Volume II — Number 52
February 2013
Monthly Newsletter
Pino Signoretto . Showcases. Newsletters
M. A. Carretero.
At the conference the great artist Miriam di Fiore hit the MAVA on January 26, 2010 quoted a phrase that gave me a lot to think about. She said, among many other interesting things and all that "the piece is not mine from the time it is finished." Miriam concerned that when an artist finishes a work and definitely takes for completion, the artwork does not belong to it, or in this case her, if not to the public, that is to whom or the artist performing the work . Of course I mean the possession ethical, not legal. Of course the work is the artist while no band, the give away or donate.
that viewers will not see works of art, if not to invest in works of art, which is quite another thing and another world.
website on 31 December last year.
The International Exhibition of Glass Kanazawa be held from October 23 to NovemIn our country we are con- ber 4 in Kanazawa, and vinced that some artists then, over a period of two glassmakers not unveil their months, the works will be works of art in glass chanexhibited at the Art Munels they do not know you seum Glass Notojima. have to ride to attend vaIn this case, the dossiers are rious fairs held worldwide. to be submitted by the 8th Well truth is that costs moof March. ney to go to these events, but the case to which I re- On this page you can see fer is the ignorance that so- the link conditions of this exme of our artists are holding hibit. some of these artistic And these are just a few events. examples of the many
A similar case occurs with the awards taking place in various forums in which artistic and accommodates the presentation of works in But possession is public et- glass. hics and that is who will judge whether the work is In October of this year theNuestra sede: good or not, whether you re are two biennials in FranCastillo Grande de ce, one in Carmaux and like it or not work. S.J. de Valderas another in Strasbourg. Avda. Los Castillos, s/n All this introduction I used 28925 ALCORCĂ“N. to argue the importance Both artists supported proposals to a selection comof art fairs in that are, or (MADRID) mittee will approve or inviinfo@amigosmava.org should be, a great showcase where artists present ted to appear on another their work to their own et- occasion. hical, spectators, the au- In Carmaux the deadline dience who came to the for submission of the dosfair looking finding pieces siers is April 30 this year. that "tell them something." You can learn more about Obviously, I do not mean this event at the following link. In Strasbourg, which was held between October 17 and November 30 and whose edition two years ago we had the pleasure and privilege of attending, and has met the deadline for applications, since expired, according figure on its
awards and art fairs taking place in the world, without going and to comment on the Habatat, Sofa and the like. All this I state to invite artists to present their works in major forums or at least try. Some parts are good enough to try that may be in these exhibitions. It is very important to be in the appropriate place and at the right time, and that can only be achieved if you try. Although not win the first prize, nor the second, nor the third, only because it is already a victory. And if you get contacts, much better. Only by being able to appreciate what is being done outside and worth trying. So from these pages, I encourage our glass artists who have not yet attempted to try it. Sure to be a great experience.
February 2013
Page 2
S PE C I A L I NT E R E S T:
Important issue: the Intellectual Property Law (XXIII) M.A.C.
Part of the month
Intellectual Proper- of ownership effecty Law ted within the territo-
Interview
BOOK II. TITLE I.
Future of MAVA
Rights of artists.
Visit to Malaga
Activities on the MAVA News Our activities
Volume II — Number 52
Glass recycling How does CONTENTS:
Part of the month
3
Established artists
4
Young artists
4
Interview of President
5
Research line
7
Activities in Museums
8
Exposition Esentia
11
Activities on the MAVA
12
Future of MAVA
13
Visit to Malaga
14
Montse Puñet in FITUR
15
Glass techniques
16
News
17
Culture 2013
17
The world Swarovski
18
Teachings of glass
18
The glass museum
19
Alba Martín Casado
20
The performer has, in respect of fixations of their performances, the exclusive right to authorize distribution. This right may be transferred, assigned or subject to contractual licensing. When the distribution is made by sale or other transfer of ownership, in the area of the European Union, by the holder of the right or with his consent, this right will expire with the first, but only for sales and successive transfers
recording producer contracts for the prory. duction thereof, shall be presumed to have Rental means fixatransferred his rental tions of performances right. of the provision of the same for use for a li2. The artist who has mited time and with transferred or assigned economic or comhis rental right retain mercial benefit direc- the inalienable right to tly or indirectly. obtain equitable remuneration for the rental Excluded from the thereof. Such compenconcept of making sation shall be due available rent purpofrom those who put inses of exhibition, puto effect the operablic communication tions of the public renfrom phonograms or tal of phonograms or audiovisual recoraudiovisual recordings dings, including fragin their capacity as ments of both entities, heirs of the copyright and is made for conholders to authorize sultation on site: such rental and shall take effect as of Ja1. When the artist nuary 1, 1997. held an audiovisual
URGENT NEWS Blancanieves sore .
Staiend glass in Guadalupe 21 Glass recicled
22
The CAU Ferrat
23
Cultural tours
24
Culture 2013 Programme
24
The Musee Jovellanos
25
Program of La Granja
26
Other trends
27
Art Palm Beach 2013
28
Factory in Aranjuez
29
The Dolphin Treasure
30
Vitrification of memories
31
Glass House in Japan
32
How does
33
Cristina Iglesias
34
8 d’Art Barcelona
35
New minimum ratios
36
Glass Bubbles
37
Ai Weiwei
38
Glass in Waterford
39
Directorate
40
Indeed, as indicated in the title of this article, the sculpture work in the collection of MAVA, entitled "Snow White" and the sculptor Javier Perez Blanco, of Barcelona, is located in a long and quite upset because can offer visitors the MAVA his splendid smile when one of them is about to see his face.
This facility, as seen in the photo on the left, consists of a head made of glass thermoforming and a body created from a material similar to plaster.
As Javier Perez Blanco said in the catalog that was made on the occasion of the exhibition of his works was held at the Museum between Noviembre/1999 and January/2000, ".... as Snow White, the artwork remains dead or asleep and needs love, understanding the viewer to return to life. "
As this slide has not deteriorated and their replacement, our beloved orphan can not show her beautiful smile.
www.amigosmava.org
An apparatus beneath the sculpture projects, thanks to a slide that keeps inside, the image of a smiling Snow White as shown in the figure at right.
We have contacted the author of the work and hope that in short period of time to correct this deficiency and we show our visitors this work in all its glory.
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
Part of de month. Richard Marquis.
View video
February 2013
netian, has no secrets for him. During the 60s, when Pop Art was at its height, the cups are madeespecially in California residence of Marquis-production in order to frequent, sometimes as gifts to other artists. Some important and famous
Volume II — Number 52
potters elevated the humble cup to the status of art object. Richard Marquis then made his own version of glass but following an archetype more complicated, the teapot, often incorporating murrini designs and developing their versions in the 80's. As their whole production Marquis observed, first the great masters in their technical skills and on the other the great sense of humor and the fun that goes One of the first students of Mar-
Murano, in 1969 - just one year
vin Lipofsky at the University of
after he did Chihuly-learned the
Berkeley, Richard Marquis, ma-
art of murrina, or millefiori mo-
de like Dale Chihuly an initiatory
saic and filigree.
trip to Venice, if supported by the prestigious Fulbright scholarship. While at the Venini factory in
From then becomes a virtuoso blown where the incorporation
against the transcendence of art established an irreverent art, typically American. However this should not make us think of an artist frivolous and superficial.
of thousands of bright colors
His knowledge, his respect and
and tones uploaded to the Ve-
admiration for traditional techniques, from Imperial Rome to the designs of Carlo Scarpa in the war, earned him various research grants from the University of Los Angeles. His famous "marquiscarpa", in tribute to his beloved Carlo Scarpa denote a deep understanding not only of the work of this great architect and designer but also the History of Ancient Art. His pieces are in the collections of over one hundred art museums worldwide.
www.amigosmava.org
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Established artists. Pino Signoretto.
Our web
February 2013
Japan in 1985, taking the first of a long series of trips to Japan. On his second visit he demonstrated the presence of the Imperial Family. His sculptures are displayed permanently at the Venice Art Museum, Otaru - Japan.
Volume II — Number 52
He has produced some sculptures of Dale Chihuly Seattle - USA and taught in many schools and universities glass U.S. (Seattle Pilchuck School of Glass, Toyama Glass School, Tulane University just to name a few). In 1990 he created glass trophies for Basketball European Championship - Paris, France, and the NBA - USA. Born in 1944 in a small town near glass. Venice. He acquired a thorough knowIn 1954 he began working in a ledge of glass techniques. lamp factory. In 1978 he opened his own studio in Murano. In 1959, as an apprentice of the great master ALFREDO BARBINI Collaborated with artists and arand others like LIVIO SEGUSO, chitects who were Dalí, Vedoand ANGELO SEGUSO ERMANva, Licata, Kruft, Pezzo DAL, ViNO NASON. tali, Pomodoro, WILLSON. In 1960 he became a master of
Aumori the invitation went to
Young artists. Heike Brachlow. Heike often make sculptures is balanced and can be physically involved: the viewer becomes toucher - invited by the words or form, boldly or guilt. Color is an important part of their work: exploring the interplay of color, form and light in clear glass and solid during his doctoral research has led her to produce their own glass colored by adding metallic oxides to the
Born and raised in Munich, Germany, Heike Brachlow began working with glass in Rotorua, New Zealand, as an apprentice in a small study. After receiving his BA in 2004 from the University of Wolverhampton, his MA in 2006 and his doctorate in 2012 at the Royal College of Art in London, now works as a freelance artist in his studio.
www.amigosmava.org
Signoretto Pino has developed over several decades recognized the universal domain in the hot glass sculpture. His skill and creativity are evident even beyond the finished work. If one is lucky enough to witness one of his "performances", one can fully understand their stranglehold on the material, which is such that one imagines that there are no limits to your creation.
Our web
glass batch during the melting process. This will allow it to create a very personal color palette that consists mostly polychromatic subtle tones and colors, which are colors that change with different types of light. His work reflects his attraction to the movement and transformation, both in color and in form.
Page 5
Interview with our President (I).
Volume II — Number 52
February 2013
The main reasons that motivated the creation of this project and still remain today, both for statutory reasons and because we firmly believe that is why we must fight, are distributing the existence of our local museum, national and international and national dissemination of the culture of art glass, which is so scarce today in our country, compared to what exists in neighboring countries, such as France, Britain, Germany and Italy. What are the goals? In order to achieve the purpose of the existence of our Museum is Sur Madrid Alcorcon # 359. known cultural areas as extensive as possible and that the culture of The Museum of Art Glass Alcorcon, art glass reaches all corners of our one of the most important in Spain country, our Association has opein its category, was created in 1997 ned three fronts: one local , other by adding in its travel over 170 national and international one. works. It has an Association of Friends composed of people inteLocally our interest is that citizens of rested in the dissemination and en- Alcorcon, for the most part, know hancement of the Museum preser- of the existence of the museum, ves heritage. which is yours and which is municiHeadquarters located in the castle of San Jose Valderas, the function of this entity is related to the performance of work groups to guide the development and implementation of projects and work through lectures, courses, publications, concerts cultural trips. They are integrated into the Spanish Federation of Friends of Museums (EGF) and collaborate in all its activities. Miguel Angel Carter, President of the Association of Friends of MAVA, talks about the partnership. What year was the Association?
vel glassmakers from Facebook and joined by another name FEAVI, Spanish Federation of Glaziers. This free virtual network and now has seven Associations and hopefully soon be able to complete the national map. Internationally we pursue the goal of creating another network at the level of European Union countries that are included in all the museums that have made glass funds. So far we have signed an agreement with the Friends of the Museum of Glass Ebeltoft (Denmark) and hope to sign several agreements more soon. The support we have received for the development of this initiative from the various embassies through its Cultural Attaché has been very important. Do these current objectives match the objectives of the founders?
In an associative movement that claims to be dynamic objectives are extended over time and becopal property and that, therefore, mes established as the permanenthey must know what it contains ce of the Association. At first, what and then feel proud to own somet- worried the promoters was captuhing so valuable and so different. ring the largest possible number of To this end we have provided an partners, obtaining grants, establisopportunity for all the associations, hing relations with the government which is very important in our City, of the City team, etc.. In our case to participate in a triple activity in this phase is already outdated. We the following order: are not concerned about the num- To enable us to deliver on its pre- ber of partners but their quality. No mises a lecture with visual aids estimate necessary subsidies, as about the Museum, its promoter they are designed today, because Javier Gómez, its content and the restricting freedom of action and characteristics of glass in general. opinion, and relations with the go- Realizarles its partners and supvernment team of our City can be porters a free guided tour of our considered as correct. So I think our Museum. current goals are much broader - Realizarles a guided visit to the and more ambitious than the origiPrado Museum to see the glass in nal. the permanent collection of painWho or whom they are addressed tings, for which we have obtained the activities offered by this Assothe relevant permission. At approciation? priate times this visit may be free.
Our Association was formed on June 21, 2003 and registered in the Register of the Community of Madrid on October 1 of that year. Therefore, we already have more than nine years of experience in the development of our activities. This triple activity we have had occasion to do it for many alumni of Who were the founders? Alcorcon with obvious success. A group of citizens from Alcorcon Nationally thought the main dissewith cultural concerns in general minators of culture should be artisand proud of their city to have such a museum features MAVA de- tic glass artists and craftsmen, we call with the meaning of cided to create this piece of art "artistesanos" with glass as their glass support. The first Board was main element expression. To do chaired by Antonio Román Rodríguez del Pino, accompanied by six this, we pursue the initial objective other members, of which I had the that know each other, because honor of participating as Treasurer through our visits to a number of them throughout the Spanish geoof the new Association. graphy've found that do not know What reasons led to these founders their colleagues. Thus we have proto create this project? moted the creation of a social network of associations at regional le-
www.amigosmava.org
As I stated earlier, our activities are directed, some local, some national and others internationally. At this level our Association directs all its efforts to gain recognition for their work worldwide for the dissemination of our Museum. The MAVA must be known in all areas that have reference glass as an art that is out of the standard classical paintings, sculpture and other fine arts. In my opinion, the glass leads to all that is allied with the light and allows different views depending on the location from which the viewer is enjoying the contemplation of the work. .........
Page 6
Interview with our President (II).
February 2013 Volume II — Number 52
As in previous years, and within our program CULTURE 2013, every month we will visit a temporary exhibition of some of the museums, usually in Madrid. Also on a monthly basis we will visit one of the How many partners currently? "artistesanos" with workshop established in the national territory. From Our newest partner has received these visits we accomplished prior her card with the number 90. But information in the Bulletin for the the number of supporters who month in which you made the visits. have requested and received our We are also preparing a series of information is far superior. As indicated above, the desired profile of concerts in support of the MAVA Foundation and Miguel Angel Colour partners does not match the potential of your investment consi- menero Conservatory "Manuel de derations to look at quota. The pro- Falla" Alcorcon. file we want is to a person, natural Such concerts have them designed or legal, to support our work, with as a strong educational compoyour approval or constructive criti- nent. Therefore, and in addition to cism, and you feel identified with the interpretation of works, each of the Museum, with art glass and our the events will consist of a brief desAssociation. Keep in mind that our cription of the artist's life and supartners are resident in the most rroundings author of the composidiverse, both in our country and tions to interpret, the content of abroad. these works: a brief description by tant, the feeling of belonging to a unique cultural institution in Spain for its features and be protagonists in the development of our Museum.
Therefore, our monthly virtual newsletter is aimed at a large number of persons, natural or legal, and is open to any collaboration that has the artistic glass work as the main element. We are proud to have received congratulations from several countries, such as the Museum of Guatemala VICAL, Glassworks team in Costa Rica and Berazategui Glass School in Argentina.
Do the partners contribute in some way to carry out the projects?
Your support is invaluable. Both economically and fundamentally moral level. Given that our regular annual budget does not exceed In addition to guided tours of our MAVA, the Association, to be enro- 200 € and that all our efforts are lled in the EGF (Spanish Federation based on the use of computer applications that allow us to be plaof Friends of Museums) offers free ced on the Internet, the more we admission to all state-owned museums and the Museum Reina Sofia "feed" are messages of encouragement and confidence that we Art Center. Exclusive private tours sent. for members to temporary exhibitions of MAVA, with a guest. Course How can information request future on the Museum's collection. Invitapartners? tion to events organized by the Association. Sending Online newsletAll information we can provide our ter of the Association. Free shipping future partners or simply sympatonline magazine of the EGF. Inforhizers is contained on our website, mation on the activities of the Asso- on our Facebook page and ciation and Museum. Cultural trips through our virtual monthly newsin and out of our country to muletters, which are available on the seums and facilities related to the web. glass. Special Price for Friends in activities organized by the Associa- To contact us we provide the email address of our info@amigosmava.org. tion. Free access to the Museum's library. 10% discount in the Museum What are the major activities planshop. Preparation Day visits organi- ned for this year? zed by the Association. Right to Following the policy of previous yeparticipate in conferences, semiars, we will continue editing our nars, symposiums and congresses of the Spanish Federation of Friends monthly virtual newsletter and offeof Museums and the World Federa- ring all kinds of news that have as tion of Friends of Museums. Exchan- main subject the glass. Already released in the month of January ge with other Associations of Friends of Museums. Attendance at 2013 the number 51. What services does the association?
"Evenings at the Museum" organized by the EGF. And what we think is more impor-
The development of our website and Facebook also we occupy much of our time.
www.amigosmava.org
interpreters musicians instrument characteristics to be employed and the work of your group in the preparation of the execution of the works. In order to support the art glass and taking into account the serious financial situation facing our economy, we are trying to develop an activity that we think may be complementary to our sales policy "artistesanos" and that there is other than online sales. If we confirm that this initiative may be of interest to those who are not yet implemented, we will study the possibility of offering sufficient training, preferably free, so they can develop this interesting tool. We are also working on the idea of getting an appellation of origin that guarantees the production of our "artistesanos" glassmakers. Since this designation of origin has to ensure good quality of the products, their use must be granted by an organization with sufficient solvency in the face of foreign markets to create the necessary confidence for the possible acquisition of the jobs offered. Even when it seems that the latter mentioned activities are beyond the normal functioning of an Association like ours, we are convinced that, if we can develop successfully, the name of our museum will be a reference for the glazier space in our country.
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Volume II — Number 52
February 2013
Line of research: Inclusions (XI).
Estefanía Sanz Lobo
background and bubbly, dull,
treated as: 118 x 10-7 (only 28
ALUMINIUM.
broken in some areas letting
units difference).
Experimentation with aluminum
light pass something.
presents some difficulties.
However, as we shall see, is the
In combination with enamels or
one that presents major pro-
The first is the lack of the alloy
frits not improve the results, be-
blems of incompatibility, it is the
being used because aluminum
cause the color is still blackish
hardest of all of them (150 Brinell
is generally associated with ot-
and opaque, but with more
units, reaching 210 in the case of
her metals to give it strength
bubbles and translucent areas.
steel, compared with 55 of cop-
and toughness.
The use of aluminum wire does
per, tin or 14 25 of the alumi-
not give better results.
num), and the greatest tensile
The data consulted on aluminum refer to pure aluminum,
Become black and are surroun-
unalloyed.
ded by a small black bubble, as
Hence the difficulty of advan-
seen in Fig 2.
cing results, as for experimenta-
In Figure 3 provides a sample of
tion will have aluminum alloy.
aluminum wire in a section of
The data we have are: alumi-
2mm float glass sandwich.
num has its melting point at 658 ° The wire has a black color, and is surrounded by a thin white C, working with glass can increase the temperature to 850 ° C, this means that the aluminum melt before the glass. The thermal expansion coefficient is 255 (ie, a difference of 165 units compared to glass, then we can expect inconsistency). The tests were carried out with aluminum foil for household use, and aluminum wire used for electric cables. 1 shows the result of using a sheet of aluminum foil sandwiched by a work.
bubbles. In addition, a large air bubble occluded surrounding the pieces of wire. The aluminum wire is not fully compatible with glass, there are some weak tensions. However, thin sheet appears to offer no compatibility problems.
copper is 60, tin aluminum 4 and 11). We believe these are the characteristics of iron that make it totally incompatible with glass. Tests have been made with soft iron wire and steel wire. We also performed another test with galvanized wire. The results were: The soft iron wire of 1 mm in inclusion section (Fig. 4) leaves blurred blackish stains caused by rust that emerges when heated. It presents many tensions to observe through the polariscope. No material is advisable to work
IRON.
with him.
This metal has a melting point
However, the steel wire (Fig. 5)
higher than the glass: 1500 ° C.
exhibits less strain, possibly be-
Its coefficient of thermal expansion is closer to that of glass than
As shown, the result is a black
strength is (1800 Kg/cm2, while
the other three metals were
cause the lower section of the wire (0.3 mm), and the buffer which is the large gas bubble emerging around, perhaps by the presence of antirust coating.
www.amigosmava.org
Page 8
Activities in Museums I.
Volume II — Number 52
February 2013
www.amigosmava.org
Page 9
Activities in Museums II.
Volume II — Number 52
February 2013
www.amigosmava.org
Page 10
Activities in Museums III.
Volume II — Number 52
February 2013
www.amigosmava.org
Page 11
Fundesarte. Exposition Esentia.
Volume II — Number 52
February 2013
The opening of the exhibition "Essence by Sanserif Creatius" in the Madrid headquarters of the Spanish Foundation for Innovation of Crafts (Fundesarte) met on January 17 regarding numerous design, craftsmanship and Public Administration, in an event that presented alternatives to traditional handicraft products that are intended to respond to the needs of today's society. Fundesarte's headquarters, went from ADG Institutional Environment
and Innovation Program for SMEs, Ministry of Industry, Energy and Tourism, Fatima Minguez, or the Director General of Commerce and Consumer Affairs of the Generalitat Valenciana, Silvia Ordiñaga, the Apai manager, Eduardo Jimenez, or publicists as Depas.es or Esther de la Fuente, who shared space with artisans and designers Madrid and Valencia, as well as representatives of entities as AFCO, IVEX, etc.
www.amigosmava.org
And of course, heartfelt thanks to the work of Miguel Angel Señoris y Manolo Angresola, Xada Designs, J. Sorribes Vidrio, Artespart, Calzado Artesano Torres, Vila Hermanos Cerería, Marifé Navarro, Beign Toys, Cartoné Disseny, Platart, Eduardo Peris, el Taller de Luthería Sergi Martí y Depas.es, and the support of the Craft Centre Valencia and the Department of Commerce and Consumer Affairs of the Generalitat Valenciana.
Page 12
Volume II — Number 52
February 2013
Activities on the MAVA. Theatre. MAVA Theater Company. Every Saturday we have children's theater in the hall of MAVA. The ticket price is 5 € and the function starts at 18pm. Tickets can be purchased either by Telentrada at the Museum or half hour before the performance, even if the phone call the Museum (91 112 76 30) also can make ticket reservations unnumbered.
Monday to Friday, the same From January 12 2013 to May 25, company will function only for 2013. schools, to 10'30h.
www.amigosmava.org
After the performance, children can take a guided tour of the Museum. The activity ends at 12pm. The price for students is 4 €. Recommended for kindergarten and 1st Cycle of Primary Education, 3 to 10 years. Only schools require a reservation to your Museum: 91 112 76 35. For full program and overview of the works available at this link.
Page 13
Future of MAVA.
February 2013
parts and other offices are located in the City, are the property of the citizens of Alcorcon, and that the current government team is a mere manager, as elected by the popular will of these assets belong to the whole Municipality.
Volume II — Number 52
Very well informed sources have known version of the current team of our City Government has absolutely no interest in changing the current status of MAVA, leaving us at the moment, very relaxed about the aforementioned rumors. Therefore, we will submit a statement to all Associations Alcorcón inviting them to step out of these rumors and reassure the citizens of our town, But on the other hand, the date of publication of this Bulletin have yet to respond to our requests to the holder of the Department of Culture. It is true that the inventory issue is not trivial matter, although in a Since Alcorcon are multiplying
form of transfer, any parts that
well-run now the answer to this
rumors lately about a reassign-
suffer some kind of loss, even if
question should be solved with a
ment of the location of the Mu-
unintentional.
simple click on the computer
seum of Art Glass, in some cases informársenos that has to be heard to disperse the location of the collection of parts, we tackle all these rumors and see first hand the intentions of the current team of our City Government on the future of the Museum.
To be reasonably sure that all
keyboard.
the pieces moved smoothly re-
But what is not acceptable, if it is
ach its proper destination, not
aware that the prerogatives of
planned but the right one, or
any City Councilman are based
know the circumstances that
on the delegation to make citi-
might prevent it from being so,
zens in favor of the municipality,
we have added to our earlier
is the delay in informing on the
request another so that gives us
other hand if there is any deci-
a comprehensive inventory of all sion made or conceived but not
To do this, nothing better to ap-
the works that are currently ow-
ply our Councillor for Culture,
ned by the Museum's collection.
Antonio Luis Galindo Casado, by
yet taken on the future of MAVA. Hopefully it is a temporary delay,
We are confident that, by the
given the many problems that
current Municipal Corporation
have to solve our current govern-
of the City of Alcorcon, in gene-
ment team and not a lack of
ral, of the Department of Cultu-
sensitivity on the concern that
re, and especially the owner,
these rumors to generate a large
In the event that the collection
you are aware that all the cu-
portion of the citizens of this mu-
will change location, we believe
rrent framework of MAVA, the
nicipality, in general, and our As-
that there is a danger, as in any
entire collection in It contains
sociation in particular.
legislation, to inform us of the decisions that have been taken or are planning to take on this issue.
www.amigosmava.org
Page 14
Visit to Malaga.
View photos
Volume II — Number 52
February 2013
This past January we spent a few We also met his son and his part- pending start restoring the windays in the beautiful city of Ma-
ner Manel. Manel is studying
dows of the village church of Te-
laga.
third year at the School of Glass
ba Malaga. The crisis has hit
Foundation National Glass Cen-
squarely with this workshop that
tre in La Granja (Segovia) and
had come to work up to 11 em-
kept us detailing all the projects
ployees in the past and currently
at hand for when you finish your
can only be served by this cou-
studies. Fortunately, all of them
ple.
With an extraordinary time we visit the artists glaziers we announced in the last newsletter of January. On a first visit, we were with the
are based in the world of art
family of the installation Montse
glass.
Puñet who had assembled in the Larios shopping center to offer their products to the many locals and tourists in the days before the Feast of the Three Kings visited the Center for purchases.
Our last visit was to the studio of José Luis Camacho, Malaga stai-
Later, we drove to the town of
ned glass in times past was the
Torre del Mar to visit the works-
shop foreman Viarca, supra.
hop Montse. They informed us that was pending to make the windows of the local shrine of Our Lady of Remedies, decorated by the famous painter Eva-
Due to the crisis, José Luis had to establish himself and has developed a good job in restoring and creating numerous windows, forming part of the group ARGITAN
There we could know her hus-
risto Guerra veleño with frescoes
band Manuel Domínguez, he in-
that are intended to produce a
quired of us ambitious project
sense of transparency to the
had been performing in the Mo-
outside. In this link you can get
José Luis informed us that one of
roccan city of Kenitra stained
information about the project.
his works that we could see in
glass techniques to teach children taken in by an NGO. Project had to leave temporarily for lack of funds to continue keeping it.
In later days visited Alberto Cascon and his wife in his workshop Viarca. Alberto, an artist with extensive resume in the world of stained glass, we reported the
www.amigosmava.org
with artists Fernando Cortés and Mikel Delika.
Málaga was the window of "El Patio de Beatas" well established wine bar in the city. In the images we insert this article you can see some details.
Page 15
Montse Puñet in FITUR.
Volume II — Number 52
February 2013
We have been visiting the fair
pular and highly appreciated by We have also met with the Direc-
FITUR 2013 and we approach
the public.
the Artisan Stand Community of Andalusia, where the stained glass was Montse Puñet as representative of the province of Malaga.
I have had the opportunity to meet the Councillor for Tourism Castril. We talked about the Foundation Center Glass José Saramago. She is keen to revive
Her husband Manuel has sent us
this project that has been decli-
the following information, in the
ning gradually. We have com-
interest of its contents moved to
municated that we will offer our
these pages:
shop in Torre del Mar as a selling
"We come now to Fitur, somewhat tired. I'll try to make a summary of the projects at hand. Regarding our participation in FITUR has been a success, all the artisans who are participating in this we agree. The crafts section has organized the Andalusian has been very popular with the
point. There predisposition on his part in reviving the center and we have offered our cooperation as best they can.
tor General of Tourism Ayto.de Malaga and we have raised several issues. These include the need to develop a quality, brand Málaga Craft, a Craft Market on public land and in a central enough so that this market will become attractive to artisans point Malaga, Andalusia, Spain. The points raised in this meeting a week later moved to the Trade Delegation in Malaga and we have laid the foundation to work on these projects to three bands: Town Hall, Trade
At Easter we organized the Craft and Provincial Delegation. Market III Al-Andalus in Muelle Uno, Malaga. Will take place from March 22 to April 2. We've already announced at FITUR.
With the Department of Tourism of Vélez-Málaga, we have addressed these points well and also for being the town where our
public. It was a pioneering expe- We received from the Ministry of factory is located, the issue of rience, the Andalusian Govern-
Commerce of Andalusia that
ment has invested heavily to
this year will centralize the activi- far it seems very good idea. If by
bring the craft fair FITUR, I think
ties that will be organized on the the Turkish school we answer to
slowly craftsmanship is occup-
occasion of European crafts-
ying the place it deserves. It is
manship. Our workshop has offe- the Department for logistical sup-
clear that we are a huge attrac-
red to participate and collabo-
tion potential and the proof is
rate on them.
well accepted that we are having at this fair by the public.
We incline to the February 5
school exchange with Turkey. So
this exchange, we can expect port and official. There are many things in the pipeline right now. We are making
meeting with the Department of progress, some slower than we would like because the bureau-
Specifically our booth has been
Rincon de la Victoria (Málaga)
put together with Paco Tito
to present a project to the orga- cracy is so, but we are making
(ceramic Úbeda) the most po-
nization I Craft Market Corner of La Victoria.
www.amigosmava.org
progress. "
Page 16
Viruses and bacteria glass .
Volume II — Number 52
February 2013

British artist Luke Jerram has
1974, currently lives and works in
ty of art in themselves and what
created, in collaboration with
Bristol and has two children.
they stand for people.
virologists from the University of
He graduated in Fine Arts at the
Bristol, replicas of viruses like
University of Wales Institute, Car-
HPV, HIV, SARS or swine flu, bac-
diff in 1997.
teria such as E. coli, and parasites such as malaria caused made of glass with a size greater than 1,000,000 times originals which mimic forms. As seen in the pictures, the complexity and beauty of the figures he has achieved is fascinating. The pieces are part of an exhibition that will remain at the Museum of Arts and Design in New York (MAD) to early April. From
The artist pays great attention to the sensations and perceptions, as he suffers from a visual impair-
Thanks to his art and his interest
ment that prevents him from re-
in experimentation, Jerram was
cognizing the colors.
able to immediately establish the category of his art in his country and then around the world.
It is very popular in the United States, and his works have been exhibited in museums as important as the MOMA and the Ame-
His work is appreciated by the
rican Museum of American
peculiarity of his glass creations,
Glass.
whose theme is viruses and bacteria, Jerram designs called "Glass Microbiology".
Through a series of related art activities scientifically, has received several awards, including
then until mid-2014, can be visi-
The artist's interest in microbiolo-
the 2007 award Medical Imaging
ted at CaixaForum in Madrid.
gy has led him to investigate
Institute, 2010 Rakow Award and
human perception and its limits,
a fellowship at the Museum of
Luke Jerram, English artist and researcher, was born in Stroud in
the contrast between the beau- Glass in Washington in 2011.
www.amigosmava.org
N E W S (I).
Sara Sorribes again Valencia.
Culture 2013.
Volume II — Number 52
February 2013
Page 17
For permanent exhibition were selected over 90 works. His organization, structured in chronological presentations, serves to explain thematic units, from the works, the relationship with his city Hall. Finally, I could not miss a visit to the Museo Thyssen, which features 267 works forming part of the Carmen Thyssen-Bornemisza collection, and makes a journey through the different genres of nineteenth-century Spanish painting, framed painting chronological period between Figures of Francisco de Goya and Pablo Picasso, paying particular attention to the Andalusian painting. It revolves around four ideas. First, it was the chapel of the Palacio de Villalon houses all works of "Old Masters," which, by way of introduction, dating back to the seventeenth century, with Francisco de Zurbarán and Jeronimo Ezquerra, head. The second section is titled "Romantic landscape and manners", reflecting the view that the romantic travelers were from Spain, his past, Moorish architecture, the gypsies, bullfights, fiestas, flamenco, etc.. This past January, and making our trip
"House of Art"
Below is the section on the
to Malaga, we visited a number of
dynamic, open to new trends, forms of
"preciousness and naturalistic landsca-
museums that are based in this Anda-
expression and social concerns, con-
pe". As a finishing touch, the part ca-
lusian city.
ceptual, political and aesthetic of
lled "End of the Century" that reveals
The first was the Contemporary Art
contemporary art.
how Spanish painting of the late nine-
Center, a museum that aims at the
We also visited the Municipal Heritage
teenth century began to talk openly
dissemination of visual arts from the
Museum, whose base of funds collec-
with international painting. Joaquin
last third of the twentieth century to
tion contains more than 4,000 pieces
Sorolla, Aureliano de Beruete, Darius
the present.
owned by the city of Málaga, since
Regoyos, Ramón Casas, Ricard Ca-
The CAC Málaga has established an
the creation of the first city council in
nals, Francisco José Gutiérrez Solana
innovative program in Spain initially
1487 to the present, and includes do-
Iturrino or are some of its exponents.
inspired by the German model of
cumentation of historical value and a
Special mention in this period deserve
"Kunsthaus", this is intended as a
voluminous library.
Ignacio Zuloaga and Julio Romero de Torres.
www.amigosmava.org
N E W S (II).
The fascinating world of Swarovski .
Volume II — Number 52
February 2013
Page 18
The world's most famous com-
centenary of the creation of sig- These rooms contain diffe-
pany of glassware has carved
nature Swarovski AG and have
its own theme park: the Swa-
since passed through its facilities world of the living giants",
rent art installations, as "the
rovski Crystal Worlds (Swarovski over ten million visitors, making "Mechanical theater", Crystal Worlds). this place one of the most visited "House of Miracles" and Located near the city of Inns-
"Poseidon" including expo-
attractions in Austria.
sing a collection of hun-
bruck in the Austrian Tyrol re-
The Austrian artist Andre Heller
gion full, Wattens is the city
was the architect of the integra-
that is world headquarters of
ted arts center in the basement
Swarovski, and also where this
of the Alps, a spectacular maze
dreds of glasses of various types and colors. The tour ends at the arts
exciting theme park renowned formed by pretending to be insi- center in the Swarovski store Austrian luxury brand. de a giant diamond that meets largest in the world, desigSwarovski Kristallwelten was opened in 1995 to mark the
fourteen rooms, called "The halls ned by the prestigious British of the wonders".
study Conran & Partners.
Teachings of glass. ried stained glass, copper and tin, to create works of art. After completing the course of three months, students will be able to make various objects such as lamps, stained glass and other decorative objects. The Association "The Pedra-
The cultural center 'The Pedra-
Students of the course are le-
zuela" is in Cantimpalos, town
zuela' Cantimpalos, is hosting a arning a technique called tif-
of some 1,500 inhabitants in
tiffany glass workshop, taught
the heart of Segovia country-
fany, consisting of mixing va-
by Paul Arevalo Mardomingo. www.amigosmava.org
side just 20 km from Segovia.
Page 19
The glass in Museums: Moser (Cheq Rep.).
Volume II — Number 52
February 2013

The museum, located in the Czech city of Karlovy Vary, is the famous story of the Moser company founded by Ludwig Moser in 1857. An integral part of the exhibition are historical items, tools for glassware, medals, orders and other historical manuscripts, photographs, samples, catalogs and historical material. Part of the exhibition is devoted to the supply of the factory for the rulers and important people. Cups, bowls, jars, vases and other glassware decorated with gold, engraved and carved motifs contained in the exhibition that presents the best of the company's production glazed Czech Moser, Karlovy Vary. This factory supplies glass sets luxury royal houses and governments worldwide. Moser Museum Visit to discover the history of the family working the glass, who became the official supplier to the royal courts and successfully preserved the
rich tradition of making a glass so fine so far. See the perfection with which the products are handmade, high quality and unique talent of master glassmakers. The magical atmosphere of the glass is blown and shaped, the smell of burning wood molds with the warmth and beauty of molten glass will leave a strong impression. Visitors are allowed to take pictures or videos, capturing a memory of your visit to the glass factory forever. The tours are conducted seven days a week and are accompanied by a presentation of glassmaking materials, tools and production techniques. The new Moser Museum offers a unique look at the history of the glass factory. The new design, the exhibition offers a tour modern absorbent, which provides more than 150year history of the glass factory.
www.amigosmava.org
The tour features the most famous luxury owners of Moser glass, with pieces ranging from the oldest examples of glass work to the contemporary collections, with more than 1,000 exhibits. The exhibition includes seven films in 9 languages. Audio guides are available, allowing visitors to choose their own individual paths. At the end of your visit, you can access most vidriol store and porcelain of Karlovy Vary, with a wide range of glassware, gifts, porcelain, genuine Bohemian garnets, jewelry and accessories. Your sales team will be happy to help you select from a wide range of products and offer a full service for visitor satisfaction. They offer home delivery of products, the refund of VAT for customers outside the EU and discounts for cardholders client. We accept orders for production and offer a registration service for wedding gift table.
Page 20
The workshop Alba Martin Casado.
Volume II — Number 52
February 2013
installations inspired by nature and
Martin wants to bet on Spain to ap-
more than 3 meters high, located
proach this art which according in-
in places like Chicago or an airport dicates not valued enough. "I do garden center in Australia. A cha-
this because I love it, because I love
llenge that now wants to land in
and would like to pass it," he insists.
the capital of Segovia, whose main In this regard, encourages those purpose is to recover the tradition
who prefer their branch blown glass
of glass as a passion and a "way of
and not let go forward. Now, she'll
life".
do it with the help of the City of Se-
Living the glass
govia, which offers entrepreneurs
Just inside the National Glass Cen-
the Employment Centres and Busi-
tre, which started out 10 years ago, ness Initiatives (CIEES). The artist will this Segovia knew that from this
pay about 300 euros for a lease
moment all his life would be devo-
that includes various services like
ted to this craft. "I followed what
electricity or water. From there, the
my heart told me," he says, and alt- space will house 50 square meters hough known professionals and His real passion is glass and that is why Alba Martin Casado aims to
exhibition area with their work and
advised him to continue his training the work area for that matter the in other directions away from glass- tools used since it started. blowing discipline being more ex-
"It's not a job, it's a hobby," he says,
pensive and less likely to leave for
so it will take especially important to
job search, Martín Alba was alrea-
bring art courses for amateurs and
dy in love with this branch. "It's the
professionals. The courses Segovia
blow torch and kiln. This segoviana
best decision I ever made in my li-
says National Glass Centre "too ex-
shop located in the old Factory
interprovincial Foundation National learned through continuous practi-
promote the development of this industry in the province of Segovia and the country through a novel technique that combines the art
pensive" but invite internationally resident in one of the cradles of the fe," he says. After participating in the first school renowned artists. For her, the craft is glass, England, will soon open a Clears the capital where technical fight to instill the youngest. According to the artist, the practice is being lost in the province despite the existence of the National Glass Centre, located in the Real Sitio de San Ildefonso (Segovia) and is largely drawn to the agency
Glass Centre, and the lack of spe-
ce that many people can not af-
cific training in Spain, Martin deci-
ford, so it ensures that workshops
ded to emigrate to England, to the that develop will be much more afInternational School of Glass in
fordable.
Dudley, Stourbridge, where he li-
Ignoring the crisis
ved for six years. Together with stu-
Supports warily looking to the eco-
dents from all over the world such
nomic crisis, but is convinced that
as Mexico, Japan, the Netherlands
"we must all be able to develop our
as Ical, lack renewal of their school. and Germany, conducted a course in which he began to develop "They have 20 years in the same style, it is now time to renew, or die."
world's longest held in the same location for 24 hours, Martin leaves his stay on English soil to return to their native Segovia where to start this new project despite the crisis. "I'm going to pretend that the crisis did not exist and I will pull forward" says emphatically. In his workshop, pending finalization of the final stages, combined blowing in oven own torch technique, getting the color effects and special frames in their products. In addition, the plans do not follow
color work and perfected his tech-
even other arts exhibitions.
ming artist forging allowances for
a bright future. The fan cover disparate areas as the production of low-cost products
two blowing workshops where he
with which you can go to fairs and
has been working until now.
exhibitions sales. Martin can per-
Among his commissions include
form about 25 or 30 pieces a day,
lamps over 20,000 euros for hotel
so that points will not be difficult to
chains worldwide, theaters and
sell, even to people who do not
even parts for a lover of Formula 1
have many financial resources.
auto parts that converts the most
"We'll do anything for people who
famous runners for your home de-
want to buy, you can take any pie-
cor.
ce," he says. Do not forget either,
Stop making other designs
interior decoration which is also de-
Although happy with his life and his dicated to the present as well as work in England, Alba Martin has
contact with other companies to
decided that "it's time to stop
perform lamps, knobs, or pieces to
doing the designs of others to de-
exquisite art galleries.
that has hosted over the years, the
"I can offer my 10 years of experience developing my own work and helping those who want to develop
artist Segovia says the new challen- it", because it is precisely the con-
Its products have been sold throug- ge is to continue exploring and learning with new life forms. hout the world and for his latest project has worked with a perfor-
velop the art are many and looks to
made soon find different jobs in
own workshop to manufacture, but velop themselves." Always leaving the door open to the English city expected to be "open space" in which workshops, auctions and
your business will start modestly but
his own personal brand introducing ensures that the possibilities to de-
Award winning International School nique. Its refined style born in Segovia, Dudley Glass, and participating in the demonstration of glassblowing
dreams." Martín Alba is clear that
tact which favors new artists as influences on the growth of an indus-
"Never stop learning, even the tea-
try badly injured that they have to
chers who have spent 40 years
raise the young.
continue to learn", which is why
www.amigosmava.org
Page 21
The Treaty of Guadalupe Monastery Windows (IX).
Volume II — Number 52
February 2013
king method, because when you go systematically ensuring leaded areas with nails, it is very difficult to crumble as leaded. The process of welding joints of lead is performed by a welder called "soldering iron", which has a "half a yard long, the wooden dug, the body of iron and copper cabeça, which is plated by mouth ", ie, virtually identical to traditional gas welders used until a few years ago and still use some glassmakers.
Fernando Cortes Pizarro.
This soldering iron is heated in a brazier and "With the heat out of the fire, the ordinary is welded together eight or ten ...".
this, minus the bulk of the souls of The next logical step is to begin the leads. to put glasses and leads, but When you begin to cut the glass here the author recommends to and get each piece fits the dra- "welding joints welds because otherwise you risk breaking wing, the author recommends that beginners not to cut all the down everything lleuas echo".
ders "... you'll give a few blows with the hammer ayunque above, so that you will remove the Oyos. And you get the same mouth, and echura of half torus. And if you wilt give an overview of lime, is estañaría easier ... ".
fronted is still seen today, the reFrom these initial introductory re- sult of the sum of several errors, such as mis-cut glass compared marks the author comes in and to cardboard or careless leaded The author then gives other tips begins to describe the process and "lazy". of adapting the designs provifor welding, these being very inded the size of the window in teresting today because we all To proceed with leaded the first which they will be located the glassmakers still happens the sathing you do is put two lead window. me. squad profiles, with each piece These highlight that in which we The first step is to take measure- of wood, opening previously, ments of height and width of the only on the side where the glass are told to do when the iron is will come with a wooden tool window. heated too: "... aguardarás to called "abridera". cool a little and you will give a Then, placing the master workrefregón rag. And then in a PeToday we glassmakers opening here called "quadro" - on the daço tile, which is where you will leads to some kind of tool, gewooden table and placing it have the tin or solder, and castwo strips ("schedules") of wood, nerally known as "tingle", and ting some ordinary ground fish there are both homemade and "... one over and over in width, spear that is strongly refregará industrial, wood, plastic or metal so that Anbas two make a perbuelba to take the tin ". fect squadron ... "was drawn on and usually have at least two the scale and the selected sub- different thicknesses to more or Or when the copper tip picked less open wings leads, as neeject and calculate the amount or eats, this problem also prevaand type of glasses needed for ded. lent in many current electric wel-
way glasses "... the two sides last ..." because it is difficult know until you get to the last glass if the panel has been able to grow more than expected to add most of the leads. This is one of the typical problems that every beginner con-
This custom welding the panel to go slowly, as they will emplomando, rather than all at the end, is an unwise practice that actually very few glassmakers made today already. It has to do, in my opinion with some insecurity and poor wor-
www.amigosmava.org
For welding, the author uses fish powder, it most likely refers here to powdered rosin, used traditionally to the tin. At present, in addition to the rosin, the stearin is used both in solid, pasty or liquid.
Page 22
Recycling. New European regulations.
Volume II — Number 52
February 2013

The Dec. 31 came into force the new European regulation amending the criteria for glass recycling, with the main objective of this ceases to be considered as waste but, on the contrary, the rules help to ensure a second life for bottles and other glass containers.
The criteria impose limits on the amount of contaminants such as metals, organic compounds and stones, so that they can be classified as a secondary raw material.
The concept of 'waste not' intended to stimulate European recycling markets by creating The criteria were developed by legal certainty, eliminating unthe Joint Research Centre, JRC necessary administrative bur(Joint Research Centre) based dens and promoting secondary in Brussels and provide that curaw materials safe and clean llet must meet the specifications from residual process. or standards that will directly The JRC has also established usable in the production of chetechnical criteria that determine micals or glassware by recast. when a material recovered from waste ceases to be useless and
www.amigosmava.org
can be treated as 'other product' or 'commodity'. Improve the above criteria In the past, the lack of clear and harmonized resulted in a situation in which some EU countries legal frameworks developed different and not always compatible to regulate the recovery of materials. Therefore, the JRC h provided a methodology for the development of uniform standards across the European Union and has conducted an initial study to evaluate the appropriateness of the criteria of 'no waste' to a large number of material flows.
Page 23
The CAU Ferrat.
February 2013
workshops Bonet, along with the rest of the Cau glass, with the aim that could restore. J.M. Vitralls Bonet is a signature centennial of Gràcia, authors of many of the original windows of the Holy Family, as well as those that were installed last year in
Volume II — Number 52
Barcelona temple. The work carried out in the workshops has been mainly cleaning and improved structure. One of the technicians, Luard Bonet, has noted that "the pieces were in good condition, desThe Cau Ferrat countdown starts of these valuable pieces, arranits reopening in mid-2013. The work of reform and adaptation of the building and restora-
pite being near the sea, only one
ged Rusiñol late nineteenth cen- of the five has needed to be leatury in the windows of the room ded back to ensure its structure." long spout.
Of the 150 small glass about five
tion of parts of their background The artist himself portrayed in a
medallions set, only a dozen we-
they needed specific actions
painting at his daughter as the
re installed new in order to main-
are progressing well, and do so
protagonist in this room where
tain the same style color in each
in accordance with the guideli-
the windows and leaving
piece.
nes set in October 2011 by the
behind the figure.
city of Sitges and Barcelona Council for protect and preserve the architectural and artistic heritage and thus regain the museum as it was before, but adapted to the needs of the future. One of the actions of the Cau Ferrat asset recovery that are in a more advanced stage is the
There are cases where the glass
Years later, the five medallions
had fallen years ago and had
were removed during a restora-
been empty holes or white glass
tion of the windows, and for unk- were installed. nown reasons, the original parts In the coming months, the five were not re-install, but, fortunamedallions will return to their oritely, were preserved in the muginal place in the Cau Ferrat seum's collection. and ls is installed in the same roIn the windows, however, moom windows supplier, following dern glasses were placed in a
reference Rusiñol painting which
grid, which followed the compo- are portrayed. sitional scheme of the same winThe head of collections Museus The approximately forty museum dows. of Sitges, Ignasi Domenech, said windows have undergone a The five pieces are round format that "despite being ancient comprehensive performance and style design unit. glass, glass exterior protection improvement and detailed, they antipyretic in the facade of Cau have recovered their glory, it will Four of them illustrate zoomorpFerrat to protect the inside of the look once the center has opehic motifs (various birds) and the building, the windows allow not ned new doors. fifth shows a plant. deteriorate and restore the atAmong all the windows of the The pieces contain a picture mosphere of the old Cau. " restoration of stained glass.
Cau Ferrat, was conducted re-
and are enveloped by a glass
cently a singular intervention:
perimeter.
the return of the original stained glass windows of the museum room supplier.
centimeters in diameter each year that did not look in the Cau Ferrat, but instead had been stored in its warehouses. The renovation and adaptation of Cau facilitated the recovery
are finalizing the restoration work
The colors are varied and domi-
of the rest of the windows of the
nated by shades of blue, yellow,
Cau Ferrat.
brown and green.
These are five medallions of 32
In Vitralls J.M. Bonet these weeks
Are approximately forty different
Once reunited, technicians Heri-
pieces of windows, doors and
tage Consortium of Sitges stu-
opening various elements, which
died and it was found that older
are the subject of a comprehen-
windows, probably the sixteenth
sive recovery action: cleaning
century.
and reintegration remplomado
Pieces are moved to JM Vitralls
www.amigosmava.org
missing glasses.
Page 24
February 2013
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 2013.
Cultural Tours. In this February we are interes-
Granja de San Ildefonso
ted in knowing the workshop
(Segovia) and is largely, as the
Alba Married Martin is riding in
local agency for the non-
Segovia.
renewal of his School. "They
Volume II — Number 52
As reported on page 20, Alba Martin has left his stay in English
have 20 years in the same style, it is now time to renew, or die."
to return to their native Segovia In this regard, we must mention where to start this new project,
the importance of the new legis-
despite the crisis.
lation on minimum ratios craft
Alba makes a complaint very
schools.
important, that the practice of
As we reported on page 36 of
manipulating the glass is being
this Bulletin, the Department of
lost in the province of Segovia,
Vocational and Special Regime
despite the existence of the
competent artistic education,
National Glass Centre, located
set between 15 and 12 students
in the regal surroundings of La
the barriers to make possible a specialty.
Culture 2013 Programme.
In this February visit the exhibi-
1874, en plein air painting took
1900, approximately, from the
tion "Impressionism and outdo-
nearly a century of develop-
pioneers of the outdoor landsca-
ors. From Corot to Van Gogh
ment.
pe, as Pierre-Henri de Valencien-
"which offers the Thyssen Bornemisza from day 5 until 12 May.
Outdoor Studies constituted, in fact, a key part of the training
Analyze the role of painting out-
landscape painter from the late
doors and plastic engine rene-
eighteenth century.
wal nineteenth century is the
nes and Thomas Jones, artists such as Turner, Constable, Corot, Rousseau, Courbet, Daubigny and all the great masters of Impressionism, until the turn of the
Later converted into shaft natu-
century with Van Gogh and Ce-
ralism, renewing its potential
zanne, among many other es-
In general, we tend to relate
spread to the late nineteenth
sential names.
the outdoor painting impressio-
century.
main objective of this exhibition.
nism but when Monet, Renoir, Sisley and Pissarro began to exhibit their works in the studio of the photographer Nadar, in
Your trustee is Juan Angel López,
The exhibition will bring together
curator of the Thyssen-
some 100 works in a chronologi-
Bornemisza Museum in Madrid
cal arc that goes from 1780 to
Thyssen-Bornemisza.
www.amigosmava.org
Page 25

The Museum Jovellanos with glass .
February 2013
Thanks to them, the museum has added to its collection two superb vases manufactured glass factory in Gijon and handdecorated by Arturo Truan and an earthenware dish, factory from china The Asturian, decorated by painting Chief in the in-
Volume II — Number 52
dustry. The museum "Jovellanos Birthplace" is set in a palatial home in Cimadevilla Gijon. This mansion dates from the late fifteenth century, becoming part of the Jovellanos famila when Jove Juan Garcia (1460-1525) built the first building. 13 December-March 3, 2013
In this process, the museum has
In the scope of its collections
had the invaluable collabora-
program, the Jovellanos Birth-
tion of both public and private
place Museum is developing a
entities, and individuals who
constant recovery efforts of the
have contributed donations to
industrial arts produced in GijĂłn
reinforce the importance of his
The latter is what gives it its pre-
since the mid-nineteenth centu-
collection.
sent appearance. Currently has
ry.
A sample of the involvement of
The home has two reforms, the first in the sixteenth century and the last in 1758 by the father of Jovellanos.
two towers on the sides with a
building that one has attached a As a result of this work, its perma- citizens in the construction of the chapel (where Remedies is bunent collection has been enrimuseum is the gift presented ried) and ahead is the square ched with the addition of an im- Truan Moreno family, direct des- called "Plaza de Jovellanos'. portant set of pieces from glass cendants of Alfredo Truan, one factories and china Industry The of the main architects of the de- On December 27, 1983 was deAsturian.
velopment of photography and
clared a Historic Artistic Monu-
industrial arts in Asturias.
ment.
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Page 26
The program of La Granja.
Volume II — Number 52
February 2013
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Page 27
Other trends. Friends of Romanesque.
February 2013
dieval art with the publication in the newspaper "El País" in an article on the announcement of the existence of a Romanesque cloister in a private estate in the near Palamos (Girona).
Volume II — Number 52
In his presentation, Gerardo began by taking us the question: What is considered a Romanesque cloister original? He cited the ambiguous report published the General Directorate of Cultural Heritage of the Catalan Generalitat denying the antiquity of the building, containing the text, in his judgment, miscalculations and numerous inconsistencies. He cited scientific reports exposed that existed in that cloister quarries stones originating from Castilla-León and geological studies considered these centuries-old stones. Keep in mind that the visit of the technicians could make lasting only two hours per requirements of the property of the estate. Another inconsistency, says Boto, on the text of the report of the Government cited above is that this complex is included in the Encyclopedia of Catalan Romanesque. He went on to describe the incredible "journey" that made these stones, first to Madrid, to a farm in the Ciudad Lineal, then to Palamos. On Saturday, January 26, we were invited by the FEAM to assist the development of the Third Conference on Romanesque Art who organized together with the Friends of Romanesque in the American Museum. The program of the event include it in the cover. Angela Franco Mata, Leon source and Chief Curator of the National Archaeological Museum highlighted the current location of some of the works from Leon entities. For example, he cited some works that are in the Louvre, as a chalice and paten of Abbot Pelagius. The National Archaeological Museum are a chest of the Beatitudes, several plates and some capitals Aguilar de Campo. The Art Museum of Chicago, a chest of St. Adrian and St. Natalia and the Hispanic Society of New York some sculptures.
Braulio Valdivielso, Burgos of birth, informed us that the "outskirts" was one of the first administrative divisions in the Kingdom of Castile and the Alfoz of Muñó, in the province of Burgos, was episcopal and today only remains of this enclave a small church, since the population was shifting to Villavieja Muñó, where he built the church of San Adrián, the most important example of Romanesque Burgos.
Apparently his stay in Madrid was motivated by a sale to a U.S. buyer. This operation and assembly in the capital of the cloister was surrounded by absolute secrecy to prevent unwanted leaks.
He cited some books indirect mandate made by North American customers regarding Spanish cultural goods that were considered national treasures and those who were not, with the obvious danger, the With basilica, part of its columns are of Roman origin, the fascia that latter, in its subsequent pillage. runs along its facade is starry, the Finally cited numerous names of capitals of the apse are strange people involved in the amazing and bizarre, made with bevel size. journey of the cloister by Spanish
The corbels are beautifully carved and the apse are made by a person other than the rest of the building. The presbytery has two arches that, in his opinion, could be considered as a horseshoe. The capitals are not abacuses and faces that adorn ears appear that seem He cited the actions of the present horns, given its position. The figure Count of Almenas regarding Canto of the bunch tied in the trunk is redel Pico palace in Torrelodones, peated throughout the iconograpand other controversial intervenhy. In summary, this unusual set of tions of this member of the Spanish Muñó Villavieja. nobility on some works of National Heritage. Boto Gerardo Varela, Leonese by birth and currently residing in Gerona, revolutionized the world of mewww.amigosmava.org
soil and these people had relationships with each other. This last paper appeared to be the star of these Third Conference in view of interventions arising from the large audience in the final round of questions. In short, an extraordinary congress about Spanish Romanesque art in whose development we express our warmest congratulations, both the EGF as the Friends of Romanesque, without forgetting the American Museum for collaborating with the sale of its facilities for this cultural event.
Page 28
Objetos con vidrio in Art Palm Beach 2013.
Volume II — Number 52
February 2013

As reported by Maria Eugenia Diaz de Vivar in Blog with Glass Objects, "Miami International Art Fair held its fourth edition in the grounds of the Intercontinental Hotel Dock 100 Chopin Plaza, Miami, from Friday 18 to January 21, 2013 with a international collection of art galleries in places like Buenos Aires, Beijing, Moscow, Paris, London and New York. It is one of the most recognized contemporary art fairs that are installed in the city. This fair is located on the sea, which gives a very beautiful,
overlooking the city and sea, all this makes the event more elegant. The art fair presented to talented artists of the century, who presented their work in photography, painting, sculpture, jewelry and video.
hen Knapp, a facility in dichroic glass by lamplight cast their colors intervening spaces and contrasts create magical effects. We still see more work by Stephen Knapp in Art Palm Beach and the Lowe Art Museum. "
On his Facebook page, Maria Eugenia informs us on 26th JaThere was only a gallery devonuary that "Yesterday we started ted exclusively to glass, the gaour tour of Art Palm Beach, not llery Designs Mark Helliar 20th only is much there to see, but Century Murano pieces, sculptu- everything is very good, so we res and decorative objects were could only go a third place. We very typical of the island. attended the awards since Lino In glass also Setfor & Bridges Ga- Tagliapietra conference Marlene llery exhibited work of artist Step- Rose, was a memorable day! "
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Page 29
Glass factory in Aranjuez (and II).
Volume II — Number 52
February 2013
The glass factory The glass factory was installed in the Royal Site of Aranjuez, according to data from the Cadastral Decree no. 314, was located on Spring Street, block 53, number 7, is a small street that runs parallel to that of the Queen, the last North of the population, over an area of more than 1900 square meters. This industry was in his own home owned Rafael de Rodas, who to settle and make glass, must acquire a license or privilege of invention that gave the King. The Journal Notices Madrid on May 31, 1826, along with other businesses in this sector, says the glass manufactured in this industry is sold in glass store, glass and earthenware "smooth seat pint glasses thicker than 32 rooms, half pint to 24 and cup 15; bottles of water two pints and a half to nine real. " Years later, the Spanish Journal Messenger of Parliament, published on May 4, 1835 a few lines about the glass industry installed in Aranjuez and exported much of its production to the capital of Spain where it was sold with balance crystals that had houses and shops in general, had to replace outdated. Obviously, the factory in Aranjuez toward competition that was established in San Ildefonso.
"In Aranjuez crystallized glasses are manufactured in Madrid that sold, ranging pedacillos obliterating the wretched green glass that covered the windows preventing entry of light and still rampant in some old houses.
re of sulphate of soda glass. It is the day July 27, 1835 when the newspaper publishes Eco Trade concessions list had expired license, including the two who had Rhodes.
However, it seems that Rhodes Almost all manufacturing of continued to work with industry in Aranjuez is limited to planes and Aranjuez, for the day November lanterns. 18, 1840, four years after starting Are introduced and consume his career the coastal Consistory, many glasses gaps, or glasses, the Journal reports that Madrid bottles, molded and carved in could buy crystal and glass in larFrance and Germany, by the re- ge items in the store windows of peal of the exclusive privilege the Royal Place. enjoyed by the factory of San The same media on 27 DecemIldefonso. ber of that year reiterated the The lower price has experienced sale of glass in Aranjuez by a nothus this article, is extending its tice. use, which will contribute not a By this time the industry had paslittle to the service culture in our sed into the ownership of Joseph tables which unfortunately is soGarreta and brothers, as you mething behind. can check through the CadasWe think that if Aranjuez factory tral Decree cited. or other abundance were maThe work of Simon Viñas Aranjuez de with hollow glass, moldados, which was published in 1890 recarvings, etc.., May make them cord that both industries, soap more affordable price than Gerand glass, had left by then promany would get a huge benefit. duction. " The licenses were renewed glassmaking to the Crown in this case Rafael Rhodes had two for a term of five years. The first license was to proceed to the manufacture of white glass windows, lanterns and voids. And second, for the manufactu-
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Agriculture was who was coming for years pushing and competing with orchards Levantine, but that's another story. My gratitude for the invaluable help in finding the necessary mapping for this Brushstroke in the National Geographic Institute to Carmen Jimenez Jimenez.
Page 30
The Dolphin Treasure (III) .
February 2013
glass [O78], Renaissance taste excellent job. The Prague production includes glass with handles [O17] in sanguine, another with body banded agate, enamel and trimmed with delicate gold mascaroncitos [O16] and jug shaped morion
Volume II — Number 52
[O18] Milan workshop may come glass of smoky quartz with masks [O101], the citrine [O42], the set of two mugs peak with ewers, in red chalk, trimmed with gilt bronze and enamel and pearls applied, the two lapis salvillas [O60 and O61], the crystal with featThey are the exception, in addi-
temper glass basilisk fire and
hered edges imitating lace, glass
tion to the medieval examples
dolphins shaped legs screwed
of red chalk, thin-walled [O28],
cited, a group of vessels carved
[O111], the lower cup-shaped
and various vessels.
in thick, embossed gallon,
Bernegal [O22] knob [O15] mi-
straight and torsos, which may
nor work of exquisite beauty,
come from Parisian setting of
that gift was the wife of the
mid-sixteenth century, they are
dolphin, and the glass of Moses,
associated with side dishes ma-
above chronology and notched
de by the school of Fontaineble- the classic scenes [O82]. au .
No less remarkable is the dag-
Such is the case of the group of
gerboard with masks and Miner-
three jars with children and ser-
va (it disappeared) [O95].
pents, very mutilated [O75, O76 and O19], which can be ascribed to the workshop of Toutain about the work of silverware, perhaps the last work of Richard Toutain (active between 1559 and 1579). Somewhat earlier, the same workshop, would be a pitcher with becoming Narcissus flower
Initial work could be the works-
Dionysius, son of Octavio, notable architect who worked in Prague, could be represented as the author of the piece [O96], known since ancient oil lamp, smoky quartz, very consistent with his style. Looks like the plague wiped out this important family, making their production ceased in the first
hop of the group Miseroni afore- third of the seventeenth century. The family Sarachi, rival in many mentioned vessels, made of emerald plasma, which Alcouffe aspects of Miseroni, is well repredata into the thirties of the sixte- sented in the collection of Maenth century.
drid.
From pure lines and very thin
As an example of his famous ani-
walls, would, if confirmed the hy- mals crystal offer turkey [O110] pothesis, early products Milane- and Dragon [O112], both of grese workshop.
at size.
great beauty, which is docu-
His son Octavio and workshop
It is feasible that the famous Anni-
mented in 1561 in the castle of
led by him, and Bukovinská Dis-
bale Fontana, brother of these
Pau, between real treasure of
telberger studied, the catalog
excellent cristallari, collaborated
the kings of Navarre French
raisonné attributes with logical
on the decoration of glass of vin-
[O77 ].
reserves, numerous vessels, both
tage [O81].
on the handle, important work of
Among the collection of Milanese crystals, many with original fit-
as Milanese stage of its production in court of Prague.
Also stresses the tray called Hermaphrodite history and the Twel-
tings, produced in the workshop
From the first highlight of the
ve Caesars [O80], important for
making the stone carving, high-
drink called Four Seasons [O83],
its artistic and symbolic part of a
light some attributed to Gasparo large jars with handles bichas
group of objects decorated with
Miseroni, perhaps the most fa-
topics related to universal monar-
[O90 and O91], several shallow
mous sixteenth-century Milanese cups and jugs, as the peak
chy Hispanic studied by Venture-
lapidary, as is the cup round
[O97]. Giovanni Ambrogio Mise-
lli, and includes a series of came-
Bacchus in the top (now de-
roni, Gasparo nephew, could be os carved possibly Miseroni's workshop. called the author of the turtle
funct) even goticista [O84], the
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Page 31
The 'vitrification' the last memory .
Volume II — Number 52
February 2013

Alexandra Moledo A CoruĂąa
manipulate in any phase of the
"Through art we can remember
process.
and save the last subject that
The pieces of glass-explanatory
has left our most dear: his ashes." are introduced into the furnace The artist Julia Ares thus summari- at a temperature of 830 degrezes the outcome of your project es and ash between 850 and Vitrificatum, which allows glass
900 degrees according to each
objects incorporating ash from
case, so that undergo less than
incineration of living.
about 50 degrees to which they
Just a week ago that managed industrial patent certifies the originality of his technique. The idea came after the artist knew a girl that hung around the neck of a glass tube containing the ashes of her boyfriend and wondered whether it would
presented. It also offers the ability to use all traces result from incineration or only part. In one glass urns created have been used all ashes and are present both inside and outside of the sculpture.
were subjected to during the in-
But not all works are needed all
cineration do not suffer any
and even raises the alternative of
changes during this process.
creating more than one copy of
While in the market and there are objects other than "the typical urn" to save warning of the risk of breaking is lost because it is a very fine powder.
the same object for multiple family members or their relatives may have a memory of their deceased loved one and keep "a link with the last thing left of him. " Among the samples presented
be possible to create a "relic" or
With its proposal would then be
a pendant to bring them within
possible to recover and rebuild
the loved always one.
the part.
To make this work took more
The technical possibilities offered evoke a place he liked, silhouet-
than a year of research becau-
are varied and ash can be a
se even though I knew it was
part "of the fund, the surface or
possible to integrate the ashes
of the figure represented".
into glass needed to check and
The choice depends on custo-
had no way to get them until a
with this technique include portraits of the deceased, representations of landscapes that can tes? Who delivered the ashes can also participate in the work and in one of his sculptures that embody
mer preferences and the decifriend offered to cede those of a sion of whether they are on or relative and could use them in off.
the hands of the family "as if they
In one of his examples shows a
Julia Ares is also offered to apply
triptych which symbolizes "the
this method to the ashes of ani-
fifteen works you created as shown.
retain ultimate embrace" of the person they have lost.
Ares uses a technique in this pro- forest of life" and the "trilogy" are mals for those who want to have ject "friendly" with the remains born, live and die. And in this fo- a memory of the pet company because they need to touch or rest ash trees are part of the re- that made them. www.amigosmava.org
Page 32
Glass House in Japan.
Volume II — Number 52
February 2013

In Hiroshima, Japan. This property is completely surrounded by tall buildings in the business district of Hiroshima, and facing a busy street. To get some privacy and tranquility, planted a garden and built a solid glass facade (glass block) on the side of the house facing the street. The garden is visible from every room and sunlight refracting through the glass creates wonderful light patterns. Despite being in the middle of
the city, this property allows its inhabitants to enjoy the changing light, changes in behavior of the city and the changing seasons.
terial of optical glass.
The casting process was extremely complicated since a cooling time required to remove residues slow, while high dimensioThe glass facade: 6000 construc- nal accuracy. ted of solid glass blocks (50mm x However, some residues conser235mm x 50mm) is an efficient ved glass which ultimately sets acoustic insulation and allows the creation of an open garden conferred precious and unexpected light. The facade weighs and bright, despite being imabout 13 tons. mersed in the city. Architects: Hiroshi Nakamura & To enable such a glass facade casting was used to achieve the NAP greatest possible transparency Photographs: Nacasa & Partners. of the borosilicate -the raw ma-
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Page 33

How does.
Volume II — Number 52
February 2013
This month we include some pictures of the technique practiced by Pino Signoretto.
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Page 34
Cristina Iglesias: Sculpting enigmas.
Volume II — Number 52
February 2013
spaces and menacing at the same time. "That concern, the feel disturbed by something that is to happen, waiting for something maybe repeat that again brought water or a shadow appears again, this idea of time leads to a dark side. That dark side is present in the work. It's like music that goes and then you have more layers. " Water is the material that has been built in recent years his work. Speaking of his relationship with the materials, it is noteworthy that Cristina Iglesias started his studies, not in a conventional art school, but making sculpture in ceramics department.
In an interview published by the newspaper El Pais on his upcoming exhibition at the Museo Reina Sofia, Madrid, Cristina Iglesias says, among other things: Sculptures sometimes intimidating, but also invite viewers to delve into their spaces. They are physical experiences. His work is not decorative. Propositions are immersion. "I have always had the desire to produce that area. And while this is not accesible”, he says. "Like those pieces you propose an entry with a light, the reflection of a tapestry that multiplies the space ... and it all happens in just 50 centimeters. You have to poke them against the wall and the rest is a wall. That will also be in this exhibition. Obviously I know the story and Étant donnés, Duchamp, a piece that
has been reverberating in my imagination. But I mean that interest me mentally and physically activate the viewer. Moving from one side to another, the way you walk, the drive you have to, all. So mount this exhibition in the museum is for me to rebuild. An exhibition build it with elements that often have thought of other spaces or situation, and make you think about the traffic. No traffic in a city that also, but how people passes by a space. A space that has to be permeable but also protects you and see through. " Cristina Iglesias has worked on many occasions with architects. And yet, his work is sometimes antiarquitectónico. Perhaps because it has always been fascinated by that kind of fanciful constructions such as caves, mazes, shelters. Inclusive
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"I did Chemical, yet I was interested in art. In Barcelona I made some mud and drawing, and started philosophy. All in a crazy year of many changes. I wanted to crawl in art and find a language. When I went to London I started thinking about sculpture, used the mud because he could use color. I liked the architecture, painting and film. The land itself that seemed interesting. The material then allowed me to reach into the flour. In my case, the relationship with the materials is always to ideas. " "In relation to water, the first piece in which water is used, 1992, in the Lofoten Islands in Norway. I spent time in Rome, where in addition to learning the source of Bernini Borromini found. All that was creating a sediment and the time came when I said I want to create a place where something happens, a poetic territory. A place where there is nothing or in any corner of a room. The materials were incorporated and then speak for themselves. I used glass for transparency, colored glass because light passing through it produces shade, alabaster to feel those veins under water and how light passes through it ... other artists such as Chillida, have used the alabaster getting inside. I use it more constructively. Actually I'm a builder. I belong to the construction industry”, he laughs.
Page 35
Group Exhibition 8 d'Art Barcelona.
Volume II — Number 52
February 2013
Opening: Thursday, February 7 at materials, to reach the last 10
tive, just make this only be the
19 pm.
years go homogenizing his work, beginning of a promising jour-
Dates: from 7 to 28 February
achieving a more harmonious.
ney.
Pau Girona Morales is an artist
Angel Quiles, a great friend of
devoted to painting especially.
the gallery since its inception,
2013. Quim i Txell - Vado Martell - Pau Morales - Jaume Muntadas - Nil Nebot - Angel Quiles - Maria Paramo - Rovira Giménez.
Also works of sculpture, illustration, graffiti. The theme song is very recurrent in his work. It has a
studied fine arts at the Escuela Massana and Sant Lluc Arts Center.
To start 2013 the Cultural Espai
very colorful style of the early
After a long hiatus dedicated to
Francolí, presented in three ro-
avant-garde influence. He has
graphic design returns to pain-
oms the work of eight artists from performed solo and group ex-
ting. His painting is focused espe-
different styles and techniques
cially on printing or vivid mo-
hibitions nationally and interna-
discussed in the first gallery. I ma- tionally: Barcelona, Girona, Le-
ments seen or available anyw-
ke a brief summary of each of
here, this is precisely what is in-
them hoping to be of interest.
on, Ireland, Montreal … Jaume Muntadas comes from a
tended to convey in his papers and fabrics.
Written language defines our
family of four generations of
memory, which in turn determi-
locksmiths. They had his shop in
The movement serves to express
nes our experience as human
Terrassa and very young he be-
the energy. Everything is in cons-
beings. Maybe the glass contri-
gan working iron, following the
tant motion, the macrocosm
butes to the preservation of the
footsteps of his father. With the
and microcosm.
memory that we will survive. Per-
weather was changing the style
haps that is why Txell Quim and
and business oriented towards
use the paradox of crystal stone,
the arts, and who likes to work
container quintessential memo-
and shape the iron with his bare
ries.
hands to make this material as
Martell Vado's work is eclectic genre both techniques and the
cold and hard to become a warm and unique piece.
topics chosen. From very small,
Nil Nebot has initiated a thrilling
following in the footsteps of his
adventure. Broad strokes driven
father, he began painting lands-
by momentary feelings charac-
capes in oils and 20 years perfor- terize his work. A work full of med Masferrer Vic School art
spontaneity, of making that
course taught by Carles Verges,
change while the brush stain fa-
who started both in drawing and bric, causing a random mixture in textures and volumes. From here explores the mixture of techniques and experiments, working largely with recycled
We are a particle of this unstoppable movement. From this concept Maria Paramo teresarius artist represented by: promotors d'art, is about creating a plastic effect to convey the power of thought, and this is achieved with impressive oils on canvas. The painting has Giménez Rovira especially hard. Full of color, using powerful tones, give light, cause visual impact. The different materials and layers
dripping down muddy the pictu- used give a texture that suggests re. The whole set of elements to- depth and relief. Suggests. In gether with the desire to be transported to a world say primi-
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summary, power and motion.
Page 36
New minimum ratios for arts education .
Volume II — Number 52
February 2013
His long introduction and spread of elementary conservatories and professional in all provincial capitals as well as the towns of Leon Astorga and Ponferrada, this course will result in a total enrollment of 5,035, 270 more than last year. They also have a remarkable higher teachings enrollment Design, with a total of 257 students, almost thirty more than the previous year. In turn this has increased the number of course enrollments in studies of Dramatic Art, from 127 to 134, while the teaching of the Preservation and Restoration of Cultural Property lost 20 students in this course, staying at 162.
Posted in ABC.es.
"In this course have had some close only seven or eight enrolled, Castilla y León is one of the reNor duplication which teach the class unviable, gions with the highest bid on art besides being very costly for the In line with budgetary restraint, if education, specialized education public purse," says de la Torre. not cuts, which has suffered as the and excellence, which is a signifiMinistry of Education in recent yecant investment, more than seIntermittent Courses ars, the Directorate General of Voven million euros per year to more In particular, there have been cational Training has also given up than 8,000 students enrolled from on some lessons to double as hapelementary to the upper, through launched, according to data from the Ministry, first in Palencia pened courses in Fashion Design, the professional. Textile, Archaeological Heritage "where Demand was such that we The Minister of Education, José Restoration and Restoration Avila could have done, "confirms De la Juan Mateos, has repeatedly Salamanca graphic documents. Torre, who justifies the extent that stressed the commitment of his these studies are of a highly speThis measure will not cause its dedepartment by these studies, secialized, a circumstance that" theveral unpublished in the Commu- mise. "It is not feasible to open a re can saturate classrooms with course not and does not guarannity until not long ago. students if we do not give up extee its continuity the coming yecellence '. In fact, between 2004 and 2007, ars. But this does not mean that if closed 12 schools a map of artisdemand recovers not reopen en- In this sense, the higher centers tic education-only Catalonia rollment later, 'says CEO Training, responsible for art education in behind some existing and several who uses the term "intermittent Spain for years demanded the new ones transferred from other courses" for this situation, on the equalization of these studies to the administrations. other hand entails teachers wituniversity, a requirement that the hout . current Minister of Education, CulIn the current situation, the deture and Sports, José Ignacio mand for these studies is stable, In that case studies are advanWert, has collected for developwhile budget constraints have for- ced Glass, seem not consolidaced to adjust supply according to ted and taught in the province of ment. the Ministry, make viable these Segovia La Granja de San IldeAs universities studies completed by over 8,400 fonso. If finally the current equiparasen students. For Enrique de la Torre, the data degrees, the Ministry of Education At this juncture, the Directorate of low demand can in no way should restructure their DGs, as cuGeneral of Training and Speciali- hide the evolution of artistic edurrently artistic education are covesed competent in arts education, cation enrollments in Castilla and red by the General Directorate of has set a minimum number to Leon in the past courses. General Education. enable courses, leaving between 15 and 12 students the barriers to One such example is the Conser- One advantage of having the savatory of Music of Salamanca, me level university administrators make possible a specialty. the only one in the Community, in is, as the director of the ConservaThe Director General of Training the 1988-89 academic year had tory of Music, Jose Felipe Diaz, and Special Scheme, Enrique de 17 students and currently studying "have greater autonomy when it la Torre, ABC drew several factors in their classrooms almost three comes to perform several steps", have led to this move, but the hundred students. as in Today the figure is compared principal is economic as well as to the institutes, where the teaMore demand music the peculiarities of these teaching and academic requirement chings as well as perception of Particularly in the field of arts edu- is much higher. career for students who have cer- cation are studied music the most tain artistic specialties. requested. www.amigosmava.org
Page 37
Glass bubbles in the MNAD .
View photos
Volume II — Number 52
February 2013
On January 31 we attended the
their respective guides to perform
through the collection of glass pie-
tour that Maria Josefa Almagro, a
all full visit.
ces that are set on the third floor of
retired curator of MNAD, held at the National Museum of Decorative Arts in Madrid, and in which he reviewed the collection of art glass pieces owned by the museum and were performed at the Royal Factory of La Granja.
The event comprised two distinct facets to each other but with the
This collection includes, in addition
constant that referred both to acti-
to the pieces made in La Granja,
vities at the Royal Factory. One of
other ancient glass, Czech glass,
them concerned the mirrors and
Venetian, etc.
lamps and the other to the collection of glass pieces owned by the
Given the large number of people interested in attending this visit, the Friends of the Museum, organizers of this interesting cultural activities, had to form two groups, one in charge of Maria Josefa and another by Amaya Morera, PhD in Mo-
the Museum building.
museum. The first one, by Morera Amaya,
This exhibition is organized chronologically showcases different according to the date of realization of the pieces.
was complemented by a review of Prominent among them those creathe changes in style of furniture
ted with opal glass and come in dif-
through two periods of our history,
ferent colors: white, blue, red, etc.
Neoclassicism and Romanticism.
This interesting visit ended with a
dern History and history of furniture
In the second, Almagro said Ms.
champagne toast for the New Year
specialist.
Glass uncertain origins, its expan-
in the hall of the museum that allo-
sion and the history of the various
wed attendees to visit entablára-
embodiments of the Royal Factory
mos a pleasant conversation.
Mediated the expected time for the visit, the two groups exchanged
www.amigosmava.org
Page 38
“Descending light” of Ai Weiwei.
February 2013
In a Chinese city noted for its production of ceramic craft, 1,600 artisans worked for two and a half years to make 150 million pipes, weighing a hundred tons, which was commissioned by the Tate Modern, the large room was covered Turbine London this institution. In Sevilla have only been used five
Volume II — Number 52
tonnes, some 3.3 million pipes and, unlike that of the Tate Modern, the organizers of the sample does not allow stepping on them, as was done in London, but only for a week, until found that, by rubbing of feet, cracked a toxic substance. Descending Light (Light descending) in the old church The greater part, however, is the "Light down," another metaphor for the moral and political situation of their country and the Chinese government, as it is a gigantic lamp literally in tatters. This huge lamp, many of whose pieThe first exhibition in a museum of
rience with you," while insurance
ces separately weigh twenty kilos,
Spanish and Chinese dissident artist
has shown that visitors will have fun
and has thousands of tiny glass be-
Ai Weiwei, who is now under house
and "good will".
ads, occupies the former monastery
arrest in China and the passport withdrawn by its opposition to the regime, shown in Cartuja in Seville
The 'sunflower seeds' in the Chapel of Columbus
his obsession with the true and the
The exhibition occupies half a do-
false.
zen rooms, all the historic site of the
"Resistance and Tradition" is the title of this exhibition which will run until June 30 at the headquarters of the Andalusian Center for Contemporary Art (CAAC), in the monumental La Cartuja in Seville, and is composed of fifteen works, mostly based facilities ceramics.
monastery, and opens in the same Chapel of Columbus, the first burial of Admiral in Seville. Almost all of the floor of the chapel, white marble, has suido sunflower cover made of porcelain and painted later, full of realism. "Sunflower Seeds 2009" is one of his
The title of the exhibition, according to its organizers, is a clear allusion to political positioning Weiwei and his interest in Chinese cultural tradition, which employs in his works, especially in the ceramic, and the strength it takes to denounce the current reality of the country, for
best known works, in which the artist affects their obsession between true and false - "as are pipes wanna eat them," exclaimed one of the presentation the curators of the exhibition, Luisa Espinoza, and also involves a review of the Chinese regime.
example confronting Chinese
During Maoism, Mao was represen-
craftsmanship with industrial mass
ted by the symbol of the sun and
production.
the Chinese as sunflowers tornaban
In the presentation of the exhibition to the press, Weiwei, through a video, thanked the organization its first exhibition in a Spanish museum and lamented that would not be
depending on the course followed by the Great Helmsman, recalled Espino, who has joked that the manufacture of pipes was "a work of Chinese ".
allowed "to go to share this expe-
www.amigosmava.org
church, a space of 396 feet wide by 457 high and 681 long, and fifteen for assembly technicians have had to work for two weeks. Another piece is a "pillar" of dark blue ceramics of eight feet high by nearly one diameter, cylindrical, and a ton of weight, and another, "Colored Vases", is an integrated installation, Indeed, for 16 dishes of traditional forms and colored. An installation consisting of twelve television screens showing video creations that reflect the artistic task of Weiwei and his workshop twice destroyed by the Chinese Government, the interviews that make journalists from around the world, your pets or hobbies dining. Ai Weiwei (Beijing, 1957), between 1983 and 1993, when he returned home, he was in New York art circles embedded in and influenced by the conceptual and pop art, and the artist himself considers his Internet activity as his most notable work, which cost him spending three months in detention, incommunicado and missing.
Page 39
Glass of Waterford.
Volume II — Number 52
February 2013
The capital of southeast Ireland,
The first moment of the tour is to
Thus, the glass melt becomes an art
sunny land, is the city of Waterford.
see how the mold is made of the
object whose clothing and has
This is a fun city, which always has a object we want to do in glass. festival and offers many outdoor activities when you arrive in summer. In addition, the city is synonymous with glass because it has a long tra-
centuries of tradition.
The technique is old, and not done
After a moment it passes inspection
in this way, so that the moment is
glass to see if everything is well do-
special.
ne, and finally carving workshop
Here we use wooden molds and
and cutting workshop.
hand tools that are very tolerant to
Both workshops are master crafts-
high temperatures reaching the
men who study years to pursue this.
glass molds but do not last more
Finally you pass the sculpture studio
Waterford was founded by Viking
than a week since the mass is pou-
and recorded.
traders in 914 and its long history
red inside is terribly hot.
dition in the production of the most famous of the islands.
can be learned by visiting the Waterford Treasures Museum works in Reginald Tower, one of the oldest secular buildings in the country. Also, to learn about the glass it is best to visit the Glass House and a
Therefore, always making new molds. In the second stage of the tour pass to glassblowing, the best of the ride.
guided tour that allows to know the
Bubbles have a temperature rea-
traditional manufacturing process
ches 1300 ° C so we can imagine ...
of the glass.
This is where glass objects are taking shape in a miracle of light, heat, air and skill of teachers.
www.amigosmava.org
Practical information: The tour can be done from Monday to Saturday from 9 am to 3:15 pm. It is convenient to visit the official website to confirm dates and times according to time of year. Price: admission is 12 euros per adult.
Page 40
Nuestro Boletín tiene su redacción en:
February 2013
Castillo de San José de Valderas. Avda. Los Castillos, s/n 28925 ALCORCÓN MADRID
Volume II — Number 52
Al vidrio por la cultura
Presidente honorario
Vocales
Javier Gómez Gómez
Rosa García Montemayor
Presidente
Evangelina del Poyo
Miguel Angel Carretero Gómez
Diego Martín García
Vicepresidente
Francisco Martín García
Pablo Bravo García
José María Gallardo Breña
Secretaria
Mª Luisa Martínez García.
Teresa Fernández Romojaro
The purpose of this Association is to promote, encourage and support many cultural activities in the broadest terms, are related to the mission and activities of the Glass Art Museum of Alcorcon. Our goal is to develop and collaborate with other public or private entities to promote, protect and promote the art and culture.
www.amigosmava.org
The Association of Friends of MAVA was incorporated on June 21, 2003 in accordance with existing management.
Tesorera Mª Angeles Cañas Santos
Page 41
Line of research. Images.
Volume II — Number 52
February 2013
Fig. 1
Fig. 2
Fig. 3
Fig. 4
Fig. 5
Volume II — Number 52
February 2013
Page 42
Visit to Malaga. Images.
Volume II — Number 52
February 2013
Page 43
Musee of Malaga. Images.
Volume II — Number 52
February 2013
Page 44
Glass Bubbles. Images.