Volume II — Number 101
July 2017
Monthly Newsletter
Newsletter
Peter Kovacsy Green shoots.
M. A. Carretero.
García "Pliegues" in the Municipal Museum of Valdepeñas; Simone Crestani's demonstration in Barcelona and another new tour by Martin Janecky for the La Granja Royal Glass Factory on 8 and 9 and Igor Obeso's workshop in Irún on 11 and 12.
To hold a retrospective exhibition of his work during the month of September at the Valdemorillo House of Culture, where they have their residency, and during this show they want to schedule a series of conferences related to the world of artistic glass.
On the other hand, Diego and Francisco Martín, members of Estudio MartínRojas and members of our Board of Directors, exhibit some of his latest works in Sculpt 2017, in Logroño, and We finished the month of June with the lecture by the the piece "VANITY", by Rafa Mexican Rebeca Huerta at Abdón, with workshop in L 'Ollería (Valencia) has been the Institute of Mexico in selected to exhibit at the Spain on "Sculpture and Color"; With the exhibitions INTERNATIONAL BIENNALE OF GLASS IN of Pablo Pizarro in the Royal Mint of Segovia and BULGARIA after a thorough selection among a large Barry Wolfryd in the Technological Museum of number of works presented. La Granja and with the In this first weekend of July, conference of Cristina Giménez Raurell, curator of the 1st International Fair of the Cerralbo Museum and Contemporary Art is held at the Trade Fair and Congress author of the doctoral thesis' Sculpture and glass: Center of Malaga with a very high participation of national Spain (1975-1995). New Nuestra sede: and international artists and Glass Movement ', in the Castillo Grande de artisans. Palace of the Marquis of S.J. de Valderas Avda. Los Castillos, s/n Albaicín in Noja And in it, as it could not be (Cantabria). otherwise, involved various 28925 ALCORCÓN. glass artists. (MADRID) For this month of July we
I think that everything we have said so far is a good example of the fact that the Spanish artistic glassmaking world is starting to move faster than the one we have seen so far.
Contrary to the opinion of the Government that fills its mouth saying that our economy is going well without taking into account the opinion of the large number of unemployed in our country, young people in precarious employment and contracts with garbage and The evicted among other groups affected by the crisis, in the world of Spanish art glass there are symptoms of acceleration in their activities.
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have announced the exhibitions of Pere Ignasi "El Silenci del Vidre" in the Mallorcan Tower of Canyamel and Pedro
Among them are Rebeca Huerta and Rafa Abdón. In my recent visit to the Fulkolor held in the Reconquistarte Handicraft held last June in Madrid Paseo de Recoletos, its components informed me that, on the occasion of completing the twenty years of existence of his workshop, have planned
But it is not enough, far from it. The Spanish art galleries do not bet as they should for art in glass. And this, I think for three fundamental reasons:
Ignorance of the potential of art in glass.
Obtain the highest amount of sales in the short term and, as a consequence, a level of benefits admissible and from the first exposure.
Lack of effective work by representatives of artists and artists themselves in offering their works.
When is a Glass Fair at the national level in Spain? Are our artists prepared to participate in an event of this nature? I think the time has come to offer answers to these questions.
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Important issue: INTELLECTUAL PROPERTY LAW (II) MAC.
Volume II — Number 101
July 2017
S PE C I A L I NT E R E S T:
Part of the month
Sculto 2017
Pablo Pizarro in Segovia
Pedro García
Activities on the MAVA
News
Our activities
Glass recycling
How does
Order PRA / 259/2017, of 17 March, updating five professional qualifications of the Professional Family Glass and Ceramics.
in the National Catalog of Professional
817/2014 of September 26, which establishes the specific aspects of professional qualifications for which modification, approval procedure and effects is applicable Article 7.3 of Organic Law 5/2002, of 19 June, on qualifications and vocational training.
In the process of drawing up this order, the Autonomous Communities and the General Council of Vocational Training have been consulted and the State School Council has issued an opinion.
ualifications for more than five years, are updated, by complete replacement of their ..// .. annexes, to which they Therefore, this order is are Royal Decree 817/2014, of 26 issued pursuant to September. Royal Decree
CONTENIDO:
Piece of the month
3
Established artists
4
Young artists
4
Sculto 2017
5
Pablo Pizarro en Segovia
6
Pedro García
7
Activities Museums
8
Activities on the MAVA
11
Dale Chihuly
12
The glass blower
13
Factory of Valdemorillo
14
Glass beads in Africa
15
Roman glass in Museums
16
News
17
Culture 2017
17
Carlos Gustavo Sweden
18
Goes
18
The glass in museums
19
Recycling
20
Cultural visits
21
Culture 2017 program
21
Vidrala purchase
22
Other trends
23
Salamander Award
24
José Dávila
25
Torre Pelli-Buenos Aires
26
Glass in Mexico
27
Injection for Verescence
28
How do
29
Ghebo Lamp
30
Juan Isidro Bernal
31
Exhibition in Vilagarcía
32
Priorities in cosmetics
33
Half-century of BA Glass
34
Glass in Colombia
35
Riu Plaza of Spain
36
Interview Joan Sánchez
37
Barry Woldfryd-La Granja 38 Simone Crestani
39
The memory of the glass
40
Courses
41
Board Of Directors
42
This order aims to update five professional qualifications corresponding to the professional family Glass and Ceramics, in application of Royal Decree 817/2014, of September 26, which establishes the specific aspects of professional qualifications for which modification, Approval and effects, Article 7.3 of Organic Law 5/2002, of 19 June, on qualifications and vocational training applies.
The professional qualifications updated by this procedure have Under the joint proposal validity and are of the Minister of applicable throughout the Thus, in the present Education, Culture and national territory, and do order, five professional Sport and the Minister not constitute a qualifications of the for Employment and regulation of professional professional family Social Security, practice. Glass and Ceramics, Article 1 Subject matter which have a seniority and scope
URGENT NEWS
Selected for Bulgaria.
They have selected the piece "VANITY", by Rafa Abdón, with a workshop in L'Ollería (Valencia) to be exhibited in the INTERNATIONAL BIENNALE OF GLASS IN BULGARIA to be held from September 27 to October 4. The organization has
announced that they have had to make the selection between incredible works of art received from more than 30 countries and 110 glass artists worldwide and from four continents. The exhibition will be held in two Bulgarian cities: Sofia and Varna.
No response from the Department of Culture.
17-01-13. Requesting inventory of the components of the permanent collection of MAVA.
11-06-13. Possibility of receipt by the MAVA documentation on glass offered by the President of the Spanish Association of Science.
11-11-13. Requesting information on the agreement with the Community of Madrid to install social services in the MAVA.
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Piece of the month. Milan Handl.
Our web
Volume II — Number 101
July 2017
The union as much conjugal as professional of the pair Milan Handl / Stanislava Grebenícková is not a strange phenomenon among the Czech artists. In cases like this, it is always interesting to observe the influence of personal union on the work of each of them.
in Prague led by Libenský. The glass - colored and cast in mold - has remained until today as the dominant material in his creative works, producing a work of sculptural dimensions.
The economistic intention deprived the work of all unnecessary decorative detail. This was motivated by the aspiration to concentrate on the perception of aspects of the diffusion of light in an optical medium and its variation as absolute aesthetic value.
Milan Handl is the director of architecture, temples and fortresses of Stanislava Grebenícková The confrontation majestic appearance. shows through his between the work of sculptures the tendency The creator of mysterious Milan Handl and to a more poetic, sensual lights and illusory spaces. Stanislava Grebenícková and mysterious provides the possibility of The great cycles of his expression, which takes first works are seeing together aspects place in the silence of the characterized by the of the masculine and intimate emotions. aesthetics of the feminine as two distinct Her cut and carved elements, which respect construction of free jewelry pieces are a geometry and the each other, keeping in distinctive part of the minimalism of forms. mind their own energy. author's production. He also performed works Both authors graduated The piece of the month is where light penetrates in the Department of the entitled "Graphics of into dark spaces, divides Academy of Art, light". Architecture and Design and creates the illusion of reflection.
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Established artists. Peter Kovacsy.
Our web
Volume II — Number 101
July 2017
The works of the Australian sculptor Peter Kovacsy have a minimalist aesthetic and are realized with techniques initiated by artists in the Czech Republic.
Triennial, at the Art Gallery of Western Australia.
Peter was very impressed by the sculptures of the Czech artists Stanislav Libensky and Jaroslava Peter draws on his work of Brychtova, the American Howard observations on the phenomena of Ben Tre and the Swedish Bertil light in the Australian landscape and Vallien. the forest surrounding his study in The use of glass as a sculptural Pemberton, Western Australia. medium was unlike anything I had He opened his studio in 1990 and at seen before. that time began to sculpt with wood. Peter's first experience with molten His first encounter with international glass was in 1996 when a marble contemporary glass was in 1992 sculpture he had made in when he visited Visions of Design, the Australian International Craft
Emerging artists. Fredrik Nielsen.
commission was made in glass, too, at HiGlass, based in Perth. Peter began experimenting with glass casting and transferred his creative approach from fine wood to molten glass. In 2002, a large carpentry commission provided Peter with the funds needed to set up a studio in which to project glass. Today it operates the only privately owned kiln in Western Australia capable of producing large-scale molten glass sculpture.
Our web
experimental. Improvisation has fueled his inspiration to push the material limits of glass beyond anything banal and is not afraid of taking risks to establish his own artistic license. Smooth surfaces and balanced shape are sacrificed instead of sculptures that are rough around the edges and appear unfinished. Many of his sculptures are adorned with statements that defy hierarchies within art and these concepts were expressed in an installation entitled WannabeArt Fredrik Nielsen was born in 1977 graffiti, music, videos and that was part of the exhibition performance into his practice as Forms of Seduction at the in Linköping, Sweden. Stimulated by aspects of popular a glass artist who creates a form Wetterling Gallery in Stockholm in of kitsch that is continually culture, Nielsen assimilates 2009.
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SCULTO 2017.
Volume II — Number 101
July 2017
SCULTO, the first national fair specialized in contemporary sculpture that is celebrated in Spain, opened its doors last month in the Market of San Blas-Plaza de Abastos of Logroño - La Rioja.
territories that bet on contemporary sculpture, which bet on culture.
The inauguration was attended by the President of the Government of La Rioja, José Ignacio Ceniceros González; The mayor of Logroño, Concepción Gamarra Ruiz-Clavijo; The director general of Fine Arts and Cultural Heritage of the Ministry of Education, Culture and Sport, Luis Lafuente Batanero, and SCULTO communication director, Jose Maria Esteban Ibáñez.
Museum, included in the museum itself a gala presentation of the fair, which served as the final finishing touch to the opening day and featured the performance of guitarist Pablo Sáinz Villegas.
The fair has been oriented in the first days to professionals, journalists and accredited guests and, from Thursday of that week to the general public. The event, which was born with a SCULPT Including a parallel vocation of permanence and dynamic spirit, brought together for program of cultural activities structured in two parts: SCULTO six days sixteen galleries, forty Spanish artists with an international deDÍA and SCULTOdeNOCHE. projection and more than two SCULTO deDÍA, organized in hundred singular works. collaboration with the Würth
This act is the starting point of a unique fair that converted for a week the city of Logroño and the autonomous community of La Rioja in reference to the cities and
The program was completed throughout the week with a series of informative lectures that investigated the situation of contemporary sculpture, the passion for collecting or the capacity of art as a tool for transformation. SCULTO deNOCHE proposed to the participants a pair of sculpture, gastronomy and wine through visits
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and tastings in the wineries Marqués de Riscal and Viña Real de CVNE. SCULTO is an initiative promoted by gallerist Enrique Martínez Glera, the sculptor Beatriz Carbonell and the journalist José María Esteban Ibáñez, who in a short time has become a collective project with a huge dynamizing potential that has been joined by many institutions and companies. Its objective is to contribute to the creation of a dynamic and stimulating cultural ecosystem from the conviction that culture is essential for the development of our society. After an important screening, the organizers selected 16 galleries, among them La Galería de Guadalajara, which showed the work of Estudio Martín-Rojas, whose members are partners of our Institution and members of our Board of Directors, so we give them the Congratulations on the exhibition of the works that we offer in these images.
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Pablo Pizarro in Segovia.
Volume II — Number 101
July 2017
'Force and transparency' is the name of the exhibition that houses the Royal Mint of Segovia. It is a collection that gathers 32 sculptures made by the artist from Madrid, Pablo Pizarro.
artist's ability allows everything to unite with the strength and transparency necessary to captivate the viewer. Steel has been losing prominence and the large wooden trunks are inhabited by multiple The exhibition will be open to vitreous organisms that form the public until September a new dream universe. 10. Whoever visits the Ceca Pablo Pizarro gives a new can enjoy eleven pieces life to the materials. "Their re placed in the courtyards and -use gives them a different, twenty-one compositions original and surprising that have been installed in force," sources at the the Hall of the Foundry. Segovia City Council indicate. They are works made with different materials, ranging Pablo Pizarro (Madrid, 1969) from glass or recycled steel resides in the locality of to wood. Sigüenza from 12 to 18 The curator of the exhibition, years old, where he meets Eliseo de Pablos, comments artists like Veiga, Canfrán on this exhibition that "force Lucena and Antonio Santos Viana. In the study of the can be ethereal and latter you will have the transparency, the reflection opportunity to study painting of realities unthought". He for several years. adds that Pablo Pizarro's show seduces "the daring of Subsequently, he moved to forms, the challenge of Madrid to undertake his materials and the impossible university studies of balance between creativity Industrial Technical and possibility". Engineering by the Polytechnic University of The sculptures are Madrid and will be there integrated in the space where he participates in his chosen for them. The first collective exhibitions in combination of materials different alternative spaces seems impossible, but the
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of the city. Since 1996, she has been professionally integrated in the sculpture and murals workshop of Marta Ugarte, where they begin to investigate the plastic and sculptural possibilities of recycled glass. This first contact of Pizarro with the glass is completed with various training courses at the Royal Glass Factory of La Granja. Subsequently, the workshop moves to the historic center of Toledo, where he continues to work primarily on sculptural and mural projects in ceramics, glass and steel. Since 2000, Pablo Pizarro has collaborated in various creative and exhibition projects with various artists such as Rudy Gritsch (Austria), Miguelangelo da Silva (Portugal), Ramón Recuero (Spain), Marta Ugarte (Spain), Albemto Group . See images of this exhibition through this link. Watch video on Youtube.
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Pedro García in Valdepeñas.
Volume II — Number 101
July 2017
Pedro Garcia includes on his Facebook page, referring to the exhibition "Pliegues" that will perform at the Municipal Museum of Valdepeñas from next day 7, the following message: ENERGY SCULPTURES. Laminated Glass Painted Thermoformed and Cast. There are times when you design and you have a clear idea of what your process is from beginning to end and you take the glass to manifest your desires and thoughts, your feelings, through the whole technical process properly thought out and structured. But there are other times when one gets to make sculptures and you can not predict what the beginnings are and what their final result is. Over the years I have learned to communicate through this wonderful material such as Glass. And over the years you also know how to work the iron to convert it, not only in a support, but also in a more integral part of the work itself and of the design itself. There is so much to say and too many things in your mind to be able to count them all in each work. This is a clear case of knowing how to flow with the materials and the whole exhibition is conceived from this point of view. Meditation and Energy are present in every day of work and even more in every moment of
life, since they have become an inseparable part of my work and my way of doing. In the works that are shown a process of meditation and energy charge is developed, from which each of the sculptures is endowed. Through the technique of "Consciousness and Energy", from the beginning of the creative process to the total attainment of each work, they are treated energetically. As in the Universe, Energy is governed by laws of Balance and Harmony, the sculptures thus acquire a healing, harmonizing and cleaning character of the environment in which they are; Propitiating in the human being a balance in the physical, mental and spiritual planes. Starting with "Float Glass" Flat Glass Sheets Incolor, we have proceeded to paint each and every one of the sheets by hand, to include inclusions and organic substances that give them a rough appearance and full of inner strength, at the same time Which give them the outer colors of each layer. From there, the glass is subjected to high temperatures and is shaped by previously made molds. In this case they are volcanic forms, on the slopes of which the Glass will slide slowly spilling dough and pouring over and over again, as if it were lava. The large volumes that make up the base of the Glass with which we are going to
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work are already made. Four volcanoes in my hands and I begin an unstoppable creative process of union with my material, which establishes an essential dialogue to carry out each sculpture. Dialogue that is prolonged with iron, choosing each tube, each profile, each cut, each fold, ... to form a harmonical and communicative end. It was necessary to break into pieces the whole Glass and to find within it that which in each work he wished to say. From there everything was simpler and purely technical. Hours of cutting, polishing and polishing, preparation and forging of the irons, welding chosen in each work; Nothing happens by chance. Everything is ready to feel, live and enjoy. Therefore the works thus done, give health, pleasure and harmony, transmitting it to others. They can eliminate the harmful effects of electromagnetic waves produced by electronic devices. They boost vital energy energies of harmony, relaxation and healing, attracting both joy and happiness, health, prosperity and fortune. I hope and wish that you can feel what I say and enjoy this exhibition of "Pleats". Energy of Light and Love for all of you. We wish you every success in this new exhibition of his most recent work.
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Activities Museums I.
Volume II — Number 101
July 2017
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Activities Museums II.
Volume II — Number 101
July 2017
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Activities Museums III.
Volume II — Number 101
July 2017
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Activities on the MAVA. Centenary.
Volume II — Number 101
July 2017
The Marquis of Valderas, don Hipólito Sánchiz and Álvarez de Toledo, ended, together with the director of the Museum of Glass Art of Alcorcón, María Luisa Martínez, to the fourth and last encounter of the cycle "Stories of my people. Alcorcón and its people. " The meeting, which took place in the municipal center Adolfo Suárez, was attended by the second deputy mayor and councilor of Culture, Luis Galindo, numerous neighbors and speakers of other meetings that have made this cycle of conferences all exit. The technical part was given by Joaquín Parejo, head of the Facebook group "Proud of Alcorcón". On this occasion the central theme of the presentations
was the history of the Castles of Valderas.
The second deputy mayor and councilman of Culture, Celebrations, Citizen On the one hand, the most Participation and Barrios, familiar and sentimental Luis Galindo, said that "today history of the Castles of we have put the finishing Valderas, which came from touch to this cycle of the hand of the Marquis, and conferences that we have on the other, the evolution of launched from the City of the castle and its Alcorcón to bring our surroundings since the 50s, Neighbors, mouth of some of explained by the MAVA its protagonists, tradition and director. history of our city. The three castles were built From the Department of by the family of the Culture we are already Marquises of Valderas in studying how to continue 1917, and are the work of the these meetings in new architect from Madrid, Luis formats, but always looking Sanz de los Terreros. for them to have as much The large castle has been success as this ". the most representative civil In addition, the mayor, building in Alcorcón and thanked all lecturers "his today houses the Museum of work and dedication to get a Glass Art of Alcorcón, which little closer to the origins of turns 20 years. While the our great city." second of them houses a cultural center.
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Dale Chihuly and his mental health.
Volume II — Number 101
July 2017
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Glass artist Dale Chihuly knows he has an obsession with collecting. It has leaves with postal stamps on a table, pocket knives in another and carnival figurines from the first half of the twentieth century on shelves that reach the ceiling. In the midst of this orderly disorder, some of the objects reveal their most eclectic tastes: a row of Ernest Hemingway books in a library, and an entire wall dedicated to Vincent van Gogh, both creative geniuses whipped by depression. Chihuly has also had problems with his mental health, at times fragile and sometimes luminous, like the art he does. Now, at age 75, he continues to serve a decades-long career and publicly addresses his bipolar disorder in detail in an interview with The Associated Press.
exhibition opening June 3 at the Crystal Bridges Museum of American Art in Bentonville, Arkansas. But the opposite side of that creativity has been dark at times. He began to suffer from depression when he was twenty, he said, and that feeling began to blend with manic periods as he approached 50. "I'm generally up or down," Chihuly said. "I'm not much in a neutral state. When I'm up I usually work on projects, often a period of about six months. When I'm down I go into hibernation. " Even when he is in that state he works, but he does not feel very well. His wife noted that if he only entered the studio in his positive periods he would not have "had a career."
He and his wife, Leslie Chihuly, said they do not want to omit from their legacy this very important part of who they are. "It's a very important time to have this conversation," Leslie said.
When asked what his depressive periods are like, Chihuly thought it over. "It's just so hard," he said. "I'm lucky that I like movies, if I do not feel good, I'll put on a movie."
"We really want to open our lives a bit and share something more personal. ... Dale is a great example of someone who can have a successful marriage, a successful family and a successful career, and suffer from a very debilitating and chronic illness. That could help other people. "
Leslie Chihuly, who is in charge of the artist's studio, more easily expresses the difficulties her 25-year relationship with the disease has faced.
Chihuly, who started working with glass in the 1960s, is a pioneer in the artistic movement with this material. It is famous for styles that include shapes similar to sea shells, baskets and candelabra, as well as ambitious facilities in botanical gardens and museums. He has said that bringing the material to new forms and creating never-before-seen objects fascinates him. Even last year he found a new way to work with glass, painting with glass varnish on glass canvases, grouping the canvases and placing back lighting to give them visual depth. He calls it "glass on glass" and will be presented for the first time at the new Chihuly Sanctuary at the Buffett Cancer Center in Omaha, Nebraska, and at an
They have tried to cope with it as a family with various types of therapies, medications and a scale from 1 to 10 that allows you to communicate how you feel when you do not want to talk about it, he said.
art in the city's canals. She did not have a plan or funds to do it, but she was willing to help him realize his dream, which would eventually be portrayed in the public television documentary "Chihuly Over Venice." Six months later, they traveled to an exhibition that opened at the Brooklyn Museum in New York. "It was as if all the lights went out," Leslie said with a sob. "Suddenly the guy who was interested in everything ... was not there anymore." Dale Chihuly remained silent when his wife described that moment. A tear popped out of the patch he'd worn since losing his vision in his left eye in a 1976 auto accident. Although the mood changes were new to Leslie Chihuly at the time, they were familiar to other artists with whom Chihuly worked. Joey Kirkpatrick met him in 1979, when she studied at the Pilchuck Glass School of Glass Art, which Chihuly founded in the forest north of Seattle in 1971. It was a small workshop where students built shelters where they lived. She and her partner, Flora Mace, spent many hours watching films with the artist during her depressive periods. "What surprised me about his persistence in choosing this, his creative life, is that he could take it out or keep it afloat at those times," he said.
Chihuly quit drinking 15 years ago and it has been over a decade since she "was so depressed that she threatened her own life," she said, though she has never been on the brink of suicide.
"When I was excited I could call you at Pilchuck on a Sunday night and tell 'em We see at the airport at 10 tomorrow, we have a flight to Pittsburgh to go to a demonstration.
"Dale has impeccable memory for certain things, but there have been certain times when he has been hypomanic, as we call it, or depressed, and I am the one who takes care of our family and our business in those difficult times," he said.
"It was always exciting.When I was depressed there was not that, just silence." Chihuly said the advice he would give to others suffering from bipolarity Is to "go to a good doctor", "try to live with that, to know that when you are really depressed, things are going to change soon, and to take advantage when they feel encouraged to do everything they can."
The couple was formed in 1992 by a friend in common. He was in an almost manic period talking about the idea of bringing glass blowers from all over the world to Venice, Italy, to showcase their
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The glass blower (V).
Volume II — Number 101
July 2017
Justina Rodríguez García.
The demand for Venetian glass in Spain - a widespread custom across Europe, as indicated - was met with the importation of pieces from Venice and also from the Netherlands, where highly skilled murcian masters worked. The Murano glass manufactures became a clear sign of status among the great families of the nobility, especially in the Court of Madrid. This circumstance had a very direct effect on the activity of Spanish kilns in the various geographical areas of the peninsula, particularly those that traditionally produced glass intentionally artistic, as in Castile and Catalonia.
Castile, they were very seriously affected. Barcelona and Mataró were the most prestigious centers in the area of Catalonia for their special dedication to manufacturing luxury objects, highly valued during the SVI and XVII centuries. There are many written testimonies attesting to the high quality of the work of Catalan glassmakers, as well as the presence of "glass of Barcelona", along with that of Venice, in the inventories of the Spanish nobility.
Of the importance of these pieces and their estimation outside of Spain is evidenced in the Bichierografia, by Giovanni Maggi (1606) where, among the 1600 drawings of glass The Castilian and Catalan objects belonging to the glassmakers were able to Cardinal del Monte, several cope with the crisis triggered pieces of Barcelona appear, by harsh foreign competition, some of them They are using their own resources to enamelled. keep the furnaces active, The Catalan glazier although, especially in
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exercised his profession very directly controlled by the trade associations. In the fifteenth century the guild of glassmakers was united to that of the esparteros, and in 1456 their first ordinances were written, which were presented on October 20, 1595. In the labor aspect it was provided that the operator or apprentice who worked with a certain teacher could not change the oven until he had not completed the four years of regulation, except for his illness or his will. Also, teachers could not hire apprentices for less than four years. As for the commercialization of baked glass (so called to distinguish it from that of llum or blowtorch) it was necessary to have exercised the office for four years and to pay 25 salaries to enter the confraternity in order to open a shop.
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The factory of Valdemorillo (V).
Volume II — Number 101
July 2017
L.F. Mazadiego y o. Puche.
reduction in manufacturing costs workshop, where they were Due to his other occupations, the and diversification of production loaded into refractory boxes, into which they were taken to one of (Estadística Minera, 1890). family González, Bruno Zaldo, the two baking ovens. Cristóbal Mezquita París and To undertake the first decision, Nicolás Orodea Varea will help Falcó and Sancho decided to With the first baking, the cake him in the management of the mechanize the processes: "After passed to the decoration company. grinding, already mechanized, a workshop, stamping and mixing machine formed the varnishing, and then, if He was one of these broth, which then crossed a necessary, to the bath oven, with collaborators, Bruno Zaldo, owner of a factory of earthenware channel with several magnets on a capacity of approximately two each side, in order to separate hundred cubic meters. in Vallecas, "that was submitted the iron particles in Suspension Other phases that also seem to to a stiff competition by the one that could affect the final result, that Falco had created in have undergone a significant Valdemorillo, so, finally, in 1881, to fall later on a raft, was taken mechanization were the its closure took place By fusion of again by an aspiring pump that preparation of by-products, both moved to a mechanical press of with regard to the manufacture of both. " two dozen compartments, in refractory boxes (previous In 1887, the mine "La Agujera" which, and by as many sieves of grinding of the hull of began to accumulate increasingly canvas , The water was earthenware by means of two serious problems. separated from the pulp, while rollers of vertical wheel and a The galleries were flooded with the first one was decanted in a cylinder lined with porcelain and water during the night, which was tank, the second, in the form of a stuffing Of flint balls) and of why they had to drain them at the continuous sausage and pushed molds (built from Vallecas plaster, beginning of each day. by a screw of Archimedes that which arrived at the factory in seems to have done at the time balls and had to be worked with a In addition, the workers demanded an improvement in the function of abutting machine, roller), varnish or frit (with two access roads to the interior, since was distributed to each one Of mills for the albayalde, imported the manufacturing workshops of from abroad, And Galapagar they had to go up and down a the raw work. stairway of more than 100 orthoses feldspar) and colors meters. These were one of wheels and (with four small mills, especially another of lathe for various for the much used cobalt oxide). In addition, new investments pieces, which do not seem to were required (preparation of If we add to this the dryers, have undergone great changes galleries and installation of a fourheated by heating, the general with respect to the previous pipe winch for drainage), which store of products and auxiliary organization, and a new resulted in a drop in production services - maintenance, such as mechanical one for simple (Estadística Minera, 1884). the forge or carpentry, or office -, pieces that, like the plates and we are able to represent the The increase in coal supply fountains, were more susceptible entire factory and The processes prices from Puertollano and a to be standardized. it housed "(Sierra and Tuda, more aggressive competition Of these, the pieces in progress 1996). from rival companies led to a passed to the so-called packing
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Glass beads in Africa.
Volume II — Number 101
July 2017
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The recent finding of a valuable collection of more than 10,000 colored glass beads and tools for glassmaking have led scientists to think that an ancient city in southwestern Nigeria was one of the first places in West Africa where Mastery was achieved in the complex art of glassmaking. Glass production in sub-Saharan Africa The new find reveals that the people who inhabited the ancient city of Ile-Ife produced their own glass using materials from the area. Curiously, they were able to turn them into colored beads, as the lead researcher at the study Abidemi Babalola, a member of the Hutchins Center for African and African American Research at Harvard University comments in Live Science. "We now know that at least from the 11th to the 15th century there was a primary production of glass in sub-Saharan Africa." Babalola then adds that Ile-Ife is also famous for its copper alloy and terracotta figures and figures , Made around the same time and that included this type of colored glass beads. For this reason, the researchers explain, some of these figurines are decorated with glass beads on their hair, crowns, necklaces, bracelets and anklets. On the other hand, researchers have also discovered glass beads in ancient Ile-Ife sanctuaries, and inside of them have been found ancient crucibles - ceramic containers used to melt the glass. The origin of the glass The question is: where did these glass beads come from? Most researchers suggest that they were transported through trade routes, most likely from the Mediterranean region or the Middle East, where glassmaking crafts flourished at the dawn of antiquity. Based on these accounts as raw material the artisans of Ile-Ife would
have used crucibles to melt and reshape some of them, as Babalola explains in statements collected by Live Science. As Dhwty reported in an earlier Ancient Origins article, glass was originally (accidentally) produced by merchants who were moored on the Belos River in the Syrian region of Phenicia. These merchants are said to be carrying nitro (potassium nitrate) in their boat. When preparing their food on the sand of the beach, they did not find enough adequate stones on which to place their cauldrons to cook. Therefore, they decided to bring some nitro blocks from the boat for this purpose. When the nitro merged with the sand of the beach and reacted to the heat of the fire, "they watched as transparent streams flowed from a hitherto unknown liquid." After this happy coincidence that led to the invention of glass, various techniques were developed for the manufacture of glass in antiquity. They are: forming, pouring and molding. The first technique, the forming, consists of coating a cast of clay or manure with molten glass. A similar procedure was followed to make glass beads, although in these cases a rod covered with a disposable material served as a mold. Open vessels, such as bowls or plates, were made by pouring. The molten glass was poured into a refractory mold (positive or negative), thus resistant to heat, and the poured material was allowed to flow by gravity. Once cooled, the glass would have reached the desired shape. Plates and bowls were also made by means of the molding technique. Evidence that glassmaking was developed in Nigeria independently However, Babalola insists that his African ancestors did not draw much inspiration from foreign nations
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regarding the complex manufacture of glass. During excavations carried out in 2012, the researcher recovered almost 13,000 beads, 812 crucible fragments, 403 ceramic cylinder fragments (rods that could be used to manipulate crucible lids), almost 7 pounds (3.2 kg ) Of glass residues and some 14,000 fragments of ceramic vessels, as the researchers note in the study. Although no furnaces were found to have allowed craftsmen to heat the crucibles, the researchers write that "the abundance of glass production residues and the presence of fragments of vitrified ceramics [ceramics coated with molten glass] indicates, nonetheless , That these places were in an area of glass workshops, or very close to it, "reports Live Science. On the other hand, researchers have discovered that most of the beads, mostly blues, were made "almost exclusively" with materials that can be found near Igbo-Olokun. These accounts, as pointed out Babalola, are known as 'extraction beads', as the craftsmen used a unique technique that involved the use of an air bubble to pierce the beads. Obviously, Indian craftsmen manufactured glass beads drawn many centuries before That the craftsmen of West Africa, suggesting previous archaeological findings that this type of accounts was produced in India already in century IV a. C. However, because of the great distance between India and what is now Nigeria, Babalola and his collaborators suggest that artisans in West Africa would have developed this technique separately, admitting nevertheless that more research will be needed Deep to demonstrate this theory, since so far no clear evidence is available to confirm it. Cover Image: Glass beads of all colors found in the ancient city of Ile-Ife (Nigeria).
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The Roman glass in museums in Madrid (XXIX).
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would have been carved In cold of a block of glass with Politicians of significant the technique used to make military character, such as the stone vessels; If it had Sparta, get manual labor enjoyed by society as a In the middle of the second been carved would represent whole. millennium a.C. We find the the only copy made with this technique from the second first glass vessels and its Pericles states that Athens area of extension comprises: millennium a.C. would not possess the The pieces found in Crete Egypt, Palestine, Syria, important monuments without the technical, artistic Mesopotamia, Cyprus, Crete (Pasitos, Karteros) correspond to vessels with and financial intervention of and Greece. the craftsmen and their The pieces of glass found in certain Egyptian characteristics. different specializations. Greece and Crete are Eduardo Alonso Cereza
equivalent to being a virtuous man, meets the most important requirement, intervene actively in politics.
Athens will be important for the trade and its craftsmanship that motivate the manual worker to be taken into consideration.
numerous; Some are imported from Egypt, but others do not have characteristics that relate to Egypt so they had to be made in Greece and Crete or imported from Asia.
For Rosella Frasca, it is believed that the Greek civilization completely despised the craftsmen is due to the ideas expressed by philosophers, especially Plato and Aristotle, for whom manual labor is no longer able to intervene in political life; This means that for to be a good citizen, which is
At the end of the second millennium a.C. There is a shortage of pieces of glass in the archaeological discoveries.
So the glass of the first two centuries of the first In tombs of Mycenae small millennium is unknown to us, ornamental pieces of glass but the manufacture of glass have been found made with did not disappear since, the technique of molding, but shortly before the middle of the most outstanding piece the first millennium resurges and the pieces will extend is the bowl of Kakovatos (Mycenae) belonging to the along the shores of the Late Minoan III, imitation of a Mediterranean. metallic specimen, which
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N E W S (I).
In the National Lottery. July 2017
José Sanchiz y Quesada .
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In the draw on August 26 will be put up for sale 10 million tenths, with an issue of 60 million euros, and will be distributed in prizes 70 percent of the issue, that is, 42 million euros - with a First prize of 600,000 euros per series and a second prize of 120,000, also by series.
The castles of Valderas, located in the municipality of Alcorcón, will be the protagonists of the tenth National Lottery on August 26, on
the occasion of the commemoration of the first centenary of this palace set up in 1917 by the Marquis de Valderas,
For these castles passed important personalities of century XX like king Alfonso XIII, the dictator Primo de Rivera or the infante Carlos de Bourbon, grandfathers of the king Juan Carlos I.
Culture 2017.
Last June we visited the Palacio del Cristal, in Madrid's Retiro, to see the exhibition of the Italian artist Rosa Barba titled "Records of solar transit". On page 45 of the previous Bulletin we include a review of this exhibition which records the incidence of sunlight in architecture, at each particular time and place.
In order to do this, it has arranged quadrants made of steel where the solar movements are recorded, and has made a partial replica of the building: windows, columns and arches that have an equivalent in its intervention: specific project for the place entitled 'Solar transit records' , Curated by Manuel Borja-Villel, director of the Reina Sofía Museum.
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The spectator perceives, through the glass, the beauty of the landscape, the trees that surround it, the sky, the clouds. But these elements do not constitute a nature separate from us; Are parts of a global, ordered machinery, whose movements have been noted in the quadrants that the artist has placed in the building.
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N E W S (II).
Carlos Gustavo from Sweden as glassmaker.
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On the occasion of the national day of Sweden, Carlos Gustavo of Sweden and the rest of the Royal Family have an extremely busy agenda: while Princess Victoria participated in the festivities of the town Järfälla in Görväln Castle, King Charles Gustav and his wife, Queen Silvia, moved to Växjö where they participated in the creation
and modeling of glass with the workers of a company, instructed by the designer Bertil Vallien.
traditional costumes of the country to participate in the celebrations of the Skansen museum From the capital.
In the afternoon, both the Kings and Victoria, Magdalena and Carlos Felipe and Sofia of Sweden who showed their 'tripita' of pregnant under the folk costume - were united in Stockholm with the
Both Victoria for her upcoming 40th birthday in July as Oscar and Estelle of Sweden, her children, have recently published official images in yet another way to celebrate this very special week in Swedish history.
Conference of Rebeca Huerta. Mexican culture, the Maya and the Aztec. With this conference she was interested in highlighting the social function of art, the presence of "soul" in the sculptures. He then went on to explain some of his sculptures with an emphasis on his artistic training in the Czech Republic.
On the 20th of June we attended the conference that the artist Rebeca Huerta taught at the Institute of Mexico in Spain.
for her and in which she is specialized, the one realized with glass and, mainly, with recyclable glass.
With support of slides, she commented on what sculpture is
He did a review of the sculpture in the pre-Hispanic or pre-Columbian
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The second part of his lecture consisted of a colloquium with the attending public, introducing some aspects of his concepts about the sculptures.
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The glass in Museums: Piegaro.
Our web
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The Piegaro Glass Museum is the most important evidence of an ancient tradition of glassmaking, which had Piegaro and its economy since the 13th century. The building that currently houses the exhibition was the last site of the glass factory that was discharged in 1968, moving the production to a new plant in the village valley, which still exists. The Museum was inaugurated on April 18, 2009 and retains the original look of the factory and holds many types of objects that emerged from Piegaro furnaces, which are only a part of the production factory of the last two centuries.
Among the oldest and most valuable pieces include some that belonged to the table service of the Misciattelli Family (19th century). They are glasses, bottles, jugs and other containers, made in transparent glass with engraving and painted decoration. Numerous wine containers, especially jars and bottles, produced either by blowing or through semi-automatic machines. The use of the mold, allows to place directions, as well as the place of production, characteristics of the object and content, and in some cases, decorative motifs.
one manufactured in Piegaro was Bocksbeutel (or Puccianella) of the spherical body. In many cases printed objects reported the acronym VCP, which from the 60s marked the productions of Glazier Cooperativa PIEGARESE. The flask that has constituted for centuries the main production of Piegaro Viedrieria, needed an additional stage of production to be carried out in the factory, the filling. This occupation was carried out mostly by women assisted by children and the elderly, and was for a long time an important source of income for families in the area.
Among the blowing flasks are those with an internal compartment, with The glass factory Piegaro made the These objects have been made a separate nozzle, in which the ice manufacture of containers for the with different types of processing. was placed, to cool the contents. storage of wine, olive oil and small The oldest and most widely objects such as containers for practiced in the plants of Piegaro, Particularly interesting are the medicines and tools for the care of until the 50s of the twentieth bottles produced in the 1950s and the patient. century, is the blowing that could be 1975 to celebrate the Jubilee, free or in mold. At that time, semidecorated in relief with images of Also preserved archival documents automatic machines were Rome (St. Peter's Square and the dating from the nineteenth and introduced (of which the museum Coliseum). twentieth centuries, which reflect preserves some specimens) in heritage and factory activity in the Since the introduction of the which the objects were made in last two centuries of history. molding machine several types of metal molds by the use of flasks were introduced: the main compressed air.
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Recycling. Summer campaign.
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Ecovidrio has launched the campaign 'Take note recycles, glass' with a sustainable marine ice cream from chef Ángel León, which seeks to be a symbol of the union between "summer, recycling of glass and protection of coasts and natural resources", As reported by the non-profit organization. During the 'Take Notes, Recycle Glass' campaign, which will take place during July and August in 7,500 catering establishments in 80 coastal locations, Ecovidrio will carry out more 30,000 information and awareness visits to the catering establishments on the Andalusian, Levantine and Balearic Coast .
Also, in order to encourage participation, Ecovidrio has launched the website 'www.tomanotareciclavidrio.e s' where participants can consult all the information regarding the initiative. Those locations that exceed the collection data for the same period of the previous year will receive an award. Also, Angel Lion, the 'Chef del Mar', joins the Ecovidrio campaign and has created for it his first marine ice cream that will include in his letter during the summer months. This sustainable dessert is made from a green apple sherbet, with sea water, vegetable crudités, a touch of plankton and nuances of salicornia, an asparagus native to salt marshes.
In addition, the entity will install more than 200 new "We created an ice cream containers and deliver almost 3,000 cubes adapted that collects the best of our surroundings, of the land to the hotel industry. and again also of the sea", explained the cook. "It is a
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sustainable, green and very fresh dessert that we are sure is the best way to finish our summer menus. In addition, it allows us, in our own way and from the kitchen, to underline the importance of recycling glass and encouraging all Hoteliers to also recycle because it must be a commitment of all, "he added. "We are convinced that Ángel León's collaboration will encourage all hotel professionals to follow their example and recycle glass. Spain is one of the countries with the highest biodiversity and it is essential that we preserve our natural capital. Of the coasts and small gestures like depositing the glass containers in the green container are crucial for sustainable development, "explained the deputy director of Corporate Communication of Ecovidrio, Beatriz Egido.
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Our activities.
Cultural visits. In the first days of this month of July we will visit the Peke Toyas workshop in Tarifa (Cádiz). He was born in Logroño in 1965 and remembers that the first time he saw Tarifa was convinced that someday he would return, something that is very common among those who were not born in that city.
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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 2017.
Peke begins his studies of artistic stained glass in León at age 17. Then in Valencia and later in Barcelona. Peke is going to live in Tarifa more than a year ago, after having spent difficult times in the personal and professional field. There he finds a place where he feels good working again and where again he begins to feel the tranquility that brings the sweet taste of success.
CULTURE 2017 program.
In this month of July we will visit Casa de Vacas, in Madrid's Retiro to see the exhibition Make America Dystopian Again.
the opposite, That their ability to contradict themselves in infinite.
States itself.
It is a glance from the past and from the present to a This exhibition is designed to continent where power is show the view of the held by people as disturbing A few months ago you won continent's artists towards all as Trump, Maduro, Temer or the presidential election in their enormous complexity, Peña Nieto, among others. the United States Donald their women, their men, civil An exhibition that presents Trump and this victory is rights, the collective LGBTI, the work of more than eighty going to involve many racism, violence, sexuality ... artists from all over the changes (negative) in your a look that comes from continent. own country and around the Canada to Chile And world, especially if you fulfill Argentina, passing through The exhibition can be visited until the 15th of this month of what you promised in Cuba, Mexico, Peru, Brazil July. campaign and even if you do and of course the United www.amigosmava.org
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Vidrala buys Santos Barosa.
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The Vidrala Group has entered into an agreement of intent for the acquisition of a controlling stake in the Portuguese company, also manufacturer of glass containers Santos Barosa Vidros. The eventual acquisition is conditioned to the carrying out of the corresponding legal and financial reviews as well as the signing of the agreements of the transaction, as Vidrala has pointed out in a notice sent to the CNMV. Also, its execution will be conditioned to the approval of the competition authorities of the countries involved. Santos Barosa Vidros is a manufacturer and marketer of glass containers that operates a large production center located in the town of Marinha Grande (Portugal). A facility of 170,000 m2, equipped with four ovens and a staff of 500 workers, in which it produces around 400,000 t of glass per year. For the current year, it expects sales to be between € 130 and € 135 million, with an estimated EBITDA in the range of € 32-34M. The price agreed for the transaction would be equivalent to a company value of approximately 250 M €, a
figure that could vary moderately depending on the debt actually incurred at the time of the closing of the transaction.
commercial relations with its customers"; While adding that the company "has proven its capacity in the integration of companies within the group, promoting its positioning, The final contracts for the operation promoting customer service and and the closing of the operation are providing experience and a long-term expected to be signed during the third vision markedly industrial", so "the quarter of 2017. integration of this Business, fully complementary, would result in Santos Barosa produces returnable and non-returnable glass containers in benefits for Vidrala's customers, employees and shareholders. " 20 cl, 25 cl, 33 cl and 1 l formats for beer; And in the models Burgundy, It is due to the circumstance that Bordolesa, rhin and port for wines. Carlos Delclaux, president of Vidrala, announced at the company's An important part of its sales, in the order of 50 M € per year, are made in shareholders meeting that he intends to invest € 300 million over the next Spain, channeled through a five years in the improvement and commercial office located in Madrid. modernization of its manufacturing The majority of its sales in our country centers, Of new companies, such as go to the brewing sector (with the the one that has now realized. Mahou, Heineken and Damm groups This operation will allow Vidrala to as main customers) and, to a lesser reach third place in the market for extent, the wine sector. glass packaging in the main European With the exception that, for the latter markets (Spain, Portugal, Italy, France market, and for certain customers, and Germany), exceeding Ardagh, Santos Barosa has ceded the which preceded it with 13% share, a representation of its products to the Point more than Vidrala. Catalan company Garrafas Gama. A market that continues to be headed Vidrala says that for many years he in these five countries by Verallia and has been valuing the quality of the O-I, with a 29% share each. business developed by Santos Barosa We visited the facilities of Santos Vidros, "supported in modern production facilities and the solidity of Barosa in the month of May of the year 2008.
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Other trends. A disaster announced.
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The City of Rincón de la Victoria, Malaga, has denounced before the Civil Guard "serious damage" in cave paintings in the Cueva de la Victoria, one of the three cavities that form the complex of the Cantal next to the Higuerón And El Suizo, declared to be of Cultural Interest (BIC).
The Victory, where the damage has occurred, is not. Salado has criticized the previous government team for "the neglect" that has shown with this archaeological park, since it has even had to replace a padlock to veto access because there was.
Pedro Cantalejo, one of the investigators of the cavity, explains that there is a bull and a bird, besides a figure of woman and other graphic reasons, among them, several hands.
The cave was used in this period as a refuge. Its The Cave of the Victory has an peculiarity is that, after time, approximate route of 120 about 7,000 years ago, it was In the grotto coexist drawings meters. Inside were initially used as a great funerary dated in the Paleolithic and in mattresses, chairs and tables pantheon and, on the same the Neolithic, a very unusual and objects such as beer walls, were painted case, on which graffiti and bottles and paint cans. anthropomorphic motifs, in scratches have appeared. yellowish colors. But a more exhaustive The mayor of the municipality, inspection carried out on the According to Cantalejo, 102 Francisco Salado, has 8th by the Local Police and the human figures have been lamented that it is a prejudice councilor in charge of the located, very schematic. In the "of incalculable value." Treasure Cave, Antonio Jose grotto, therefore, drawings with Martín, discovered the graffiti more than 25.000 years of The damage was discovered and scratches on the cave difference coexist. on June 6, a day after the vote paintings that are in the wellAccess to the cavity has been of censure that has returned known as the Dosel Room . sealed by the Civil Guard and the Mayor's Office of Rincon After checking the extent of the intention of the City Council de la Victoria to Salado (PP) the damages, a complaint was is also to inform the Board of after two years of local filed with the Civil Guard. what has happened. government led by the PSOE. The paleolithic paintings of the The cataloging as BIC implies El Higuerón and El Suizo form Cave of the Victory, of reddish that a property has the the well-known Cave of the tones, have an antiquity maximum protection provided Treasure, that is visitable and between 32,000 and 34,000 for in the Heritage Law of tourist. years. Andalusia.
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Salamander Award.
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The four members of the jury last month determined the winner of the art competition, which, in celebration of its centenary, the Salamander IndustrieProdukte Group has convened in the region of Unterallgäu (Germany) where its headquarters is located.
acquisition of a work of art that symbolizes the recognition of workers who have formed and are part of Its 100 years of history.
For this, the management of the company convened an artistic competition in the region of Unterallgäu (Germany) at the beginning of the year so Salamander, for whom this that local artists could year 2017 is a very present their proposals. significant year due to its A total of 29 artists took the 100 years of history, is a opportunity to deliver their European reference in the sketches and models production and innovation according to the of PVC systems for doors established deadline. and windows, aimed at After several deliberations, achieving maximum energy the judges were Götz efficiency, and also stands Schmiedeknecht (CEO of out In the world market as the Group), Daniel Bräg producer of regenerated (artist and professor at the leather fibers for industrial University of the Art application. Academy of Munich), Salamander, as a company Isolde Egger (art director) with a long business and Anja Gschnaller history, taking into account (director of marketing of the important relevance of Salamander) unanimously this 2017, has decided to elected Stefan Beuter's capture the celebration of 'Bewegte Sicht' project, its centenary with the www.amigosmava.org
which could be translated as 'vision in movement'; The artist of the small town of Innestadt has managed to win the prize and the reward of seeing his work at the headquarters of the Bavarian multinational. The project is a multilayer composition of abstract elements made of glass that optically simulate motion; From the different angles of vision of each piece there is an optical effect of balance that gives meaning to the name of the work and to the business vision of the Group: the impulse, movement and progress as a constant throughout its history.
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José Davila, invited to uncertain territory.
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Hamburger Kunsthalle has a space for the development of specific annual projects by guest artists: Uncharted Territory; For him has already passed Haegue Yang (from April 30, 2016 to May 1 of this year) and from this June to 2018 his tenant is a Mexican creator with whom Yang shares generation: José Dávila. The creators called to exhibit in this room have in common the reflection in their work on issues related to the processes of global transformation in relation to migrations and identities and Dávila, who lives and works in the Guadalajara Guadalajara and has already exhibited in large museums European and American, addresses these issues also proposing a questioning of the forms: appropriating works by certain artists of the s. XX and reconfiguring them, emphasizes how these pieces have been recorded and put into circulation as photographs, as an image. Resorting to duplication and alteration, it breaks with the dynamics of recognition that usually allow us to establish distinguishable icons and proposes to transform our ways of seeing, or at least be aware of the conventions of which they are fruit.
It is also frequent to call our attention to this reduction in the image of the three dimensions using the opposite procedure: transforming the pictorial into a sculptural element, thus giving spatial qualities to what was two-dimensional. The first thing that strikes one when contemplating these sculptures is the specificity of their materials; Dávila seeks to warn us of its provenance or its value to play the contrast: industrial materials such as glass or steel interact in these works with natural materials hardly altered by their hand, such as rocks or marble. It also uses common objects, such as cardboard boxes, to generate replicas of other easily recognizable sculptures, thus showing how some forms of occupying space are also part of our imaginary and are inscribed in this system of visual referentiality around which their production revolves Constantly. Influenced by his training as an architect - at the Institute of Fine Arts in San Miguel de Allende -, Dávila disposes of objects as if they were basic elements of drawing (point, line and plane) to create constructions based on equilibria, permanences and challenges to Those
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concepts. Beyond these readings, we can also understand his works as a playful or critical reflection on the art of the s. And also as a tribute to the achievements of the artists he works with, among them Richard Serra, Dan Flavin, Donald Judd, Josef Albers and the architects Luis Barragán and Mathias Goeritz. Part of his ideas for generating jobs that are sometimes a logical continuation of the legacy of his predecessors and, at other times, absolute contradictions to his principles. For Uncharted Territory, Dávila has developed a fragile installation in its physics and imposing on the visual. It plays on it with the tensions inherent in physical forces, balance and mass, experimenting with very different materials and shapes to generate, paradoxically, a harmonic piece that is also vulnerable. "Uncharted territory: José Dávila" HAMBURGER KUNSTHALLE Glockengießerwall 5 20095 Hamburg From June 2, 2017 to June 3, 2018
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The Pelli Tower in Buenos Aires.
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Soft skin. The glass coating has a vertical modulation that allows you to face the curve with straight panels without disturbing the perception. The Bankboston Tower, completed in 2001, today is stylized on the curtain wall of its brand new neighbor, the Banco Macro headquarters, about to be completed. With a decade and a half of difference, César Pelli had the opportunity to intervene again the urban profile of Catalinas Norte. The stylistic differences between both projects are remarkable, but much more is the contrast with the towers that were born with that neighborhood in the decade of the 70. The location of the terrain on Eduardo Madero, a heavy traffic avenue and unfriendly for the pedestrian, posed the first challenge for the project.
perpendicular to the avenues Alem and Madero, unlike all already existing, that are aligned with the diagonal of the streets Carlos Maria Della Paolera and Enrique Butti. Pelli conceived a unique shape for the 30-storey tower, with a facade of smooth curves with no edges to wrap an almost oval plant that adapts to the uneven geometry of the terrain. According to Pelli explains, the conception of the volume has an "artistic inspiration" and not a simple extrusion.
On the ground floor, a large glass canopy opens onto the avenue Alem access to the lobby and a bank branch. This glass visor is composed of triangular modules supported by an iron structure coated in turn by intumescent paint. The elliptical tower plant and the overhanging beam required the employment of six types of formwork (Peri). In the first four floors, which have height and variable measures, multiuse modules were used for slabs with beams and platforms for stairwells and elevators.
Towards half its height, the form takes a slight ripple that increases as the tower rises, until reaching the curved shot that inclines Due to the complexity of the design simultaneously towards the city and of the cores, the type plants were the river. solved with formwork for walls with beams (Vario GT 24), where the These formal characteristics led to concrete was in sight. the adoption of a curtain wall of vertical cloths measuring one meter For the slabs, 42 tables with wide by 3.80 high. trapezoidal shape were used,
The glass modules are straight and recompose a faceted volume. From This led the Pelli-Clarke-Pelli study the 15th floor, the frames were to find a way to access pedestrian deformed at the time of assembly access by Leandro N. Alem to enter to accompany the warp of the the esplanade, thanks to an façade. agreement with the consortium of Torre Catalinas. To fix the structure of the curtain wall to the concrete, channels On the other hand, being located in embedded in the slab were left, so the "back" of Catalinas, the formal that subsequent drilling was not proposal of the tower of the Macro necessary. had to distinguish itself from the neighboring regular prisms, of The glass cloths were fixed with square or rectangular plants. structural silicone. The facade has an equalization chamber (the joints The first gesture of the designers to are open) that allows the water to differentiate it was to rotate the enter the system to enter the building slightly with respect to the system. boundaries and to turn it
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whose design efficiently solved the elliptical form of the plant. DATA SHEET LOCATION: Av. Eduardo Madero 1180, Buenos Aires. COMMITTEE: Banco Macro PROJECT: PelliClarke-Pelli. PROJECT CHIEF: Arq. Axel Zemborain. STRUCTURAL CALCULATION: AHF. LOCAL PARTNER: G3M / GSA. DEVELOPER: Vizora. CONSTRUCTORA: Caputo SA. ADVISER FACADE: Consultant ALT - ing. Stephen Strebel. MURO CORTINA: Obras Metálicas SA. SUP. LAND: 4,957 m2. SUP. TOTAL: 52,700 m2
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Glass in Mexico.
July 2017
their family met Father Olvera, who at that time was the rector of the enclosure. "Knowing him a short time later, he also knew our work and interested him ... days later we prepared some projects, presented them and liked them very much. Instantly he ordered us the first window, at the end he asked us to follow the other spaces. "
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The businesswoman said that because of the size of the stained glass, the father offered to work inside the temple, a place that was collapsed and in full construction. "We made the largest stained glass in the place, it was the rosettes that measure 2 by 80 square meters, we worked there to make it easier to place." His work inside the Expiatory was about six years, where the altar, the two rose windows of the ship's cruiser, which has the basilica of San Pedro that leads directly to the temple square and the panoramic stained glass of Leon and the Eucharist that is in the upper part of the sacred place.
The art of stained glass is the skill of assembling colored glass sheets to form large figures, which dates back to the Renaissance period. This is how the architect Rodolfo Gutierrez del Castillo, accompanied by his daughter Amanda Gutierrez, embellished the Templo Expiatorio and some Churches of the city with his talent. Originally from Mexico City, they came 33 years ago to the city of skin and footwear in search of opportunities, without thinking that their ability, capacity and love to create stained glass would be their main source of income. Amanda said her dad studied architecture and loved the glass art class, whereby his interest grew more and more, to take several workshops and become an expert on the subject. "Since I was a little girl I was involved with the arts, because my whole family has been related to this subject, so I grew up accompanied by some great parents who, thanks to their support, developed a skill for the visual arts," he said.
According to the artisan the process begins with the idea and the space where the work will be placed, "you need to know what the stained glass is required for, if it is a space with a lot of light and wants little light or vice versa, then we relate the space With the design so that there is a harmony; If it is in a church looking for something related to the name or in a company we propose something abstract or some other idea ". He added that having defined the design recreate the image to scale size, which will help them as a mold to work on it pieces. "We make the cuts of each of the pieces, the glass is export because in the country there are no colored glass sheets, we bring them from the United States, Spain or Japan; This glass already comes from birth in its tonality, so we avoid problems that are disintegrating and guarantees that if exposed to the weather does not disappear the color.
He also said that having all the pieces cut, begins the construction of glassware type Tifany or copper with reinforced tin to In 1987 they opened "Estudios de Cristal", apply the copper in the contour and solder his company dedicated to the realization of with an electric soldering iron; At the end stained glass windows and ornaments. of the procedure the parts are reinforced, "We started with small works, with time the measures are adjusted, the cleaning is little by little people were asking us for done and the positioning is carried out. works of stained glass. I studied my Amanda said that when they arrived in the vocation of plastic arts, then I got totally city of LeĂłn they began with the involved in the company and today my dad construction of the Expiatory Temple and and I make a great team ".
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"The work continued on other issues and we were told to make the windows of the part of the arroba, the shields of the bishops and we returned to work full in the temple for another four years, we put stained glass in the chapels and interiors. The artisan said that she lived great anecdotes working for the temple, such as working together with other craftsmen and living close to the myth of the end of the world. "Before the temple was delivered a lot of people told us to break a glass because the world was going to end if we finished the work successfully." Mr. Rodolfo said about working for the Expiatorio that "the experience was gratifying, because in addition to participating in an exceptional work was a huge opportunity and a job of permanence that stays forever." Some of the techniques of glass art are: stained glass, vitromosa and glassfusion. Vitromosaico is a technique with pieces of glass, as if it were Venetian mosaic and it is armed like a puzzle, and it is arming the design. Vitrofusion is by means of an oven, is worked under high temperatures to mold the glass and achieve the desired figure; You can also make jewelry with this technique. Common stained glass is the one that works with more frequent in the company Estudios de Cristal.Amanda belongs to the Guanajuato brand, which is where it offers more closely its teamwork with other Guanajuato craftsmen from different municipalities. "I am very happy, I work and I live for what I like, it is A job of great creativity, skill and concentration, I am very satisfied with all the work achieved, "he concluded.
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Injection for Verescence.
Volume II — Number 101
July 2017
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The strategic plan of Verescence La Granja, a company belonging to the multinational group SGD, the world leader in handling and manufacture of specialized glass, is one of those that have been declared by the Junta de Castilla y LeĂłn of special interest, which implies recognizing its impact Positive impact on the social and industrial fabric of the Community.
line of subsidies aimed at financing strategic plans of innovative component in autonomous companies, consistent With the policies of boosting the competitiveness of the productive fabric.
involvement in the community where it is based.
At present, the workforce is made up of 423 permanent workers and a further 70 employees, and the five-year strategic plan, which ends in 2020, foresees a total investment of 35 million Own identity The new name, Verescence, (including the reconstruction of the former SGD is already of the two furnaces) with which the workforce will be being applied and diffused. expanded Up to 450 It follows the decision of the permanent workers and company to provide each almost one hundred This procedure is mandatory division of activity with its temporary workers. so that the company can own identity, after the receive help from the call for The company continues to separation this summer of this purpose. the pharmacy packaging and belong to the American investment fund Oaktree, the Verescence will design perfumery and insulators. same owner as since 2009. sustainable technologies for It means relaunching the The factory's worst phase of the optimization of energy project of the group focused crisis was between that year resources in glassmaking. on the industrial and and 2012, when it went into To this end, it will undertake commercial plan of five losses and the workforce fell a disbursement of 4.3 million years, which also has a to 323 employees, without and may receive a grant of component of quality values any temporary contracting. just over one million euros. and "integration of the factory in the environment." That crisis is over. The The Ministry of Economy turnover for the year ended and Finance, through the But not only from the point of 2016 was 64 million euros, Agency for Innovation, view of employment with an expected growth of Financing and generation and sustainability 10% and a turnover of 71 Internationalization Business and respect for the million euros in 2017. (ADE), has reserved this environment, but also by its year 15 million euros for the
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How does it.
Volume II — Number 101
July 2017
This month we include some pictures of the technique practiced by Fredrik Nielsen.
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Page 30
Ghebo lamp.
Volume II — Number 101
July 2017
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Light, glass and metal: Ghebo of the signature Karman is the breakdown of the essential elements that constitute a traditional lamp Maria Theresa, a jewel of light, now revised and twodimensional. Venice, a luminescent labyrinth of canals that cross the lagoon, home of hand blown glass and the city that gave birth to the pair of designers Luca De Bona and Dario De Meo. Inspired by the rays of the sun over the water flowing
through the interlaced canals (in Venetian known as barene or ghebi), they have designed a large chandelier, sure to set sparks flying in both residential and nonresidential spaces. The skeleton is composed of fine metal rods and flat laser -cut modules in golden iron combined with modules of the same shape in Murano glass, with small rosettes at the joints and bobbins in Bohemian glass, stolen from the Venetian tradition of Mid1700's, when a lamp style
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Maria Theresa was a necessity in every noble building. The undone metal parts are reinterpreted, almost desecrating them, with details such as screws, holes and bolts. The electrical cable that passes through each module in the center is another decorative element, while the classic rosestĂłn is replaced by a perforated tube of industrial style through which the light is filtered.
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Interview with Juan Isidro Bernal.
Volume II — Number 101
July 2017
Juan Isidro Bernal is commercial director of Serijerez, Jerezana de Serigrafía Publicitaria S.L. In this interview, it breaks down the main services that make up the unique activity of your company, deployed in the decoration of glass and glass.
their references have an attractive aspect that captures the attention of potential consumers. For a company in the beverage sector to make promotions with the glassware element where they are going to taste their products is a good investment for what it supposes utility for its customers, Make a brief presentation of the reinforcement of its brand image purpose of your company. and the presence of its logos in The Serijerez was founded 35 years points of sale. Regarding the ago to cover the need that existed painting and / or screen printing of in our area of a company that their bottles, there are times when provided services of industrial there is no better way to serigraphy. In the beginning, we differentiate them from other focused on printing on a wide range brands and to give added value to of items (glass, textile, advertising, their products. ceramics, etc.). But a few years later we saw that, in order to Has digital printing already reached achieve our goal of being a your business? reference company in the sector, In our field of business digital We had to specialize in a particular printing is still under development. activity, so we opted to focus on the There are important companies in decoration of hollow glass (glasses, the sector applying great resources glasses, bottles, jars, etc.) Our in this technique that, when it objectives are clear and coincide arrives, will be a revolution in small with our raison d'être: Sales, and medium runs in many colors. In strengthen their image and present any case, it seems that it is still products in the most attractive way several years before its use can be possible. generalized. What are the main services and activities with which they operate? As indicated, we decorate glassware with the logos and brands of our customers and give value to their product presentations. Ours is a very specific activity, so we have a very consolidated client portfolio, which is generally related to the beverage, food and hospitality sectors (breweries, soft drinks companies, juices, liquors, wine cellars, etc.) . The size of these clients, logically, varies from large multinationals to small businesses. In a world as virtual as we live, what function do glass and glass? We live from the need that our clients have to promote and that
List and explain briefly the techniques they work with. For the printing of the articles we mainly work with screen printing techniques with different typologies of inks and vitrification or curing processes. We also work, if the shape of the article or the type of decoration requires it, with pad printing or engraving. For the other important branch of our activity, painting, we use liquid or powder paints and aerographic or electrostatic application techniques. The availability of these varied techniques allows us a wide range of finishes. How do you credit the quality of your work? We have working protocols
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supervised by our Quality Department. We have ISO 9001: 2008 certificate, as well as satisfactory results in audits and evaluations requested by our clients according to Bureau Veritas, Intertek, Ecovadis, Calidalia, Sedex ... We take everything in relation to the quality of our products very seriously. The satisfaction of our customers, the absence of problems, is the greatest guarantee that they will repeat their orders. Where do you think the future of the sector is going in the short and medium term? As in many other businesses, an important part of our future is to adapt to the processes of globalization of purchases that are occurring in large companies, by expanding the range of products and by strengthening the presence in export markets. Specifically, in our case, we can be optimistic: we have wide and modern facilities, advanced technical means, adequate size, young and continuous training, quality assurance systems of the first level and finally we have competitive suppliers and customers Satisfied. What is your assessment of your status as Fespa España associates? For us it is very important to have the support and advice of Fespa Spain. We have been partners for more than 15 years. Extend an invitation to the industry audience to become interested in your company. We take this opportunity that Fespa gives us to know among its partners to invite them to be interested in our services. We will be happy to assist you.
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Exhibition in Vilagarcía.
Volume II — Number 101
July 2017
Seventeen years after his first exhibition in the Sala Rivas Briones, the artist Uxío López returns to show his works in Vilagarcía, in an exhibition with more than one hundred works realized in glass, cloth and paper, distributed in several compositions, with which he intends Awakening in the viewer brief and intense emotions. The painter Uxío López inaugurates a new exhibition in Vilagarcía, and he does it seventeen years after having premiered with his paintings the Sala Rivas Briones back in 2000.
feelings, abstractions, and weightless islands are mixed.
His last stay in the Rivas Briones, room in which he inaugurated, was in 2010, said Councilor for Culture, Sonia Outón, "so we are Perhaps the most delicate very happy to have him here pieces of the sample are again." those made on paper, and The works, which will remain that same delicacy is reflected in each of the open until July 28, are very recent. They were created in individual works that can be the last three years, and all seen in the room.
but one are unpublished for the public of Vilagarcía. "Unha box of surprises. Structural lamp", one of his most complex works, created in 2008, saw the It is a "different things to put light in Santiago de a bow", an exhibition that Compostela. It is a piece combines pieces made in made of glass and with glass, cloth and paper with interior lighting, whose result which it tries to awaken in the is the articulation of eight spectators brief but intense independent modules, which emotions. shows the possibilities of a cube. A sample that "wants to remind us of the implication we must have in our daily life skills," said the artist. It is a harrowing exposition, from his point of view, with very colorful works, in which
Carril, the series "Paper mollado" or "Falso reflexo", or the peculiar series "Solitary yellow" Fourteen works joined together in which the author shows a solitary yellow stain.
In the other pieces that make up the exhibition, some of them large format, we can see the interpretations of the painter in his morning walks to
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One of them is "Architecture impossible", of the year 2016, which is composed of 35 pieces, in which through the color black Lopez has wanted to show the difficulty of certain constructions. The mayor, Alberto Varela, also wanted to express that it "seems to him that Uxío López exposes again in this room", being a neighbor with a wide trajectory behind him, at the same time inviting all the citizens to observe the Creations of this artist, the more than one hundred works that occupy two of the floors of the building.
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Priorities in cosmetics.
Volume II — Number 101
July 2017
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Glass containers are the favorites for creams and perfumes. Everything comes into view and that the marketing experts know it to perfection.
color reflects elegance and is associated with a high social level.
Why do we give so much importance to the jar?
It does not rust, it is 100% recyclable and allows to observe the interior content.
Durability and elegance are another of its outstanding features.
Beauty: a beautiful container produces The glass allows a huge variety of designs and formats and facilitates a sensation of pleasure to the one printing in high relief. who contemplates it and desire to Any product that we want to sell, possess that object. Plastic simple as it may seem, must be Youth and dynamism: certain colorful attractive, it must be able to trigger It is another material widely used in designs, with straight lines or that triple mechanism of the desire that cosmetics due to its physical and asymmetrical shapes, connect with leads to the purchase: approach the chemical properties, since it allows to young clientele and transmit desire to object, have it in our hands and finally pack solid, liquid and gaseous. live and faith in the future. own it. Its main characteristics are: lower economic cost, resistance to impact The material, determining element The complex world of packaging is and corrosion, hygiene and flexibility. called packaging and has a vital The packaging communicates, it is importance in the world of cosmetics. able to emit its own messages and it Aluminum This sector is the only one in which the does it through the color, the form, the It is a booming material within the packaging and everything it transmits size, the typography and, above all, cosmetic packaging sector and is used has greater weight than the content. the material with which it is made. primarily for the manufacture of lipstick, What does the cosmetic container eye makeup and eyebrow profilers. Glass convey to us? Aluminum is a very light material, The favorite material of cosmetic High-end cosmetics have high prices. packaging is undoubtedly glass. which preserves the properties of In general, a branded perfume usually Its main properties are the resistance, cosmetics and serves as a barrier costs a minimum of 50 â‚Ź, of which as much to the pressure as to the high against light, bacteria and odors. more than half correspond to the temperatures, and its character New tendencies container. indeformable.
Very simple: the packaging is the visible side of the product and conveys emotions without having to open it. Elegance and status: they are determined by the shape and material of the container. A glass jar with an attractive cap and
Glass is the best material to preserve intact the properties of the product, since it is totally neutral. It does not transfer odor and does not alter the color and allows periods of validity far superior to other materials.
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In recent years, cosmetics have started betting on sustainability. The companies have decided to become involved in the protection of the environment and have introduced new materials for the packaging of products. One of them is paper, 100% recyclable, which is used for soaps and shampoos.
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Half century of BA Glass.
Volume II — Number 101
July 2017
The company BA Vidrio, owner of the old Vidriera Leonesa, celebrated the 50th anniversary of the Leon factory in a ceremony attended by seven hundred people among employees, family and friends.
In its foundation had much to do the Industrial Bank itself, as recalled the video that has served as a tribute to a history of five decades.
The director of the factory, Venancio Roales, took advantage of the A company that, with half event to thank the a century of history, is employees, family and already a symbol of the friends who have business panorama of attended, the support the province. they have given to this company during these The event began at 12.30 fifty years. with a video that recalled the history of the factory He assured that without since January 2, 1964, them, this business when it began its activity project would not be associated with that of possible. the Industrial Bank of He also stressed the fact Leon. that the act had not been On March 7, 1965, the invited to the authorities, company was created, which in the case of the with the acquisition of City of León would have some land on the Zamora been possible for their road. support, but not with regard to the Junta de
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Castilla y León, which has not Supported this business project in the last period despite the enormous investment effort that the Ba Glass Group has made for this factory in León. Also responsible for Human Resources, Fernando Amilivia, has addressed the audience to pay homage to twentyeight people who lent their work when the inauguration of the Stained Glass in the sixties. The event culminated in a guided tour of the factory and a Spanish wine that has put the end and end to a day of celebration in memory of all those who have contributed to make this fiftieth anniversary possible.
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Glass in Colombia.
Volume II — Number 101
July 2017
The workshop of Jesús María Marún, his father, was the first scenario where Emil Fajid Marún Lozano had contact with the glass. Jesús María was a glassmaker and worked in Calle Larga, in the Getsemani neighborhood, in the disappeared Public Market, where several Lebanese citizens, their countrymen, (whom they called "Turks") had businesses of all kinds. Emil considers that his first contact with art was the stained glass of Calle Larga, since cutting the glass also requires skills and precision attached to the eye and the sensitivity of the artisan.
also admirable: to join hundreds of shards and fragments of glass, in the form of puzzles that are the same as the previous drawing and the photo that preceded the work. Covered with patience and passion for millimetry and for the depth of the third dimension, Marun has already conceived the faces of Gabriel García Márquez, Sister Teresa of Calcutta, Yasir Arafat, Jesus Maria (the father), San Chárbel, Jorge García Usta and The Pope Francisco. All with their respective lights, shadows and lines of expression.
"When you know how to cut glass, in a little bit you get a beauty", analyzes Emil, who resorts to the Thanks to the School of Fine Arts in cane technique for his works. Cartagena he refined his love of drawing. Later, in the 1980s, at the "My proposal," he continues, "is Juan XXIII Seminary in Tiffany's technique, where every Barranquilla, he met a French priest detail is made with carefully cut who made stained glass, but glass pieces, which are tied with painted on glass, just like the lead to form a single unit. images usually adorned by Catholic The most difficult and also the most temples. important thing to conceive a work Acquired, then, the ingenuity to cut in glass is to make the design on glass and instruction for drawing, paper, to bring the lines of Marun decided that his art would be expression to the glass with much another: one beyond simply imagination. painting on the glass. It is mystical. He once wanted to be One that would begin by cutting the a Catholic priest, but experience in colored glass into bits, and joining the seminary served to sustain him the pieces to form a figure. in regard to all the philosophical currents that have been in the His figures are faces, a work that world. And that's where he believes could take between three months his faith comes from the divine and a year, depending on the folds universe. of the face, beards, mustaches and clothes that dress the character. His favorite example is Father San Chárbel, a Maronite Lebanese The difficult thing is that, but it is saint, who achieved celebrity after
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his death. Many prodigies are attributed to him: his body has remained uncorrupted, without the habitual rigidity, with the temperature of a living person. Suda blood, there are miracles of light found by many people. Charbel was buried in the cemetery of his monastery. They say that, after his death, extraordinary lights appeared from his grave for weeks. This led them to move their body, which secreted sweat and blood, into a special coffin. Since then, dozens of pilgrims began to visit his tomb. They say that God benefited many of them with healing and spiritual grace. "In Colombia," says Marún, "he has worked miracles, such as ridding a famous journalist of cancer. He protected me during a kidnapping and announced the gravity of a disease I did not know he had. Thanks to the Lebanese migrations this saint is known almost everywhere in the world. " Marun has done everything in this life. Music and the formation of companies are part of their presentation sheet. But these are the moments in which the rest of spirituality and stoicism of the physical allow him to assemble his puzzles of pieces united with lead and colors that give another resurrection to life.
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Glass in the Riu Plaza of Spain.
Volume II — Number 101
July 2017
The Mallorcan hotel chain is advancing in the design of its first RIU Plaza hotel in Spain, which will occupy 24 of the 27 floors of the famous Plaza España building, next to the Gran Vía in Madrid.
bar lobby and a gastrobar.
In addition, it will have a separate reception to access the area of events that will include the establishment, and that will be distributed between the third floor to the sixth. A week after buying the In total, 11,000 square meters Edificio España, the hotel of event space, conferences chain RIU reveals more details and restaurants. of its project that will transform The hotel rooms, about 650 in the renowned Madrid property, total, will be distributed in disuse for a decade, in an between floors 6 to 24, with an exclusive establishment of its average area of between 28 brand RIU Plaza. (double) to 45 square meters, The project of the future RIU the executive. Plaza de España will occupy In addition, RIU has reserved 24 floors of the 27 above a space on floors 10 and 11 to ground level of the building, as create suites, which will have a well as part of the subsoil terrace, from which you can space, which will be used for enjoy views of the Plaza de service and parking area. España, whose renovation is On the ground floor, the scheduled to culminate in Mallorcan chain will install the 2019, as well as the Palace hotel reception, as well as the Real.
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The 19th floor will house the Presidential Suite, a room with 135 square meters. On the 20th floor, the chain of the Riu family will install a pool and terrace chill out; While on the last two floors, will be destined to a sky bar, which will have a glass walkway over the void, which will have panoramic views of the city. Between the purchase and the renovation of the old Crowne Plaza Hotel, RIU will allocate between 380 and 400 million euros. The Mallorcan chain is the fifth owner of the Edificio España, built between 1948 and 1953, after the real estate company Metrovacesa, Banco Santander, Grupo Dalian Wanda and the company Baraka, headed by Trinitario Casanova.
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Interview with Joan Sánchez.
Volume II — Number 101
July 2017
From Porqueres, Girona, on the banks of Lake Banyoles, Vidresif has been developing its work in the transformation of glass. Its products are installed in representative buildings and private works of the most modern architecture. Joan Sanchez, manager of the company, explains in this interview the characteristics of Vidresif and what are the trends and evolution of the world of glass processing.
The evolution of the world of the selective layers has allowed that at present can be achieved 'all glass' enclosures with a performance unthinkable only a few years ago. In short, using the appropriate glasses on each occasion, you can achieve the comfort of areas with glass walls, as we can choose the level of thermal insulation and the sun protection needed for each case. All this has a direct influence on the glass transformation sector, as it requires that the processing companies have prepared, with the necessary machinery and the appropriate personnel, to work correctly with these special glasses, since their metallic layers very Sensitive makes their handling extremely delicate.
tempering furnace of maximum dimensions 6000 x 2800 mm, laminating line also of maximum dimensions 6,000 x 3,210 mm, last manufacturing machinery Generation (double bilateral, vertical numerical control and horizontal numerical control), materials movement systems (large dimensions and weight), etc. All this, together with the know-how and continuous training of Vidresif's human team, makes our company a safe partner in the development of glass construction projects.
Is there any reference work in which we can find your products? Yes, our transformations can be seen in many representative works, among others: Ciutat de la Justícia, Hospitalet (Barcelona). What types of transformations do you Dome HOTEL Hesperia, Hospitalet usually do, what product would you (Barcelona). consider 'star' or 'premium' in your service Shopping Center Espai Gironès, Salt offer? (Girona). We are basically looking for, find and offer La Senia Shopping Center, Cartagena. technical solutions in glass. The fact of HOTEL Hilton, Barcelona. being an independent company of the Espacio Coruña Shopping Center (A groups that work in the sector, allows us Coruña). at all times to offer the highest ranges of Ikea (Sabadell). the market regardless of the producer of the raw materials used in the manufacture Finally, what do you think are the limits on glass transformation and where are the of the product. challenges posed by architecture and We are prepared to study, with our construction? clients, the best option for each project. The limits are variable in time, a few years Therefore, the final solution is the result of ago it was impossible to think of solutions a technical work once the needs to be that are currently being implemented. covered are assessed. The evolution of the glass transformation depends directly on the evolution of the What are the trends that follow In the section of works, you can see the design, supported by the evolution of the architecture and construction and how do variety of materials used always they influence the transformation of glass? according to the aesthetic, technical, solar modeling programs and also the research in the field of technology and machinery For years, architecture has sought to control, acoustic attenuation, safety and that allows to improve the different transmit as much transparency as efficiency needs. That's why we present treatments of glass. possible, at least in the area of vision. ourselves as a company that offers Therefore, glass is a good answer. But technical solutions in glass. To this end, the prescribing technician and until it was possible to provide the glass the glass processing industry must work itself with high level performance to obtain What machinery and equipment do you together to investigate, calculate and test have to carry out your work? thermal insulation, sun protection, future solutions. The better this We have the highest technology in acoustic insulation or security, this was machinery: automatic insulation glass line relationship works, the greater the chance not feasible. of meeting challenges. for units up to 6,000 x 3,210 mm, Explain briefly the history of the company. When did you start working on glass processing? Vidresif, founded in 1994, is an independent company dedicated to the transformation of glass. In our installations, which occupy an area of 9,800 m2, Vidresif manufactures different products that cover the needs and demands of modern construction, rehabilitation, industry and decoration. Committed to our environment, we strive every day to improve our product offering, with a clear orientation in offering the highest level of thermal insulation, solar control and acoustic insulation in glass, in order to reduce the high energy consumptions that are so damaging to the environment environment. Energy efficiency is a necessity for our society and will contribute decisively to the sustainability and the world we will leave to future generations.
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Barry Wolfryd in La Granja.
July 2017
From 2014, Wolfryd began to produce works and to present them more frequently in Europe. In the summer of that year he exhibited in Berlin and created a series of glass sculptures in Murano, in the workshop Berengo Studio.
Volume II — Number 101
In 2016 he exhibited at the Museum of Modern Art, Trieste, Italy. Invited by the Technological Museum of the Royal Glass Factory of La Granja, during the first quarter of this year a new series of sculptures in glass was made for the individual exhibition that is now being celebrated. The work was produced both in the workshops of the Royal Glass Factory, and in the Berengo Studio of Murano. The exhibition will go to the MAVA Museum, Madrid, in 2018. According to the artist "sculpture, painting, are seas reduced by parameters linked to time. A narrow universe of hope, not yet conceived, and trapped in its own physical limits. "His sculptures and canvases seek to sow a single idea that can communicate an infinity of them.
From the website of the Royal Glass Factory.
The Royal La Fábrica de Cristales de La Granja inaugurated last Thursday June 29 the Exhibition curated by Aldo Flores: "Common Ground" (Interests shared) by the artist Barry Wolfryd. Barry Wolfryd, born in Los Angeles and naturalized Mexican, has spent most of his artistic career in Mexico, where he has lived for the past 35 years. His first creative rehearsals were influenced by the music of the sixties and the art scene of New York. Wolfryd began his art studies in 1972 at Housatonic Community College in Bridgeport, Connecticut. At the age of 22 he moved to Mexico.
the previous generation of artists, such as Cuevas and Tamayo. In 1986 he had his first major solo exhibition and began to participate in national and international shows in capitals such as Mexico City, Chicago, Dallas, San Antonio, Los Angeles, New York and Rome. In 1987 he began his collaboration with the Salon des Aztecas, an artistic group that broke with the dominant trends in the visual arts in Mexico, through the adoption of public spaces and buildings, to intervene collectively. Founded in 1998 the experimental space Out Gallery that, together with the Salon des Aztecas, La Zona and La Quiñonera, created one of the most dynamic artistic phenomena in Mexico City.
He settled in Cholula, Puebla and continued his studies at the University of the Americas. In 1975 he enrolled in the Allende Institute in San Miguel In Los Angeles, he opened a Allende, Guanajuato. workshop at The Brewery (20052008), a conglomeration of more than In 1982 he studied at the Institute of 150 studios of art creators. Art in Chicago and in 1984 at the National Institute of Arts in San Luis There his work took a new direction, Potosi. In 1985 he moved to Mexico with a political approach and City, where he expanded his artistic questioner of consumerism. Between activities. 2008 and 2011, again in Mexico, he
made a pictorial series to document Wolfryd became an active agent in the the violence that the country suffers as new vision and dynamics that a result of organized crime activities. surpassed what was established by
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Through the use of iconographic and symbolic elements, it attempts to reveal the existence of certain aspects of our reality: whether in daily life, in the home, in politics, in the world map, in love, in short, his work is established as A cry, a reflection of social themes. In the words of the art critic José Manuel Springer: "In these works we find a criticism of the origin, since nothing of what is embodied in this predominantly visual world in which we live is original. The identities that are formed from the image are only fleeting. Perhaps the only thing that could be said with certainty about the paintings of this artist and the world is that everything is a fiction, a half-truth, a lie sweetened by humor and the coincidence of several worlds that ephemerally coincide in a painting. The exhibition "Common Ground" continues its artistic investigation on the iconography, symbolic load and capacity to form narratives of the objects. To do this, it uses objects that can be converted into icons to create messages about our common experience as beings on this world. In short, this is intended to understand our socio-cultural environment and its social implications. See images of this exhibition.
Page 39
Simone Crestani in Barcelona.
July 2017
only with full control of matter can I create my works exactly as I would like them to be. "
Volume II — Number 101
About Barcelona Glass Studio: Agustina Ros and Ferrán Collado, creators of this space in which art and design go hand in hand, are immersed each day in the heat of the fire to adapt the material to the real art. They explore from the classic in search of a new concept, unique and exclusive.
In the framework of the recent opening of Barcelona Glass Studio, its creators invite us to the inauguration of the cycle "Friendly Glass Weekends" to be held on Saturday, July 1 at 4 pm, with the exclusive participation of Simone Crestani, one of the World references of glass in the contemporary scene. Appreciated all over the world for her special technique of working with fire, Simone Crestani manages to combine the quality of the design and the skill of the
They love the glass, they know it, they play with the transmission of light and they demand to the maximum the possibilities craftsmanship for the of the material, opening a creation of exclusive world of inexhaustible sculptures and objects of techniques and results. art. For this reason, In his own words: Barcelona Glass Studio, "My work is a personal from its essence, investigation into the undertakes to generate beauty and poetry of glass culture, to educate form, on the aesthetic and to transmit its balance we can find in knowledge in order to the natural elements and position the glass in the from which I am inspired. center of the world artistic These, reviewed with my scene. artistic language and From these pages we fused with contemporary give both Ferran and concepts, give Light to Agustina our most my works of art.I use effusive congratulations glass to shape my for this initiative that so thoughts.First craftsman much supports the culture and then artist, because of glass in our country.
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The memory of the glass.
Volume II — Number 101
July 2017
The Denomination of Origin Catalunya premieres on its website a new history of the second season of Vinómics, the series of graphic cartoons inspired by the world of wine and signed by authors of recognized talent and proximity. This second story, The Memory of Glass, is the work of Jaime Martín, author of works such as Sangre de Barrio or The Silent Wars, and has been the winner this year of the prize for the Best Spanish Author's Work at the Comic Book Hall of Barcelona thanks to his latest work: I will never be 20 years old. In La memoria del vidrio, Jaime Martín, following
his characteristic biographical style, explains the story of a mother who, with a life closely linked to the world of glass, develops a great aim …
The next Comic Strip comic will hit the web on Thursday, July 20, and will be signed by Bea Tormo.
Vinómics represents a strong commitment of the DO Catalunya to spread A new way of speaking the culture of the world of and living the world of wine through comics, an wine, in this case from artistic discipline the point of view of its traditionally little used by continent. the wine sector of our The story of Jaime Martín country. is the second installment of this second edition of After the success of the first season, DO Vinómics, which will continue to be published continues to work on a project that brings it monthly on the DO closer to young people Catalunya website. and their way of Every third Thursday of understanding culture, to the month, the authors continue to spread the who are part of the wine through project will present their entertainment. unique proposal of marriage between comic and wine.
www.amigosmava.org
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
Courses.
Volume II — Number 101
July 2017
We get information from the following events for this month of July:
www.amigosmava.org
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Our Newsletter is worded in:
The Association of Friends of MAVA was incorporated on June 21, 2003 in accordance with current management.
Castillo de San José de Valderas.
The purpose of this Association is to
July 2017
Avda. Los Castillos, s/n 28925 ALCORCÓN
promote, encourage and support many
MADRID
cultural activities, in the broadest terms, are related to the mission and activities
When glass culture
of the Museum of Glass Art Alcorcon.
Volume II — Number 101
Our goal is to develop and collaborate with other public or private entities in the promotion, protection and dissemination of art and culture. Our members may be fees, benefactors, Full and juveniles.
www.amigosmava.org
Presidente honorario
Evangelina del Poyo
Presidente
Diego Martín García
Miguel Angel Carretero Gómez
Francisco Martín García
Vicepresidente
José María Gallardo Breña
Secretaria Rosa García Montemayor
Vocales
Javier Gómez Gómez
Pablo Bravo García
Tesorera Mª Angeles Cañas Santos