Volume II — Number 119
March 2019
Monthly Newsletter
Newsletter
Frantisek Janak The Museum of Javier Gómez. At the end of February, I received the very pleasant news that the Museum that our Honorary President, the outstanding artist of laminated glass art, Javier Gómez, yearned to have in his hometown was already going to be inaugurated.
M. A. Carretero.
an extraordinary retrospective that makes us think through the different stages of his artistic development.
Paloma Pastor Rey de Viñas, Director of the Technological Glass Museum of the National Glass Center Foundation In the town of Pedro located in the Segovian town Bernardo in Avila, located on the southern slope of the of La Granja de San Tiétar Valley and about 120 Ildefonso, mentions two periods in Javier's artistic km from Madrid, a day of open doors will be held next career: one marked by its relationship with the kinetic March 2, starting at 12 in movement and geometry, the morning. It will be the through the superposition of unofficial inauguration of sequential planes that unfold the Javier Gómez Glass in space, and another where Sculpture Museum. the work of Javier Gómez After several years have moves away from the passed since a mayor of dynamic appearance of the Pedro Bernardo gave first phase to seek new Javier the idea that one of forms of expression. the municipal buildings I, in the numerous guided could be a good place to tours that I have done for the exhibit his works, once it collection of our Glass Art was properly conditioned, Museum in Alcorcón, have and that there have been always told the different several mayors that have passed after the Consistory groups of visitors that without that idea was made Javier's work, under my concrete and that, even, it personal point of view, has was tried to modify by some gone through four different of them pretending that the stages: Nuestra sede: collection of works of Javier Castillo Grande de a first in which he practiced were included in a S.J. de Valderas denominated Ethnological what I call "cut and paste", that is, cutting the different Avda. Los Castillos, s/n Museum, at last it is going sheets of glass following a 28925 ALCORCÓN. to see the light a worthy (MADRID) space where Javier himself, certain pattern, and then gluing them in different info@amigosmava.org his neighbors, tourists who positions until the work is visit the beautiful town of Pedro Bernardo and those configured. who admire the work of this A second stage in which he great artist, we can enjoy practiced a symbiosis between "cut and paste" and "paste and cut", that is, making works in which the first practice described in the previous phase was mixed with the one made by gluing different plates and then, through a radial or similar
instrument, cutting and shaping another part of the work. in a third stage he abandoned the "cut and paste" to focus on the realization of his works with the "stick and cut" technique. during the three previous stages he used and presented his works with colorless laminated glass, being from a certain moment when he begins to include the color, through the pigments he introduces in the glues he uses. I think this description of the evolution of Javier Gómez's work since he left his parents' workshop in the neighborhood of San José de Valderas in Alcorcón in 1971 to set up his own "chiringuito" in the surroundings of the Polvoranca Park. in the limits between the municipalities of Alcorcón and Leganés, it may very well be complementary to the evolution described by Paloma Pastor. Focusing on the happy news of the inauguration of this new glass art museum, I am sure that it will be received in a very positive way by all the artistesanos that form the great family of glass that is worked in our country and I am also sure that This satisfaction will be shared by numerous international artists who know Javier's work and who, like me, have the privilege of enjoying their friendship. I will also have the privilege of being able to attend this special inauguration. Congratulations, Javier!
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Volume II — Number 119
March 2019
S P E C I A L I NT E R E S T:
Part of the month
Inauguration of the MEVJG
Interview with Rosa Méndez
Nacho Carbonell in the US
Activities on the MAVA
News
Our activities
Glass recycling
How does
f) energy is used effectively; g) the necessary measures are taken to prevent serious accidents and limit their consequences;
CONTENT:
Piece of the month
3
Established artists
4
Young artists
4
Inauguration of the MEVJG 5 Interview to Rosa Méndez
Directive 2010/75 / EU of the European Parliament and of the Council, of November 24, 2010, on industrial emissions.
6
Nacho Carbonell in the US 7 Princess of Asturias 2019
8
Activities Museums
9
Activities on the MAVA
12
Tvitec will cover Google
13
More about La Trinidad
14
Agustina Motas
15
Simon recreates the glass
16
Roman glass in Museums
17
News
18
Culture 2019
18
Workshop in N. Baztán
19
Smart glass
19
The glass in museums
20
Recycling
21
Cultural visits
22
Culture 2019 program
22
Break in the Retreat
23
Other trends
24
"Fusion" in Valladolid
25
The Corning on Netflix
26
The CNV as a reference
27
Speed up € for the CNV
28
Vink Family Donation
29
How do
30
Vandalism act
31
Esther Pizarro
32
Elpidio J. Quesada Marín
33
Muffled furnaces
34
Jewels of Israeli art
35
Mexican scholarship
36
Confiscated collections
37
The glass in Mexico
38
Ariño Duglass in Zaragoza 39 Prefer glass containers
40
Board Of Directors
41
h) upon the cessation of the operation of the installation, the necessary measures are taken to avoid any risk of contamination and so that the place of exploitation returns to the satisfactory status defined in accordance with article 22. Article 12 Permit applications
1. Member States shall take the necessary measures to ensure that any permit application contains a description of the following: a) the installation and the type and scope of its activities;
magnitude of the foreseeable emissions of the installation to the different media, as well as a determination of the significant effects of the emissions on the environment;
g) the planned technology and other techniques used to b) raw and auxiliary avoid emissions from materials, substances the installation or, if this and energy used in is not possible, to the installation or reduce them; generated by it; h) the measures c) the sources of the related to the facility's emissions; prevention, preparation for the reuse, recycling d) the state of the and recovery of the place where the waste generated by the installation will be installation; located; e) where appropriate, i) the other proposed measures to comply a report of the initial with the general situation in principles of the accordance with article 22, paragraph fundamental obligations of the 2; holder imposed by f) the type and Article 11;
Essential landscapes. a call of the Institut d'Estudis Baleàrics (IEB). In a statement, the portfolio directed by Fanny Tur has detailed that the total budget of the outputs is 30,000 euros, 20,000 in the case of the Madrid fair JustMAD and 10,000 at the fair Lisbon JustLX. In addition, has specified that the project is curated by Carolina Lio and includes the island artists Erola Arcalís (Maó, Menorca, 1986), Irene de Andrés (Eivissa, 1986), Patricia Mato Mora (Esporles, Mallorca, 1989) and Stella Rahola Matutes (Barcelona, 1980).
The Ministry of Culture, Participation and Sports of the Balearic Community has informed of the presentation of the project 'Essential Landscapes' in the art fairs of Madrid and Lisbon through
Thus, the IEB has reported that 'Essential Landscapes' "denotes a common interest" of the artists for the landscape related to the archipelago. Rahola will present the work 'Babel' arising from the urban landscape and composed of two sculptures "with a sinuous and reflective surface" of blown glass.
17-01-13. Requesting inventory of the components of the permanent collection of MAVA.
11-06-13. Possibility of receipt by the MAVA documentation on glass offered by the President of the Spanish Association of Science.
11-11-13. Requesting information on the agreement with the Community of Madrid to install social services in the MAVA.
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Piece of the month. Udo Zembok.
Volume II — Number 119
March 2019
Born in 1951 in Braunschweig, Germany. Halfway between stained glass and glass paste, Udo Zembok, a pioneer, researcher and professor, has been doing extensive research on wall glass for 30 years. Creator of glass paintings, glass sculptures, remarkable monumental architectural works, glass monoliths, Udo Zembok, painter, sculptor, artist, is an important player in the revival of stained glass art, a permanent innovator, a designer. parietal. With it, colors are no longer an "attribute" of matter, they are "subjects". Existing for themselves, they evolve, they talk to each other, they tell a story ...
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parking lot was designed to receive, in its central core, more than one hundred monumental windows of Udo Zembok. A testimony to the exceptional stained glass heritage of the city of Troyes, which highlights the colors of the École de Troyes. Stained glass windows (headquarters of the ING bank in Amsterdam, Moulins polyclinic, Weleda laboratories, Germany, etc.), glass ceilings for religious or convent buildings (NotreDame de Chartres cathedral, Calvin oratory in Geneva, Mount Camphill in Wadhust, etc.) is a retrospective of 30 years of international creation offered by the exhibition of the International Center of Stained Glass. More than 50 stained glass windows, glass paintings and sculpted works trace the pictorial and technical evolution of the artist, from his first works in 1977, to the church of Saint-André in Amsterdam, to the parking "cathedral" in Troyes, inaugurated in December 2007 In natural light, the artificial Released from lead interior light is added, to networks, Udo Zembok uses blend in a unique source of very large colored glass light, which emanates from plates, fused and the glass, the color itself, thermoformed in large revealing its third dimension. furnaces. "I am developing the third "In search of the great dimension of color, not as a surface, the wall where the sculptor, but as a painter." language of color can be fully My field of research expressed", there is always, continues to be color, the in Udo Zembok, "in a small expressiveness of color as a format, the essence of a subject and no longer as an great". attribute. Udo Zembok has received In 2006, creating "a curtain numerous awards, in many of light", Udo Zembok, countries, the consecration of enters the Cathedral of his great architectural Chartres. projects and his work as an artist of glass. In December 2007, the inauguration of the immense The work that we highlight as parking lot of the Cathedral "Piece of the month" of the of Troyes, demonstrates its permanent collection of the involvement in urban MAVA is titled "Pedazo de architecture. cielo". Submerging itself in the bowels of the earth, the
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Established artists. Frantisek Janak.
Our web
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March 2019
František Janák was born in 1951 Glassworks school, followed by in Havlíčkův Brod, three years as a glass cutter at Czechoslovakia). the Výtvarná řemesla Cooperative in Prague. He creates glass sculptures and custom works and also makes From 1975 to 1981, Janák the production design in series studied at the Academy of for different Czech glassworks. Applied Arts in Prague with Professor Stanislav Libenský. Janák completed his apprenticeship in glass cutting at In 1981, Janák opened his own Bohemia Glassworks, the largest studio in Dolní Město. From 1985 Czech producer of hand-carved to 1988 he was a glass designer lead glass. at the Institute of Interior Design and Fashion - ÚBOK Prague. He continued his studies at the secondary school of glassmaking From 1989 to 1993 he was again in Kamenický Šenov, the oldest a freelance glass artist in his own glass school in the world studio, this time in Prague. From (founded in 1856). 1993 to 1995 he was a glass designer at LINEA-ÚBOK in From 1971 to 1972 he was Prague. director of the Bohemia
Emerging artists. Kit Paulson. glass from Alfred University in 2004 and has been working on glass continuously since then. He has taught at the Penland School of Crafts, as well as in many other private glass studios.
From 1995 to 1997, Janák was a visiting professor at the Institute of Art in Glass of Toyama (TIGA), Japan. In 1997, he returned to his studio in Prague. In 1998, he was appointed professor at the Secondary School of Glass Manufacturing in Kamenický Šenov. In 2000-01, he was assistant visiting professor at the Rochester Institute of Technology, New York, United States. Since 2003, Janák has been a teacher at the Glass Manufacturing Secondary School in Kamenický Šenov and is a leader in the glass cutting section of the school.
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Museum of Glass, Pittsburgh Glass Center, The Windgate Foundation, Art Alliance for Contemporary Glass and Glass Art Society. His work has been published in editions 36, 37 and 38 of New Glass Review.
In 2015, Kit completed the Rosenberg residency at Salem State University and In September 2018 he a residency at the Tacoma started a three-year Glass Museum. residency at Penland School of Craft. He has received
Kit Paulson received his scholarships from Pilchuck BFA with a concentration in Glass School, Corning
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Inauguration of the MEVJG.
March 2019
Takako Sano and his excellent relationship with numerous contemporary artists. Another example of his commitment and involvement with glass art is the creation, thanks to the City Council of Pedro Bernardo, of a new glass museum, located in his hometown, dedicated on this occasion to his own work.
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Pedro Bernardo's glass museum invites you to get to know the artistic work of Javier Gómez, the greatest exponent of contemporary sculpture in Spain, from its beginnings, the 80s, to the present time. During more than 30 years that Javier Gómez has worked sculpture, has not stopped investigating in a self-taught way the various possibilities of flat glass, based on superimposed sheets, cut, polished and glued, sometimes including expressive elements such as craquelure, sandblasting, or small trapped air bubbles, in addition to cold cuts, to get eroded and degraded surfaces, where the light intentionally condenses causing unexpected plastic effects. His work can be defined within abstraction, although with certain organic resonances that seem to belong to a distant universe created by him. The route of the exhibition revolves around the two stages that have been defined in his artistic career: · The period between 1986 and 1999, marked by its relationship with kinetic movement and geometry, by superimposing sequential planes that unfold in space. · The second period, from 1999, until the present moment, where the work of Javier Gómez moves away from the dynamic appearance of the first phase to look for new forms of expression, approaching more and more to a sculpture in block, of appearance solid and resistant, where the sheets of glass now "float", extra clear, are collected and the color is incorporated into their works, based on blacks, reds, pinks, blues, etc. Perfectly polished works with a translucent finish and chromatism tinged with light, with translucent appearance on the edges and more intense in the central areas. Javier Gómez, outstanding laminated glass artist and Honorary President of our Association of Friends of the Museum of Art in Glass of Alcorcón, publishes on his Facebook page the following review: "Hello friends, I am pleased to inform you that next March 2 at 12 o'clock we will have an open day, to visit and have a first contact with the MEVJG museum of glass sculptures by Javier Gómez. Javier Gómez was born in Pedro Bernardo, Ávila, in 1957, where he lives and has his studio. His approach to the world of glass originates when
he started working in the family workshop, in 1971, which he left shortly after to open his own studio, in the heart of the Tiétar Valley, surrounded by the orographic and landscape beauty of this wonderful natural environment that has inspired him so much in his work. Javier Gómez has been a man committed to contemporary art in glass and a great promoter of this material in the field of art. His most ambitious project has been the creation in 1997 of the Museum of Art in Glass of Alcorcón, MAVA, thanks to the important legacy of
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Paloma Pastor Rey de Viñas Director of the Technological Museum, National Glass Center Foundation. " Our President and our Secretary will travel on Saturday, March 2, to the town of Pedro Bernardo in Avila to accompany Javier Gómez at that moment, which is as important to him as the inauguration of his Museum in his hometown. From this event we will make an extensive photographic report that we will publish immediately on our Facebook page and, later, in our Bulletin corresponding to the next month of April.
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Interview with Rosa Méndez. general, without typecasting.
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March 2019
At night, when the workshop closes. It relaxes and stimulates you. As Metaphysics of tubes, by Amélie Nothomb, for example, which inspired a collection of marked tubular character. Art without borders or prejudices. When I think about where I want to be, it's by the sea, I love it. And I love Queiruga and I also love the island of Ons » «I do not understand market strategies, but I have traveled a lot and searched my site» From lavozdegalicia.es
Rosa Méndez does not feel like a businesswoman or is aware of having created her own brand, and yet, her whole life has been an unplanned strategy to get to the place where she is, recognized as one of the best glass craftsmen in the field international, with points of sale in the most prestigious galleries and museums in the world. And all because this ponferradina was always clear to him, even the place where he wanted to be: Santiago. -Why Santiago? -I've been here all my life. I came to study and I stayed. I came to Mestre Mateo art school, I think it was clear to me since I can remember. I was drawing and making structures all day, that's what I liked. I was able to go to Madrid but I had friends here and I came, and Santiago hooked you up and here I stayed. For a student, this is a place that brings you a lot, where everything is new, and I did not even bother the rain, I was hooked. Then I got married and my daughter grew up here, she is from Santiago. I traveled a lot and I travel a lot, but I always come back. - You finished the studies and you already decided to set up your workshop? -For personal reasons at first I dedicated myself to other things but a few years later, many years later, I found the Glass School here in Santiago. I went to see it, it was then 2000, and when I got there I knew that this was my place, that I wanted to work with glass, because until that moment I did not know what I wanted to do either. Then it closed and it was a shame, artists from all over the world came to work here, it was a luxury. -Is it not easy to find where to work with glass?
when I discovered the glass I knew I was going to live on it. -Have you always worked alone?
Sell in the main art museums of the world. But it was not by chance, there is behind a work marked by the conviction of what he knew how to do and, above all, what he wanted to do.
-First with some colleagues but soon I became independent and I came here, -How did you jump so quickly to the for this workshop in Teo, and I've been international market? here since 2004, I think. It was all very -You need to leave the house to be fast. known. So social networks did not exist -And he started on the right foot. and the only way was fairs. I started in Madrid at Iberjoya and soon I was -Yes. It had to be. already exhibiting in Paris. -Why did it have to be? - Why do you think they convinced your -It was the glass, it was the material designs so soon? that hooked me because I had tried - Maybe because it's something other options and I could not see that different. I think with the glass I gave this was my place, until I found the glass. It is easy to work, you can cut it, the jewelry a little bit a turn. I do not know how to explain it, each fair is an you can modify it, put it in an oven, exam, but over time people have been heat it in a flame, there are a lot of possibilities; color, transparent ... Now liking it. Some collections more than others, of course, not everything works I'm playing more with recycled glass, the same. window glass, transparent glass without any more that gives an -How was your work evolving in these incredible game. twenty years? Did you follow the -You are a reference in jewelry design. trends? At what time did you opt for this -No, I escape the tendencies, I try that modality? my collections are personal, that they identify with me, not with a fashion. It is -It was easier to start, because in a a very sculptural work, I have taken corner of the house making a sculpture to jewelry, in small format. sculpture is more complicated. - Do you remember his first pieces? -Yes, some earrings for my daughter. Her friends liked them and started asking them, and after a while, I do not remember how, I got a commercial and started to move my work.
He usually travels with his daughter, the photographer Tamara de la Fuente. «Now she is in Sarajevo working and I hope to go soon to see her. We try to make a trip a year together ». And although he knows the world and there are many places that he likes, in the end, he always throws home.
«When I think about where I want to be, it's by the sea, I love it. But later, -No, because Spain is not a country when I'm on some beach, far away, I with a lot of glass tradition, except think that ours have nothing to envy. I Catalonia or Valencia. There was the like, above all, Queiruga, that I go on school of the Farm of San Ildefonso, weekends, and also the island of Ons, there was another one in Barcelona that when I can, I also make a and this one, there was no more. In fact, now there is almost no, they have getaway ». been closing with time. And although he has fallen in love with -Did you choose from the beginning for Santiago, he still goes to his land in Ponferrada, where he has his family. the jewelry? «I spent Christmas there». -Really what I liked was sculpture, but living from sculpture was not easy and And reading also likes it; literature in
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- And the jump to America? How did you get to the MOMA in New York? -It was the first, but now I'm in a lot of museums. My work fits very well in the museum stores. Now he is at the MOMA in San Francisco, at the Paul Getty in Los Angeles, at the Royal Academy in London, at the Pompidou in Paris, at the Guggenheim in Venice, at the Museum of Contemporary Art in Denmark ... In February we started with the Modern Art of Chicago ... But not only in museums, also in stores and galleries. They meet me at fairs, I do not go to the client, it is he who comes to me. -And in Galicia? -In stores in Santiago, Vigo, Pontevedra, Monforte ... But if I had not left, I could not live on this. - Have you created your own brand? -It was the product. I never felt a company although it is true that I live from this. I do not understand market strategies, but I have traveled a lot and searched my site, I have seen many places, I have visited many fairs and I have been finding the place where I fit. What yes, I have been critical with my work. And I bet, I've risked.
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Nacho Carbonell in Corning.
Volume II — Number 119
March 2019
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From objectsconvidrio.com
seen, created with barley and that are, at the same time, the The Spanish artist Nacho support of glass roofs of recycled Carbonell was selected by the Corning Museum of Glass for his bottles that create lights and shadows. publication New Glass Now. The chosen work is the "El Patio" installation that he made with 16,000 glass bottles for the creation platform "Crear / sin / haste" launched by Cervezas Alhambra.
In this way, the whole installation invites the viewer to contemplate and live the motto of the brand: "stop more, feel more".
Nacho Carbonell, who studied in Spain, recently discovered his This outstanding Valencian artist interest in art in the United States through subjects that has his studio in Eindhoven, brought him closer to Holland, where he creates unique pieces that seem to come photography, wood and ceramics. alive and surprise with their organic forms. Within weeks of his participation in the prestigious event of the With a dose of innovation and fantasy, for him objects can even Corning Museum of Glass, we allow us to escape for a moment were able to converse with him. from everyday life. - Being a student you also got in touch with glass and with His works are present in public Corning, how was that? and private collections around the world: the MoMA in San - I met them through their blown Francisco, the Art Institute in Chicago, Groningen Museum in glass trailer in 2008 and on that occasion, I met the glass blower the Netherlands, Fnac-Fonds artist Marc Barreda. Since then, National d'Art Contemporain in every project in which I work with France, among others. glass, I do it with him. Time It also receives the collaboration passed and already as an artist, of galleries such as BSL Gallery I was invited to make demos in Basel and Miami, where I could in Paris, Rossana Orlandi in Milan and Carpenters Workshop capture my ideas in blown glass. Corning usually generates these Gallery in Paris / London / New exchanges in which he York. summons designers who do not When convened by Cervezas handle the material, to carry out Alhambra, Nacho Carbonell their projects. This is very decided to produce an artistic beneficial for everyone and a intervention that reflected his very nice experience. passion for materials and - Is it usual that you choose to creative and craft processes. use glass to make your works? For the realization, he was - Normally I use other materials, inspired by the Patio de los Leones de la Alhambra. There he I have worked with glass for displays his art in an open space certain works, but they were only where high-backed chairs can be pieces that were part of other
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works. I'm choosing the material that seems appropriate for each project. For each material there are craftsmen who dominate it, true masters, to make contact with them when one has no idea how they work, allows a new exploration and a learning encounter with the other. - How was the creation process for the play "El Patio"? - When they contacted us to do this intervention with Cervezas Alhambra, we had to use the bottle as a constructive element of the work. Marc (Barreda) was my right hand in the project, and together we developed the idea. Marc is not an expert in fusion, but he is a glass enthusiast and that helped us to solve it in the best way. We fused the bottles in the Beeldenstorm workshop and it was two months of intense work in the ovens to be able to create the panels. A total of 16,000 bottles were used.
- Finally, how did you get to the call of the New Glass Now 2019? - In 2018 I was participating in an expo in New York, I contacted the people of Corning to visit them, and being in the museum, I found out about the possibility of presenting works. It was Marc Barreda who encouraged me to send the application with the work of Alhambra. - How does it feel to be among the 100 chosen artists? - I am very happy to have been selected, because this impels me and encourages me to continue making work in glass.
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Princess of Asturias Award 2019.
March 2019
have, for the first time, recognition in a major national award that can transcend in the future.
Volume II — Number 119
If you happen to be professionals or institutions that can support this candidacy, we would appreciate your participation in this initiative. They can do it in two ways: sending a letter (before March 29) directly to the Foundation (apoyos@fpa.es / o to the postal address: c / Juan Benito Argüelles, 2 33004 - Oviedo).
The Royal Academy of History and Art of San Quirce de Segovia is going to propose Carlos Muñoz de Pablos for the Princess of Asturias Award for the Arts of 2019, the main component of the Segovian firm Vetraria Muñoz de Pablos.
have joined the initiative.
We enclose a reference document that has been promoted by the University of Alcalá, although each one can write the one that he believes appropriate, personalizing it to the professional field that corresponds to him.
There are already a good number of professionals Perhaps it is the only opportunity for glass and and institutions, who glass professionals to
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By submitting the paper (before March 10) to the San Quirce Academy that will attach them as part of the documentation of their proposal. There is no established model, but it could be: "Knowing that the Royal Academy of History and Art of San Quirce de Segovia proposes as a candidate for the Princess of Asturias Award for the Arts 2019 to Carlos Muñoz de Pablos ..." or similar.
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Activities Museums I.
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March 2019
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Activities Museums II.
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Activities Museums III.
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Activities on the MAVA. 8th Study Trip.
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March 2019
The 8th Glass Studies Trip that is being organized from the MAVA will be to the German region of Bavaria. The Glass Route or Glasstrasse is an area east of the Lander - very close to the border with the Czech Republic where populations are concentrated with factories and glass museums, with both traditional, historical and contemporary collections of extraordinary interest.
The details of schedules and program of visits are closing with the points of destination at this time, so it will not be until later that they will send it full. With the group, David Duque -Technician of glass of the MAVA- and the director of the Museum of companions will travel, they will prepare some visits and they will make of translators when it is necessary.
indicating the reference to the trip: AV 1186/00490/19.
In any case, if there is any doubt or incident, the employees of the English Court can contact the person in charge of the trip, Leticia Moreno Commercial Delegate, on the mobile phone 620.661.744.
On the other hand, and in order to keep track of travelers who have made their reservation effective, It will also be counted it will be necessary to fill with local guides. in the expected In addition, the region Registration Form and offers superb landscapes, In order to guarantee the send it to LETICIA architectures, and an place on the trip it is MORENO at the email internationally known necessary to make a leticiamoreno@viajeseci. gastronomy. reservation of 30% before es with a copy to MAVA. January 31st. That is, € In the attached file you The trip is limited to the will find all the information 309 per traveler. first 30 entries, by strict about dates, route, Payment will be made in order of payment. services and price: € any office of Viajes El 1,030 in a double room Corte Inglés of Spain, with full board.
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Tvitec will cover the new Google headquarters.
Volume II — Number 119
March 2019
From the plant of the Tvitec company located in the polygon of Bayo, in Cubillos del Sil (Bierzo), some of the 15,000 square meters of architectural glass that will form the dome of the new Google headquarters in Mountain View, have already left. California. "The glass is already being supplied", confirm sources from the Bercian company, which participate in this project through the leading company in facades in the United States, which has worked in some of the most emblematic buildings of that country such as the
One World New York Center The glass produced in El Bierzo will be used to cover the domes of the new buildings on the Google campus, according to the design of BIG and Heatherwick architecture studios, with a proposal that presents buildings similar to Lego blocks covered by glazed awnings.
trapezoidal shapes) that will serve for their final 'composition'. The glass plates reach in some cases up to six meters in length by three in width. The roof is constructed from a frame that outlines the sections, which lean slightly in the middle to create clerestorios "in the form of a smile".
Under the roof, the rectilinear pavilions will Those responsible for be distributed, with the project have visited most of the facilities the Tvitec plant to including laboratories, supervise the cafés, offices and production of the event spaces- at different pieces (with a ground level, while the specific digital screen offices will be raised at printing and with an intermediate level. rectangular and
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More about La Trinidad.
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March 2019
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The executive commission of the Planning Department of Seville has approved, by way of urgency, authorize the consolidation and repair works promoted by the compensation board formed by the owners of the old La Trinidad glass factory, for the protected buildings of this old and emblematic industrial site for the transfer of the same to the City of Seville, thanks to the agreement signed between both parties for the destination of this enclave. According to this agreement, the protected spaces of the old and deteriorated factory, whose central nave, furnaces and chimney are cataloged as good of cultural interest (BIC), will be ceded to the Town Hall after being subjected to these consolidation and safety works at the hands of the compensation board, which on its side will be able to raise more than 200 new houses of free rent in the grounds of the enclosure excluded from the protection measures. In this regard, a parallel agreement of the City Council stated that the "reference" at the time of undertaking the aforementioned works of consolidation of the protected buildings of the old manufacturing plant, mainly the central nave, the ovens and the emblematic chimney, would be an elaborated report in June 2017 by the Conservation Service of the Urban Planning Department.
Such technical report of the Planning Department includes "those works or actions that have been found necessary to execute" in the protected buildings that will be assigned to the municipal patrimony given their protection for their architectural value, although such end does not prevent "the assumption by the Board of compensation for other actions that may be detected during the execution of the work "for the" conservation "of the protected areas.
inscribe in the General Catalog of the Andalusian Historical Heritage several elements of this ancient and symbolic set of Miraflores Avenue, as it is one of the few examples that has survived the architecture of the great industry and the first industrial expansion of Seville.
For this reason, the declaration of cultural interest approved at that time protects the central nave, the furnaces and the chimney of the plant as a place of ethnological interest. However, the Ministry began For this purpose, the years ago another file to catalog agreement stated that the also ships two and three of the budget of 429,708 euros enclosure and unify the assets calculated by the Urban protected in a single typology: Planning Department for these the "place of industrial interest." works in its June 2017 report "has an estimative character" The idea, according to the negotiation promoted years ago and "the exact scope of the with the owners of the land, was necessary works will be determined when all the works to cede to the public patrimony the protected spaces on are executed. revisions of account of its restrictions in planned elements ". urban matters, to develop the In any case, the works now rest of the plot urbanistically. authorized by the But the terms of the project and Management of Urbanism the bankruptcy of the society after the Provincial that owned most of the land Commission of Historical worsened for years the Heritage gave its view, given the statement of BIC weighing abandonment and ruin of the factory complex, which was the on several elements of the factory premises, are intended object of various illegal for the "structural stabilization" occupations and episodes of of the whole , "guarantee the pillage, although finally the destination of the enclave was sealing of the roofs, prevent the intrusion and improve the redirected thanks to the conditions of cleanliness and aforementioned agreement between the City Council and decoration". the compensation board set up It was in 2001 when the for the development of the land. Ministry of Culture agreed to
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Agustina Motas.
Volume II — Number 119
March 2019
Agustina Motas (Albacete, 56 years old) is a pedagogue and counselor, but she has been working with glass for almost two decades and has never wanted to leave it.
-In the workshop I learned to make lamps, but with the remains that I had left, ideas came to me to create trays, candle holders and beads. Eventually I realized that I He assures that in Madrid he could bring objects of all prices to the fairs, from a learned the technique brooch to a lamp. I create invented by Louis Comfort earrings with mussel shells Tiffany that allows to and coquinas collected on assemble glasses and any the beaches of Vilarrube. other piece to give them all kinds of shapes. -It seems very In her blog she shows a work complicated .... that goes from jewelry made with shells collected on the beach to colorful phones with the polished glass that she looks for in the surroundings of San Sadurniño, where she lives and has her workshop.
-The Tiffany technique is different from the usual stained glass windows, which are leaded, but the creator of this way of working thought that with smaller pieces could make There, in Dzine you can see all kinds of decorative objects. The idea is to use their lamps, because they opales or transparent glass. illuminate the place. In Ferrol, he also exhibits at the First the piece is drawn, then cut, polished, then wrapped Sevilla coffee shop. with copper tape and -How did it start? assembled with silver tin -I signed up out of curiosity in bars, entangled with copper Tiffany's Madrid workshop, so that it is possible to weld but when I came to live in it. In this way you can make Galicia, also by chance, I pieces of all sizes and give saw an advertisement for the them different finishes, aged, La Botella de Canido for example. workshop, where Noe and -What piece do you enjoy María taught and it was really composing the most? where I learned more and I started creating on my own. -The lamps. The glass when it gives light comes to life. - What did he start with? Actually, the most beautiful thing would be to make
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stained glass windows, but until now I have not asked for any, because they are usually leaded, although they can be made with the Tiffany method to a smaller size. -Is that what you buy the most? -No, normally the most sold are small things, for a money problem. When they want a lamp, they order it from me through the blog ayenka.wordpress.com. It is a very grateful work. I take pictures of all the things I do. -How much does one of these lamps cost? -A starting at 60 euros. I have to ask for the glass sheets outside of Galicia and they send them with care, because if they break ... - Has it been cut much? -Many times, but glass is light with life, when it happens, I think it's a shame because you can not keep working. It hurts when you hear that characteristic sound of the ripped glass when you are finishing the lamp. It is a noise that others do not notice, but you already realize that it has been opened, although people are very understanding about the delivery times.
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Simon recreates the origin of glass.
Volume II — Number 119
March 2019
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As part of the 54th edition of Casa Decor, Simon participates with an interactive space in homage to light, glass and technology.
sell natron (sodium carbonate), They stopped for dinner on the banks of the Belus River, in Phenicia.
Mayice, cross the room from floor to ceiling, creating lighting scenes of different contrasts, intensities and projections, with which visitors can interact thanks to the collection of Simon 100 mechanisms.
According to the Latin On this occasion, the researcher, since there manufacturer of lighting were no stones to place devices wanted to have the their pots in the place, the collaboration of the design merchants had decided to The warm atmosphere is and architecture studio use some pieces of natron. achieved with a carpet floor Mayice Studio, for their of 4cm long hair that They heated up their food, experience in working with generates unevenness ate and went to sleep, and light and glass. emulating desert dunes. the next morning they were The collaboration has amazed that the stones On the other hand, the roof resulted in an environment had melted and reacted is bright terracotta color to that seeks to pay homage with the sand to produce a get that feeling of continuity to light, glass, and hard and shiny material, of the lines of light technology as great glass. throughout the room. innovations in history. Drop lights were used, With this project, Simon In this space it is sought which are an advance that offers the opportunity to that the visitor live an will soon be launched on delve into the currents of exciting experience in the the market and will have design, art and architecture hand of Simon. an important role in the related to lighting, which is play of lights. complemented by the Light To achieve this, the design Trends Flash, a talk by was intended to be an These will also be part of Marisa SantamarĂa, trends evocation of the desert as a the installation and will analyst in design and backdrop, a place inspired produce reflections and architecture , about the by the story of Pliny the projections throughout the currents of the design of Elder, who tells how a space. light in the world. group of merchants who The different Filamento were heading to Egypt to glass lamps, designed by
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The Roman glass in museums in Madrid (XLVII).
Volume II — Number 119
March 2019
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Eduardo Alonso Cereza
belonging to the schools the sufficient motive to be able to prevent some craft sectors from abandoning the family tradition due to a possible crisis in their production and commerce.
The political class relies on them depending on the situation experienced at a given time: some were given facilities, others were denied; they demanded direct or indirect compensation, such as Artisanal schools emerged as the contribution of free labor. free associations, but over time gradually transformed into The compensations were associations more dependent destined to defray the public on control by the State, and expenses. The poorest may become imperial bodies schools obtained small concessions, but the richest in late Roman times. The schools "were pressured by emperors used them to the rates that were established achieve popular consensus. on luxury, and which were It is possible that the schools charged in the original centers originated or supported the of production". maintenance of popular revolts We have the example of Alejandro Severo (2nd century AD) who imposes a fee on the wool, glass craftsmen, furriers, coachmen, silversmiths, goldsmiths and other artisans to be able to dedicate the money that was obtained to the maintenance of popular hot springs. It has been tried to assign to the hereditary tradition of
due to the power they enjoyed to belong to the collegiate body; it follows that the government had to intervene to maintain order.
become responsible for popular tumults". Tacitus attributes to them the responsibility of the violent acts that took place in Pompeii in the course of a gladiatorial spectacle, in 64 AD. The schools were dependent from its birth on all the dispositions and norms that the State established on the associative right. Since the appearance of the Lex Iulia it was absolutely necessary to have the state permit to be able to form any type of school: the association should not go against the public laws of the Roman people, and should have a public utility character.
The professional associations have a marked private character in regard to their internal constitution, and a public character linked to their activities, but these are That the professional associations had reputation of increasingly linked to official bodies, with which the private supporting disorders is observed in the accusations of and autonomous character that appears in their origin will Pliny the Young person who makes them public: "They are disappear with time. societies of this type that have
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N E W S (I).
Volume II — Number 119
March 2019
New window in the Museum of Malaga.
Today we show you a Dutch window that has just been installed in the Glass and Crystal Museum of Malaga. As we have repeated on several occasions, the art of stained glass is not only made for
churches or public buildings, but also to decorate different environments of private homes, especially during the nineteenth and early twentieth centuries.
nursery; and was produced by an artist from Rotterdam in the 30s, faithfully represented the face of the daughter of the owners of the house.
The work that we showed you was placed on the door of a
We hope you like it.
Culture 2019. Numerous Russian creators travel to France and Germany, where they come into contact with the most advanced cultural movements and even integrate some of the groups that break with the art of the past, to which they incorporate their knowledge of a tradition such as that of icons or a interest in rural issues. On the other hand, the social environment that leads to the October Revolution of 1917 contributes to the emergence of some of the most radical artistic twists of the twentieth century.
Last February we visited the Mapfre Foundation in Madrid to see the exhibition De Chagall a Malévich: art in revolution. The exhibition, curated by Jean -Louis Prat, offers a tour through one of the most influential pages in the evolution of modern art. From the poetic lyricism of Chagall to the extreme abstraction of Malévich, the
exhibition brings together important works of those artists who broke with the established molds and moved ahead of modernity in Russia. At the beginning of the 20th century, Russia consolidated itself as one of the axes of the artistic avant-garde, where some of the most revolutionary proposals of modern art and design emerge.
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This is coupled with the daring role of some Russian collectors, who acquired numerous avant-garde works in the galleries of Paris and encouraged the dissemination of this new art in the Russian capitals. From the poetic lyricism of Marc Chagall to the extreme abstraction of Kazimir Malévich, this exhibition is a journey through that evolution of modern art, marked by experimentation, attempt and enthusiasm.
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N E W S (II).
Glass workshops in Nuevo Baztán.
March 2019
indicating the number of participants and contact information, or by phone 918 736 238, during the opening hours of the Interpretation Center.
Volume II — Number 119
Workshops Dates and times
Sunday March 3: glass pouring. Sunday April 7: glass and paint beads. Sunday May 5: blown glass. INITIATION WORKSHOPS TO GLASS TECHNIQUES Interpretation Center of Nuevo Baztán In 1720, the Glass and Fine Glass Factory was born in Nuevo Baztán, where important masters were trained, who later worked in the Royal Glass Factory of La Granja. In these workshops, aimed at an adult audience, the
Interpretation Center of Nuevo Baztán proposes an activity in which participants can become familiar with the work of glass and begin different techniques such as blowing, cold painting on flat glass, jewelry in glass and glass sand casting. Aimed at: over 12 years old. Free activity
Hours: from 11:00 a.m. to 2:00 p.m. Interpretation Center Hours: Tuesday to Saturday from 11:00 a.m. to 6:00 p.m.
Sundays and holidays from 11:00 a.m. to 3:00 p.m. Closed: Monday, January 1 and 6, May 1, December 24, 25 and 31.
Prior reservation must be made through the email cinbaztan@madrid.org,
Multifunctional smart glass. monitoring tasks both inside and outside the home. They are also capable of filtering sunlight, measuring temperature and displaying a large amount of information.
"You can use any size of glass you want with any number of functions," explains Dr. Alexandre Gatto of ZEISS Microstructured Optics. "Intelligent glass will soon be able to illuminate, identify, filter and project. "It's a fantastic innovation that could be used to do great things in For the first time, a technology variety of different applications, augmented reality and in the developed by ZEISS has made it allowing innovations such as possible to use glass or gesture recognition or eye tracking automotive industry." transparent plastic in a wide range without any visible optical system. ZEISS presented its of different ways. There are also plans to use glass innovations at the SPIE in smart homes. Thanks to its Photonics West trade show Transparent surfaces with innovative technology, the panels from February 5 to 7, 2019 in invisible and integrated of the glass windows can assume San Francisco. microstructured optics allow a
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The glass in Museums: Bedford.
Our web
Volume II — Number 119
March 2019
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The New Bedford Glass Museum, located in New Bedford, Massachusetts, is home to an extensive glass collection that spans from the ancient bottles of Mediterranean ointment to the designs of contemporary artists such as Dale Chihuly.
The museum's collection has more than 7,000 items. The first example of glass on display is a ship of Eastern origin from the Mediterranean, dating from 600 BC.
The European glass includes a wine glass It was first established in engraved with diamond of 1993 as the Glass Art Center about 1690, an English seal at the former Bradford bottle dated 1785, a glass College in Haverhill, medallion of about 1813 Massachusetts. representing Arthur Wellesley, the first Duke of After the university closed, the Museum moved to New Wellington, by English artist John Henning, and many Bedford in part due to the other examples. city's rich glass-making heritage. Primitive American glass is particularly well represented As a result, Mount in the galleries of the Washington Glass and museum. Pairpoint Glass make up a large part of the Museum's collection. The Museum is located in one of the original buildings of the historic Wamsutta Textile Mills complex. The grand opening took place on September 11, 2010.
Examples of New Bedford glass include Amberina from Mount Washington, Burmese, Crown Milano, Lava Glass, Peach Blow and Royal Flemish Art glass and pieces engraved in Pairpoint. Contemporary artists include Dale Chihuly., Edris Eckhardt, and Harvey Littleton. The museum's collection of American political glasses, presented at a special facility in New Bedford City Hall, is the largest of its kind on public display, with more than 500 items.
Popular permanent exhibitions in the museum's galleries include "Contemporary Paperweight: The collection includes The Schimmelpfeng outstanding examples of Collection" and "Green Boston and Sandwich Glass Atomic Vaseline: Uranium Company, New England Glass in Everyday Life". Glass Company, Phoenix Another important resource Crees Glass Works of South at the Museum is the Virginia Boston, Bakewell, Page and Shaw Rockwell Research Bakewell of Pittsburgh and Library, which contains more many other famous than 6,000 publications on manufacturers. the subject of glass.
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Recycling. Grows at a rate of 2%.
Volume II — Number 119
March 2019
According to the DBOR Sectoral Observatory of INFORMA, the volume of recycled waste -including metal waste, paper and cardboard, wood, glass and plastic- stood at 19.9 million tons in 2018, 2.5% more than in the previous exercise.
registered a fall of 8.0%, being in the first case 2.3 million tons and 5 , 8 million in purchases abroad.
In the 2019-2020 biennium, it is expected that the volume of recycled waste will increase by around 2% per year, to exceed 20.7 In this way, since 2013 this figure has increased million tons in the last by 17%, increasing in all year, in a scenario of growth of the overall years. For its part, the business economic activity and the volume of generated generated by its sale waste. reached the figure of In Spain there are around 2,450 million euros. Metal waste concentrates 350 waste recycling companies, which around 60% of the total manage around 400 recycled volume, while the paper and cardboard plants. segment gathers about a quarter, with the rest corresponding to the recycling of wood, glass and plastic. Exports of waste and scrap increased significantly in 2018 (+ 10.0% in terms of volume), while imports
Almost all the companies that operate in the sector have a recycling plant, with a small percentage managing two or more plants. Around 65% of the operators have a staff of less than 10 workers.
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The capital of the companies remains mostly Spanish. However, it should be noted the participation through subsidiaries of some large groups from the construction sector or industry. Synthesis data, 2018 • Number of companies 350 • Production (thousands of tons) 19,900 % var. 2018/2017 +2.5 • Distribution of production by activity segments (%), 2017 Metal 60.4 Paper and cardboard 23.5 Wood 7.8 Glass 4.2 Plastic 4.1 • Exports (thousands of tons) 2,270 • Import (thousands of tons) 5,780
• Production (million euros) 2.45
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Our activities.
Cultural visits.
This March we will approach Nuevo Baztán to see the initiation workshop to the techniques of glass.
Volume II — Number 119
March 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.
In these workshops, aimed at an adult audience, the Interpretation Center of Nuevo Baztán proposes an activity in which participants can become familiar with the work of glass and begin different techniques such as blowing. CULTURE 2019 program. two thousand oil paintings on very small cartons or tabellas. I called them 'notes', 'spots', or 'notes of color'. This format was increasingly used throughout the nineteenth century by the great artists, as it allowed to collect quickly ideas or impressions of things seen in independent works that went beyond a simple sketch.
This March we will visit the Sorolla Museum to see the exhibition "Cazando Impresiones".
September 29 and is organized by the Sorolla Museum and the Sorolla Museum Foundation.
The exhibition is composed of a total of 227 oil paintings by the Valencian painter Joaquín Sorolla in small format on board, cardboard or other materials.
The exhibited works belong mostly to the Museum's collection, but with the participation of a total of 44 works of private collection, almost all unpublished.
The exhibition will remain open to the public until
Throughout his life, Joaquín Sorolla came to paint about
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Initially considered intimate works or unfinished products, their creative freedom was soon appreciated, and they began to be exhibited and quoted as samples of the most personal and original of the artist. Sorolla used them sometimes to try compositions, but often as a mere exercise. He kept them in his studio, fastened with pins covering them with whole walls, but soon he began to frame them, and in all his exhibitions these squares had an abundant and outstanding presence.
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Break of works in the Crystal Palace.
Volume II — Number 119
March 2019
"It's glass paste and an aluminum structure. Everything is very Last August, two works of the installation of the Iranian artist were delicate. We told him that this could happen. They were very delicate destroyed in the Crystal Palace of works and the artist played to blend the Retiro Park in Madrid. in with space and camouflaged The first accident took place on day herself with space. This did not help 2 at eight o'clock in the afternoon: either, "says Jorge García Gómez"A tourist" made a photograph and Tejedor. "I do not like incidents like stumbled upon one of the artist's this to happen, that happening is pieces. "The watchman saw it and serious, it's not something jumped to avoid the fall on the anecdotal. But an accident can work, but it did not arrive on time", always happen, even if we are very says Jorge García Gómez-Tejedor, far-sighted, "says the head of the head of restoration of the Reina conservation and restoration of the Sofia Museum, on whom this works of the Reina Sofía museum. exhibition space depends. The breakage of the works will cost The report produced a day later by the State accounts 13,700 euros, the museum includes the "complete because they are not insured. Will break" of it. be the assistant of the artist's usual workshop who will be responsible "The artist asked us to pick it up for producing the works again. urgently. I did not want the broken glass to be seen, "says Jorge From the museum it is explained García. that a contract is signed in which the production of the specific "The works are made of a very project for the space is paid, but it delicate material. We had to is not assured by the peculiarities of manipulate them with extreme care. the place of exhibition. I would not be surprised if it had happened more times, "he says. Any work of the other Queen Sofía Museum venues is insured, except 10 days later a new accident ended for everything that is set up in the with another glass sculpture, Crystal Palace. composed of four units, placed to the left of the entrance and fixed to Being a space with leaks, birds that the ground. sneak in and stain the works, the insurance budget "would be very "While the guard informed the high". "In addition, they would security chief of another incident by impose a series of conditions (such telephone, a girl sat on the piece, as catenaries, routes, etc.) with causing the break and many which the artists or curators would fragments," says the second report not agree in most cases What we to which this newspaper has had do is a contract with the artists in access. The girl was not hurt. which they are determined that, if there is any damage, as has Uninsured From elpais.com
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happened in this case, the museum takes over assuming a much smaller expense, "they add from the institution. In the case of the Iranian artist, the project totals 94,000 euros (almost 14,000 euros of the new works have been included). Invisible The sculptures played with the same materials as the place, that is, glass and metal. Very camouflaged with the environment to raise a debate about privacy and exhibition, about the inside and the outside. Baghramian herself warned in her visit to Madrid that the colors inspired by the environment made the work "invisible". "His sculptures generate organic shapes with protuberances and cavities", defines the museum to the creator. The work of the Iranian woman is also fragile and poetic. Also the Crystal Palace, which was built at the end of the 19th century as a greenhouse to expose the exoticism of the species of the Philippine Islands. Of free access, last year 1,641,160 people received. 1,694,296 paraded through the Reina Sofía headquarters in the Sabatini building. Jorge García Gómez-Tejedor explains that a security protocol is assembled days before the inauguration, to decide the number of operations that must attend the influx. "At least there are two guards and two other people in charge of information. But everything depends on the piece. "
N. of R. When the newspaper cites "crystal" is meant "glass".
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Other trends. ARCO 2019.
Volume II — Number 119
March 2019
The kings Felipe and Letizia have officially inaugurated together with the president of Peru, Martín Vizcarra, the 38th edition of the international contemporary art fair Arco.
galleries of the more than two hundred gathered, in addition to the spaces of several means of communication, which toured the kings before leaving the fairgrounds.
galleries that do not facilitate prices.
the Ifema fairground in Madrid, Mr. Felipe and Mrs. Letizia have heard how some of the visitors and gallerists have thrown alive to Spain and the king, reports Efe. The Kings have also visited the stand of the Argentine Ruth Benzacar, where they have explained the stunning video portraits of migrants made by the artist Mariano Sardón and neurosurgeon Mariano Sigman. It was one of the 20
"I like the art that it builds and not the one that destroys it, I bought it a bit by reaction", said the publicist, in statements by Europa Press. His intention is to show this work in the exhibition that he plans to organize in Seville about his collection. The most expensive works of ARCO have already been released, at least those that can be known, because there are
However, there is a sign announcing "the most expensive work of ARCO" and that is not included in the previous list. It is in the stand of Renfe, which has used that quotation mark as a slogan. It's his way of protesting graffiti on trains. «This" work "has cost 15 million euros and we have paid it among all. Graffiti is a luxury that we can not afford, "they complain in their stand.
This year, this list is led by an oil painting by Joan Miró, from the Lelong gallery. "Personnage et oiseau" (1963) sells for more The usual tour has begun, The King is also the object of than four million euros, according to the organization precisely, in the space another work within Arco, reserved for the artists of the although it is not necessary of the fair. Andean country, guest of the to burn it in a year as Sierra Another oil painting follows, contest that takes place in and Merino mandate the "Sun-scape" (1946), but this Ifema de Madrid. buyer to acquire his ninot. It one by Jackson Pollock, is Our Favorite Kings, in which has a price of 2.1 As planned from the which Felipe VI is portrayed, million euros in Edward Tyler beginning, the royal and along with mentions to other Nahem. The trident is political procession has not kings, from Melchior, Gaspar completed by another artist visited the Italian gallery and Baltasar, to Burguer who has little recent: Wassily Prometeo, where the King or the Lion King. Kandinsky. His work "Au controversial ninot of more than four meters high, The work of the Finnish artist milieu" is offered for 1,850,000 euros in the designed by Santiago Sierra living in Spain Riiko Mayoral gallery. By the way, and Eugenio Merino, Sakkinen, has been representing the figure of the acquired by the well-known it has already closed the sale of two works of Tàpies and monarch, is on display. Catalan publicist Lluís Jaume Plensa, for a price of Bassats, who has paid At the beginning of his tour 250,000 euros. 11,000 euros. of Arco, which is located in
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The show "Fusión" in Valladolid.
Volume II — Number 119
March 2019
and to bring together the creations of artists who work on such a versatile material as glass, as well as to promote collaborations between artisans from different fields. The sample consists of 41 pieces or collections of 29 artists from all over the country. These are pieces of jewelry made mostly with glass, meaning jewelry all those unique pieces, with sculptural and artistic concept, susceptible to be used as an ornament for the human body, regardless of market trends. The Regional Arts and Crafts Center of Castilla y León (CEARCAL), located in Valladolid, hosts the exhibition "FUSIÓN, a glass jewelry contest between the 22nd of February and the 22nd of March.
of La Granja de San Ildefonso (Segovia) and the Glass Art Museum of Alcorcón - MAVA (Madrid).
Fusión gathers works of young talents and consecrated artists that were selected in the I The inauguration took Contest of Jewelery with place on Thursday, Glass, summoned by February 21 at 7:00 p.m. Fundesarte, chair of promotion of the crafts of The exhibition arrives at EOI (School of Industrial CEARCAL after passing Organization), and by the through the Giral Laporta Museum of Art in Glass of Cultural Center in Alcorcón - MAVA. Valdemorillo (Madrid), the Artisan Center of the It aims to offer a Valencian Community, the representative sample of Royal Crystalline Factory this artisan sub-sector
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In the exhibition you can admire from sculptural pieces to more conventional ones, but that stand out for their beauty and simplicity, passing through jewels with messages that will make us reflect on our environment.
There are also collaborations between artisans and artisans from different sectors. In short, a variety that also reflects the diversity of the people who created them and that is included in the bilingual EnglishSpanish catalog of the exhibition.
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The Corning Museum of Glass in Netflix.
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March 2019
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The Corning Museum of Glass (CMoG) is pleased to share the news of an exciting collaboration in the next Netflix series, Blown Away, which will bring the art and beauty of glass to television screens around the world.
the Makeful channel in Canada before reaching the Netflix platform worldwide later this year.
Glass we try to inspire people to see glass from a new perspective, and Blown Away is a global platform. It is exciting to think about the The producers of Blown possibilities of this level of Away approached CMoG exposure. It's the perfect about an association last platform at the perfect time, summer, and we worked to and I think Blown Away could find a creative way to A visually appealing process collaborate, culminating with change the perception of glass on a large scale. " often described as our participation in the final "fascinating" and episode. CMoG also provided part of "captivating", glassblowing Eric Meek, Senior Manager the prize package, which has never been the subject includes a special Guest of Hot Glass Programs, of any major television Artist experience, which we joined Blown Away as a programming, until now. call the "Absent Flight "guest evaluator" for the Residence", in our Hot Shop. The glass art contest created finale, helping to select the by Marblemedia, an award- winner of the competition. "I hope the glass community winning entertainment sees Blown Away for what it Six of our talented company based in Toronto, glassmakers participated in is: a love letter to glass," Canada, Blown Away the episode: Helen Tegeler, Meek continued. presents a group of 10 highly Catherine Ayers, George "The more people know qualified glassmakers from Kennard, Brian Brian Juk, about glass, the more they North America who create Tom Ryder and Chris will respect it as a medium beautiful works of art that are Rochelle, who helped the for artistic expression. The evaluated by a panel of two finalists in their final beautiful photography of expert judges. challenge. Blown Away presents the An artist is removed from each episode until a winner is announced in the tenth and final episode.
"The more we learned about the project, the more convinced we were that we should partner," said Eric Meek.
A co-production with Toronto's Blue Ant Media, Blown Away will be aired on
"At The Corning Museum of
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glass in a respectful way and will enthuse people with a material that is often taken for granted. I think there will be more than positive results".
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The CNV as an international benchmark.
Volume II — Number 119
March 2019
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The National Glass Center Foundation has drawn up, during the year 2018, different strategic plans to turn the Glass Factory into an international benchmark.
The resources of the Foundation come from the sale of tickets to the museum, with an increase in visits of more than 10% over the previous year.
the product have been adapted to what customers demand in the store or in sales to third parties.
The number of specialized shops with AndrĂŠs Ortega is the In this sense, the which the Center works in president of the Foundation is working on the sale of lamps made Foundation. a new Master Plan for the with old molds, adapting Museum with the aim of them to modern During the past year increasing the number of technologies has been 2018 the Foundation has visitors even more, expanded, which makes undergone a financial making the visit more them present in galleries reorganization, with a attractive. in New York or Milan. restructuring of the debt to place it in the long term With regard to the factory, The transmission of the and be able to adjust its manufacturing has been art of glass through budget to the income it ordered, the exhibitions training is another pillar of receives each year. are more adapted to the the future of the National visits received, and in Glass Center. terms of the production of
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Speed up 800.00 euros for the CNV.
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March 2019
National Heritage for the time scheduled for the possible start-up of the Other topics discussed in school rehabilitation this meeting have been workshop of houses in La the reopening of the Real Granja. Aserrío, on the reception The delegate praised the of the works of the action taken by the City treatment plant and the conditioning of the Arroyo Council, to promote employment in glass, the de las Flores channel. environment and In addition, the heritage, while This is what he conditioning of the highlighting the announced after visiting crossing of Valsaín and investments made during the municipality of the its future assignment to the mayor's office of Real Sitio de San the City Council by the Vázquez in matters of Ildefonso, where he met Ministry of Development infrastructure and also in with the mayor, José Luís has been another of the public services. Vázquez and supervised points discussed, while it the works on the domes has committed to ask The delegate of the Castilian-Leonese Government, Virginia Barcones, will try to speed up the arrival of the 800,000 euros committed by the Ministry of Culture for the sustainability of the National Glass Center Foundation of La Granja (Segovia).
of the Real Fábrica de Cristales.
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Donation of the Vink family.
Volume II — Number 119
March 2019
It is about a hundred pieces of glass made in the Gijon factory La Industria that increases the offer of industrial and utilitarian arts offered by the cultural center.
Marquis of San Esteban and the Count of Revillagigedo with a social capital of 1,200,000 reales.
In its beginnings, the industry was directed by Luis Truán, technician of Art lovers have a new Swiss origin who was key excuse to visit the in the development and Museum of Fine Arts of quality of the finishes and Asturias. A donation from the Vinck opaline achieved. So much so that, at family has arrived at its facilities with more than a present, and a good hundred pieces of glass sample is the made in the Gijón factory aforementioned donation, the manufactured of La Industria. It is a set of objects dated products of La Industria have become real between the end of the collectors' items. 19th century and the beginning of the 20th century, thanks to which different and original typologies are represented, of very different nature, which were key in the success of the aforementioned company. The factory of La Industria was founded in 1844 by Anselmo Cifuentes Díaz, Mariano Pola, the Toral family, the
sustain the fame and prestige of the Industry. To enhance this donation, the Museum of Fine Arts of Asturias has selected a group of thirty-seven pieces. Some of them make up a closed group, where the wealth and quality of the funds received is clear.
This sample will be displayed on the ground floor of the Casa de Oviedo-Portal, enriching the funds of the Industry already present in the collection of the Museum of Fine Arts of Asturias and that are exhibited in The Industry was also the said space. first glass factory that The opening hours of the was founded in Asturias Museum of Fine Asturias and had a long history. are from Tuesday to In fact, no Spanish glass factory of the nineteenth century could surpass it in number or variety and, much less, in the quality of its products. Its facilities were demolished in 1954 for what are more than one hundred years that
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Friday from 10.30 am to 2 pm and from 4.30 pm to 8.30 pm. Saturday opens from 11:30 am to 2:00 pm and from 5:00 pm to 8:00 pm, while Sunday opens only in the mornings from 11:30 am to 2:30 pm.
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How does it.
Volume II — Number 119
March 2019
This month we include some pictures of the technique practiced by Kit Paulson.
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Vandalism in La Granja.
Volume II — Number 119
March 2019
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The House of the Polishing, located in the Real Site of San Ildefonso (Segovia), an eighteenth century building currently in the process of being recognized as an Asset of Cultural Interest (BIC), has been subject to vandalism with the realization of a graffiti on its main facade.
Association of Friends of the Glass of La Granja, the councilor not assigned Ricardo Hernanz, considers with dismay that the act took place in a near date that can not be determined and that the authorship is unknown. Solutions to the problem
Hernanz adds that, at least, "the remains of Studies demonstrate its sgraffito present in this unquestionable value as property have not been a good of the industrial affected to find in the heritage, performing in other three sides." the past an important However, he warns that service and housing a the wall where the graffiti mechanism of polishing has been executed is not of glasses collected even a place to use and that in L'Encyclopedie de "specialists will have to D'Alembert and Diderot. estimate what is the least The president of the aggressive way to Artistic-Technological
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remove it, and it will be an expensive process". In addition, it informs that "the damages caused are included in article 323 of the Criminal Code". For his part, the councilor and spokesman of the Popular Party, Juan Carlos Matesanz, proposes that it would be convenient to sensitize the youngest, without criminalizing or generalizing, about the damage caused by these actions. The Real Sitio Town Council, as the owner of this property, has already filed a complaint with the Civil Guard on the morning of Saturday, February 23, as it has done on other occasions.
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Esther Pizarro: Making art with data.
Volume II — Number 119
March 2019
a material in itself. Stop being an element that enhances the work to be part of it. In MAFD, light is what gives meaning to the data landscape. The rest of the materials almost disappear, "says Pizarro. The sculptor chooses these components when she considers that «the material has to be at the service of the idea that one wants to tell. If not, it does not work. It would be falling into something that is situated on a much more aesthetic plane ».
Esther Pizarro (Madrid, 1967) is an established sculptor who, over the years, has become increasingly interested in the habitat in which we live. After having spent much of his career making sculptures related to cities, he has completed one of his most ambitious projects: "Mapping Active Fire Data (MAFD)", which until last January 27 was installed in Tabacalera Promotion of Art ( Calle de Embajadores, 51), in Madrid, and that in a reduced version now enters the gallery Ponce + Robles. With the project, Esther Pizarro aims to raise public awareness of the problem posed by fires in the earth's crust worldwide. "NASA is a very important source of information for researchers and artists. Among the data collected are those of active forest fires in the planetary crust. It seemed to me that there was a very interesting project, "says Pizarro to ABC Cultural. The installation was divided into Tabacalera in three rooms: in the first one, a moving video reproduction, called «[MAFD] :: Burning», followed the one that entered the exhibition, placing at his feet a ball of fire. The second room - the largest one in the exhibition - was presided over in the center by "[MAFD] :: Planisphere", which, through its glass rods and the led screen below, was reproducing a representation of the fires. The signal that is issued has its origin in the ten lecterns («[MAFD] :: Graphic Atril») that are placed around the central work. In each one, different variables are shown - charred hectares, CO² emitted - of the fires, each lectern corresponding to a year between 2008 and 2017. The third and last room was composed of ten tables of «[MAFD] :: MOD14A1_M_FIRE». In each
one there is a diagrammatic cartography that creates a kind of game with fire foci, which in turn composes geometric patterns represented in a kind of grid.
Confessions in their habitat
For an artist committed to the environment that surrounds her, as in the case of Esther Pizarro, her own habitat, study, is vital. "He offers me almost everything, Research Phase not to say everything. It is a space of thought, production and For this ambitious work, Esther Pizarro has needed a year and a experimentation ", he tells during the interview, which took place in half to make the final work. his workshop. During the first months he devoted himself to collecting all In this place, the artist also talks the necessary data to address about the problems she faces the problem and devise the every day. "We have had a project. "There has been a first tremendous difficulty to phase, from September to internationalize Spanish art. It is December, of data collection. It very complicated to cross borders has been very complex because and make a hole abroad. In to extract the data you have to addition, in Spain, a problem that decrypt them several times. One is being encountered by the thing that we had very clear from generation of medium-career the beginning is that these had artists, such as mine, is the lack to be real, scientific, not of institutional support at the level invented. If not, it would not of projects that require funding. make any sense ». In fact, for Without subsidies, it is impossible Pizarro herself, the universe of for the project to go ahead, which data opens a new world for also is not commercial work, but contemporary art. "It seems that more research. films like Matrix were a bit In the latter, I focus a significant premonitory in this regard. The percentage of study time on data has been studied as a visualization of information, and participating in competitions or calls for funding. " that is where a new field opens up, which is artistic visualization, In her case, for the elaboration of Mapping Active Fire Data "he says. The data, therefore, becomes a (MAFD), the sculptor counted on the Grant «Antón» of aid to the new material with which artists such as Pizarro can create new investigation and artistic creation, next to the collaboration of works, and this is what she Promotion of the Art of the herself recognizes. «It is true Ministry of Culture and Sport. that it is an intangible material, But, despite this, he denounces but it is that in the end it gives that "after 35 years, the calls are rise to those visual landscapes exhausted. There are many to that seem to be floating in the support emerging artists, which project itself». are necessary, but half-career Together with the data, glass and artists are being left out. " And light are the ones that serve to what will be your next project? follow the installation. «In the last "Now I need a bit of reflection on projects, glass has caught me. It the challenges that this has offers some possibilities that entailed, but my head has other materials do not have. It already begun to think about the has presence, but at the same next one, which is already in the time an absence. A hardness gear phase." that is also fragile. It is full of dichotomies at the time of reading. Light is also treated as
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Elpidio J. Quesada MarĂn.
Volume II — Number 119
March 2019
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The artistic glassmaker is one of the many craft professions that can be done today.
moment to make glass company belonging to works of art. the Ministry of Culture of Cuba with 37 years Human figures, of creation. landscapes, objects,
The Elpidio Jorge Quesada from Matanzas, belonging to the Cuban Fund of Cultural Assets, is one of the most skilled artisans of glass in the province and this is demonstrated by his work.
show the skill with which this artist from Matanzas works the technique of engraving on glass.
In its double economic and cultural mission, in the last decade it assumes new roles in its efforts to represent, The works of this glass promote and commercialize, craftsman invite the nationally and viewer to find himself. internationally, the The glasses are the works of the creators of raw material that the plastic arts and the Although the meaning defines his work. applied arts -and the of each work depends associated design and on the eyes one looks However, Elpidio interior design- with a at, all have in common explores how to fuse recognized seal of glass with other the signature of a quality that materials and plays craftsman who relies with the hidden artist in hierarchizes aesthetic on the asymmetry of value and preserves each expectant look. the drawings and the heritage values. inspiration of the The Cuban Cultural Property Fund is a
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Page 34
Ovens extinguished in Venvidrio.
March 2019
Government decided to cool the kiln, which is about the size of a five-story building. At that time, the equipment was turned on for this reason: there was molten glass not suitable for sale; It must have been this way while the management obtained answers about the currencies or if it decided to permanently paralyze the operations in Monagas.
Volume II — Number 119
"The furnace could not be cooled overnight because the glass could be solidified and to accomplish that process it had to be drained and that was something that was also planned. Always bet that everything would improve to invest in the furnace, but the Government came, "explains the former employee. The production of the company declined when they began to present problems with the allocation of foreign currency. The confiscation
Inoperative That is the word that summarizes the current status of Venezolana de Vidrios (Venvidrio), Maturín plant. It is affirmed by an internal source, who for security reasons preferred to remain anonymous. The person assures that in August of 2017 the furnace was turned off due to lack of supplies. 18 months have passed since that decision.
Venvidrio is the result of the confiscation of the Guardian of Venezuela, which occurred on August 10, 2016, on the orders of Nicolás Maduro. In principle it was reported that the measure was taken because the union knew that the company would cease operations in Monagas. But then, it was reported that it was for a supposed boycott against the Government.
Guardian de Venezuela was a subsidiary of Guardian Industries and The source assures that in Venvidrio was founded in Maturín at the end of the main input is missing: soda ash. In 1990. It was the main producer of flat addition, they lack tin, dolomite, silica glass float in the country and and refractories for the walls of the maintained a payroll of 250 workers, kiln, which needs to be replaced according to data obtained at because it has already fulfilled its www.cinvicre.com. useful life. It is the same one that left A former worker explains to El Pitazo Guardian of Venezuela before the that a statement sent by Wally Bucce, confiscation to which she was Central Director - Region America at submitted by the government of that time, unleashed the conflict Nicolás Maduro in August 2016. between the labor and employer. The Currently, the payroll of Venvidrio is text referred to the need to start the 290 employees. None is in plant, there furnace cooling process in the face of is only personnel of a company in difficulties in maintaining operations in charge of the maintenance of the Venezuela. areas, affirms the same source. They It would be July 29, 2016 when the earn a minimum salary plus the benefits of the law. "Most of them have process would begin. In the minutes it is explained that it is a complex one-year contracts with clauses in process that needed the experience which they are warned that they can and skill of the most qualified be fired in the face of any act that personnel. attempts against the company, such as breaking a sheet of glass," he The former employee maintains that explains. the closure was never hidden from the personnel, which was never specified In January, the board expected the was the date of the cessation of arrival of 150 containers to resume marketing. It is a merchandise retained operations. "In the meetings we were always informed about how difficult it in the port of Guanta, Anzoátegui was to get the foreign currency to state, according to an extra worker import the raw material. Already consulted for this work. He explains that since the customs had not signed Guardian was negotiating with us, "he the exit papers for reasons unknown. argues. The company stopped sending glass for Venirautos. They sold the engraved glass, the mirrors and some special light reflection that remained in existence. "The government kept the assets of Guardian de Venezuela, has never produced anything and neither will because they do not have the capacity to do so," says the former, who maintains contact with plant personnel.
When the State took over, the factory was not operational due to lack of soda ash, the main reason why the
However, he adds that with that inventory Guardian planned to remain in the market until December 2016. It turns out that he had a year without acquiring foreign currency, the daily production had gone from 450 to 350 metric tons, published El Pitazo in 2016.
expensive spare parts, which they could only buy abroad. The lack of foreign currency also prevented them from doing so. Before the government measure, the Army installed a tent with soldiers in the parking lot to supposedly protect the production and prevent the material from being diverted, the former worker explains. The scrap glass was sent back to the oven to recirculate. They sold the existence After complying with the legal procedures, the plant resumed its functions in February 2017 and since then it has dedicated itself to selling the stored glass. After the confiscation, the oven was never used. In August 2017 they turned off the oven. When the confiscation was announced, the industry had a week taken by government officials. Oswlado Vera, the Labor Minister at the time, was in charge of the process. The process would take a year, he said. It would be while the Venezuelan State negotiated the purchase with the owners of the company, which produced float glass with thickness ranging from two to 10 millimeters. "By order of the President, any company that is abandoned, closed and has productive capacity, will be taken by the workers and the Venezuelan State," said Vera at that time in which he also guaranteed the tools to ensure that the factory will reach its maximum operational capacity. , something with which they are still in default. The day before the confiscation, the board of directors saved the assets of some employees and deposited much more in their accounts than was their due as payment for their years of service. "I was one of those workers who woke up with money in his account. I remember that it was much more than my share. It was like a kind of compensation, "says the former employee. The management board In November 2016, three months after the measure, resolution 10,000 of the Ministry of Labor was published, stating that the company would be directed by a Special Administrative Board. One year later, the board of directors was renewed until November 2018. With the kilns turned off, the company has supported the inventory left by Guardian de Venezuela in its sheds. The internal source ensures that at the time of the intervention the sheds were full and although it can not specify a quantity, it explains that it is a space similar to a block with 24 houses. An unknown company In Las Garzas, the community closest to Venvidrio, people do not know the location of the company.
Among those neighbors was Miguel Serrano, who upon learning that it was the former Guardian of Venezuela But the production also went down explained that it is in the Industrial due to the conditions of the oven and other appliances. In the statement that Zone. "I thought the government never Bucce sent to a group of employees, it opened it," he says. is detailed that the team needed to repower itself with extremely
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Page 35
New jewels of Israeli art.
Volume II — Number 119
March 2019
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A glass sofa with Hebrew verses from the Bible and Dead Sea salt crystals in polished glass is among the new works of art that will be presented to the world leaders and dignitaries of Israeli President Reuven Rivlin during presidential visits abroad. To this end, students of the Bezalel Art and Design Academy of Jerusalem have been invited to create "exclusively Israeli works of art" destined to be given as gifts to heads of states and foreign officials. The idea was originally developed in 2017 by Dr. Eran Ehrlich, head of the Ceramic and Glass Design Department of Bezalel, who then asked Professor Muli Ben Sasson, professor at the Ceramic and Glass Design Department of Bezalel, to manage the general project.
The Bezalel students presented their creations to Rivlin and his wife Nechama during a visit to the President's Residence in 2017. The president was immediately captivated by the creations and was forced to push the concept, giving away a selection of works of art to the world leaders. To prepare for the project, Ben Sasson says that "the students met with representatives of the President's Residence to learn about social and global issues (which are part of the 'Israeli hope' program). launched as a full academic course. "
"During their study work, students designed a product that aims to adapt design to the modern era, an era in which symbols adapt and reform. They created their prototypes from ceramic materials, glass and other materials. The final The project is framed within the products show how fascinating broader umbrella of President this project was and show that Reuven Rivlin's flagship the students, this young program, "The Israeli Hope," generation of artists, are so which aims to strengthen civil creative, with fresh and original relations and partnership among ideas that begin with a deep the four major communities that thought process, "he explains. make up Israeli society: secular, ultra-Orthodox, religious and When the finished work was Arab. presented to them, Rivlin told the
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students: "When we travel around the world and present these gifts on behalf of the State of Israel, we will be giving away unique works of art that showcase and highlight the culture and history Jewish". From the group of creations, Rivlin has already chosen two specific works of art to immediately present the leaders, while two others will be given as future presents. The first piece selected, called "Break and Repair", was created by the student Lauren Fridberg of Bezalel. The piece is designed as a great jewel and is designed to represent the different neighborhoods of the Old City of Jerusalem and each of the ancient Abrahamic religions, connecting and uniting the different parts in a single creation. An additional piece that Rivlin especially liked is "Seeing the Voices" by Matan Divald and consists of a striking glass sofa decorated with verses from the Bible.
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Mexican scientific scholarship.
Volume II — Number 119
March 2019
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To investigate what happens at a molecular level with those liquids that become glass when they cool down - an area little explored by science - the government of Germany awarded a Humboldt Scholarship to the Mexican student Adriana Huerta Viga. "My main objective is to understand what interactions occur at the molecular level that allow certain liquid to assume and maintain the shape of glasses, and later use that knowledge to work on the design of other materials that could be of technological interest, for which I will use ultra-fast multidimensional spectroscopy, "said the young Mexican in an exclusive interview for the Agencia Informativa Conacyt. Huerta Viga, who through the scholarship will carry out a post-doctorate at the Goethe University in Frankfurt, Germany, explained that the project submitted for evaluation arose in continuity with a line of work that began during another post-doctorate at the Nanyang Technological University. in Singapore,
during which he studied photosynthetic proteins.
using a photosynthetic pigment.
"This type of protein is characterized by grouping into large complexes that have pigments that absorb light. During that project I investigated one of those isolated pigments and when I put it in a liquid that formed a glass, I observed a change in the pigment's color ".
Said article is titled Glass formation of a DMSO-water mixture probed with a photosynthetic pigment and is the result of the postdoctoral research of Huerta Viga at the Nanyang Technological University in Singapore.
This phenomenon led her to wonder why the color change occurred and, on understanding that it was a consequence of the vitrification process, she focused on studying these liquids more thoroughly with the ability to form glasses at low temperatures. It will be during the month of February when the Mexican scientist begins her new research and since it is a project thought for two years, she estimates that the first results will be reported after twelve months of work; However, at the moment it already has a first publication related to its project, where it reports the formation of a glass of an aqueous liquid
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About the scholarship The young scientist explained that the Alexander von Humboldt Foundation was established by the German government to promote academic cooperation of excellence among foreign and German researchers. To be creditor to her, she needed to have an innovative proposal. "The Humboldt Foundation awards scholarships at various levels, for example, the one I receive -which includes the purchase of equipment for the laboratory where I will work- is postdoctoral, but resources are also assigned at more advanced levels, that is, for teachers and researchers already consolidated ".
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Collections confiscated in 1936.
Volume II — Number 119
March 2019
A book gathers for the first time the confiscation and exodus to which the republican Generalitat submitted the private art collections of prominent Barcelona families during the months of July and October of 1936 to avoid their deterioration during the Civil War. The work is entitled "Confiscated heritage, the seizure and exodus of private art collections in Barcelona during the Civil War (19361939)" (Editorial Base) and is based on the thesis that the historian of the University of Barcelona Yolanda López defended in 2016 In an interview with Efe, Yolanda López explained that the confiscation of the multiple private collections of art "was an immense task directed from the Consellería de Cultura and carried out in an extremely effective manner". In a few days, the Generalitat "appropriated large collections and documented them, giving each piece a number and an identification card, with description, measurements, authorship and name of the owner," the author has revealed. These identification cards are kept in the National Archive of Catalonia, while the National
Museum of Art of Catalonia keeps "as internal documentation" the detailed lists of the loads with art that took the trucks traveling from Barcelona to the warehouse of Safeguard
collection of clothing".
Finally, the book highlights the Muntadas collection, belonging to the industrialist Matías Muntadas, owner of the textile company "La España Industrial" and an outstanding It was a thorough study of both collector of medieval art. backgrounds for four years which allowed the historian to From the unpublished documentation, Pérez has reconstruct the vicissitudes been able to reconstruct the suffered during the Civil War by several of these collections. complete exodus from the collection from his confiscation Among the artistic collections, in his residence in Barcelona the book highlights the ancient until he arrived fragmented to glass and medieval art pieces Geneva in 1939 together with the artistic treasure of the owned by the well-known Amatller family of chocolatiers Museo del Prado, after going through different safeguard from Barcelona. deposits in Barcelona, Olot and The work also refers to the Darnius. journey suffered by the Mansana collection of oriental After the Civil War, the art, owned in 1936 by the wife collection was returned to its owners, who exhibited it in its and daughter of industrialist and collector Josep Mansana. entirety in the Can Colomer farmhouse in Badalona, owned The ceramic collection of the by the family, until the end of famous politician and the 50s, Pérez explained. Francoist spy Josep Bertran The book defends that the Musitu, or the old jewelry collection of María Concepción official documentation Regordosa are other of those generated by the Generalitat during the Civil War shows the referred to in the volume. will of the republican Along with these, the work government to "fill public highlights the collections of the museums once the conflict" brothers Manuel and Antonio with these collections. Rocamora, who owned a However, after the outcome of collection of old Spanish glass, the contest, the collections family portraits painted by were returned to their owners. Ramon Casas and a "splendid
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The glass in Mexico.
Volume II — Number 119
March 2019
It's 10 o'clock at night and don Jaime Ruiz is still working. His eyes look tired, the thin pieces slip from his hands and his lungs demand him to breathe a purer air that does not mix with the gas that blows the torch.
"They are handmade crafts, there is no kind of molds, you are the one who molds the glass. It is believed that the tradition was born in Puebla and it was perfected little by little in other cities.
After I learned, my brothers dedicated The thermometer registers the 7 ° and themselves to the same, as well as although the fire is its main tool of two of my children who live in work, don Jaime prefers not to take off Ensenada, Baja California, "he the jacket because the cold begins to explained. sink in his position located to the Although German and American glass outside of the streets Ignacio Zaragoza and Alberto Gutiérrez, in the are the best, don Jaime Ruiz acquires historical center of the magic village of the one that comes from China. Alamos. "Quality is not bad, but it is cheaper. To his side is his wife Carmen, wrapped in a light jacket and avoiding a persistent coughing box. At times it sits on a bench, but without losing sight of the customers who still come to buy. "Jaime, we are going to close", insists Carmen, but he wants to finish the missing pieces of glass to replace those that were sold today and so, the next day, he can open his post with all the complete merchandise. For more than 40 years Jaime Ruiz has been dedicated to making small figures of blown glass. He learned the technique when he was 20 years old and lived in Tijuana, because he did not leave the workshop of an American. For the past 15 years he has been attending the Alfonso Ortiz Tirado Festival (FAOT) to sell them.
You have to look for the most economical thing that you give us to win, because although the figures demand their time of elaboration, people do not value labor, they pay you for the size or for the type of figure ". To work, Don Jaime requires the use of gloves, but when he was young he did not even think about them.
not toss around. There were many that I had to discard because the work of a machine is never compared with that of a craftsman. A craftsman does it with care, with passion and taking care of every detail, the machine only does ". "Now it's different because the hands get hot and I can not stand the fire anymore, I start to hurt and the pieces fall out. Sometimes sparks jump or I forget that the glass is hot and I burn, but they are very light wounds, you end up getting used to it and continue, "he added. With the same thing happens, the eyes get hot and after a while they start to hurt. That's why, in addition to his graduated glasses, he is wearing sunglasses with sunscreen. They are composite lenses that he improvised, since he removed the sideburns to the glasses to join both frames through an adhesive tape.
A small dragon requires a work of at least an hour and a half. There are ornaments that are of a complete piece For a long time he dedicated himself to the export of the pieces. "They gave and the pauses in their elaboration are me the material and I took it to various not allowed because the glass cools and everything is spoiled, it is parts of Tijuana and Tecate, from there it went to the United States, but thundered. when the free trade arose, the The artisan's workshop is located in Chinese began to bring their figures. Hermosillo, Sonora. It is there where They made them with a lathe and they he makes all his merchandise. At fairs drew thousands in a day. and festivals where he participates, he "I was in charge of selecting the ones that were good and the ones that I did
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only works on replacements.
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Ariño Duglass in the Zaragoza market.
Volume II — Number 119
March 2019
The company Ariño Duglass will be in charge of manufacturing 100% of the glass for the facade of the Central Market of Zaragoza.
that the interior is visible from the outside.
its construction of more than one hundred years.
Predictably, the new facilities will be ready for the next Fiestas del Pilar.
About Ariño Duglass
Ariño Duglass is a benchmark company, nationally and For Ariño Duglass, this In this way, the new fish internationally, in the assignment "has been a market will have as one of challenge". "We have been construction and railway the main elements some glass sector. awarded 100% of the side windows that will allow façade with an area of Located in La Puebla de the light to pass due to its 1,500 square meters with Alfindén (Zaragoza), the high transparency. large windows and special company offers, since It is a unique material with properties to ensure the 1952, the most special properties that will climatic comfort of the technologically advanced guarantee the climatic interior of the market," they products, with high benefits comfort of the interior. say from the company. in energy saving and Ariño Duglass has The glass that the Central exclusive solutions in produced glass of large Market will wear is a high- tempered glass, thermosetting, laminate, dimensions to cover 1,500 performance layer safety screen printing with design, square meters of surface. laminate that has been developed exclusively for double and triple glazing. The works of reform of the this project. Thanks to its commitment Central Market continue advancing and in a few In addition, a glass of low to R + D + i, the company days will begin to place content in iron (extraclaros) incorporates the latest one of the most colorful will be installed, which will technologies into its manufacturing processes to elements: the glass provide maximum develop new products and facade. transparency providing a applications in glass. total clarity to the interior. It will be Ariño Duglass, the national and international The head of the reform of With 150 workers on staff, Ariño Duglass exports reference company in the the Central Market almost 80% of the glass sector, responsible "Lanuza" is José Antonio for this task. Aranaz, municipal architect production, with its major markets France and the director of the works, One of the most executed by the company United Kingdom, but also outstanding elements is has important export Ferrovial Agromán, S.A. the transparency that this figures in countries such as new fish market will have, The building is classified Saudi Arabia, Colombia, since the side windows will as an Asset of Cultural Holland or New Zealand, allow the light to pass so Interest, and has an age in among others. www.amigosmava.org
Page 40
Prefer glass containers.
Volume II — Number 119
March 2019
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Three out of four European millennials prefer glass containers for their beauty, perfume or medicine products, according to a survey commissioned by the European Glass Containers Federation, which has surveyed more than 2,000 European citizens. The survey indicates that 77 percent of those interviewed believe that glass is the best material and outperforms plastic / polyethylene terephthalate (PET) and metal in five European markets, including Spain. In addition, 69 percent of respondents rated glass as the most recyclable and conspicuous packaging material with the protection of the oceans. In fact, its sustainable use is recognized by 7 out of 10 consumers, who recycle glass jars with the rest of glass containers (jars and bottles of food and drinks)
consumed in the home. The conclusions come at a time when the vast majority of consumers between the ages of 18 and 34 (91%) believe that, in the last year, they are more aware of its environmental impact.
results show that consumers aware of the importance of sustainability have a "clear desire to see more products packaged in glass".
Also, he added that younger consumers tend to prefer glass "both for their perception of quality, as for Likewise, consumers their sustainable consider that glass is the commitment, keys that could packaged material that best convert glass as the preserves the quality and packaging material that best aroma of the products (83% connects with younger of respondents), and the one generations." with the highest perception In that sense, the Secretary of quality (86% of General of Glass Spain, Juan consumers surveyed). Martin Cano, has stressed Perfumes top the list of that the equation formed by products most likely to be the conservation of products consumed in glass, while based on the attributes of half of consumers would like glass, its respect for the to see more perfumes, environment with its model creams and skin care and integral recycling, and products packaged in glass; the possibilities of creativity which indicates that there is are "the best answer for capacity for growth in this packers in a world category. increasingly concerned about their future and their FEVE communication environment". manager, Michael Delle Selve, stressed that the
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Page 41
Our Newsletter is worded in:
The Association of Friends of MAVA was incorporated on June 21, 2003 in accordance with current management.
March 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 119
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-
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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