space of the product.

The document analyzes the first G3DP2 printer, used as proof of

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Page 23

The glass in Museums: Ajeto.

Our web

Volume II — Number 117

January 2019

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The Ajeto glass factory and museum are located in the village of Lindava, about ten kilometers east of Nový Bor, in the Czech Republic.

create a glass manufacturer in a Newborn business and you can be there.

dance nights on Fridays, children have a slide and the children's house.

Ajeto Art Glass Museum: The work of the teachers the museum full of unique can be seen during an items is located on TG The factory collaborates excursion in Lindava or in Masaryka street. with the famous designer the Ajeto glass restaurant The Ajeto Art Glass Bořek Šípek. in Nový Bor. Museum brings together a It is possible to take a This restaurant is glazed, wide variety of tour of the factory to see so if you do not mind contemporary art, art and how the molten glass is seeing the work of others art, and offers periodic made by hand. when dining, this exhibitions of the best restaurant can be good artists and designers.

A unique project, the advice for a trip.

Glass Garden, presents The Ajetom Glass outdoor glass art around The restaurant was Museum, located at the the AJETO glass factory. designed by the welltop of the Ajetoc known architect Bořek restaurant, is connected The name of this Šípek, by the way, one of to the glass foundry, business is really an the founders of the Ajeto where you can observe acronym for Action, glass factory. the work of the Unique, Exclusive, glassmakers.

Talented and Admirable. In summer, you can also And precisely those sit on the terrace, the products are trying to restaurant organizes

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Page 24

Recycling. 20 years of transformation.

Volume II — Number 117

January 2019

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The history of recycling glass containers is a success story.

This year we not only celebrate 20 years of our model, but we celebrate 20 years of a committed company: city councils, citizens, administrations and catering professionals, this is also your anniversary.

In 1997 the Law of Containers and Packaging Waste arrives in our country and, with it, the recycling revolution.

And how much is this? As much as almost 2 million vehicles of circulation during a year.

These results would not have been possible without the involvement of neighbors and restaurateurs.

Each year more than 300 awareness campaigns are carried out and citizens are mobilized for sustainability.

From the Fallas of Valencia to fairs, carnivals, going through schools, universities, sporting From Antequera to Barcelona the events and concerts, among many other initiatives. streets were filled with green containers and citizens became Hospitality also plays a key role. familiar with the gesture of This sector generates recycling glass containers. approximately 50% of glass This is how the current recycling system for glass containers was born: a professional model that all citizens have access to.

packaging waste.

Every day more than 60 establishments are visited to inform and train about the recycling of glass containers.

one of the greatest challenges of our time is the fight against climate change and the transition to a circular economy.

In this context, the correct management of waste plays a critical role.

At Ecovidrio, they aim to recycle 100% of glass containers.

They have a strategic plan that will allow them to invest more than 300 million euros and accelerate the growth of the recycling rate, strengthen infrastructures, social mobilization, innovation and sustainability in operations.

But you can not do it alone.

Regional and local administrations are actors in this system and must take decisive steps.

Implement the obligation to recycle, especially for large Recycling glass containers is a generators, review the fees for habit today. In two decades we In addition, it is committed to have gone from a rate of 31% to collection infrastructures adapted dumping and incineration and advance in greater transparency reach 73%, as estimated for to the channel, such as 'door to and equity in the payment of the 2017. door' services and adapted waste rate, are necessary and containers.

At an individual level, citizens urgent measures. have almost tripled the recycling These results are also the result "Never doubt that a group of of glass containers from 6 kg / of public-private collaboration. committed people can change inhabitant per year to the current City councils are key allies. They the world, in fact, it is the only 17 kg / inhabitant per year. are part of this system. thing that has achieved it."

The recycling of glass containers We work with them to mobilize The words of the anthropologist is a key element in the fight society and to install containers and poet Margaret Mead take on against climate change. for recycling. Today there are special meaning today. The In the last 20 years, the recycling more than 218,000 igloos in the moment is now and the of glass containers has whole territory. responsibility is shared. prevented the emission of 7 But all this is not enough and we million tons of CO2 into the play a lot. There is no doubt that atmosphere.

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Volume II — Number 117

January 2019

 Our activities.

In this section we detail the activities which take place this month, corresponding to the cultural visits related to the glass and outputs that we as provided in the program CULTURE 2018.

 Cultural visits. who with her work, especially during the last decade, is promoting the visibility and prestige of the artisan craft of glass in the Malaga region of the Axarquía, making an updated and attractive product with multiple applications in the most innovative decorative styles.

Taking advantage of our visit to Almuñécar, we will visit the shop-workshop that Montserrat Puñet Terrado runs in the town of Torre del Mar in Malaga and, more specifically, in Casas

Nuevas Street No. 26.

Montserrat Puñet exerts more and more influence in the empowerment of her craft, highlighting the trajectory and the leading role of this artisan,

Nominated for the national craft awards 2010, on May 16, 2011 was awarded the Craft Master Letter by the Ministry of Tourism, Trade and Sport of the Junta de Andalucía.

 CULTURE 2019 program.

This January we will approach the Mapfre Foundation to see the exhibition "Rediscovering the Mediterranean".

The Mediterranean as a theme, but also as a reference to the past, is the proposal of this exhibition with works

by Claude Monet, Vincent Van Gogh, Paul Cézanne, Pablo Picasso, Auguste Renoir, Pierre Bonnard, Joaquin Sorolla, Joaquim Sunyer,

Julio González or Giorgio of Chirico among others.

moderne de la Ville de Paris, the National Museum Reina Sofia Art Center, the Kunstmuseum Winterthur, The exhibition, produced by Fundación the Columbus Museum of Art or the MAPFRE, has been possible only Museo di Arte Moderna e thanks to the support of more than Contemporanea di Trento e Rovereto. seventy providers who have collaborated in it.

It has also been essential the generous and extraordinary disposition These include the Musée d'Orsay, the of the private collections that have Musée national Picasso-Paris, the agreed to provide works of an Musée Matisse Nice, the Center extraordinary quality.

Georges Pompidou, the Musée d'art

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Page 26

The oldest bottle of wine in the world.

Volume II — Number 117

January 2019

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For several years there has been some controversy in the scientific world about a very special bottle of wine: the oldest unopened wine that has been registered.

Should this bottle be opened or not? And the big question of getting open, should we drink whatever it contains?

AD. When the tomb was excavated in 1867, other similar bottles were found, but they were destroyed or empty.

The wine inside the Speyer bottle was probably made from local grapes that were planted during the Roman mandate. Also unknown herbs were added, perhaps We are talking about the Speyer wine bottle, a sealed as a flavoring or as a preservative. container, presumably with liquid wine, and whose name However, the residue inside is due to it being unearthed is no longer exactly wine, not from a Roman tomb found at least as we know it. near Speyer, Germany.

Instead, researchers have And it is that during the last explained that it consists of a hundred years, the Historical solid, dark mass next to a Museum of the Palatinate of milky fluid. It happens that it is still historical, because Germany has housed the even the survival of that famous historical piece. Of course, a century is nothing waste is unprecedented. for the Speyer wine bottle, An unusually well-made also known as RĂśmerwein bottle that remained airtight aus Speyer. Its dark contents for millennia, a wax seal and remain intact in a a thick layer of olive oil transparent glass for more preserved its contents from than 1,600 years. any total evaporation. In fact, The bottle is one and a half more oil than wine was poured into the bottle, thus liter and has handles in the shape of dolphins. She was creating the dense and solid layer visible through the buried in the grave of a glass.

Roman noble couple near the town of Speyer. The Before the big question, researchers estimate that it should we open it and drink dates back to around 325

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it? While scientists have considered accessing the liquid to further analyze the content, since early 2018 the bottle was decided to remain intact, unopened, due to concerns about how its contents would react when exposed to air.

Under the assumption that one day you decided to open, could you drink? Yes, at least at the microbiological level. Researchers say it probably will not kill anyone who chooses to do it, although the wine will not taste good.

In any case, whoever wants to taste its content, will first have to fight with the museum staff and most scientists, who refuse to open the bottle even for research.

The reason? Apparently, most are too afraid to handle the bottle and have an accident.

And we can not blame them, I do not know if it's more frightening to throw the oldest unopened bottle of wine in the world or, in fact, just drink it.

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Other trends. The Thyssen collection.

Volume II — Number 117

January 2019

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December 30 was the deadline given by Carmen Cervera to keep her collection of 429 works deposited for free in the Thyssen since 2002 for 12 years and both parties have decided to take three more months to complete the negotiation. It was the umpteenth postponement achieved on June 18 at a secret meeting held in the museum itself, which included the Vice President of the Government, Carmen Calvo, the Minister of Culture, José Guirao, and the owner of the works, Carmen Thyssen.

MORE INFORMATION The change in date is due to the need for more time to study the subject by the Ministry of Culture and the legal representatives of Carmen Cervera, MA Abogados, the office of Ángel Acebes and José María Michavilla.

In a telephone conversation, Carmen Thyssen said that on the table there is no request for 9 million euros per year in rent, as it had been published in some media. Sources of Culture ratified the version of the baroness.

Carmen Cervera's collection comes mostly from the inheritance she got when she was widowed by Baron Thyssen.

They are works that have nothing to do with the one that was acquired by the Spanish State to Heinrich Thyssen-

Bornemisza in 1993, in an operation for which 350 million dollars were paid in exchange for 775 masterpieces dating from the thirteenth and fourteenth centuries until the last decades of the twentieth.

The pieces owned by the Baroness deposited in the Thyssen and exhibited in the Villahermosa Palace since 2004 have in their central core masterpieces by Canaletto, Fragonard, Courbet, Boudin, Monet, Sisley, Renoir, Degas, Rodin, Matisse, Picasso or Kirchner and the jewel in the crown, the famous Mata Mua (1892) by Paul Gauguin.

Originally, that legacy added 655 works, an amount that has been shrinking at the same time that Carmen Thyssen opened new museums with his name and moved Spanish paintings there. It has museums in Malaga, San Feliu de Guixols and Andorra.

Since 2002, the year of the formalization of the deposit, Carmen Cervera obtained an extension of the building, the Palacio de Villahermosa, to exhibit her paintings in optimal conditions. The maintenance, study and conservation have been the responsibility of the State and have meant a permanent revaluation of the whole without it being required any long-term counterpart.

Always with the authorization of the Board of the Museum, of which she is vice-president for life and has four permanent

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representatives, the baroness has been able to lend, change and move pieces according to their needs.

Thanks to the deposit agreement authorizing her to sell up to 10% of her collection, Carmen Cervera broke off one of the jewels of her collection in 2012, alleging a lack of liquidity: John Constable's lock was auctioned at the London headquarters of Christie's for 27.89 million euros with the displeasure of part of the board.

He then spoke of the possibility of also discarding Racing Horses in a Landscape (1894), pastel on paper by Edgar Degas, The Charing Cross Bridge in London, by Monet, and even the iconic Mata Mua (1892) by Paul Gauguin. He did not sell them.

The negotiation that Carmen Thyssen has maintained with those responsible for Culture over the years has gone through Mariano Rajoy, Pilar del Castillo, Carmen Calvo, César Antonio Molina, Ángeles González-Sinde, José Ignacio Wert, Íñigo Méndez de Vigo and José Guirao He has always said that he understood very well with Rajoy and with Carmen Calvo, the current vice president of the government and the only one who came to make an offer to buy the collection that was rejected by the baroness.

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Glass project in Madrid.

Volume II — Number 117

January 2019

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"Stained-glass windows in public buildings in Madrid" is a project of the Royal Academy of Fine Arts of San Fernando framed in the State Program for the Promotion of Scientific and Technical Research of Excellence of the Ministry of Economy and Competitiveness, with the code HAR2015-71159- P.

This research resulted in the catalog "Vidrieras de Madrid.

From Modernism to Art Deco "and represented a first step in a vast field that still requires an urgent study.

In January 2016, the Ministry of Economy and Competitiveness granted an R & D Research Project to the Royal Academy of Fine Arts of In 1996 the professor and San Fernando -Project academic Víctor Nieto Alcaide HAR2015-71159-P, Staineddirected a research project glass windows in public funded by the Community of buildings in Madrid- which is Madrid with the aim of inserted within the State cataloging, documenting and Program of Scientific and studying Madrid's stained-glass Technical Research of windows.

Excellence and that lasts for In this work, which lasted three three years. years (although his research Víctor Nieto Alcaide (principal already began at the end of the investigator) and Victoria Soto 1980s), he had a team made Caba participate again, who in up of himself, Victoria Soto turn have two other Caba and Sagrario Aznar researchers in the team: Almazán.

Sheila Reinoso Blázquez and Olivia Nieto Yusta.

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This new project arises from the need to expand, complete and update the research carried out in the nineties, which was incomplete given the huge amount of stained glass that houses the capital.

It is intended in turn to contribute to its protection and dissemination, as well as to create a social awareness of the importance of glass in Madrid's architecture.

In this first year an inventory has been made with more than five hundred potential buildings to house stained glass windows.

Visits are periodically made to assess in situ the quality, technique and state of conservation of the same, which will later be the object of a technical, historical and artistic study.

Location map of the stained glass windows object of study:

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

Simon Berasaluce, stained glass.

January 2019

of the initiative, which obtained permission from the Archdiocese of Newark to visit several of the New Jersey churches.

The program of the excursion also included a stop at the Hiemer studios, where Beresaluce worked for 20 years.

Volume II — Number 117

The stained glass windows of the Sacre Cour

According to the Auñamendi encyclopedia, Berasaluce was born in Deba on April 25, 1912.

Very young he studied sacred art in a school in Barcelona. In 1931 he began in Madrid in the art of stained glass with the German master B. Kruppel, with whom he later worked in Seville in the restoration and design of new stained-glass windows in the cathedral of that city.

Then he continued his studies at the Maumejean house in Paris, where he worked for twelve years.

Known as 'the artist who embellished the light', the Gipuzkoarra Simon Berasaluce left his mark on the colorful stained glass windows of numerous churches in New Jersey and neighboring New York.

Jersey Chonicle columnist, John Gomez, who earlier this year called attention to the work of Berasaluce, whose stained glass windows can be seen in numerous churches in Hudson County, in the state of New Jersey, separated only by the Hudson River. Manhattan and The artist, who settled in America New York. in 1952, worked assiduously on the East Coast: Boston; 'Churches like St. Henry's in Philadelphia, Cleveland ...

Bayonne, St. Peter's in Jersey elaborating with care their City and St. Augustine's in West precious translucent glass New York are works of art,' said mosaics.

Gomez, 'and all have stainedglass windows created by a Died in Donostia in 1993, several modern master with a medieval North American experts now touch'. He was referring to the recover their art, among them debatarra Simon Berasaluce. the journalist of the Chronicle John Gomez and the BasqueFor its part, the Euskal Etxea in American Emilia Doyaga, who New York organized a tour for organized a tour with members the media and the members of of the New York Basque Club to the entity interested in learning know his work in several about the work of this Basque churches of New Jersey . artist settled in the city.

New Jersey, USA It was the

Emilia Doyaga was the initiator

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In 1945 his projects for the church of Sacre Coeur de Montmartre were awarded by the School of Fine Arts in Paris and the stained glass objects that were exhibited in the Carnavalet Museum of this city.

He also worked in the stained glass windows projected by him of the new church of Belchite in which forty scenes of the Old Testament are represented.

In 1952 he settled in the USA, in New York, where he collaborated for some time with the great Dutch vitripintor Joep Nicolas, always working on his art of translucent color harmonies for churches and synagogues in the USA. Among his most important works are the stained glass windows of San Pablo, Princeton, N. J. His work is dispersed in the USA, in temples in New York, Boston, Philadelphia, Cleveland, particularly in the East of the United States.

He died in Donostia on March 11, 1993.

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Luis García Zurdo, doctor “honoris causa”.

Volume II — Number 117

January 2019

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The University of Leon (ULE) celebrated the act of investiture of the leonine Luis García Zurdo, the Malaga-born Horacio Capel and the Madrid-born Diego Manuel Luzón as new doctors 'honoris causa', thus becoming part of the list of 50 in which the Rector of the University, Juan Francisco García Marín, considered that "it is now time" to include a woman.

"We still do not have a woman Doctor 'honoris causa', something that we hope will be corrected because it is not normal that between 50 Honoris Causa there is no woman, more when in fact there are already many women who have the sufficient category to be".

For García Marín, the three new doctors "have very broad merits to be invested as such", not only scientists but "also their contribution to society", because the Doctor 'honoris causa' recognizes "scientific, professional and social merits."

The rector of the ULE recalled that both Horacio Capel and Diego Manuel Luzón "have a long history", have already been recognized as Doctors Honoris Causa by other universities and "have contributed a lot to the University of León", in aspects related to geography human as in the subject of penal code.

In the case of the painter and stained glass Luis García Zurdo, Marín pointed out that "he is an artist who has to recognize León

even more", because "it is impressive that an artist of that category is in León", even though "his humility it led him to say that he did not deserve to be awarded the Doctor 'honoris causa' ".

because now the stained glass it is taught as a craft, but in reality it is a very complex discipline in which many factors intervene and which, above all, is a monumental art and is light ".

Thus, Luis García Zurdo asked himself "how is it that the University has remembered me", something that he assured that "he will have to assume" because it is the opportunity to pay homage to all the artists who have accompanied him throughout his life. life, "to those who live and those who have left".

The decision to invest the three elected as Doctors 'honoris causa' was approved on June 27 at a meeting of the Governing Council, and subsequently ratified by the Faculty of Doctors at its meeting on July 2, 2018.

As master glassmaker, Zurdo highlighted that at this time "there is a lot of love in this respect among young people", which allowed him to predict that "the quarry of existing young people will perfectly allow to continue with the trade of the great masters".

During his inauguration, the already named Doctor 'honoris causa' stressed that "the fact that the University of León recognizes this discipline of the artistic showcase is a unique fact" for all "those great artists who have disappeared and who had no recognition "

Doctors 'honoris causa'

In the case of Luis García Zurdo (León 1932), who throughout his creative career has cultivated the art of painting and the art of stained-glass windows, the proposal originated from the Department of Artistic and Documentary Heritage, which highlighted the artist's contribution to the configuration "of Leon's monumentality in general and very particularly to the formal definition of some of the most eloquent emblems of the University of León".

It should be noted that García Zurdo is the author of two of the best-known images of the ULE, the stained-glass windows of the El Albéitar building, made in 1996, and the seal of the 'Universitas Legionense', which Therefore, Zurdo wanted to was created years before and vindicate the work that made the which can be seen in the large artists of the past, which is why "I stained-glass window of accept to participate in the act of Paraninfo Gordón Ordás. investiture", in which he encouraged the young people to fight and "not to stay in the craft,

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Page 31

Report on the Glass Factory.

Volume II — Number 117

January 2019

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The City Council of Seville, through the Delegation of Urban Habitat, Culture and Tourism, together with the RE-FACT initiative (International Workshop of Industrial Heritage, a movement of cooperation between European universities, including the Hispalense, TICCIH Spain (Committee International for the Conservation of Industrial Heritage) and, finally, the association Salvemos La Trinidad have collaborated in the publication of a scientific report, by title Obsolescence and opportunity in the abandoned industry: La Trinidad glass factory, which contributes to disseminate the history of this industrial complex and also to the public debate about its future uses.

The delegate of the branch, Antonio Muñoz, has attended the presentation of this document coordinated by Benito SánchezMontañés, Luis González-Boado and Manuel Viggo Castilla, in an act that has led the expert in industrial heritage and professor of the Hispalense Julián Sobrino ; Marina Sanz, on behalf of the Salvemos La Trinidad platform and Benito Sánchez-Montañés himself.

Antonio Muñoz has praised the opportunity of such publication just in a fruitful year for the future rehabilitation and putting into use of the old glass factory,

abandoned since the last decade space in Seville. of the 90s.

This scientific work, in addition to containing extensive On the one hand, he recalled, documentation on the history of the signing of the urban the factory and its architecture, collaboration agreement that includes specific sections on the allowed the unlocking of the potential of the building, as well land, as well as the subsequent as concrete proposals made by approval of the Special Plan. five university students on the And, on the other hand, the possible uses and designs approval of the Provincial following the workshop held in Commission of Historical Seville in May 2017.

Heritage of Seville to the works "Without a doubt, they mark the of consolidation of the property, whose beginning, he announced, way for the scientific and citizen debate to define among all what is imminent. uses the complex will have", This Special Plan has explained the delegate. guaranteed an "adequate "From this municipal government protection" of the industrial we share the starting point of this complex, both for buildings and the physical environment, as well initiative. Reuse, reactivate and redesign the spaces and as generating open and public equipment of industrial spaces and incorporating an architecture from a scientific essential part of the complex to the municipal heritage -the main debate, and always open and with agreed conclusions, nave of the glass factory -. "remarked Antonio Muñoz.

"They have been necessary "We have a great challenge administrative procedures, with which the project is unlocked and ahead: as soon as the consolidation works by the after which, in addition to the Compensation Board of the own initiative of the city government, there is the decisive property whose ownership will pass to the City Council, we impulse printed by the neighborhood and citizen entities must define a city project to recover the factory as a strategic and experts such as Julián point of the city. This publication, Sobrino and, of course , the therefore, serves as a starting implication of the Salvemos La point for analysis and work for Trinidad platform, "said Antonio the coming years, "he concluded.

Muñoz, who wished to thank everyone for their efforts to recover an industrial architecture

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Page 32

Vitrum 2019.

Volume II — Number 117

January 2019

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Taking advantage of the celebration of the last edition of Glasstec, the responsible of the Vitrum fair officially presented the next edition of Vitrum 2019, which will take place in Milan, from October 1 to 4.

The announcement was made within the framework of a gala dinner, which was attended by representatives of the associations of glass and the international specialized press.

and relaunching of the hall, reason why now all the conditions are given to continue improving.

"We are working hard to guarantee visitors and exhibitors the best possible experience and to make sure they know all the possible business opportunities," said Zandonella Necca.

"Our goal is to attract qualified participants who are interested in being here and fully engaged. We are optimists; the forecasts for Organized by Vitrum with the 2019 are already extremely inestimable support of ITA (Italian favorable, which reflects the very Trade Agency), the meeting positive result of 2017. On closing focused on the event that will become the "glass capital" in 2019 day, the exhibitors were very and its solid business opportunities. satisfied with the high quality of visitors to the fair. " "We are very happy with the development of the evening. It was "Thanks to the active participation of manufacturers, associations, an honor to welcome the universities and research centers, representatives of the main international glass associations and and their autonomy and organizational flexibility, Vitrum has the specialized press from 13 completely renewed its format to different countries, "said Laura respond proactively to the needs of Biason, director of Vitrum. professionals in the glass industry.

During a brief but passionate We are always open to new ideas presentation, the president of and suggestions, and ready to build Vitrum, Dino Zandonella Necca, the future together, "added the presented the 2019 edition of the president of Vitrum. fair, emphasizing its highly international appeal and the numerous novelties designed to better meet the needs of industry professionals.

With visitors from 86 countries and 48% of the exhibitors from 21 foreign countries, the closing figures of the 2017 edition confirm Vitrum's positioning among the main world fairs in terms of international attraction power.

The people in charge of the contest consider that Vitrum 2017 was "year zero", the point of inflexion

A global offer for the glass sector During the presentation of Vitrum 2019, the idea of conceiving the event as the 'Home of the world of glass' was reaffirmed, a space for meeting and networking among all the players in the industry.

In this sense, the new 'Vitrum specialized', 12 thematic itineraries that will allow visitors to plan their visits according to their needs and preferences, organize their time efficiently and have immediate

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access to all the information they need, are particularly relevant.

Vitrum 2019 will offer great opportunities for the establishment of commercial relationships, such as the area dedicated to 'MatchMaking' for companies to meet with agents and distributors, or the even larger participation (compared to 2017) of invited international buyers, organized with the support of the Italian Trade Agency (ITA), as well as spaces and moments destined to 'networking' and entertainment, such as the 'Exhibitor Event'.

In addition, exhibitors can enjoy in this edition of services that were already widely accepted in the 2017 edition, such as: discount for additional square meters; Allinclusive rate, very economical, including free Wi-Fi, basic stand cleaning and electricity; parking space for exhibitors; free use of the e-contact visitor data acquisition system, together with the opportunity for new exhibitors to buy turnkey solutions for stands and free entrance passes.

Other advantages of exhibiting in Vitrum will be the MatchMaking system, an application designed to organize the visit to the show and a complete calendar of technical and informative seminars.

"After the successful inflection point of the 2017 edition, Vitrum 2019 will offer industry professionals exclusive services for a very specific visitor profile. It will be a fertile ground for the development of new ideas and a great opportunity for expansion and business development for the entire industry, "concluded Dino Zandonella Necca.

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

How does it.

Volume II — Number 117

January 2019

This month we include some pictures of the technique practiced by Flavie Audi.

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Page 34

Jarilla has its glass museum.

Volume II — Number 117

January 2019



The memory of a legendary factory in the area was rescued and four asphalted kilometers of entrance were inaugurated.

see you play happy with the swirl and from there we were able to of the wind" and in another recreate it, it's a dream for fragment recited "you stay quiet everyone," he concluded. on the river bank".

Provincial Roadway transformed Jarilla (Argentina) in just one day "The sand that we brought from the entrance road to the town. Its met the present and history. The the river turned into glass, who director, Daniel Bassi, explained governor Alberto Rodríguez Saá knows where a bit of you will that in times of rain "the boys left the Glass Museum hide?" They said in another were practically isolated". inaugurated and a totally fragment full of emotion.

Bassi specified that the work renewed access to the place.

Patricia Perkman, head of the began in August 2018. The On Christmas Eve 2017, the Cultural Heritage Historical asphalting of the access was president dined with the Subprogram of the Culture made after a series of works of inhabitants of the town and Program, indicated that the preparation of the land, which almost a year later he left to museum has approximately one took more than five months of open the works. hundred and twenty square arduous tasks of filling, leveling meters and is composed of a and compaction of the trace.

The historic landmark is built by classroom and a multifunctional the old glass factory, now closed, He assured that four kilometers space where tourists and the that worked in that town and that of asphalt were inaugurated that community can enjoy the history provided elements that were will allow comfortable, fast and of Jarilla. made there to a large part of safe access, and that this Argentina.

"We worked with a recycled involved four thousand meters of architecture with wide spaces, asphalt folder, five centimeters Three boys: Victoria, Camila and and we also wanted to maintain thick and 6.70 meters wide, with Oscar were in charge of bringing the aesthetics of the railway era two thousand meters of bike the past and giving soul to the in which the bricks arrived and path. sand of the place that, subjected make the museum's famous to the influences of fire, became He also explained that work was chimney," he said. glass. carried out to reconvert LED He also stressed that he wanted access lighting to a total of 170 As a poem recited and to rescue the past and the luminaires and a portico was built accompanied by music told in essence of the arena. "The to enter the site. verse form: "Arenita de mi museum has the oral story of the pueblo I leave my house and I neighbors, who told their story

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Page 35

Saint-Gobain figures.

Volume II — Number 117

January 2019



The origins of Saint-Gobain, as a real glass factory, date back to the seventeenth century. Founded in 1665, it can be said that it is a business that has managed to endure over time and adapt to the changes that have occurred throughout history.

Today, Saint-Gobain has become a multinational, leader and specialized not only in glass. Also in other construction materials that has been agglutinating under the brand and advancing innovation in high performance materials with diverse applications.

manufacturer that produces elements to the manufacturing chain for the automotive and industrial sector.

The division of the group that provides the most margin to Saint-Gobain is the development and innovation of materials.

Their know-how and technology make a difference, so it is not easy for other competitors to suffer growth in this area.

However, today within the product portfolio represents 25%.

There are barriers to entry for new competitors, and although there is a certain dependence on the future of China and emerging markets, the potential for growth is broad.

They are always looking for new lines of business with which to diversify their product portfolio and sales.

Many of their products are going to be present in the daily life of the future.

The cars will be automata, but they will continue to have windows made by SaintGobain and they will continue The production of to build houses with doubleconstruction materials, is the glazed windows that the Saint-Gobain no longer second most profitable company manufactures, to holds the monopoly in the division of the group with a name a few examples. manufacture of mirrors in weight of about 30% in France that it had in its They are also very sales.

And with the infancy, but it remains, committed to the possibility of further without a doubt, the environment and are expanding the margins. benchmark manufacturer in constantly working on the the country.

The distribution of development of sustainable Almost a quarter of its sales construction products is the products that improve energy division that provides the efficiency. figure is due to the French least margin, but which market. Present in 67 However, this static photo of accounts for 46% of total countries, the rest of their sales. Here the margins are the evolution of the business total sales are shared of Saint Gobain, clashes narrow (3.5%). between Europe (41%), Asia outright with the evolution of and emerging countries Altogether, the average the quote. And it is that this (21%) and North America margins are around 8% on divergence and the levels to (13%). sales. Both billing, growth which the share price has and margins are growing. been placed which has put it They provide materials not on the radar of investment only to the construction ideas for 2019. sector. It is also a

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Page 36

Missing identity.

Volume II — Number 117

January 2019



Art is still the best way to turn painful moments of human beings into messages of love and hope.

until April next year in the Memorial Museum of the Dominican Resistance (MMRD), located in the Colonial City.

This is what the artist Silvia Levenson seeks to achieve with her exhibition "Identidad Desaparecida", inspired by the movement "Abuelas de Plaza de Mayo", an Argentine human rights organization whose purpose is to locate and restore to their legitimate families all children abducted and disappeared by the last military dictatorship in that South American nation (1976-1983).

The grandmothers

changed the lives of thousands of Argentines.

"Although the children of the disappeared are now adults, in my work I speak of children, of infants, because during that period they were appropriate and that is the moment I try to cure," says Levenson to explain what prompted her to make this exhibition.

On April 30, 1977 a group of women began marching every Thursday around the Plaza PirĂĄmide de Mayo, located in front of the government house.

Initially they took a small nail and then decided to cover their hair He emphasizes that he is with a white cloth diaper. fascinated as in a society that does not value older people, just The group received the name of be the grandmothers who Mothers of Plaza de Mayo and promoted the movement to heal their sole presence began to wounds by recovering the identity exert national and international Around 500 children were stolen from the children of pressure to know the destiny of deprived of their identity when disappeared and murdered by the people who disappeared in they were separated from their the dictatorship. Sandals, chairs Argentina. That movement led to parents and taken to live with and children's clothing made of the end of 1977 in the movement people who believed their glass represent the innovative Grandmothers of the Plaza de parents, but in reality the fight process introduced by Mayo, created at the end of that members of these families where Mothers and Grandmothers of year by twelve mothersthey arrived were authors, Plaza de Mayo, and symbolize grandmothers of the participants or cover-ups of the how to make visible what is disappeared, aged between 50 disappearance and murder of hidden or can not be seen. and 60 years. their parents biological Levenson was born in Buenos Until August of this year this civil Between 1976 and 1984, nearly Aires, Argentina, in 1957, at a movement has managed to 30,000 people were disappeared time when political and social return its identity to 128 people and killed, including members of activism was encouraged. She who were alien to their true Levenson's own family, who at began to protest on behalf of the origin. the age of 23 fled Italy with her poor of Buenos Aires at age 14 husband. and when she turned 19 she was The sample born her daughter Natalia, who is Those events that marked the Levenson appeals to children's the same age as young people Argentine society influenced the objects made with glass, but who were robbed of their identity artistic work of Levenson and the without showing those who use by the dictatorship. exhibition that will be exposed them, to convey the drama that

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Page 37

Exposition in Pontevedra.

Volume II — Number 117

January 2019



Fátima Cobo, graduated in Geography and History, curator of art, worker for years of the Museum of Pontevedra and now of the Diputación, is more than accustomed to negotiate with artists, to help them to choose from among all their pieces, be pictures are sculptures or other works of art, so that they select the ones they want to exhibit. As a veteran in these conflicts, it seems easy to make that screen.

Until she is the one she has to choose. Because Fatima Cobo and her husband, Carlos Vieira, collect Christmas decorations.

And no, they are not the typical balls that you buy in two for one.

They are real works of art made of blown glass, made by artisans from European countries such as Poland, Austria, the Czech Republic or Germany. They have about a thousand pieces. And every year, when it's up to her to choose what motives she exposes, Fátima Cobo has a terrible time. But he achieves his goal. And from that selection came Unha viaxe ao Nadal this year, a visible exhibition in the Provincial Pazo that no one with a Christmas spirit should miss.

were pledged and bought one of those objects. That was the beginning of his collector's life.

Because, from there, they wanted to know everything about its origin.

They started to investigate and they were discovering really amazing things. They knew that, around 1830, in Germany, the first glass balls to hang on the Christmas tree began to blow.

Ten years later, this work was done using wooden molds, which helped the glassmakers to give them infinite shapes. But, eye. To shine in the light they were filled with a thin layer of lead or zinc and the process was so dangerous, since the metal was sucked directly with the mouth, which caused the poisoning of the glassmakers and their wives, who helped them.

In different countries

Manufacturing, while never ceasing to be an artisan, was improving, the molds began to be made of metal, and glassmakers began to be in Bohemia, in Poland, in Germany ... To all those places, as well as to Alsace and You can not talk about the exhibition without telling its story, Lorraine, where There is also which is also the story of Fatima this tradition, Fatima and her and her travels. It turns out that husband are traveling every year. They started visiting in 2009 she and her husband traveled to Poland in September. markets but they were sharpening the eye and from There they were, in the there they went to go directly to emblematic and stately city of the artisans, to deal with them, to Krakow when in a shop they be more selective ... noticed some tiny Christmas ornaments. They were works of Some figures enter their eyes, art made with blown glass and like a very elaborate Christmas painted in an artisanal way. They

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ball, with tiny Swarovski crystals embedded, others call attention to their historical value, like some pieces that were hung in the USSR to exalt the regime. Others are surprised by its beauty, like a colorful Santa represented in the form of a mermaid.

Given their relationship with the artisans, they even managed to make them a unique piece.

Fátima Cobo tells it well: «We saw a Santa Claus shirt dunha soccer team, fizxonos graza e pedímoslle se nola facía coa vermella shirt from Spain ... e aí es».

Each piece, beyond beauty, seems to come alive in the mouth of Fatima. Because of all she is able to tell her story, how, when and where they found her.

He talks about figures like a Saint Nicholas dressed as a bishop, an ornament that is a rocket that traveled to the Moon, Sputnik, the first satellite launched by the Russians or a blown glass figure

by Yuri Gagarín, the first cosmonaut to He traveled to outer space.

Fatima Cobo acts as an exceptional guide. He says that the pleasure of teaching his pieces is the great reward for the investment and for the hours of searching.

In case there are doubts, it confirms that none of these objects hangs on the Christmas tree at home. He keeps them, like gold in cloth, in a house where he does not live. "Primeiro tiñámolas nunha habitación, fomos expanding ... to see onde chegamos", he jokes.

Page 38

The afflicted.

Volume II — Number 117

January 2019



The demolition of two buildings in the heart of Sao Paulo has brought to light the vestiges of the Cemetery of the Afflicted, the first public necropolis of the largest city in Brazil and that for centuries was reserved for the excluded, including slaves.

"Many things we know about the history of Sao Paulo go through the narrative of powerful groups, elites, and little historiographical work was done on less privileged litters" of society, says Leila França, archaeologist at the Institute of Historical and Their bodies were buried in an Artistic Heritage and National area of more than 400 square (Iphan). meters, which still stands the chapel of Our Lady of the "Those who look at the Afflicted, a sanctuary for the neighborhood of Liberdade socially marginalized and think that it has an oriental citizens of the lower classes of origin, but its origin is the field Brazilian society. late of the hanged, where the eighteenth and mid-nineteenth underprivileged lived, century. especially the rebellious slaves" who tried to flee from In its surroundings, along with the yoke of their masters, he the black slaves, were buried adds. the poor, prisoners, people with contagious diseases and The Latin American giant was those condemned to the the last country in the West to gallows, a punishment that abolish slavery and did so at was executed a few meters the hands of the then regent, from the ancient necropolis Princess Isabel I of Bragança, where today stands the who granted freedom to black eastern district of Liberdade. slaves.

(1775-1858), the archaeologists also found two buttons and two small balls of glass of navy blue, symbolic elements in the religions of African matrix and suggesting their belonging to some slave.

"It is significant that only two of the nine individuals had any property, which means that most lived in the most absolute state of indigence or that at the time of death they did not let him take anything," says the archaeologist.

The bones and the material found should now be analyzed to obtain more details about the lives of these individuals, such as their age, sex and, hopefully, their ethnicity, according to Lucia Juliani, technical director of A Lasca, the consulting firm responsible for the excavations.

Once examined, the skeletal remains could be moved to a place with more "dignity", such The subsoil of that central According to historians, Brazil as Chapel of the Afflicted, the region, the destination of received between five and six last crack of the first public cemetery that opened its doors Japanese immigration at the million slaves brought from to the social outcasts of the beginning of the 20th century, Africa before, on May 13, hides a little-known history of 1888, the then Empire decreed richest city in Brazil. the most populated city in the law that abolished slavery, "It would be a way of doing Brazil, which now begins to be whose traces are still present justice, it is archeology giving told aloud thanks to the more than a century later. voice to the excluded", discovery of the bones of nine Among the bones found in the concludes França. people . old Cemetery of the Afflicted www.amigosmava.org

Page 39

Johnny Osorio and his stained glass.

Volume II — Number 117

January 2019



He made the graphic design, he passed it to glass and cut the 419 pieces that make it up and then carefully glued them one by one.

"Vallenato is a genre of folk music from Colombia that has four basic rhythms: the Son, the Puya, the Paseo and the Merengue.

The life of Johnny Osorio has It is traditionally interpreted by always been linked to art, both in three instruments coming from graphic art and in musical art. three different cultures: the guaracha represents the Born in Colombia, he emigrated indigenous culture, the box was to Canada as an adult and brought from Africa and the among his belongings he accordion from Europe, "he brought something that has says. marked his whole life: the passion for vallenato music.

The main features of the stained glass window in tribute to So one day, after acquiring his Vallenata Music (North Coast of new home in the western part of Colombia) made by Johnny the city of Toronto, it occurred to Osorio are: it is 30 cm wide by him that the small window 1.80 m high, and is assembled in located next to the front door 419 pieces of opalescent glass was the perfect space to also and copper ribbon. mark his home with that passion that has always had nailed in the The Sierra Nevada of Santa life.

Marta.

He searched for information in books and on the Internet. He began to do graphic design, bought the necessary materials and tools and set to work to create what is today a true work of art.

In the upper part we see the sky of the Caribbean coast, with the intense blue of the region. This covers the imposing Sierra Nevada de Santa Marta, which is the highest coastal mountain range in the world and rises steeply to reach an altitude of "This is my tribute to the genre of 5,775 meters in its snowy peaks, vallenato music, the traditional Simón Bolívar and Cristóbal folk music of my country, Colon, located only 42 Colombia," he explained. kilometers from the Caribbean Sea. He tells that this musical genre originated with the peasants who The hat vueltiao. traveled through the different regions, from town to town, It is a typical garment of the serving as news carriers north coast of Colombia. It is between different remote made from the leaves of the villages. cane arrow, palm native to the

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tropical regions of America and is a cultural symbol of the nation.

The yellow butterflies.

They are an allusion to the magical realism of Gabriel García Márquez, Nobel Prize for Literature in 1982, with his most famous work, the novel One Hundred Years of Solitude, which is considered a vallenato of 450 pages.

The diatonic accordion.

It is a wind musical instrument of German origin that entered Colombia through the Guajira, department located in northern Colombia.

The vallenata box.

It is a percussion musical instrument. It is a small conical wooden drum with a single synthetic patch and metal ring. It fits between the knees and is played only with the hands.

The guacharaca.

It is an idiophone scraping musical instrument, used mostly in this musical genre. It is made of tin cane.

It consists of two parts: the same guacharaca, corrugated surface, and the trinche, made of hard wire and wooden handle, used to scratch the corrugated surface of the guacharaca.

At the end of the stained glass window we find the Guatapurí River, one of the rivers that originate in the Sierra.

Page 40

Artisans of Chignahuapan.

Volume II — Number 117

January 2019



With the constant work of hundreds of artisans, Mexican families dress their Christmas with spheres of glass Chignahuapan, a Magic Town that is located in the Sierra Norte de Puebla. According to the Directorate of Municipal Tourism, this craft employs 80 percent of the population, estimated at about 60 thousand inhabitants, who throughout the year are dedicated to making the glass spheres in different shapes and sizes, as they do not they only dress Christmas, but they also create designs for special, commercial or family events such as corporate anniversaries, weddings, first communions and more. The people of Chignahuapan learned about this craft thanks to Mr. Rafael Méndez Núñez, a native of Tlalpujahua, Michoacán, who arrived in the Puebla municipality in 1968 where he lived, shared his knowledge with the villagers, formed a family and died there. Francisco Javier Tirado Saavedra, municipal president of Chignahuapan, reported that in this town there are 407 family workshops, which together produce around 70 million spheres, which are distributed throughout the Mexican Republic and some cities in the United States. United. The main production house is El Castillo de la Esfera, a large workshop that employs 30 percent of the 407 family workshops, which benefits employees by having a secure income and benefits of law. During a tour of the Sphere Castle, Notimex learned about the various processes that artisans must perform to achieve a glass sphere, ready to decorate the Christmas tree, a crown for the door, the office desk and many more spaces for the holiday season. Ángeles Olvera is a guide in this company. He explained that the first step to obtain a sphere is the globeo.

Women and men in front of a blowtorch manipulate glass rods like chewing gum to get a fragment.

The artisans place one end of this fragment in their mouth and the other to the fire that is red hot; With the force of their lungs they blow until they get a transparent balloon, which can be of various sizes. The more the artisan blows, the bigger the sphere will be. After the globeo stage, all the transparent spheres pass to the metallized workshop.

To achieve the silver tone in the spheres, these are placed on the metal bases that are called spiders, later these spiders introduce them to a circular car, which works with tungsten fragments and aluminum staples.

Since the car is full in its entirety it is placed in a vacuum chamber where the spheres go through a procedure that takes about 20 minutes. During that time the aluminum staples evaporate and thus the spheres finish silvered with a mirror-like finish. Once the process is over, it's time to move the spheres to the paint shop. In this stage the artisans are dedicated to give color to the thousands and thousands of spheres. They are manually submerged in a bucket or paint tub, either individually or in groups.

They are then placed on the tables with sawdust for drying, which takes between 5 to 15 minutes, thanks to the heat produced by the globeo process. In the decoration workshop, with skill, patience and the help of the brushes, whimsical shapes are designed entirely by hand on the spheres. It is this stage where the artisans put their imagination to work and express their wit in each of the spheres, whether leaves, flowers, frets, canes or whatever your mind imagines. They also have a craft

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workshop to place pieces of fabric or other elements that highlight the design of the spheres, such as Santa Claus glasses, angel hair, cloth hats, felt or fomi, bows, diamond, glitter, series of led lights to enhance the designs. Following the route, which is open to the general public who wants to know, we reached the penultimate stage.

It is the stuffing and packaging, where one by one of the craftsmen place the hooks and the cap in the spheres so that they can be hung from the tree or any other object.

"When they are ready the spheres go to the packing area; The spheres are protected in plastic beds with spacers. These beds are placed in cardboard boxes and covered with a transparent screen so that, once stored, buyers see the product without having to manipulate it or risk breaking them, "he said.

This year the designs that are fashionable are the spheres of unicorns, greench and pastelcolored spheres. Some designs are complemented with pieces of forges, wood and light, to innovate with what was done last year and for buyers to find something different. The above can be seen along the streets of downtown Chignahuapan where the dressers look painted glass spheres, some matte tones, others more bright, figures with movement or musicals, some more are replicas of cartoons such as catrinas, smurfs or picachú The tour concludes upon entering the exhibition shop, for which it is recommended to fill not only the pockets, but patience to go through each of the corridors of the shop where crowns are sold, blacksmith trees, centerpieces, spheres of all sizes and colors, even figures of dry branches and still life.

Page 41

Footbridge that cracks when it is stepped on.

Volume II — Number 117

January 2019



Hanging, glass, maritime bridges. There is no day that China does not surprise with a new record infrastructure.

Transport infrastructures, such as the newly opened bridge that connects Hong Kong, Zhuhai and Macao, 55 km long on the sea, must be added to the footbridges and tourist lookouts nestled in vertiginous cliffs. The truth is that the Asian country stands out for its immense and amazing buildings.

a walkway with glass floor that measures 266 meters and is built along a cliff at 1,180 meters above sea level.

So far everything seems similar to other viewpoints of this type that have become so fashionable in the Asian giant.

The surprise comes when after crossing part of those 266 meters, the glass that separates the visitor from the abyss begins to crack and dozens of cracks arise from nowhere without It is in one of these glass time to return to a safe corridors that the "humor" position. of the architects joined to What seems like an the engineering work to make an original walkway assured death is nothing more than a joke at the same time as something macabre - of terrifying. the infrastructure Located in the eastern builders. mountains of Taihang, Fortunately for visitors, Hebei Province, is the East Taihang Glasswalk, the bridge never breaks

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down and the lives of tourists are never put in danger.

The effect is achieved with infrared sensors that track the movement of people crossing the bridge, activating a double visual and auditory effect that simulates the breakage of the glass floor.

Although built in 2016, the catwalk has gained popularity after videos uploaded to social networks where dozens of people fall for the joke.

Such was the effect that the East Taihang district administration itself apologized for the incident, stating that the bridge was not defective, but had "special effects" on some fragments to create the effect. Without a doubt a viewpoint only suitable for the brave.

Page 42

Lume Vidrio in Zaragoza.

Volume II — Number 117

January 2019



The Coiraxe leather accessories workshop and the Lume Vidrio jewelery workshop were the winners of the prizes awarded by the Government of Aragón and the Professional Association of Artisans within the framework of the Crafts Fair of Aragón.

The Minister of Economy, Industry and Employment of the regional government, Marta Gastón, has been in charge of delivering these awards.

fair in previous editions and 70 percent came with the intention of buying, taking advantage of the proximity of Christmas to acquire original gifts.

"This is a good opportunity to give away or give away objects that have something special," said Gastón, to consider that "we can be proud of our artisans."

In addition to the value of the pieces, the Minister of Economy, Industry and Employment has The first prize was for the leather highlighted the "accessibility" of backpack "Lu.Ra" by Taller the craftsmen who explain to Coiraxe and the second, for the potential buyers the various "Bengala" necklace by Lume manufacturing processes.

Vidrio.

"This good number of workshops Last year, 24,000 people visited and exhibitors, and the presence this fair, a figure that Gastón in each of them of the craftsmen trusts that this edition will themselves is a good reason to approach and be able to make continue to grow. very good buy with the special According to the surveys carried stamp of their good work," he out to the assistants last year, 90 added. percent of them had visited the

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Gastón has visited the stands of the fair, which in this 35th edition has 101 artisans participating, 61 of them from Aragon and the rest, from different parts of Spain and France.

Until last Sunday December 9 has been able to visit in the Multipurpose Hall of the Auditorium of Zaragoza this sample, the main appointment of the artisan sector in the Autonomous Community.

It has been able to enjoy and acquire unique pieces made with very different techniques.

Some of the pieces of the Aragonese artisans that are exhibited during these days in the fair can be found during the rest of the year in the shop of the Craft Center of Aragon, located in the old Slaughterhouse of Zaragoza.

Page 43

Our Newsletter is worded in:

The Association of Friends of MAVA was incorporated on June 21, 2003 in

January 2019

accordance with current management.

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 117

Our goal is to develop and collaborate with other public or private entities in the promotion, protection and dissemi-

nation 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