Bulletin nº 122 of the Friends of the MAVA.

Volume II — Number 122

June 2019

Monthly Newsletter

William Morris Newsletter

 A dream come true.

M. A. Carretero.

From the beginning I knew the existence of the Corning Museum of Glass, in the United States, and I knew that it was the main A visit to the permanent reference in the world of collection of the Museum of glass art.

Art in Glass of Alcorcón For this reason, I always awakened in me the maintained the illusion of capture of the enormous knowing this important beauty that the glass treasures when it becomes Museum in the first person, art, it is allied with the light but I never saw the opportunity to undertake the and manifests its struggle adventure of crossing the to integrate itself into the Atlantic and landing in world of fine arts .

Corning.

From that moment on I was Until the great exhibition of awaken in my anxiety to know the different ways of New Glass Now has working glass in the hands returned to take place in the Corning Museum of Glass. of artisans and artists.

For many years now, the hobby for artistic glass has been introduced into my brain.

In addition, I felt an enormous interest to know the artistic glass backgrounds that are exhibited in the different national and international museums.

The sample of 100 works selected by a jury of highly recognized solvency and made by artists from 32 different nationalities and working in more than 25 countries has been a good motivation to make this trip.

La Granja, Barcelona and Málaga were the first visits I From Madrid we fly to Paris, then to Detroit and finally to made within the national Elmira airport, very close to territory, Corning and where we travel Then came trips to by rental car from the airport.

Portugal, France, Germany, Nuestra sede: The day after our arrival we Italy, the United Kingdom, Castillo Grande de had to celebrate my 70th Denmark and Turkey, S.J. de Valderas birthday and what better way among others.

Avda. Los Castillos, s/n to start the two-day visit to Last year there were two 28925 ALCORCÓN. the Glass Museum. trips to Japan to see some (MADRID) Our hotel was very close to info@amigosmava.org of the museums that the facilities of the Museum, preserve artistic funds so we could approach made with glass by the walking without any most outstanding artists problems worldwide.

As we approached the entrance to the Museum, for whose visit we had already acquired the tickets through the Internet, nerves appeared on the surface and a slight doubt made me wonder if everything would be a dream and that I could wake up at any moment.

But it was not a dream. It was a wonderful reality that I had within my reach and that would allow me to enjoy the more than 3,500 works that make up the permanent collection of the Museum, the demonstrations that take place in the two amphitheatres by renowned solvency artists and, above all, from the 100 works that make up the exhibition New Glass Now.

As in any type of exhibitions there are works that impact more than others, since the subjective criterion is the one that stands out before the capture of the art treasured by each and every one of the exposed pieces.

The sensations experienced in these two days of visiting the Corning Museum of Glass are not easy to capture in print but I must say that my expectations about this visit have been fulfilled.

We have taken advantage of the proximity of Corning to the region of the great lakes to admire from the Canadian side the spectacular Niagara Falls.

On a splendid day we were able to enjoy peacefully the beauty that Mother Nature offers on certain occasions and this was one of them.

Huge masses of water tumbling down the Niagara River fault that connects Lake Erie and Ontario.

A selection of the images we have taken during our visits can be seen on Facebook, both on the Friends of MAVA page and on my own page.

A dream come true.

Page 2

Volume II — Number 122

June 2019

SPECIA L IN TER EST: 

Part of the month



Andrea da Ponte in Corning



Interview with Jésica Savino



Exhibition of Javier Gómez



Activities on the MAVA



News



Our activities



Glass recycling



How does CONTENT:

Piece of the month

3

Established artists

4

Young artists

4

Andrea da Ponte in Corning

5

Interview with Jésica Savino

6

Exhibition of Javier Gómez 7 Activities Museums

8

Activities on the MAVA

11

Prize for Alicia Durán

12

Interview with Lara Fluxá

13

Explanation to the enigma 14 Bernardí Roig in Venice

15

Roman glass in Museums

16

News

17

Culture 2019

17

Prize for Luis Machi

18

Iznik's tiles

18

The glass in museums

19

Recycling

20

Cultural visits

21

Culture 2019 program

21

Cuban stained glass

22

Other trends

23

The glass of L'Ollería

24

A treasure in Málaga

25

Grand Palais of Paris

26

The stained glass

27

The market of Zaragoza

28

How do

29

Marcela Cabutti

30

Artistic expression

31

Art in glass in Mexico

32

With discarded glass

33

Galician glassmakers

34

Leoh Ming Pei dies

35

On a Japanese beach

36

Lamp in a suitcase

37

Chess of San Rosendo

38

Board Of Directors

39

Directive 2010/75 / EU of the European Parliament and of the Council, of November 24, 2010, on industrial emissions. c) best available techniques and emerging techniques defined after considering the topics mentioned in letters a) and b).

information and in particular on the following: a) the internal regulation b) the work program for the exchange of information;

c) guides on data collection;

d) guidance on the drafting of BAT reference documents 3. The Commission and on their quality shall establish and assurance, including convene regularly a the appropriateness forum composed of of their content and representatives of the format.

Member States, the industries concerned The guidelines referred to in points c) and the nonand d) of the second governmental paragraph shall take organizations into account the promoting the opinion of the forum protection of the and shall be adopted environment. in accordance with The Commission will the regulatory ask the forum for an procedure referred to opinion on practical in Article 75, procedures for the paragraph 2. exchange of



4. The Commission will request an opinion from the forum on the proposed content of the BAT reference documents and will make it public, and will take this opinion into account for the procedure set out in section 5.

5. Decisions on the BAT conclusions will be taken in accordance with the regulatory procedure referred to in Article 75 (2).

6. Following the adoption of a decision in accordance with paragraph 5, the Commission shall make the BAT reference documents available to the public without delay and ensure the publication of conclusions on BAT in all the official languages of the Union.

Retired mural of Amelia López.

The mural by Cuban painter Amelia Peláez at the Habana Libre hotel, located in the Cuban capital, is being removed and according to local employees, the reason is to restore the wall and place another work.

The mural, which will no longer be a historical hallmark of the hotel, has the name "Las Frutas Cubanas" and is shaped by six million 700 thousand

small pieces of colored glass paste of white, black, gray and nine gradations of blue, which They placed along 69 meters long by ten high.

Amelia Peláez was born in Yaguajay, a city in the province of Sancti Spíritus, and with the passage of time became a recognized plastic artist both nationally and internationally.



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



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



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

www.amigosmava.org

Page 3

Piece of the month. Yan Zoritchak.

Volume II — Number 122

June 2019



Although born in Czechoslovakia - in the Slovak part - Yan Zoritchak lives in France since the late 60s, installed in Talloires, on the shores of Lake Annecy.

His training could not be in better hands, as a teenager in the Superior School of Glass of Zelezny Brod, as a young man he completed higher studies at the Academy of Applied Arts in Prague as a student of Libensky.

It is not surprising, therefore, his absolute mastery of the technique, both in cold processescutting, cutting, polishingand in hot-molds, incorporation of color and textures in the process of fusion, etc.

His work is refined, elegant and impeccable.

Participate in the legendary Czech pavilion of the Universal Expo in

Montreal in 1967, where incipient glass artists from all over the world were impressed by Czech superiority.

In 2001 the MAVA invited him to present his latest works. The exhibition was titled Mysteries of the Universe. To her corresponds the work During a long season his "Comet", today in the work revolved around collection of the Museum geometric forms, and chosen as "Piece of particularly prisms, the month". following the wake of the optical school.

Yan Zoritchak has played a very important role in Later his work has been the promotion and acquiring a more organic diffusion of contemporary vision, developing series glass in France, around geography and especially as an advisor celestial bodies. in various training It places the spectator in programs launched in this front of his vision of the country. cosmos in an aesthetic In this way, he became an and metaphysical utopia, active collaborator of the where he is submerged Association pour le within beautiful and Développement de la suggestive landscapes in Creation en Verre an exciting journey.

ADCAV-, as well as a key His works usually have piece in the foundation of poetic and evocative CIRVA -Centre titles such as "Messages International de from Space", "Celestial Recherche sur de Verre Garden", "Man and the et les Arts Plastiques- and Universe".

Center du Verre of the Louvre.

www.amigosmava.org

Page 4

Established artists. William Morris.

Our web

Volume II — Number 122

June 2019



William Morris was born in Carmel, California, in 1957.

University in Ellensburg, Washington.

He is an American glass artist who has been able to change the history of art throughout his life.

driver.

Morris was educated at California State University in Chico, California, as well as at Central Washington



Morris stayed with Chihuly for about 10 years before In 1978, Morris arrived at the deciding to form his own studio and develop his own Pilchuck glass school and artistic style of glass blowing. initially found work as a Later, he worked with Dale Chihuly, the founder of the school, and eventually became his chief of staff in the 1980s.

For more than twenty-five years, William Morris has captivated and intrigued the artistic community with evocative and beautiful glass sculptures.

Emerging artists. Austin Littenberg.

Our web

Austin Littenberg was introduced to glass during a demonstration at the Corning Museum of Glass in the spring of 2001. He was accepted into the glass program at Bowling Green State University and moved to northwest Ohio in 2007, graduating under Scott Darlington in 2011 with its BFA in glass. After school, Austin worked in Toledo, Ohio as a studio technician in the Glass Pavilion of the Toledo Museum of Art, while assisting many artists in private, teaching and working on his own creations until 2015. Now, Austin He lives in Northern Arizona and works full time as a glassblower, instructor and designer at The Melting Point in beautiful Sedona, Arizona.

www.amigosmava.org

Page 5



Andrea da Ponte in Corning.

Volume II — Number 122

June 2019

they did not let her send the piece

by FedEx because "the Argentine laws do not allow paying at destination, that is to say that they did not let the Corning Museum take charge of the parcel, and that it was me I had to pay here, with the dollars I had saved to attend the opening of the show. "

Before discovering her passion, The bangs are reborn after finishing Andrea was a gym teacher for 20 years. each work. Before, impossible, But one day he learned to blow because every time Andrea da Ponte blows incandescent masses glass, to transform broken siphons, at 800 degrees her hair is scorched bottles or windows into beautiful objects and even used car on her forehead. windshields to fuel the ball of fire He seeks art with the force of his decisive for his achievements. breath and shines imperfect worlds, airplane routes, submerged women "I started teaching throughout the who breathe underwater or portraits country. I spent years with my little of the Renaissance combined with bag, I went to the Art University of articles from The New York Times. Córdoba, which is the only one with an official degree and where you Andrea is a technician in artistic glass and next Sunday she will be a can practice as a teacher with a specialty in glass. Teaching was milestone: she will be exhibiting at my livelihood to be able to do my the Corning Museum of Glass in work, which does not leave me New York, one of the most nails, because in the action you are important sites in the world in the damaged, "explains Da Ponte, who field. also talks about traditional The artist will be the only Argentine techniques, such as casting glass, representative in the show New green pate and blown glass.

Glass Now, where she will exhibit "I emphasize in the classes that the work "Globalizado", a fivethere is not a David by kilowatt globe of blown glass in Michelangelo in glass at the first Lanús and chosen as an blow, but here there is failure and international cover to spread the discarding, but I say right away that event through social networks. you never have to get frustrated, It is a bubbling world, contained by but learn from mistakes. All my a framework of sheet metal strips experimentations were errors for that overflow seas and continents, six years, "says the artist, in humps that seem ready to graduated from the Normal of explode.

Avellaneda, formed in the Municipal School of Glass of Berazategui and "It also symbolizes the individual now selected in the world top of the worlds, those contained feelings specialty. that can be exacerbated", says Andrea, the only one chosen from The development of artistic South America among the 100 production in the country has artists of 32 nationalities that will be several pitfalls. "Here, for example, in the show. they cut off the light when your piece is in the oven, on high, and With his own technique of maybe you were modeling it for six transferring color images to glass, Da Ponte populates his objects with months. Well, when that happens, you lost the mold, you have to do it figures, words and silhouettes that give originality to this variant of the again. Of course, you can recover the glass ", Da Ponte graph on the arts of fire, different from works in first great difficulty. ceramics or enamel on metal.

Another is that there are not "It took me seven years to perfect enough ovens for the artists, who this experimental technique, but it was worth it: the piece was chosen manage to borrow in glassworks, factories or gift shops: "The issue is among the 100 best pieces in the world between 1,400, from 2015 to that several factories, because of here, in the special selection made the crisis, are turning off their ovens and the spaces to be able to do our by the Corning Museum for its 40 thing are very scarce. Neither at the years of life and will be exposed teaching level there is infrastructure until January 2020, "he says to blow this type of pieces ". accurately, while cutting a piece of pink glass with a scalpel.

The Argentine exhibitor was also faced with a bureaucratic difficulty: From clarín.com. May 5, 2019

www.amigosmava.org

Da Ponte ended up putting a thousand dollars out of his pocket, on account of a future reimbursement, had to hire a customs broker specialized in art and make thousands of procedures to send to the United States his world of glass about to explode.

How do you make a work in glass?

How much temperature does that mass turn on? How is it shaped later? Da Ponte responds in a teaching role: "You take the glass to 1,000, 1,100 degrees, incandescent. Then it starts to lower its temperature and you have to achieve a state where you can work it, let the glass take volume, and at the same time not dilute it, that the law of gravity does not pull it down. " "When it changes color you can keep blowing without it going down.

I hold the structure with two clamps at times, so that a collaborator comes and blows. We blow between 800 and 900 degrees.

And between 800 and 750 degrees the glass begins to take shape, it is still flexible to be worked on, "he adds.

Then, the piece goes down to 600 degrees and goes through a fourhour annealing process.

In parallel, Da Ponte arms a sort of tracing through vectorial image and then makes the color transfer, with a fixation at 560 or 580 degrees. "In spirit, it's like the stickers or tattoos that came with the chewing gum. It is a job with high definition, with 2,000 or 2,500 pixels, because my technique is a particular search of detail. Now, if I leave it at 600 degrees, the image tilts, loses focus, "he explains.

Immediately, the image is fixed through a curve of very slow rise and fall of temperature, so that the glass does not deform.

Andrea Da Ponte does not have sponsors or subsidies, she gives free talks, she shares her technical secrets and everything she earns she invests in the work.

"Glass art is relatively incipient in Argentina, so the idea is to sow seeds and others begin to replicate these techniques, which can be done from miniatures to gigantographies with an original aesthetic sense. I never made a traditional dish, I decided to take a risk and there we go ".

Page 6



Interview with Jésica Savino.

Volume II — Number 122

June 2019

What remained the same is the use of rudimentary tools, continuing with the same form of craftsmanship, transmitting the trade from generation to generation.

The changes were generated mainly at the energy level, achieving an efficiency in them (gas and electricity) typical of a company of the year 2020 (light through solar panels and gas through investments in state-of-the-art ovens).

the relationship between modern industry and artisanal Within the framework of the manufacturing. With this objective, celebration of the 70th anniversary the museum rescues the daily work of the birth of the San Carlos of the worker-craftsman, within a Glassworks, Jésica Savino takes us community whose identity has been into the history of the place and the inextricably linked to the San museum that includes traditional Carlos Glassworks. glass pieces and other treasures. In 2014, the city was recognized as One of the first tasks that had to be the National Craft of Craft Crystal. addressed was the conformation of the file. For this we could count on In San Carlos, province of Santa the contribution of the workers, Fe, they are preparing to celebrate their relatives and close associates, the 70th anniversary of San Carlos who lent their selfless collaboration Glassworks, the factory that led the to this project that reflects an city to be distinguished as the important part of the history of their National Craft Crystal Cradle in locality.

2014. Over the decades, several generations of families worked in How were these years, what the company, as is the case of changes were taking place, what Jésica, who is the daughter of one remained the same? of the blowers.

Cristalería San Carlos is a Today she tells that she was company that began its activity in inspired by the moments of creation October 1949. In the post-war and knows in detail the work emergency, the insertion of dynamics and the production of the traditional European manufacturing place. in the Argentine economic field generated a specific relationship She grew up, decided to train as a between small industry and manual museologist in Rosario, and when workers, all this due to the policy of she returned to her city, she wanted import substitution of the to preserve the history of Cristalería government of Perón.

San Carlos through the creation of a museum.

In this way, the opening of the company transformed a small rural "The museum rescues the daily town into a pole of sustainable work of the worker-craftsman, regional development. within a community whose identity has been linked indissolubly to the The production of fine glassware San Carlos Cristalería - detail and was the result of constant aesthetic follows- The documentation is and technical searches, without made up of photographs, oral abandoning the traditional manual testimonies, old tools, pieces made manufacture of glass. by glassware in its first period, back The artisanal production method in 1950, going through with minimal machining was refined representative models from the for more than half a century of local following decades to the most trajectory. current ones, as well as some unique works built on the initiative But to survive economically, the of the operators ". factory community has developed constant experimentation, How was the idea of having a achieving pieces of remarkable museum of its own and how did quality, even with international they preserve the history of recognition. these first 70 years in the factory?

Glass production also became an indicator of economic and crisis The project to create the Museum of Glass was born in 2001 and was booms, being linked to domestic conceived by one of the founders of consumption always variable, which has created social links the company, Don Anselmo between workers, the company and Gaminara. the city itself, which include daily The aim of the museum is to and personal treatment. highlight a unique cultural heritage: Posted by objectsconvidrio.com

www.amigosmava.org

How are they maintained in a time of crisis?

In both 2016 and 2017, the San Carlos Cristalería made investments, thanks to credit lines provided by the provincial government, incorporating technology and new foundry systems.

This made it possible to reduce and make more efficient the energy consumption, which also decreased due to the crisis.

In the last two years, the drop in sales and cost increases translated into fewer workers, from 120 to 80.

This situation led Cristalería San Carlos to make the decision not to replace the workers in retirement age and to cut some positions. This reduction is what today allows the SME to continue betting on the future.

What are the actions planned for this special celebration?

In commemoration of the 70th anniversary, Cristalería San Carlos celebrates with the launch of its own wine brand. Cuna de cristal is a wine developed in San Carlos, by our sommelier Vera Gaminara, who with her experience and knowledge, carefully chose a wine that complements the quality of the glass that characterizes San Carlos.

We are also working on a schedule of samples to be developed during the year, in the month of October in the city of Rosario, in November at the Glass Museum of Altare Italy, and we continue with the work that we have been developing with an agreement between UNR, UNL and ENSAD the School of Arts and Crafts of Paris.

In addition to the festivities of a company that reaches its 70th birthday in Argentina!

Behind these pieces is Martín Peralta, another of the "sons" of San Carlos: he is the designer of the factory and the son of a historical carver.

With his experience and modernity managed to aggiornar the traditional pieces to a contemporary aesthetic that today places San Carlos in a prominent place in the field of blown glass in the world.

Page 7



Exhibition of Javier Gómez. from the beginning.

June 2019

To his first pieces he baptized them as twisted, later he would arrive at the process of naming the movement he was approaching, kinetic constructivism and his first exhibition in Alcorcón with twenty pieces.

Volume II — Number 122

With the nineties his workshop in Pedro Bernardo arrived: his decision to create in glass was taken and with it that new way of life that has led him to walk fused with glass for more than thirty years.

The number of pieces she has created exceeds one thousand and she says that what has interested her has been her own creation, independent of the technique she considers that she can mediate and freeze the freshness of creative ideas.

His passion has always been to create sculptural pieces with a volume that gave them their own light and also, their own color from the white of the glass.

In those first years the bet for the target was a flight of the decorative aspects.

From ayto-alcorcon.es

donation of Sandro Pezzoli.

Friday 24 May 2019 7:00 PM

Currently the MAVA has 242 pieces that start in the 70s that Until Thursday 13 June 2019 Javier Gómez, one of the leading provide a current, risky and exponents of contemporary glass modern vision of contemporary sculpture internationally, this year art with glass as a support.

Today the MAVA, which houses is in luck. His hometown, Pedro Bernardo, where he also has his five pieces by Javier Gómez, studio, has opened a museum to receives visitors with one of the most emblematic and also the house his work, the Glass most spectacular, Horizonte of Sculpture Museum. the year 1988, which responds The new space houses thirty to its creation stage with glass works that the artist renews sheets and cold cuts. periodically and that allow to

Alcorcón is also where he began The second city of Javier Gómez to make his first sculptures in glass in 1986, in the industrial is Alcorcón. Here he was the impeller and soul of the Museum glassware where he worked and that led him to know first and of Art in Glass of Alcorcónlater discover and intimate with MAVA, which has more than the material, glass, which would twenty years of history, turned allow him to reach Become the into a national and international reference of contemporary art in international reference artist that is today. glass.

Another Castilian artist, the Born with the donation of the Japanese collector Takako Sano, segoviano Joaquín Torres Esteban, was his first reference a friend of Gómez and a of art in glass and the reference in the art of New possibilities he saw dazzled him Glass, he has now added the know his pieces.

www.amigosmava.org

Almost with the turn of the millennium came a risky decision: work with color. The gray, which allowed him to translate it into black, was followed by the wonderful / decided / tenuous / amazing tones that today coexist in his work with different textures, in an exercise of spinning glass sheets that manage to dye his pieces and fill them with emotions.

The Madrid gallery Van Gogh Art Gallery opens the doors to his exhibition Organic Abstractions, in which eight pieces, some of them of recent creation, will bring the public closer to the universe of Javier Gómez.

The new Madrid exhibition space Van Gogh Art Gallery was born with the intention of creating a unique space for contemporary art in the heart of Madrid and seeks to become a point of reference in the national and international art scene.

Location: VAN GOGH ART GALLERY Calle Hileras, 6 Madrid.

In an article published by cadenaser.com you can listen to an interview with Javier Gómez.

Page 8

Activities Museums I.

Volume II — Number 122

June 2019



www.amigosmava.org

Page 9

Activities Museums II.

Volume II — Number 122

June 2019



www.amigosmava.org

Page 10

Activities Museums III.

Volume II — Number 122

June 2019



www.amigosmava.org

Page 11

Activities on the MAVA. New room.

Volume II — Number 122

June 2019



In the Museum of Art in Glass of Alcorcón (MAVA) can be visited from May 8 a new room of the permanent collection.

Installed on the ground floor, next to the recently opened room of the Bellini & Pezzoli Collection, this new room houses 25 works from the museum's collection under the title "Breaking the glass ceiling".

The selection responds to the desire to create a space in which to give visibility to women as muse and, above all, as an artist.

It brings together European, American and Asian creators, from the pioneers of Studio Glass to the present, who use different and personal languages, and who have contributed in a definitive way to the enrichment of contemporary art made of glass.

"Within the MAVA collections, we have made a selection that explores the gender perspective and proposes a reflection on women as inspiring and, above all, as a creator. In this sense, we have works such as the rereading of the relationship between nature and humanity of Maria Lugossy in "The Birth of Venus" (1996), the protective armor of Philippa Beveridge or the playful deconstruction of Kazue Taguchi in "The eyes speak more than the words "(2008). Special mention requires the existentialist symbolism of artists like Monika Úz, Pilar Aldana and Ana Thiel, whose titles of works coincide in allude to the soul.

Florence Perkins. The symbolism of Elvira Hickert and Ángeles San José or the animism of Raquel Stolarski-Assael and Isabel de Obaldía. The abstraction of Magdalena Kucharska (1963) or Eva Vlcková (1966). The expressionism of Gisela Sabokova, among other attributions.

Once liberated from gender roles, the artist exercises her work on equal terms with men, entering strongly into museological institutions and the art market. From the MAVA, we believe that it is time to build a space of two-way dialogue between male and female artists, to seek mutual enrichment and thus reach an effective and respectful equality. "

Other works, however, are included within the Sheila Reinoso Blázquez movements of the moment.

Conservator of State This is the case of the Museums. organic proposal of Mary Ann "Toots" Zynsky or

www.amigosmava.org

Page 12

Prize for Alicia Durán.

Volume II — Number 122

June 2019



From vidrioperfil.com.

Alicia Durán is a research professor at the CSIC, the Spanish Research Council. He has developed his entire professional career at the Institute of Ceramics and Glass (CSIC), leading the GlaSS research group in the Glass Department. She has also been Secretary of the Glass Section of the Spanish Ceramic and Glass Society for more than 25 years.

Professor Duran graduated in Physics from the National University of Córdoba, Argentina, in 1974 and obtained a PhD in Physics from the Autonomous University of Madrid in 1984. In 1988 she received the Gottardi Award from the ICG for young glass researchers.

The Phoenix Prize Committee has selected Professor Duran to receive the prestigious Phoenix Prize this year in recognition of her extensive work in the research of glass, glass-ceramic and sol-gel materials, from basic research to applications in the sector of industrial glass and other uses of vitreous materials.

The topics related to energy and environment research are the objective of most of the projects developed by

Professor Duran in the GlaSS group, recognized as a CSIC excellence group.

Different materials and components for fuel cells and lithium batteries, transparent nano-vitroceramic for photonic applications or glass and glass ceramic for SOFC, are combined with environmentally friendly and protective anticorrosive coatings, mesostructure films with photocatalytic activity. and multi-functional sol-gel coatings.

He has maintained an ongoing collaboration with the Spanish and international glass industry, on relevant issues; from the improvement of the energy saving in the furnaces, the environmental problems and the systems of control of emissions or recycling, up to the certification of the alimentary hygiene of the containers of glass.

of national scientific and technical organizations, with particular interests in the science and technology of glass.

The goal of ICG is to promote and stimulate understanding and cooperation between glass experts in the fields of science and technology, as well as art, history and education.

A particular objective of his presidency focuses on the promotion of women in the entire field of glass.

Professor Alicia Durán has made an outstanding contribution to the world of glass science and technology throughout her career and is recognized as a winner of the Glass Person of the Year 2019 award.

"Alicia Durán has dedicated her life to research on glass, education and knowledge transmission," said Jean-Luc International cooperation and Logel, Chairman of the teaching have always been among its essential objectives, Phoenix Prize Committee for 2019. upon receiving the Roots Award for International "Her broad knowledge is Cooperation in Argentina in combined with her great 2014. simplicity and exceptional Since September 2018, she is generosity.As a scientist and as a human being, Alicia the President of the perfectly embodies the values International Commission on Glass, an international society of the PAC."

www.amigosmava.org

Page 13



Interview with Lara Fluxá.

Volume II — Number 122

June 2019

Pierre Huyghe and others-?

From neo2.com.

The island artist Lara Fluxá (Palma de Mallorca, 1984) works the perception of the invisible from transparent materials such as water, often salty, the glass in whose artistic work she is specialized and other phenomenological ones such as air or light. Familiar elements possessing their own poetics whose nature has led them to be interested in the fragility and potentiality of risk or accident. In its subtle artistic practice, an ecological conscience constantly emerges that questions the delicate balance of the ecosystem and the consequences of its breakdown, to approach the possibility of posthumous creatures and to live and die without impact.

María Muñoz: Yours is a very consistent and consistent artistic career, since 2010 with only 2526 years you start working with the sea and salt. Your "Salinity Studies" conducted in seven seas -Red, Dead, Baltic, Mediterranean, Sea of Azov and Bering Sea- are proof of that. I suppose being from the Balearic Islands and being surrounded by water has to do, right?

Lara Fluxà: I would not mind including myself in that list, because the issue affects me and alters me. However, on an artistic level, I am very interested in the mental perception of risk, the futuribles that we are able to imagine when we sense that something is potentially dangerous. Everything that is activated there. It is true that I have worked on this risk awareness by investigating materials, places or situations where the action / negligence of man influences a natural environment, conditioning it, attacking the ecosystem and its immediate inhabitants. They are works developed and thought essentially through water as matter, which allow me to analyze the reliability of its crystalline aspect and the security that awakens the transparent. So, beyond a deep analysis around which to live, a place where you the ecological situation, I am have to adapt. When I was little- interested in activating the mental it was the year-my parents and a idea of threat and risk. couple of friends built a boat.

María Muñoz: In your research The idea was to cross the you use an almost forensic Atlantic, so they left everything approach, but with a high degree and we sailed the two families: of poetry in the execution of the four adults and three girls. My works, is it scientific poetry or family did not go that far, we poetic science or both, poetry and went down in Morocco. Travel science? frustrated! After that, every year Lara Fluxà: There are subjects or we spent a month and a half in elements that I work with that carry the sea, I grew up with the sea a strong poetic, political and and with a lot of salt. physical load and in one way or María Muñoz: You say that salt is another, they end up manifesting a living and fragile element, a all at the same time. Put another dynamic fact. Can you elaborate way, there are materials that for this idea a bit more? me are understood from the poetic Lara Fluxà: I like to think of salt of their physical or political condition, although I think you also as that solid part of the sea, refer to the aseptic format that I dissolved and suspended, generate in some sculptures or invisible in a liquid, but when it installations, to approach concepts evaporates, it appears. Above all, understand it as a matter that such as "reality", "truth "Or" utility reacts to the environment, which "... is affected, by moisture, sun, etc. it dissolves and it crystallizes again. Then it is also a fact, knowing the level of salinity of a water we can determine the sea from which it comes.

María Muñoz: Exactly!

Lara Fluxà: Science tries to give information of a concrete reality, but there are many more. For example, I propose the action of measuring as a useless strategy to María Muñoz: Ah interesting! face what is uncertain. Science And from salt you pass to limits the possibilities of perceiving pollution. In a trajectory of scarce what is analyzed beyond the result ten years your work points it offers, that is why I modify and Lara Fluxà: Salt water for me has towards the delicate ecological alter instruments and been a daily element, almost situation of the planet. Do you measurement processes, domestic, something very consider yourself one of those amplifying their possibilities and common. A matter that regulates artists linked to the generating new results that until rhythms and that conditions how Anthropocene, a line or trend - I now were not taken into account. to move in a limited and say trend because suddenly delimited space, an island. The there is a lot of artistic activity on The rest of the interview can be sea is also a different medium in that "very important" topic, i.e. seen through this link.

www.amigosmava.org

Page 14

Explanation to the enigma.

Volume II — Number 122

June 2019



The glass found in the Egyptian desert was created by a meteorite impact and not by an explosion of atmospheric air, according to the scientific explanation of an enigma almost 100 years ago.

evidence of the earlier presence of a high-pressure mineral called reidite, which it only forms during a meteorite impact.

"It has been a subject of ongoing debate about whether glass was formed Published in the journal during the impact of a Geology, an investigation meteorite, or during an air examined small grains of explosion, which occurs mineral zircon in glass when asteroids called Near samples from the Libyan Earth Objects explode and desert, which was formed 29 deposit energy in the Earth's million years ago and is atmosphere. "Cavosie said located in several thousand in a statement. square kilometers in western "Both meteorite impacts and Egypt. air outbursts can cause It is almost pure silica, the Canarian yellow crystal that was used to make a beetle that is part of King Tut's Pectoral.

explosion gained popularity after a spectacular explosion in Russia in 2013, which caused great damage to people and damage to humans, but did not cause the materials of the surface melted.

"Previous models suggested that the Libyan desert glass represented a large 100-m3 air explosion, but our results show that this is not the case," Cavosie said.

"The impacts of meteorites are catastrophic events, but they are not common." Air explosions occur more fusion, however, only frequently, but now we know meteorite impacts create that we do not expect a glass shock waves that form high- formation event in the Libyan pressure minerals, so finding desert in the near future, evidence of the previous which is a reason of some reidite confirms that it was comfort. " created as a result of a The research team also meteorite impact, "he included the director of the explained.

Museum of Natural History in

The lead author, Aaron Cavosie, of the Space Science and Technology Center at Curtin's School of Earth and Planetary Cavosie said the idea that Vienna, Professor Christian Sciences, said that the the glass could have formed Koeberl. zircons in the glass preserve during a large atmospheric

www.amigosmava.org

Page 15

Bernardí Roig at the Venice Biennale.

Volume II — Number 122

June 2019



Bernardí Roig (Palma, 1965) repeats at the Venice Biennale, the most important art exhibition in the world that opened its 58th edition with the participation of 90 countries in as many pavilions, to rub shoulders with the greats.

If in previous years this project combined works of the Chinese artist Cai Guo Qiang or the Iraqi architect Zaha Hadid, in the sixth edition of this exhibition, which has been curated by Koen Vanmechelen and Vik Muniz, Roig shares space with other artists The Mallorcan artist, who from Europe, United States was already present at the United, South America, last show of this great India and China, some of international art meeting, in international renown, such 2017, is part of a collective as Ai Weiwei, Jaume promoted by the Plensa, Joana Fondazione Berengo, Vasconcelos, Jean Arp, called Glasstress, which Jake and Dinos Chapman, can be visited from May 9 Oksana Mas or Tracey to November 24 in the Emin. island of Murano, known as the island of glass and A selection of height to famous for the tradition of commemorate the ten blown glass. years of Glasstress and the thirty years of the Glasstress was born in Berengo Studio, founded in 2009 with the purpose of 1989 by Adriano Berengo. recovering the use of glass in a contemporary key.

The works of this collective Since then, various are marked by creators have exploited the experimentation and can different possibilities that be seen in an old oven of this material offers, through the early twentieth century sculptures, installations or converted into an design objects. exhibition space.

www.amigosmava.org

The piece exhibited by Bernardí Roig, linked to Kewenig, is entitled Il Diavolo e Le Due Teste di San Giovanni, and was made on site in Venice in 2011 for the Glasstress of that edition.

In recent years the work of Bernardí Roig, always obsessive and disturbing, has been shown in numerous museums and international institutions, including the Alte Pinakothek in Munich; The Phillips Collection of Washington D. C .; the IVAM of Valencia; the Carlo Billotti-Villa Borghese Museum in Rome; or the Palazzo Fortuny in Venice.

And in galleries such as Max Estrella (Madrid), Galerie Klüser (Munich), Galerie Kewenig (Berlin / Palma), Galleria Cardi (Milan) or Galleria MarieLaure Flesch (Rome and Brussels).

Page 16

The Roman glass in museums in Madrid (XLX).

Volume II — Number 122

June 2019



Eduardo Alonso Cereza

Minerva is often considered the goddess of most worker and artisan schools because she was conceived as the protective goddess of the industry.

treasured and defended with great care was transmitted orally and gesturally to the initiates, and ended up being part of the liturgies sustained for a long time through the same oral channels or gestural

for a period of five years; with the terms of magistri and rectors alludes to the presidents of the schools.

The organization of Roman professional associations is usually a reflection of the The day on which its main It is an atmosphere of magical organization of urban life. celebration was celebrated, character that had to print a Employers were personalities of the Quinquatrus (March 19), strong suggestion about the great influence in the business received the name of ArtĂ­ficum young people who were and political context that had admitted to participate, with Dies. been absorbed. this awareness was taken of It is common for artisan The position was representative, the category to which it associations in the provinces and they obtained promotion belonged, and it became to choose indigenous deities competitions close to the evident another channel of as patrons. governing bodies. learning in the school.

Each corporation maintained Each city, municipality, colony or Normally professional its own cults that it kept with province had the figure of the associations had their care and vigilance.

Patronus. Up to this point the magistrates or association professional colleges studied They produced a mixture of presidents. are made up of urban nuclei, but behaviors more or less To them we had to add the there are also rural schools common to all with other practices that were particular different hierarchical orders in because the people who work in their conformation. The the countryside were associated to the artisan category; with the latter, tradition and mystery position of rector appears less in the same way. frequently. remained.

There is evidence of the Waltzing considers that the existence of schools of rural Where this fact is most rectors were the presidents of owners and farmers centuriae, perceived is in special the colleges, and like the forming professional groups that celebrations, where the magistri, they would be elected are true rustici colleges. professional knowledge

www.amigosmava.org

Page 17



N E W S (I).

 Glass bridge in China.

Volume II — Number 122

June 2019

bridge hangs more than 100 meters above ground level in the park.

It is made of 35 mm thick glass sheets.

Each glass can support a maximum weight of 4.7 tons.

Around 2,600 people Park in Huaxi village, in Aerial image of May 4, can cross the bridge at 2019 of tourists walking on Jiangyin city, Jiangsu the same time. province, in eastern China. the glass bridge in the Huaxi World Adventure The 518-meter long glass 

Culture 2019.

Last May we visited the Prado Museum.

The Museum, in the framework of the celebration of the Bicentennial, with the collaboration of the Community of Madrid and the Fondation Beyeler and the support of the Embassy of Switzerland and the Mirabaud Group, presents "Giacometti in the Prado Museum", one of the most influential artists of the twentieth century, who conceived art as a single and simultaneous place of confluence of past and present time.

Although he never traveled to Spain, he attended in 1939 the exhibition Chefsd'œuvre du Musée du Prado held in Geneva, where a large part of his collections had been moved during the Spanish Civil War. In this exhibition several of Giacometti's favorite painters were represented, such as Durero, Rafael, Tintoretto, El Greco, Goya or Velázquez.

Carmen Giménez, its curator, conceives the exhibition as a posthumous walk, where the sculptures of the artist pass through

www.amigosmava.org

the main galleries of the Prado.

The 20 works exhibited -18 sculptures and two oil paintings- come from national and international public and private collections.

The tour begins in the room of Las meninas de Velázquez, continues in front of Charles V in the battle of Mühlberg by Titian, near the Lavatory of Tintoretto, runs next to the work of El Greco and contrasts with the colossal bodies represented by Zurbarán in his Hercules series.

Page 18

N E W S (II).



Prize for Luis Machi.

Volume II — Number 122

June 2019



The Minister of Economy, Business and Employment of Castilla La Mancha, Patricia Franco and the provincial director in Albacete, Nicolás Merino have delivered the Regional Prize of Crafts 2018 

"Miguel de Cervantes", in the category to the Best Product Albacete artisan Luis Machi, of Albacete.

The award has been given to him for his design "Boletus", during the celebration of FARCAMA Primavera.

This recognition is intended for products or collections made and marketed by a craftsman or artisan company that serve as a meeting space for the promotion of a collaborative culture among artisans.

Iznik's tiles. clay unearthed in Iznik.

The other characteristic of the Iznik tile is its pattern.

In tile patterns, the drawings are not painted exactly the same, but are drawn with horizontal and vertical sections.

In addition, the colors used are placed under a glass like relief.

The district of Iznik in Bursa was one of the largest centers of tiles in the Ottoman era.

century.

The Iznik tile today can be seen in museums and special collections outside palaces, mosques and tombs, built in the Ottoman era.

The most important feature that differentiates Iznik tile from other A tile belonging to the fifteenth The history of tile art, which is one tiles, is a type of glass called "fried" century was auctioned for 5.4 of the most important branches of in its mass. million pounds (39.3 million Turkish crafts in Ottoman times The fried is mixed with a quartz in Turkish liras) at the auction and is also known outside of house Christie's British in 85% rate and with a very special Turkey, dates back to the 15th 2018.

www.amigosmava.org

Page 19

The glass in Museums: Qinhuangdao.

Our web

Volume II — Number 122

June 2019



As the first national glass thematic museum in China, the Qinhuangdao Glass Museum is built on the ruins of the Yaohua glass factory built in 1922 (the ruin itself is a national unit for the protection of cultural relics).

cultural installation that integrates functions of collection, research, education, exhibition and recreation.

give full performance to public service and universal knowledge.

Qinhuangdao aims to turn the glass museum into a The Qinhuangdao Glass window for the Museum is not only an presentation of culture, exhibition platform for the the base for scientific culture and dissemination, the basis craftsmanship of glass, a for education on The museum, located at window for people to patriotism and a famous 44 Wenhua Road, have knowledge of the landscape scenery.

Haigang District, covers glass industry, but also a Address: No. 44 Wenhua an area of 11.25 Mu and presentation card to Road, Haigang District, a construction area of show the essence of the Qinhuangdao 2822 square meters. culture and shape the Bus route: take bus image of the city.

It consists of four parts: number 2/8/19, get off at the Exhibition Area, the The museum is open to Ditaonankou bus stop and Ruins Park, the Thematic the public free of charge head south for 100 Restaurant and the Office and performs service meters.

Area, all forming a public activities regularly, will

www.amigosmava.org

Page 20

Recycling. The brewing sector.

Volume II — Number 122

June 2019



Spaniards opt for beer when they consume drinks outside the home and it is a food that is part of the Mediterranean way of life and the typically social consumption of Spaniards. In this sense, the CEO of Brewers affirms that "the brewing sector encourages good practices such as the use of reusable and recyclable elements and promotes that merchandising products are manufactured with materials of renewable origin".

80% of the volume of sale in the hotel industry is in reusable packaging, as well as developing a standard reusable bottle for the format of 1/3 for the whole sector.

"The objective of continuing to promote the sale of beer in reusable packaging is not only to reduce packaging waste, but also energy consumption, water and material consumption and, in particular, the reduction of CO2 emissions," says Jacobo Olalla Marañón.

The premises for action in terms of sustainability of the beer sector are focused on promoting the circularity of packaging throughout the value chain, "The Spanish beer sector, for its promoting reuse, recycling and leading position in the agri-food prevention of waste disposal, as sector, has strategically opted for well as promoting the ecodesign of containers and packaging and a circular economy model, reducing the weight of primary, establishing intersectoral secondary and tertiary agreements with agents in the containers. production and consumption chain to efficiently minimize the Throughout 2018, the beer impact of the life cycle of each sector put on the market more beer. In the last two years, the than 5,000 million containers, of Spanish beer sector has which about 57% were made of allocated more than 20 million glass, 42% of aluminum and the euros in environmental rest, plastic and steel barrels. investment in the 540 processing The latest data from the sector centers "clarifies Jacobo Olalla show that almost 46% of beer is Marañón, general director of sold in reusable packaging, 12% Brewers of Spain. more than in 2013, and that 99%

Environmental sustainability also affects packaging manufacturing material, which in the case of the beer sector are basically glass and metal. Since 2008, the rate of recycling of single-use glass containers from the beer sector stands at 73% -21% more than in 2008-, while the rate on metal packaging has already reached 86% , 44% more than a decade ago.

The circularity of the packaging and the promotion of ecosustainable and efficient designs constitute one of the main strategic lines of action of the beer sector in the field of environmental sustainability with a compliance horizon for the year 2025. The Spanish beer sector, fourth beer producer of the European Union, recalls on the occasion of the celebration of World Recycling Day, its commitment to a sustainable and responsible global activity that seeks to achieve maximum energy efficiency, reduce the carbon footprint and improve the efficiency in the use of water.

The first Sustainability Report of the brewing sector details that the hospitality industry and tourism center a large part of the performance of the beer sector since beer is the most consumed cold drink in the hotel industry. In addition, three out of four

of the waste in the beer sector is valued.

Looking ahead to 2025, the sector continues its commitment to the reuse of packaging and poses a revolution in terms of sustainability: to achieve that

www.amigosmava.org

In this sense, the brewing sector is betting in the coming years to reach 80% of the recycling rate in single-use glass containers and 90% in metal containers. In addition, the sector suggests that by 2025, 80% of the composition of glass containers originates from recycled materials; At present, 70% of the material of the glass topaz containers is recycled. As for metal, the companies associated with Cerveceros de España support the advances of the metal packaging sector, betting on increasing the content of recycled aluminum in the packaging.

Page 21

 Our activities.

Volume II — Number 122

June 2019

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 2019.

 Cultural visits. representing all the stained glass techniques and the most outstanding artists in the history of glass.

About 50,000 objects representing more than 3,500 years of history are displayed in its galleries.

In this month of June follows the visit of our President and our Secretary to the Corning Museum of Glass.

His impressions are that it is an impressive museum with glass backgrounds, both ancient and contemporary,

In addition, this year the New Glass Now is celebrated, a show in which 100 artists from around the world participate.

 CULTURE 2019 program.

This June we will visit the Prado Museum to see the exhibition "Fra Angelico and the beginnings of the Renaissance in Florence".

Fra Angelico is one of the great masters of the Renaissance, and was responsible for the first great artistic achievements reached in Florence at this time, together with the painters The exhibition will study Massaccio, Masolino, the beginnings of the Uccello and Filippo Lippi, Florentine Renaissance the sculptors Ghiberti, around 1420 and 1430, Donatello and Nanni di with special attention to Banco, and the architect the figure of Fra Angelico Brunelleschi.

(Guido di Pietro Muguello, 1395/1400 The Annunciation will be 1455). a central work of the www.amigosmava.org

exhibition and next to it will be included two other Fra Angelico paintings recently incorporated into the Museum's collection: the Funeral of San Antonio Abad that accompanied the acquisition of the Virgen de la Granada, both works from the collections of the Duke of Alba.

The exhibition can be seen until September 15.

Page 22

Stained glass windows by Cuban artists.

Volume II — Number 122

June 2019



An exhibition brings together the work of two contemporary Cuban artists: Manuel López Oliva and Francisco Javier Suárez.

"I had to adapt," he added, "my way of structuring visions, textures and shapes, colors and figurative signs, to a technique not worked on by me before, adding loose lines and strokes accented by instruments that are placed halfway between the Chinese brush and down ".

The one that "when I worked, I thought that the other stained glass window had nothing to do with the huge one that I made in SECRISA in 2008, to place on the façade of the Bayamo theater in that Granma city."

In that sense, he said that by taking on this challenge, he recalled the Gothic stained glass windows seen in Europe, the polychrome glass of Prague Art Nouveau, the chromatic experiences of Fauves and So said the renowned painter Nabis glass, the Italian blown Manuel López Oliva (Manzanillo, glass, the stained glass windows 1947), after his experience in the based on works by Amelia creation of stained glass and the Peláez and Portocarrero, very stained-glass windows, together much of the art of the world that with the master craftsman of that is sustained in the coloristic genre, Francisco Javier Suárez, transparencies of dissimilar which was a moment of learning creators of the 20th century. and unique findings. " "I did not forget either," he After venturing into this millennial added, "the French cathedral of genre of visual arts, the also Le Corbusier. Laura - a formative prestigious art critic (Premio profession as a theatrist and Nacional de la Crítica Guy Pérez theater teacher - one of my Cisneros, 2000), emphasized current professional assistants, that "all art experiences are who has saved my spirit and the nutritious. Sometimes they are desire to create, accompanied searches that operate in the me in that encounter with the codes of expression, others have magic of the crystals cut, to do with the very materiality of assembled, repainted, and the artistic product that is made, designed to dispose in an old and there are cases in which screen structure that had to what counts is to find a new way eliminate the gloss I had diulzón. to dialogue with the public.

They were days of alchemy and design, of enjoying the non-

www.amigosmava.org

dominated technique and accentuating a certain expressionist accent to visual formulations whose meaning is hedonic, lyrical, very sensual and destined to create an area of crystalline pictorial beauty in the space for which they decide to acquire the whole " Obviously satisfied with this experience, the renowned master of plastic arts said: "All art experiences are nutritious.

Sometimes they are searches that operate in the codes of expression, others have to do with the very materiality of the artistic product that is made, and there are cases in which what counts is to find a new way to dialogue with the public. " The exhibition where these attractive works will be presented has been inaugurated last Friday, May 3, at 4 o'clock in the afternoon, in the Manos Gallery, of the Cuban Association of Artisan Artists (Acaa), in Obispo between Compostela and Aguacate, Havana Vieja, "where they will be able to enjoy, within the exhibition of Francisco Javier Suárez, the result of that vitralic adventure. They will also be able to appreciate it in later days, "said López Oliva.

Page 23

Other trends. The rescue of the treasure of the ray.

Volume II — Number 122

June 2019



In the small Portuguese town of Barrancos they say "ansina" instead of "asi"; or "proprio" instead of "propio". And not when they speak in Portuguese; not even when they do it in barranqueño (the local language, strongly influenced by the inhabitants of Huelva and Badajoz who live a few kilometers, on the other side of the border), but when they speak in Spanish, as the variant of this language there knows how to use almost everyone keeps old words of Castilian, already almost disappeared elsewhere. It is something like a natural language reserve.

This supposes a cultural richness that adds to other particularities of the municipality, like that barranqueño dialect that uses Portuguese words with Spanish grammatical structures and sounds with accent that remembers the Andalusian and the Extremaduran (for example, when aspiring the final eses). In the streets of this municipality of 1,700 inhabitants, with its houses whitewashed with colored stripes, in the numerous bars or in the cultural center where a group of retired women makes crafts, you can hear jumping naturally from one language to another, according to the interlocutor.

Antonia Navarro, 77, and Isabel Caeiro (74) explain that Spanish is being used less and less on a daily basis - "above all we speak among the elderly" - but that many traditions from the other side of society remain strongly rooted. the border, a few hundred meters in a straight line. Cured a Serrano ham with denomination of Iberian origin, the bullfights are made with the death of the animal (it is the only place in Portugal where it is still allowed) and the romances, songs and carols in Castilian alternate

with Alentejo music in all celebrations popular

There is in Barrancos a treasure, in short, linguistic and cultural, typical of the mixture in border territories, which is repeated with a multitude of variants in hundreds of towns along the more than 1,200 kilometers of line that separates Spain and Portugal, one of the oldest and most stable interstate confines in history. And that a large group of linguists - led by researcher at the University of Alcalá Xosé Afonso Álvarez Pérez is trying to study and register before it's too late. The cultural homogenization brought about by advances such as universal schooling and improvements in communications, coupled with the growing depopulation, mean that all those particularities are lost at full speed. .

In a first phase, the Border SpainPortugal project: linguistic and bibliographic documentation has made "tastings" in 64 locations along the entire line, which translates into interviews recorded in audio and video in which the locals chat about their life and customs (contraband has its own section) and that serve to capture the singularities of the language.

Three examples: trascuñar means to stay transposed, half asleep; to taunt, to eat, to chew; and a fretwork is from time to time. The web of the project is hanging all that material (there are more than 2,100 records), the bibliography and a dictionary (the lexical treasure of the Spanish-Portuguese border) with maps to locate each word.

For a second phase, until 2022, researchers have obtained 70,000 euros of funding from the Ministry of Science. They will use it to delve into two small areas between

www.amigosmava.org

Portugal and the provinces of Zamora and Ourense. Also in the most peculiar towns, like Olivenza, in Spain, or in Barrancos. A particularly singular case, the latter, since "it is probably the only case we know of two Romance languages that give rise to a third, the Barranco," says the professor of Romanesque Philology of the Complutense of Madrid María Victoria Navas.

The City Council of the latter is about to sign an agreement with the University of Évora to give the barranqueño, now purely oral, a solid and written linguistic structure. explains the mayor, João Serranito Nunes. At the moment, Carla Pica, municipal advisor and language teacher, hopes to take time at some point to continue her studies on oral literature in Barranca.

He remembers the stories his grandmother told him - "in one they used the bones of the villain to make a chair" - and he is excited to explain that at home, during family meals, the three languages are used happily at the same time in the same conversation: "My parents speak in Spanish among themselves; in barranqueño with my brothers and with me, and my aunt, who is from the north, responds in Portuguese. " He admits that, as an everyday language, only the elderly continue to use Spanish, but he adds that everyone knows and uses it when necessary. TV is usually seen in that language; for any need, the nearest town, 14 kilometers away, is Encionasola, in Huelva; many cross-border marriages continue to occur …

In the village casino, Manuel, 72, adds with resignation: "What a remedy! You Spaniards are very lazy and they will never speak in Portuguese. "

Page 24

L'Olleria glass collection.

Volume II — Number 122

June 2019



sixteenth century, The Ministry of according to the Education, Research, bibliographical Culture and Sports has references found. recognized the The collection contains permanent glass about 1,000 pieces museum collection of that represent all the L'Olleria, which styles and fashions of highlights the glass that have been protection, manufactured in preservation and L'Olleria from its dissemination of glass origins to the present. in all its forms, It has unique pieces including its relationship with local from the 18th century and the 19th century, crafts. although most of them The glass industry has are from the 20th been a source of century. wealth for many In the center of the families and has generated a network of room-museum there is a traditional glass oven auxiliary companies that has benefited the with all kinds of instruments to mold, prosperity of the work, give life and art people. to this incandescent In L'Olleria glass is material. worked since the From comarcalcv.com

www.amigosmava.org

The collection is located in the Casa Santonja-Palau dels Marau, a 19th century building declared to be of cultural interest due to the mural paintings it houses.

The building represents the enlightened and liberal nobility that led the political and economic society of the time.

The important mural paintings full of iconography and symbolism related to Valencian Freemasonry emerge from this power.

Particularly noteworthy are the 12 human figures in the main room that respond to allegories.

Page 25

A treasure in the heart of Malaga.

Volume II — Number 122

June 2019



glass and glass pieces with the necessary context for their Glass is an element full of mystery interpretation, creating an that has accompanied man from his environment that immerses us in earliest days being, together with the true domestic environment in ceramics, the oldest and most which the first owners lived", they known material. explain from the museum.

Paradoxical from its very essence Artists such as Salvador Dalí, it is made with opaque materials, Pedro Ramírez, Dale Chihuly but it is transparent; it protects, but known as 'the Picasso of glass' -, it is fragile; it can have an everyday Peter Layton, Matthias Klering or use and reaches an almost Elaine Hyde, among many others, uncountable value - it is a great come together in this space that, unknown to a large part of the together with the extensive public, which is not aware that it is permanent collection, organizes a real treasure. punctually curious temporary exhibitions, such as the one of To make known and value this genuine matter was born, ten years artisans that is exhibited at present. ago, the Glass and Crystal Museum The Glass and Crystal Museum of of Malaga.

Malaga is a unique space in the world. Each small piece that it More than twenty six centuries of contains is a work of art in itself, history collected in unique pieces, like a Greek vessel from the 6th which stand out for their beauty, century BC, elaborated with glass complexity, and for all they are capable of saying, without words, to paste and worked in layers in the anyone who is capable of listening. style of bronze, or a piece by the Czech artist Jan Stohanzi that, Whether it is Art Classic, that is, according to his own The center's works designed by an artist and manager, not even the glass made by an artisan, as if they collector since he was 10 years old, correspond to Studio Glass, those knows how it is made. whose projection and execution is Therefore, it is not surprising that at the expense of one's genius, the museum has exclusive objects these pieces have an incalculable of the highest value, which only find value that transcends the decorative and turns them into pure similar items in international galleries such as Tel Aviv or Moma history of humanity. in New York.

Also, this private collection It also deserves special mention for composed of more than 3,000 its stained glass windows, which pieces of glass and glass, is give rise to an exceptional setting accompanied by an important with impressive creations by artists pictorial sample, as well as books, such as Luis Boada Rolín, one of textiles, furniture and decorative the founders of the Unión de objects that correspond to each Artistas Vidrieros de Irún, or the historical period they represent. cursed creator Jak Melchior.

"These items, in addition to having great value in themselves, provide From diariour.es

www.amigosmava.org

But not only the content is really amazing in the Museum of Glass and Crystal, so is its continent, an 18th century Malaga mansion, carefully restored, which is a true wonder in itself. Open spaces, wood paneling and a central patio that connects the rooms and turns them into a stage in which to imagine stories through each fascinating element.

In addition, this artistic space has another feature: all visits are guided and can be done in Spanish, English, French or Italian. This allows visitors to know, deepen and, therefore, delight in the history and curiosities of each object in the collection.

«The most interesting thing about glass are the mysteries it hides.

After a drink, in addition to an artisan work of exception, you can hide a story of love, betrayal, or the secrets of a lodge ... you just have to know how to interpret the riddle ».

According to its vocation of service and to spread the beauty of glass between Malaga and visitors, the museum plans an expansion of its facilities thanks to which, in addition to earning useful meters to incorporate more pieces to the sample, will include a 'garden crystal 'in which visitors, surrounded by beautiful works of Studio Glass, can sit and reflect, because only then "people are able to do things that are worthwhile."

The museum celebrates its tenth anniversary with a special day that takes place during its usual opening hours, from 11 am to 7 pm, the perfect occasion to (re) discover this Malaga treasure.

Page 26



The glass in the Grand Palais of Paris.

Volume II — Number 122

June 2019

the most avant-garde face of Spanish craftsmanship: José Luis Bazán (leather), Ferran Collado (glass), Ramón Espantaleon (ceramics), Henar Iglesias (feathers), Xavier Monsalvatje ( ceramics), Mercedes Vicente (textile) and Gregorio Peño (ceramics), one of whose works has been chosen to illustrate the cover of the catalog of 'Le Banquet'.

The works shown propose to the spectator a game of perceptions and representations of surrealist influences.

"The artists selected for this biennial are heirs of the complex world that is built around the trompe l'oeil," says the curator, Eloy Martínez de la Pera Celada.

«His works, stories of porcelain and leather, of Spain has had a Fundesarte, Laura glass and feathers, of prominent presence in Miguel. cotton and dust of Révélations, the The Spanish participation porcelain, platinum or international biennial of terracotta and gold, are has been promoted by crafts and creation, which forged in their own EOI School of Industrial has held its fourth edition Organization and its area creative universes that until last Sunday May 26, give off dream of promotion of crafts, 2019 at the Grand Palais atmospheres, pieces Fundesarte, which has in Paris. clinging to art that delight had the curator Eloy and surprise, pieces that This meeting of Martinez de la Pera do not stop transmitting a contemporary creation Celada for the selection wide sense of freedom to attracts more than 40,000 of works and artists. offer us almost infinite visitors, who have been In this edition, Spanish possibilities of being able to discover about craftsmanship has observed. They achieve 450 creators from 30 occupied an exceptional with it a new intensified countries around the place in 'Le Banquet', an reality, deceiving our eyes world. exhibition area that has with illusions that make At the opening, which been distributed along the beauty of each piece took place on Wednesday the central corridor and more intense if possible ». afternoon were the has been shared with 10 Secretary General of other selected countries. Professionals from the artisan sector have been Industry and SME, Raül Seven artists from able to access this Blanco, the Director different disciplines have exhibition for free.

General of EOI, Nieves been selected to Oliveira, and the head of represent in this forum

www.amigosmava.org

Page 27

The stained glass and its conservation.

Volume II — Number 122

June 2019



Fernando CortĂŠs Pizano publishes in www.ge-iic.com the following article, that for his interest we reproduce in this Bulletin.

One of the most commonly accepted criteria in the field of conservation and restoration of Cultural Property is that of "discernibility", that is, that our additions to the work are distinguishable from the materials present in it and prior to our intervention. The idea is simple and easy to understand, and yet it surprises the discrepancies that can originate.

interventions with the same criteria.

I would like to dedicate these few lines to briefly explain the case of stained glass windows, where the different criteria of discernibility used can sometimes generate some surprise when compared with other types of works.

characteristics of color, tone, texture, thickness, processing method, etc.

The new glasses are easily discernible and even then they are usually identified by a date of very small size painted or engraved on the inside and on a very discreet area.

The next step, necessary in In this support, a gap implies the vast majority of the the absence of glass, that is, stained glass, is to decide to what extent we consider a hole that communicates reasonable to arrive with the the exterior with the interior application of decorative of the building. treatments on the surface of This opening, because of the the same, such as cooked risk it implies both for the paintings or etching. work and for the interior Often we all ask ourselves In short, all the new the following questions: how space, must necessarily be materials, techniques and closed, this is reintegrated. and how distinguishable processes employed, apart these reintegrations should Non-intervention is not a from being reflected in the be, from what distance and valid option during a final report of the for what type of audience. restoration. The possible intervention, inevitably bear And the answers can vary a intervention options are, the imprint of an era, person lot from one conservatorhowever, many and involve a or workshop, which makes restorer to another or from large number of variants them easily discernible to an one workshop to another such as the type of materials eye accustomed to this and, no doubt, from one and techniques used, the medium . country to another. degree of reintegration, the And as happens in other pictorial technique and the And sometimes we forget expertise of the restorer, the conservation-restoration that there is no single availability of documentation disciplines, the material and criterion or an infallible method that applies to each on the work, the location and technical possibilities in the field of stained glass are specific case, that there are orientation in the building, extensive, and their different ways to achieve this the type of lighting, etc. knowledge, together with the discernibility and that all of The choice of the type of experience and technical them can be absolutely valid. glass used to close a pond expertise of the conservator(and the same could be said Each work, like each restorer, play an important of the leads) is a first support, has its own role in the choice , suitability obstacle, since often it is not peculiarities and poses a and discernibility of the easy to obtain a glass with different challenge, so we reintegrations. the appropriate can not judge all

www.amigosmava.org

Page 28

The most "essential" market in Zaragoza.

Volume II — Number 122

June 2019



From aragondigital.es.

The reform of the Central Market of Zaragoza is progressing at a good pace and within the expected deadlines.

meters high, developed exclusively by the company for this project, will occupy about 1,500 square meters of surface.

It is a special product, the These facilities are a symbol glasses are safety laminates for the Aragonese capital of large dimensions, with and for that reason the high performance coatings rehabilitation works are and low iron content that thought to preserve their provide maximum essence. transparency to the building, in addition to ensuring So much so that it has thermal comfort in the managed to recover the interior, as indicated by the original color worn by the slab at its opening, in 1903, Technical Department of Ariño Duglass. something that was not an easy task since there were The idea was to recover the up to 14 layers of paint on it. image of the original market, The lower area is covered with stained glass. Ariño Duglass, the Aragonese company that is a national and international reference in the glass sector, is responsible for this task.

The glasses of large dimensions, up to five

This also ensures that the commercial aspect of this unique building and Cultural Interest is still seen from outside. This, he says, "will also give much more life to the environment."

74 product posts and four restoration It will be a traditional food and supplies market with 74 product and four catering positions.

The objective is that the winners of the restoration jobs use the products of the market itself "and that even customers can buy products in the stands and cook it in with stalls in the center, a the bar", announces the large central corridor and the architect. market to be seen from the The restoration posts will be outside. in the four central corners.

They are glass with solar The tender has already been technology, "so that not all closed and the offers the sun or all the cold will received are now being enter," says Aranaz. studied.

www.amigosmava.org

Page 29



How does it.

Volume II — Number 122

June 2019

This month we include some pictures of the technique practiced by William Morris.

www.amigosmava.org

Page 30

Marcela Cabutti in Berazategui.

Volume II — Number 122

June 2019



Marcela Cabutti studied at the National University of La Plata, where she graduated as a Bachelor of Sculpture and Professor of Art History.

Between 1995 and 1996 he participated in the Taller de Barracas (sculpture, installation and objects), directed by Luís F. Benedit and Pablo Suárez, with the support of the Antorchas Foundation.

Supported by this foundation, she completed the Master in

Design and Bionics at the Centro di Ricerche Instituto Europeo di Design, Milan, Italy; and his residence at Delfina Studio Trust, London, England. He has also presented individual exhibitions in Milan and New York.

In 2000 he received the Médicis Foundation scholarship to participate in the artist residency at Duende Studios, Rotterdam, Holland; and that same year he participated in a program initiated by the Recoleta

www.amigosmava.org

Cultural Center to make a residency at the Columbus College of Art and Design (Ohio, United States), working on blown glass.

An experience that had already begun years before with the artist Pino Signoretto in Murano, Venice.

He is currently an artist at the Del Infinito gallery.

And, in addition to carrying out individual works, it is also dedicated to teaching.

Page 31

Glass as an artistic expression.

Volume II — Number 122

June 2019



From laopiniondezamora.es.

Two artists, Alicia Nefzi, from La Torre del Valle, and Toly Mateo, from Segovia, present at the Soledad González Cultural Center, in Benavente, part of their work made of glass in an exhibition that can be visited until June 7.

"Glass and Nature, Reflections ... Fractals and Metamorphosis" is the title chosen by these two artists for this joint exhibition, which can be visited at the Noble Plant of the Cultural Center.

Toly Mateo, Fractals, is an artisan of glass for almost twenty years.

Natural de Segovia, presents a collection of sculptures made with the technique of "Tiffany", inspired by the semicircular arch. Light and color are palpable in his work, lamps, stained glass and jewelry.

Alicia Nefzi, Metamorfosis, is a multidisciplinary artist from La Torre del Valle, with a vital and committed attitude, she explains, who has been searching for a conceptual search through the universe of glass.

forms of expression through the reuse of recycled materials to create objects with a greater value than the original material had.

What is known as "upcycling" or "sustainable art" and thus collaborating with the conservation of Nature.

The creative process of Metamorphosis transforms waste into artistic pieces with their own soul, resulting from the synthesis of materials and techniques.

The exhibition can be visited during the opening In his works he has been hours of the municipal exploring interesting library.

www.amigosmava.org

Page 32



Art in glass in Mexico.

June 2019

López Cruz and Leobardo López Ramos.

Volume II — Number 122

The exhibition includes pieces made for utilitarian, decorative and artistic purposes, in at least fifty models.

They are also a sample of those that are produced daily in the Xaquixe workshop, located in the Magdalena Apasco industrial park.

From imparcialoaxaca.mx.

With more than 50 models of pieces made with blown glass and recycled, eight creators participate in the exhibition Glass of Oaxaca, sustainable creativity.

Open to the public from June 1 to July 12, the pieces can be seen in room 4 of the State Museum of Popular Art Oaxaca, located in San Bartolo Coyotepec.

The authors come from populations such as San Pedro Telixtlahuaca, San Agustín and Magdalena Apasco, from the Valles Centrales region of Oaxaca.

In the blown glass area, the pieces correspond to Eli Barrita Ruiz, Erubiel Pablo Cruz Juárez, Erika Santiago Cruz, Leobardo Lopez Ramos, José Ramón Ortigoza Hernández and Miguel Ángel Jiménez Pablo.

The sample includes the As for jewelry, the work carried out by eight participants are: Eugenia artisans from the Xaquixe Cruz Cisneros, Margarita artisan glass workshop.

www.amigosmava.org

"All the pieces are made with recycled glass, which is collected in the city of Oaxaca" and for which furnaces are used that work with burned vegetable oil, which is collected in restaurants and bars in the state capital, says Salime Harp, co-founder of Estudio Xaquixe.

Jars, glasses, glasses, among others are the pieces. In the case of jewelry, there are some necklaces inspired by the San Pedro Quiatoni necklaces, crafted by artisans Eugenia Cruz Cisneros and Margarita López Cruz.

Oaxaca glass, sustainable creativity opens on Saturday, June 1, at 12 noon, at the MEAPO. Access to the activity will be free and free.

Page 33

Galaxy with discarded glasses.

Volume II — Number 122

June 2019



The materials collected were subjected to ancient methods of The Museum of Contemporary Art presents Alfa costellazioni by manual casting, granting them by this technique, different the artist Carellia Riccardi at its degrees of malleability and Chilean headquarters in Quinta flexibility, thus making the works Normal. present in the exhibition.

The exhibition is made up of installations that make dialogue This show speaks of a double rescue. In the first place, the one thick volumes of glass with led of a millenarian technique that lights, forming a large constellation that is illuminated in the artist takes from Murano, an Italian island near Venice, known different colors inside a dark worldwide for its artisan tradition room. with glass work.

For years, Riccardi collected sheets of glass and windshields On the other hand, it focuses on the reuse of discarded material broken and broken in various in order to turn it into a unique beaches of Chile, disarms and creation, resignifying it and landfills. identifying it with spatial images.

From DiarioUChile.

www.amigosmava.org

"The breaking of the windshield, inescapably in front of our eyes, is also the breaking of its framing and everything normalized by it, its splintering in hurtful flashes and the splashing of its dismemberment, gives us for fractions immeasurable of second a hallucinated vision, confusing all reality in a multiplication of impossible geometries, and all there precise and cutting, as a fantastic privilege of its edge "highlights Francisco Brugnoli, director of the MAC and curator of the exhibition.

The sample is presented from April 3 to June 23 on the first floor of MAC Quinta Normal.

Page 34

Anniversary of Galician glassmakers.

Volume II — Number 122

June 2019



television you would think "this now, with more than 50 employees.

La Cristalería Ramos y Ramos movie where is it?". celebrates its thirty-fifth We had extraordinary people When did your cousin, anniversary in a celebration Javier Ramos, take over, and on the road; Now I remember a that will not lack customers, time when Javier and I were you? friends, authorities and, of tired and wanted to leave, and Javier already worked with my course, its 50 employees. an employee told us 'I do not father, but when he retired in have anything, I have to finish Although it has not been a 1984 we were in the situation this work'. simple road - "nothing is of closing or continuing. I was achieved without a lot of work working at the bank then, and What challenges were behind" -, the partners of the my mother did not want me to found? company, Carlos and Javier leave it, so I kept the job but I Many. At the beginning, we Ramos, say that "it has been also started with Javier, and survived, because there were very worthwhile" the the two of us together worked two giant Galician glassworks adventure.

Saturdays, Sundays and and we had to work hard. holidays to keep.

Carlos Ramos remembers the At the beginning we only made hard moments, but he There were not many the placement, but when the recognizes that he is very holidays ...

Climalit-type of glass arrivedproud of the distance traveled, we began to manufacture it in which he took over from the For many years we did not and we became distributors. have a vacation, but it was office of glazier of his father, worth it. I would have repeated Even when the construction Elías Ramos. it, in spite of some sad things, crisis came, the sector to which Before Cristalería Ramos we are linked, we continue to but I am very proud of how it and Ramos, his father had grow. was and how it came out. started the business, 15 The cake was smaller, in This is like a football team: years earlier.

Ourense the activity there is the goalkeeper, but My father started working with there has to be a good decreased, but it was glass in 1969, he was a compensated in Vigo, defense, a good half and a glazier. From that time I Pontevedra, Coruña or good lead. remember that the security Santiago.

The company grew measures, compared with Were you expected to get to exponentially, at first there those of now, scare. were three employees in an this point when you started?

People climbed the windows O Couto bass.

I never thought I'd get to this by a staircase, putty was used Yes, we moved from there to a point, ever. We move forward to freeze their hands when it was very cold, everything was ship in Cachamuíña and from without major upheavals, little by little, working hard, that is unloaded by hand ... Come on, there to the Pereiro industrial the key. estate, where we continue what today, to see on From laregion.es

www.amigosmava.org

Page 35

The architect Ieoh Ming Pei dies.

Volume II — Number 122

June 2019



Ieoh Ming Pei, American architect born in China, author of skyscrapers, museums and large commercial complexes, will first of all go down in history as the author of a subtle and essential building: the pyramid of steel and glass that gives access to the Louvre Museum in Paris, inaugurated in 1989.

travaux" earned him the nickname of "pharaoh". Pei did nothing but confirm it by projecting his pyramid. Or, better said, its pyramids: the most photographed one is surrounded by three smaller ones, and it contains in its interior another inverted one that orders the underground vestibule.

light and, often, the forcefulness of its volumes.

It can not be said that this was the most controversial building in Paris: the construction of the Beaubourg Center, the work of Renzo Piano and Richard Rogers, inaugurated in 1977, provoked a veritable avalanche of criticism and, also, six legal proceedings: today it is the great Parisian attraction. But the Pei pyramid - twenty meters high, formed by 673 laminated glass panels, some rhomboidal, others triangular, and located between the venerable pavilions Richelieu, Denon and Sully - was beaten by the most conservative opinion as an outrage to the classic Napoleon courtyard of the Louvre.

Pei died at dawn on May 16 at his home in New York, at 102 years old. He was born in Canton in 1917, the son of a banker. At age 18, he went to the United States to study in Philadelphia, then to MIT and Harvard, with Walter Gropius among his professors. In 1948 he was hired by the powerful firm Webb & Knapp, which allowed him to enter architecture through the big door: large scale projects in which he quickly accumulated experience, and which were his springboard for, in 1955, becoming independent and founding his own signature IM Pei and Associates, later renamed Pei Cobb Freed & Partners, and currently, with the Pei Partnership Architects rubric, headed by his son Li Chung. (Henry N. Cobb, former partner of Pei, signed the World Trade Center in Barcelona).

One of the last works of his study - Pei formally retired at the age of 80 - was the Museum of Islamic Art in Doha (Qatar) in 2008, where, without abandoning its language, it reflected local influences (as had also been reflected in the Miho Musuem (1997) in Kyoto Throughout her career, dominated by large-scale commissions, Pei also made social housing, although in a smaller proportion.

Time would reveal that his enemies were not right: the building became the new symbol of the museum and, more importantly, greatly facilitated the access of its ten million annual visitors.

Pyramids aside, the architecture of Pei, concreted It is necessary to emphasize in half a hundred of that the American architect had constructions in the USA, the unwavering support of Europe and Asia, has been President François Mitterrand, characterized by its geometric whose architectural "grands precision, its treatment of the

www.amigosmava.org

This is the case of one of his most appreciated works, the East Wing of the National Gallery of Art in Washington (1978), of marble and glass, probably the best modern architectural proposal in the Mall of the American capital.

The deceased architect received the Pritzker Prize, the highest global architectural distinction, in its fifth edition, that of 1983. Until then, only two other North American architects had obtained it: Philip Johnson, who in his capacity as living legend of the American guild inaugurated the in 1979, and Kevin Roche (1982), one of the few colleagues who could dispute Pei the scepter of the great corporate architecture. "Pei's architecture," said the spokespersons of the award, "is characterized by its faith in modernity, humanized by subtlety, lyricism and beauty."

Page 36

Glass spheres on a Japanese beach.

Volume II — Number 122

June 2019



On the beach of the Japanese peninsula of Motoujina have been found tiny glass spheres and other strange particles that can be defined as atomic debris from Hiroshima, which is very close to there, as a result of the attack of the United States with an atomic bomb in 1945.

Based on the volume of vitreous waste found in the sands of the beach, Wannier and his colleagues estimated that a square kilometer of beach sand in the area, collected from its surface at a depth of approximately 10.16 centimeters, would approximately contain 2,200 and 3,100 tons of particles.

Hiroshima The first nuclear detonation of history took place in New Mexico (United States) in July 1945, just a few days before the disaster of Hiroshima and Nagasaki, under the umbrella of the so-called Test Trinity, one of the phases of the project called Project Mahanttan Since then, up to 2,010 nuclear bombs have

that Wannier examined seemed to be fused with other Initially the power of atomic spheres. While some of the bombs, such as those that vitreous particles resembled destroyed the cities of those associated with Hiroshima and Nagasaki, was meteorite impacts, others that limited to around 15 or 20 Wannier discovered were not kilotons. as familiar, including particles But it was enough to create with a composition similar to atomic debris like those that rubber and particles with a can now be found on beaches. variety of materials coated in one layer or several layers of As Mario Wannier of the glass or silica.

Lawrence Berkeley National Laboratory of the United Many of the particles measure States has done: between 0.5 millimeters and 1 "I had seen hundreds of millimeter wide. Experiments samples from beaches in and related analyzes Southeast Asia, and I can determined that the particles immediately distinguish had formed under extreme mineral grains from particles conditions, with temperatures created by animals or plants. exceeding 1,800ÂşC. But there was something else.

Many of the sphere-shaped You can not lose these strange particles were probably formed particles. Generally, they are at a high elevation around the aerodynamic, vitreous, rising fireball of the explosion. rounded; these particles The researchers also found immediately reminded me of that the composition of the some spherical (rounded) debris particles corresponds particles I had seen in closely with the materials that sediment samples from the were common in Hiroshima: Cretaceous-Tertiary concrete, marble, stainless boundary". steel and rubber.

Some of the glass spheres exploded.

www.amigosmava.org

Page 37

The lamp is in a suitcase.

Volume II — Number 122

June 2019



A confluence of coincidences has meant that the lamp that crowned the main living room of the Casa Batlló noble floor, the building created by Antoni Gaudíentre in 1904 and 1906 in Paseo de Gràcia, appeared after having lost track of it for decades. Located in the center of the space where the family of the textile industrialist Josep Batlló i Casanovas received his visits and celebrated the most important events of the house, everyone took it as lost until a few months ago.

the lamp, but she did not know what they had done with it," Atance continues. "We talked with the family and we located it disassembled, with the metal ring and the internal structure on one side and some elements like the small tears in a cardboard box. The rest, quite ordered by size, inside a leather suitcase ", explains surrounded by a group of tourists that makes the visit of this unique property more concerned to see the genius of Gaudí on the small screen of his videoguide than to see and feel it live.

and the pieces of glass carved by hand, one by one, only had to be cleaned and assembled, based on silver wires. Thus the parabolic shape of this monumental ceiling of 99 centimeters in diameter, about 65 kilos in weight and 68 centimeters in height, plus 12 of the central skirt was recovered. "Only the ceramic caps that were damaged were replaced and they were rewired to comply with safety regulations," he continues.

Gaudi left nothing to chance and was always behind what "During an interview with the he created or used in their last inhabitant of the house that lived in the third second, "What we did not know was if homes. But in this case Atance believes that the piece is not a Mrs. Marimon [granddaughter the lamp was whole or Gaudinian design. "It is an of the founder and daughter of because it was very large, it imperial-style lamp that was Mercedes Batlló and Joan had been mutilated as Mrs. then made in northern France Marimon] who died a few Marimon had assured". But months ago, commented, in no. The pieces were measured or southern Germany, but we passing, that she believed that and the strips were inventoried do not know who the designer is. What Gaudí did with her her Sister-in-law, who lived in with the 3,000 glass tears. was to strengthen her conch the next door, had kept the Then they drew and made a shell. I do not know if he made principal's lamp in a box for model with cardboard to years, "explains Ana Atance, present it in the place where it it to measure, but I suppose so, coordinator since 1995 of the was originally. "There was no "she explains cautiously. "We can not say that it is a Gaudí interventions carried out in doubt about the space it design because we can not Casa Batlló, such as the occupied: the center of a current restoration that affects conch that Gaudí made on the document it," he says. The photographic documentation the walls of the noble floor plaster ceiling. Then we has allowed to verify the (where the stuccoes have verified that it had not been coincidence between the been recovered in the form of manipulated and was only trencadis from the walls) and exploded, "continues Atance, recovered and the original lamp that occupied this main the iconic main façade. who states that only a few space in the work of Gaudí. tears were missing and that "Mrs. Marimon said that after the lamp was" 90% complete "The pain is that the her sister-in-law died, her documentation on this house is ". children emptied the floor and scarce," he laments. inside a suitcase they found In the end, the brass structure

www.amigosmava.org

Page 38

The chess of San Rosendo.

Volume II — Number 122

June 2019



thought himself Egyptian, but In those early medieval days, who Archeology has come to prove that he was from an artisan was busy carving masterfully the rock crystal that Cordoba. would end up in a monastery From the excavations in the that, although in Celanova, a sewers of the palace of secluded corner of the world, Medina Azahara that was the center of the world. discovered that at some point From lavozdegalicia.es.

There, in the craftsman's workshop, there were no towers. What emerged between his skilled hands was a ruhk, the Persian word for car.

There was already chess, but it was cars that moved between the stages to protect the king in that play that, although hidden, maintains its origin: castling.

One of those ruhk, although no longer king to protect, has transcended the centuries and since 1958 shines in the Diocesan Museum of Ourense without the world being aware of the flashes of quartz that, although drag the blows of time, still in a excellent state of preservation.

The car is part of San Rosendo's chess, a unique collection of eight pieces peon, cart, bishop, horse- that between the 9th and 11th century came out of the hands of an artisan who until recently

Rosendo are historical arguments of enormous value, because they show that the Arabs brought chess already in their first invasions ».

But alas, as it is not clear that the San Rosendo chess was actually from San Rosendo because according to the of the city there had to be a workshop -and that the pieces chronology, it would be very old when it could have been, that are preserved in Spain although there is that possibility probably had left there, perhaps in the same hand- will -, there is no assurance that the chess pieces were used for speak for the first time the chess.

Fernando Valdés, doctor of Islamic archeology at the The crystal becomes a little Autonomous University of opaque at this point. We do not Madrid, who is participating know very well how the eight today, together with Leontxo pieces of the second oldest García and Anselmo López chess in Europe arrived Carreira at the ICC Week in behind that of San Genadio, Ourense. which is preserved in El Bierzo, which at that time was also In Arab chess there were no queens. It was the Spaniards Galicia - nor for what. who, over 500 years ago, «They could be decorations», invented modern chess, in says Fernando Valdés. «Surely whose federation there are at some point someone used 190 countries registered today. them to play chess, but they A modern game that added the come to the cultural context of the north and since they are lady "probably as a tribute to bright, they look like jewels, Isabel the Catholic." they shine and they are also The journalist Leontxo García very well worked, they are not explains it, convinced that used to play, but as chess has to be a Spain decorations of the coffers of brand. the relics of the most venerated saints of the sites ».

Also Galicia? "Of course.

Pieces like those of San

www.amigosmava.org

Page 39

Our Newsletter is worded in:

The Association of Friends of MAVA

was incorporated on June 21, 2003 in accordance with current management.

June 2019

Castillo de San José de Valderas.

Avda. Los Castillos, s/n 28925 ALCORCÓN MADRID

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

When glass culture

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

Volume II — Number 122

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

Our members may be fees, benefac-

www.amigosmava.org  

   

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

tors, Full and juveniles.

José María Gallardo Breña