Volume II — Number 44
May 2012
Monthly Newsletter
Lucio Bubacco . Visits. Newsletters
M. A. Carretero.
Last April was frantic about including glass in them and our visits to various players Paco is dedicated, in addiin the world glazier. tion to working with Cris, to make sculptures in wood. We started the month with our visit to Malta to meet On 11, 18 and 25 have atthe four glass factories in tended the lecture of MAVA the country: Mdina Glass, "Glass in ... Science, Office Glass Valletta, Gozo Phoe- and Art" with assistance from nician Glass and Glass. Alicia Durán, Mario Sergio Ramos and Yolanda TabaThe first three are located in nera. the complex Ta'Qali craftsman on the island of Malta, On day 28 we visited the exand the fourth on the island hibition of the works of Anof Gozo. gela Teunissen at the Tech Museum of La Granja From what I saw in their (Segovia), then we have work, we devoted much continued to Segovia to see more to produce for the the XXXII Crafts Fair, where tourism sector to contribute we could chat with our their works to strengthen friends Natalia Benchoam, the arts sector. Rosa Mendez, Carlos Pinilla, Reynald Blasco and Miguel It may be that the effects of the crisis largely limited its Angel Zamora, Mariana Grande, Aura Redondo and production of works of art and have to adhere to the Susana Aparicio.
It is also a factor that discourages enhance binding negative experiences that have lived in similar previous initiatives. We always offer the same arguments:
As for time commitment we offer our cooperation through AVANCE for not having to spend any time in the necessary bureaucratic tasks that arise in any type of association.
As for the lack of confidence in a fair competition and the possibility of an execrable piracy, we question the conclusion that if the "other" has enough technique to copy what you need to do if you can make your own work?
production of parts at low cost for the customer.
For us it is a true pleasure to The issue of negative meet new artistesanos using past experiences in simiglass as the main element lar projects and has a We could also meet in Malfor the creation of his artistic Nuestra sede: worse solution must be ta to Paco and Chris, artiworks and also be enCastillo Grande de based on mutual trust, sans performing their procontrárnoslos in other events S.J. de Valderas wishes to take advantaduction under the name where they can participate ge of this type of proAvda. Los Castillos, s/n Craft Carakulis. and share and discuss their ject and the necessary 28925 ALCORCÓN. They have recently arrived new experiences since the control measures for (MADRID) last time we had saw. Spanish and based in Vathese negative past exinfo@amigosmava.org lletta. periences not longer Whenever we end on the occur. issue of lack of unity that is Cris is the one that produfelt between the various ces works of jewelry Since our Association we recomponents of Spanish main fully confident that the glassmaker world excepting union in these difficult times our Catalan friends. it is absolutely necessary and And always we conclude that the origin of this lack of unity is fundamental elements of lack of time and lack of confidence in the need to respect the "other" to the personal work.
continue to show our willingness to collaborate with the Spanish glassmaker world in accordance with the purposes stated in AVANCE.
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S PE C I A L I NT E R E S T:
Important issue: the Intellectual Property Law (XV) M.A.C.
Part of the month
Intellectual Proper- ty Law
May 2012
The ERE in CNV
TITLE VI. CINEMATOGRAPHIC AND OTHER AUDIOVISUAL WORKS.
Queen Sofia in Lafiore
They are creations expressed by associated images, with or without sound, which is intended to be shown by means of projection apparatus or any other means of public communication of image and sound, regardless of the nature of the material media such works.
Our trip to Malta
Activities on the MAVA News
Volume II — Number 44
Our activities
Glass recycling How does CONTENTS:
Part of the month
3
Established artists
4
Young artists
4
The ERE in CNV
5
¡Queen Sofia in Lafiore
6
Research line
7
Activities in Museums
8
Our trip to Malta
11
Fragility against crises
12
Activities on the MAVA
13
Glass and radioactivity
14
Technical Glass
15
News
16
Culture 2012
16
Glass houses
17
Corallo house in Guatemala
17
The glass museum
18
The authors of musical compositions, with or without words, specially created for this work.
and secure the inalienable right to equitable remuneration, to have transferred his rental right.
The author who has It will always be neces- transferred or assigned to a producer his rental sary permission of the authors for exploitation, right concerning a phoby making available to nogram or an original or the public of copies in a copy of an audiovisual whatever mode or for- recording shall retain the inalienable right to receimat for use in the ve equitable remunerahome, or through pution for the rental thereblic communication through broadcasting. of.
Such compensation shall be payable to those put into effect the operaThe authors of an autions of rental to the pudiovisual work: blic in their capacity as heirs of the owners of the The directorWhen authors sign con- corresponding right to producer. tracts with a producer authorize such rental. for the production the The authors of the reof, shall be presuplot, adaptation med, unless otherwise and the screenagreed in the contract play or dialogue. The authors may have its contribution in isolation, if not prejudice the normal exploitation of the audiovisual work.
URGENT NEWS
Last minute.
Staiend glass in Guadalupe 19 Glass recycling
20
Cultural tours
21
Culture 2012 Programme
21
Rosa Mendez in Slovenia
22
Enrique de Lucas award
23
Exposure in Guatemala
24
Other trends
25
Catalorg in L’Olleria
26
Glass workshop in Murcia
27
Pablo Pizarro exposure
28
Design in glass
29
Vitrium in Alcorcon
30
How does
31
”Touch the oracle”
32
Angela Teunissen
33
Exposure in Mexico
34
Work the Norberto Chutrau
35
Glass of sea
36
Trockel in the Queen Sofia 37 Directorate
38
Like a great tide of glass, that's the best way we can describe what you did the French artist Baptiste Aerial Debombourg in creating a facility in Brauweiler Abber, Benedict monastery near Cologne, Germany. While the glass touches the ground, Debombourg creates a layered effect of ocean tides that are covering the floor, giving a magnificent result. The work was completed on 14 April this year and it took over 420 hours to complete.
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Part of de month. Theodor G. Seller. exhibition in Coburg (1977).
May 2012
In 1979 will be selected to join the international traveling exhibition New Glass: A Worldwide Survey, organized by Cornign Museum of Glass.
Volume II — Number 44
During the decades of 70 and 80 complete their knowledge on techniques of glass in Murano, Italy, and in various American universities where he was also invited to hold exhibitions and educational workshops. Professor at the Institut Für Werkstoffwissenschaften (until 1990), University of Erlangen and Frauenau also participates in various exhibitions of relevance as organized in 1983 in London, under the title of Germann Glass Today. The International Exhibition of Kanazawa in his editions of 1988 and 1990, and several calls for the sample and Liege Classic Contemporary Sculpture in Glass. He knows the work with glass, with the same ease using different techniques and processes almost always blowing hot air, handmodeled and candilón. Transparent masses with or without color that shape human faces and references, sometimes close to abstraction. Erwin Eisch and Theodor Sellner and are the two leading representatives of New Glass in Germany.
hometown (1961-1964), where he teaches young people the art of glass workers.
The inclusion of other materials such as fabrics, skin, bone, etc.., Often in his works.
As Eisch, Sellner is from a population-honored glass: Zwiessel in Lower Bavaria.
In fact, he was employed for some years in the glass factory Zwiessel, until in 1975 it stop working to establish independently.
His work is in the best museums in the world, from Corning to the Kunstmuseum Dusseldorf, from the Ebeltoft Glasmuseum the Musee des Arts Decoratifs in Paris, from the National Museum of Ukraine to Wagga-Wagga City of Australia.
His first contact with the glass is blown into the state school in his
Shortly after opening his own studio and started his career with a first
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Established artists. Lucio Bubacco.
Your web
the process, is unique in Murano glass.
May 2012
His pieces challenge our notion of the glass, mainly emphasizing the decorative and whimsical, the formation and plasticity, rather than a detailed elaboration or narrative content presented as a miniinstallation.
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In 1980 he began studying anatomical drawing with the Venetian artist Alessandro Rossi. His style takes a new dimension: the movement of the figure becomes the central theme of his work. His masterpieces are made in Murano glass, also called "soft glass" because of its high content of soda, which is famous for its characteristic brightness and ideal for the process of "lume".
Bubacco, born in Murano in 1957, began working with glass as a child, making small animals. At fifteen he received his artisan's license and began marketing flameworked Venetian memories.
His fascination with anatomy, equine and human, we drew slowly push beyond perceived technical limits of his craft.
Not only does the red rod blow. Sets before our eyes the little vices, the essence of greed that have become small cockroaches, small bugs that hide and feed on the crumbs that fall from the big table, the table of the Marquis de Sade, Borgia or Madame Pompadour
His large free standing sculpture, worked hot and annealed during
Young artists. Emilie Haman. I asked no questions when I decided to go. Without having felt the effects, I realize, however, in terms of contemporary art galleries or large schools, as the Fine Arts, the men are still well represented. Men rely on men. " In this contest Bulselle Co. our friends Esther Luesma and Xavi Vega have been awarded the Good Design Award for his work "Autumn leaves"
Emilie Haman was the winner of the contest Emerge 2012. He was born in the French city of Vannes-le-Châtel.
In his opinion "The art glass is becoming more feminine and my work I deal a lot of femininity.
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The ERE in Centro Nacional del Vidrio.
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May 2012
The National Glass Centre (NSC) approved during the special meeting held between the Board and members of the Board, the Ministry of Public Works and National Heritage's request for an ICO € 300,000, with another package, "which would solve the employment regulation file in one or two weeks, "as noted by the director of CNV, Aurea Juárez.
of National Heritage", who formalized a contract with the SEC for the restoration and maintenance of the decoration of the Royal Palaces of the country.
Also, the director added that the measures agreed shall be authorized the conversion of CNV in Society Limited and a possible agreement with the Junta de Castilla y Leon to finance international exhibiMeasures designed to address tions to bring products Segothe drop in sales has been the via center around the world. center, which approved an Although the measure is not ERE in the month of January, final with the regional Juarez said "the splendid work
government, as Juarez said, "are being studied from the Board other additional grants." The National Glass Centre announced earlier this week the possibility of extending for two months and the ERE as a preventive measure that has undergone since early this year by the withdrawal of subsidy of € 300,000 names of the Board for this year. Juarez said the decision, which affects 54 of the 70 workers, was taken as a precaution and to prevent the May 1, if they do not support, the center can not afford.
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Queen Sofia in Lafiore.
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May 2012
visit, His Majesty has shown "interest" in the traditional technique and artistic glass Majorcan Majorcan craftsmen employed by the company. The owner of this family business, Miquel Tortella, has guided the Queen Bauza and the facilities of the factory and have been enjoying a demonstration of artistic glass making "the traditional method," faithful to the work systems used "for over 2000 years."
Her Majesty, Queen Sofia, held last April 4 private visit with President of the Balearic Government, Jose Ramon Bauza, the Lafiore glass factory, located in the Mallorcan town of s'Esgleieta, on the road Valldemossa. Sources of the Government to Europa Press that the royal family had moved to the Balearic Executive hope that this visit was strictly private, so no notice has been given to the media, except for regional television, IB3, yes it has been spreading the images. It so happens that this is the first visit by Queen Sofia, accompanied by officials of the Balearic Islands after his son, Inaki Urdangarin, declared
on 25 and 26 February as a defendant in the Courts of Palma, in under Case investigating alleged irregularities in the Nóos Institute.
Thus, Sofia and the President of the Government have been informed about the inclusion for the first time in Spain the melting furnace of the type 'day tank', purchased by the company, which has allowed "an innovation in glass melting and malleability back. "
Also, following the demonstration, have accessed the inside of the Those sources have explained that tent of exposure of the parts and have known the new designs and the Queen's visit to the company, has produced glass after Bauza to colors characteristic of the glass give away an object Lafiore Reyes, company, achieved with mineral pigments. who liked to Sofia and who came to place it on the Christmas table During the tour, there have been La Zarzuela. recent parts of the collections that So after receiving this gift, the Queen went to the Balearic president he would like it with him to visit the company Mallorca as it was interested in learning the art factory and the glass. Thus, as reported by the Balearic Executive in a statement during his
have been presented at the trade fairs in Madrid and Frankfurt in which the company Mallorca. The Lafiore company visit ended with a photograph of Queen Sofia with all the staff of the factory and shop Lafiore.
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Line of research: Inclusions (III).
May 2012
Estefanía Sanz Lobo.
2. Another difficulty related to both physical and chemical characteristics of glass as the artistic process of melting the glass temperature needed to reach full merger, which we can place at 815 ° C.
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Some metallic materials melt at lower temperature, so that their behavior by including them in the vitreous mass may be unexpected. Other materials of organic nature and disappear completely calcined or leave just a trace of ash. 3. Finally, and also due to the melting technique adopted, with uncontrolled gas bubbles produced from the combustion of organic materials or the presence of oxides of metals. Also appear uncontrolled air bubbles, if the material is thick or consists of small fragments that trap air (eg, sand). These bubbles are trapped between two sheets of glass to melt them. Types of inclusions encountered. The classify into two groups: organic and inorganic. Among the first are included those with an animal or plant origin, albeit distant: bones, feathers, wood
chips, fabrics, paper … Among the latter have been particularly interesting metal, although it has been experimented with ceramics and glass fibers, sand, etc. III.2.4.3. Organic inclusions. The main problem is that these inclusions carry combustion: some substances give off gases when burned, which are trapped within the glass piece. These gases tend to give a black tone, which comes to fully opacify the glass. At other times, the subject experienced is consumed leaving no trace, just a fingerprint or some ashes. These two tests (Fig. 1 and Fig 2) have been made with burlap. In Figure 1, was impregnated underlay ceramic enamel blue dissolved in water and, after drying, was placed between two glass sheets. 2 is simply burlap. In Fig 1 shows how the combustion gases have created a large bubble in the center of the workpiece, which has been marked lines corresponding to the weft of the fabric. In Figure 2, which is placed so that part of the fabric was left out of
the glass, the gases to escape, and there was a completely opaque black area surrounded ash showing traces of the fabric. The sample in Figure 3 is a splinter of wood, as shown in the picture, just leaves a small footprint and some ash. Combustion gases have been evacuated perhaps because the trapped bubble is transparent. In Figure 4 we see a test paper, which is also seen a slight trace of ash. As in the previous case, nor has trapped black smoke. The test of Figure 5 contains human hair enclosed in sandwich between two sheets of glass. Hair not only leaves an opaque black, but also has a rough texture feature. Around burnt organic matter there is a large gas bubble transparent. For the test of Figure 6 we used a goose, the calcined leaves a fine and delicate strokes around a central black opaque. As in the previous case, there is also a bubble of gas around the material calcined.
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Volume II — Number 44
May 2012
Activities in Museums I.
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May 2012
Activities in Museums II.
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May 2012
Activities in Museums III.
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Our trip to Malta.
May 2012
We saw, however many parts that could be applied within the meaning of art glass, since most are made by applying the same standards of design and industry standards, even from the beginning to the end the conception of the piece is performed manually by a glazier.
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What I see is that we have good facilities to perform their jobs.
In Mdina Glass saw some of his best pieces with a clear influence of Picasso's work.
Last April we were in Malta visiting, among other wonders, the glassworks that exist there. On the island of Malta firms visited Mdina Glass, Glass and Phoenician Glass Valletta. On the island of Gozo Gozo visited the factory of Glass. The three factories on the island of Malta are located in complex craft workshops located in a former airfield hangars Ta'Qali, near the city of Mdina. This airfield was used in World War II as Allied planes shuttle and the base of the British air outside. Gozo factory is also located in a complex of craft workshops.
All of them consist of a workshop for the work of handling the glass and that visitors can observe the transformation of the glass and a store to sell products that are manufactured there. The firm Mdina Glass, above all, has spread throughout the island different outlets for their production. A great idea that makes it easier for the tourist who will not see the factory can admire and buy their products in other stores of the places you visit. They all use the technique of glass blowing, either the air well in mold, and Mdina Glass saw one of the teachers using the technique of torch or candilón.
In Valletta Glas was very curious to see the varied collection of reproductions on glass and electric guitars of various sizes. In Phoenician Glass we thought we saw an increased interest in performing art works such as the example to illustrate this article. We also saw the presence of the economic crisis in the tents of these factories, as the price cuts announced in coming up to 50% of its value. It is very evident to visitors look around the parts and lower cost, however, higher quality parts with a higher price are located in remote areas and a number of visitors almost nonexistent.
View images
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Volume II — Number 44
May 2012
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The fragility defies crisis. Angela Teunissen or permanent Maumejean Stained Glass of the nineteenth and twentieth centuries, and are one of the most important funds has the foundation. These works are in the process of cataloging and comprise approximately more than 9,000 drawings, 6,288 photographic plates, 26,130 meters square of cardboard and 26 windows. Visitors can also immerse yourself in the history and development of glass technology used in different manufacturing processes.
A large melting furnace built under one of the two towering domes of the Nave Horn chairs this journey through the diverse machinery illustrating the Cut tap gifts. Take home a glass like the princesses history of this cottage industry: from a Elena and Cristina, best serve liquor in nineteenth-century French mill of heaBefore and fractured the production a dish worthy of an ambassador or devy granite wheels that moved by water and marketing other blows by the corate your home with a table as the power to grind the raw material to horihammer of economic and financial centers that received the Zarzuela Pazontal drum screens, crushers grinders, adversity. lace gift by the City the Royal Site of mixers, enfornadoras, crucibles or roThe reduction or even suppression aids lling. San Ildefonso to mark the link with the and belt-tightening policies imposed Prince of Asturias Letizia. Many of these models were rescued by administrations and which proviReceptions your guests will not be the from the ruins of the old Royal Factory. ded for the prohibition by law of instisame, have a sovereign excellence. tutional gifts cut the liquidity, solvency A sample of that survival is possible. Everything is close at hand and pocket and diminished the closed major sales Expectant optimism thanks to an initiative of the Foundataps. While guiding the path of the facilities tion of the National Glass Centre (NSC) So the direction of the market devised which in turn travel tour groups, visitors who runs Aurea Juarez. the formula to output at an affordable and school trips loose, both confess to The success of the market that opened cost to the cumulative production. be expectant, worried, but with an auin the headquarters at Christmas granra of optimism stronger than the glass The particular merchant National jeĂąa made the institution to repeat the handle, display and work. Glass Centre resented as ERE could experience during the last Easter to not help weighing about 53 workers. Another of those pillars supporting the dispose of their stock of their craft pieNational Glass Centre is training. The Whenever making paralyzed as a reces. Royal Glass Factory has the only School sult of temporary file happy-although "These are items that were discarded of Glass in Spain. still taking orders and orders some rebecause they have a small tare imperservation, as Cecilio says Straw, resA unique professional educational opceptible and that failed quality tests," ponsible for production, at present on- portunities and pioneer who began his says the official of the entity. ly a dozen employees maintain the career as such in October 2006 in resGood because of that have welcodynamics of the founding of the CNV. ponse to the need to provide a teamed the attractive discounts of up to ching equivalent to the long-standing The board of the Foundation of the 70% in some of these jewels that are degrees, degrees now with the asNational Glass Centre met last Friday the sign of the cultural and industrial sumption of Bologna Treaty and the and gave some guidelines to give identity of an entire municipality, as new direction to the organization, stre- new European convergence space. presumably the ruler of the Royal Site, amline and release of these marketing Formative and artistic side that dates Jose Luis Vazquez. corsets that have so far restricted its back to 1990 with workshop programs. Management has decided to maindistribution channels and have led to In 2009 he graduated the first class. tain and encourage this market with this " difficult situation "that has opeStudents between 25 and 30 students, the carving of the cups, glasses, botned a rift in the future once the Royal the future talents of this discipline whotles, decanters, paperweights and de- Crystal factory. se education is marked by a very intercanters live and direct customers to Paloma Pastor is responsible for the national mark, claim the makers. take home your custom artwork. exhibition space. The other leg of the supporting bank For the modest price of 3 euros can It is the part where the National Glass earnings today CNV is the store. record their initials, the name leaves Centre the visitor reveals the delicate The showcase gives to the customer's something more expensive, 10 euros, beauty of this material in its various eyes collections of unique handmade while details of the date carved out for forms and techniques. and unique, handmade by the masters 8 euros. This lack of activity has led to demons- of the House using a historical mold Have had to resort to this exhibition for trations of the furnaces have to admi- and following the same techniques as commercial purposes because the re and discover through an audiovitheir predecessors in the Royal Glass blow is closed because of a record of sual. Factory. employment regulation that has been At present, among other collections, Sweet jars, bottles, cups ... exponents extended two months after the Junta the Museum of Glass The Farm is home of a real hearth industry wants to conde Castilla y Leon nominative withto the temporary exhibition of the artist front the crisis. draw a grant for the current course.
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Activities on the MAVA. Conferencies.
May 2012
Then we went with a description of various pieces by him through slide shows. He ended his presentation with a demonstration in the workshop of his technique MAVA window and delighted us with the realization of the figure of a lizard.
Volume II — Number 44
The full conference and demonstration can be viewed on YouTube via the following links: Mario I Mario II Mario
In April last the MAVA organized the cycle "Glass in ... Science, Office and Art" consists of three conferences:
Yolanda Tabanera made us a description of their backgrounds in art, their education and their forays into the performance of works of art using various elements such as hemp, ceramics, works on paper, etc..
new glass, fiber optics, glass in astrophysics, advanced glazing, glass and climate change, energy balances in special glazing and integrated energy capture through the In the production of glass parts, Yo "The future is in the glass" by Ali- glass. landa takes its design and execucia Duran. tion goes through a master glassThe entire conference can be vie "Profession: glass torch" by Mario wed on YouTube via the following maker. Sergio Ramos. links: His works in glass ranging from small "Relationship glass artistparts to large installations, such as Alicia Duran I craftsman" by Yolanda Tabane- Alicia Duran II those in the Monastery of Santa ra. María la Real in Nájera, in the Fine Alicia Duran III Arts in Madrid, in the oven of the In the first conference, Alicia Mario Sergio Ramos told us its oriCitadel, and in Pamplona. Durán, PhD and researcher at the gins in the world glazier, the difficulCSIC, which appears in the image Some of his works of small and meties he had to overcome his selfillustrating this article, we made a training in the handling of the glass dium sized part of the exhibition Is well documented statement of the through the torch and his recent there anybody there? Recently predefinition and characteristics of attendance at courses run by Paul sented at the MAVA. glass, its structure, its properties, its Stankard and Lucio Bubacco CorWe are waiting for us permission to origin and development , its various ning (USA) and in Italy. make public the videotape of his techniques, composition and evolecture. lution. History of optical glass,
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Glass to determine the radioactivity.
Volume II — Number 44
May 2012
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The Environmental Molecular Sciences Laboratory (EMSL) of the Department of Energy of the United States is currently immersed in an international program studying glass pieces 1,800 years old from a Roman shipwreck and a reservoir.
But now, scientists Denis Strachan and Joseph Ryan, National Laboratory Pacific Northwest (PNNL) have sought the collaboration of EMSL and Italian colleagues for the analysis of Roman glass remains recently collected in Italy.
The main objective of this research is not archeology, scientists are analyzing samples for thousands of years to assess how to eliminate future radioactive waste safely through the process of vitrification.
They will have to do with the most modern technological means, such as the LEAP system.
The glass dissolves very slowly, and this is the main reason that is currently being used to store radioactive waste.
The LEAP is a system of atom probe tomography can produce accurate images in 3-D chemical.
cups, bottles and dishes. These fragments of glass, green, blue and white, had been stored in a barrel with intent to be recycled into new glass. In early 2011, the PNNL team worked with the University of Padua in Italy to obtain samples of glass recovered from the Iulia Felix. Glass was also recovered from an excavation of a Roman villa than 1,800 years ago in the nearby town of Aquileia.
An inset map of atoms of Iulia Felix And besides, are collaborating with glass recovered through the system French scientists to study a third of atom probe tomography, or LEsample glass of the same age from AP. a shipwreck off the southern coast However, this advantage also preThe red dots are carbon atoms of France near the island of Embiez. sents a challenge: It is difficult to and oxygen atoms blue dots. conduct experiments over periods Evidence from the study will be intelong enough to allow scientists to A source of ancient glass is Iulia Fe- grated with computer models to collect the results needed to refine lix, a common merchant ship that improve simulations of the dissoluthe computer simulations used to sank corbita type north of the tion of the glass. The techniques calculate the behavior of the stabi- Adriatic Sea on the II-III century. used in these studies are already lity of the vitrified waste for thoubeing applied in simulated corroIn the hold of Iulia Felix, along with sands of years. sion of waste glass for accurate 560 amphorae and some bronze comparisons between different tyThe study of dissolution of glass reobjects, there was a large wooden pes of glass. Moreover, the results quires a sophisticated instrumenta- barrel of approximately 1.4 meters enable engineers to use the incredition and glass former. high with nearly 11,000 pieces of ble durability of vitrified waste with glass. The test piece longest man-made confidence to the design of the simulated nuclear waste glass has container. The fragments came from a wide been about 25 years. variety of mugs, small vases, trays,
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Glass techniques. Color palette (XII).
Volume II — Number 44
May 2012
Estefanía Sanz Lobo
Following ELSKUS (1980), it is preferable to use only powdered gum arabic.
The result is high quality but expensive.
Also MORTON (1999) suggests that when painting on glass very complex reasons, the glazes can be The procedure would be: palette extends over a glass enamel a spo- applied in several successive firings onful of finely ground, with a thick- to achieve different effects. ness of about 2 mm. When working layer upon layer, cooking between them, will achieAbout this glaze, sprinkle powdeve better results than if you work on red gum arabic, until the cover as a single firing. snow but still see the nail under it.
Mix the second layer with a waBoth components are mixed and ter repellent agent, if used bewater is added slowly until it acquilow gum arabic, as turpentine or res the consistency of liquid yogurt. alcohol. Should be left for a few minutes before use. In Figure 2 presents a test basis with different glazes. To find the proportion of enamel, gum and water, the author propoThese enamels are mixed with wases an empirical method. ter and acacia. If the paint runs without preserving About them has spread gray enathe form given, is too much water. mel dissolved in turpentine and coIf, once dry the brush, it goes to run paiba balsam. his fingers, has little gum arabic. In the test of Figure 3 have been If the paint is not even scratching used as diluents of colored glazes with a fingernail, have too much water and turpentine. gum. About them has spread gray enaIn Figure 1 are some test samples mel and gum arabic dissolved in with different glazes and agents. vinegar. In the above acquired gum arabic RESULTS: When the turpentine is was used in liquid state below the used as diluent in the upper layer, gum arabic powder was used (1 st dragging the color. left) and liquid (central) to give best results from the liquid mixture, If the bottom layer was dissolved in contrary to expectations. water alone, the color is partially driven by the stroke of the upper If you want to put several layers of layer. overlapping color, find the problem that a diluted to the previous The top layer is more uniform and layer. has a better finish when dissolved in copaiba balsam. This is inevitable if the lower layer does not carry any type of binder In other tests verified that the alco(sugar gum), but only water. hol also gives good results in the top layer, although the texture fiIf it was used a solution of gum aranish is not as good as the copaiba. bic, there are several procedures: An interesting substitute for sugar Baking between coats. water are the type sodas Seven Up.
To make the colors more opaque white pigment is added, to make them more transparent, add flux. The use of certain diluents also influences the results of mixing colors. Although there was talk of this matter, incidiremos again. As an example, get an orange hue by mixing red and yellow is not so easy, and it was noted that the component oxides of some colors react chemically with each other with unexpected results. Also the binders used, or the fact be above the glass or from glass influences the results obtained. In Figure 4 an example of different mixtures of red and yellow for orange, placed on the surface and gum arabic dissolved in liquid (top row) and dust (bottom row). Degussa colors for decorating glass virtually disappear, as they are for low temperature. Colors L2298 (Maquimetal) with VA2760 (Reflex C) react to marrónbronce. The colors DV0860 and VP3115 (Reflex C.) result in a dull vermilion, which mixed with arabic powder melts wrong. Finally, the two colors of red and yellow chips Bohle give a bronze orange. In Figure 5 the same sandwich mixtures give different results: the two Degussa enamels for glass give a good orange, but opaque instead of disappearing, the other dark reds are blends, the colors L2298 (Maquimetal) and VA2760 (Reflections C.), react to black, the bright vermilion mixture DV0860 and VP3115 (Reflections BC), now give a dark red opaque, and the two colors of chips Bohle, give a tone of red cherry and orange bronze with good transparency.
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N E W S (I).
New web ACAV.
May 2012
ziers have begun including links to natural and legal persons located mainly in Catalonia and have the glass as the main element of their artistic achievements.
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They also include information on how the visitor can be associated with the ACAV and provide the number of the account you must deposit the membership fee. In the section "News" includes numerous links to further information on the review mentioning. Also in this section are abundant references to the world news related to glassmaking in Catalonia. Its design seems very simple and practical, and will be one of the sources to which we will go for information on the news that we deem to be of interest to include in our newsletter.
On April 23 made its appearance in Catalan glass and its users in any of So, congratulations! ACAV friends cyberspace the new website of the its forms. Catalan Association of Art of Glass. We also offer a wealth of useful links for this contribution to the world glazier. A very good news for those of us to access many pages of all types interested in everything that suof schools, colleges, fairs, museums, rrounds the world glazier. craft organizations, magazines, audiovisual spaces and other links. On the web you can find numerous related information in
In the section on information gla-
Culture 2012. He seems to care much reflection that accompanies each of the proportionality of space allocated to them in the set. In some of the fragments of his works seems as if the frame had been placed upside down. So you can see some of the houses upside down or the meaning of the brush from the bottom up, when I was supposed otherwise. Harmony in color is one of the essential features that we have seen in his creations. The bright red, deep blue, green hope, the immaculate white of the figure of the bride ...... The figure of the wandering Jew with the bag on his back and Rabbi with the Torah are a constant in the work of Chagall and manifest the lingering memory of the origin of the painter.
Last March the sample were visiting the Thyssen Museum and the Caja Madrid Foundation dedicated to Russian painter Marc Chagall. At the Museum presents over 170 works by the painter made from the beginning until the return of the United States, and the Foundation, with free admission, more than 160 works after his return to Europe.
The two loves of his life, Baba Beauty and feature prominently in his works, Bella in the first half of his life (he died cow, the pair of lovers, the Wandering Jew, the rooster, the window, the in 1948) and Baba in the second. waning moon, the bouquets of floChagall's life was marked by two wers. world wars and the Bolshevik RevoluIn the tables of the Fundación Caja Madrid, which belong to the second half of his life, Chagall makes a great reference to the world of the circus, which was a big fan.
The museum displays numerous designs that Chagall sheets included in the book of fables of La Fontaine and in an edition of the Bible.
Chagall refused to participate in the Cubist movement was in full swing when he moved to France, but many of his works part of the essential features of this movement.
In this exhibition of works from the first half of his life, full of references to elements, fetish for the painter: his hometown of Vitesck, fiddle, the
The painting of this magnificent artist has no concern for reality when you place the objects included in his paintings.
tion. His disappointment in the direction they took revolutionary politics made him leave his beloved homeland and move to Paris. But always longed for a very intense his beloved people, the Jewish religion, the sound of the violin and the figure of the candle seem to remember always keep the hope of a possible renewal of the happy past.
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N E W S (II).
Glass houses.
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May 2012
plasterboard to organize the space. The award plasterboard, which has been held for over 20 years, is endowed with 1,000 euros and values the best architectural idea presented by the students. Winners have the right to participate in the national phase, which will fail in Madrid and in which the prize amounts to 6,000 euros, according to the educational institution. A project to convert the structure of a building as the crisis has left halfbuilt in eight glass houses, opened in a forest of pillars with leisure and workplaces has won the plasterboard, failed at the Polytechnic University of Cartagena (UPCT). The winning project, submitted under the theme "Clear in the woods',
was developed by three students from the School of Architecture and Building Engineering: Dilly Emmanuelle Garcia, Sergio Gimenez Fernandez and Jose Maria Mateo Torres. Students have developed a project that, with very simple operations, generate a forest of pillars of
And there were two runners from 600 euros for the job 'Out the box' by Juan Bautista Martinez and Alberto Tomás Muñoz Bonmatí and 'Space Invaders' by Francis Falberto Jseús Almonte and Miranda Carrasco Requena. The coordinators and the jury have expressed satisfaction with the high level of participants.
Corallo home in Guatemala City. Construction: CONARQ, Peace Architecture. Located in a wooded and mountainous topography and broken, the house integrates nature coast being true to the purpose to respect the forest and introduce it to the architecture of the house. The design was drawn up looking sort the spaces around the trees for the purpose of not overturned. The plant is mostly free and the home is ordered on slopes.
Year built: 2010-2011.
Titus, Mario Roberto Paz.
Place of Performance: Santa Rosalia, Guatemala City, Guatemala.
Claudia Pezzarossi, Wolfgang Shoenbeck.
Author of the design: Peace Architecture - Alejandro Paz.
Landscape Design: Pokorny and Valencia - Landscape Architecture. Consulting Structural: Structural Partners in the project: Axel Mendo- Consultants. za, Gabriel Rodriguez, Alex
Both longitudinal walls are mostly glass and looking achieve permeability outward, trying to integrate the most of interior architecture with the advantages of the surrounding nature. We used the exposed concrete formwork with rustic wood construction as the main element, generating textures whose language dialogue with the local forest.
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The glass in Museums: Lalique.
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May 2012
the land on which stands the roof just painted green that mimics the environment. At the heart of the building is hidden an ornamental garden, forming a cloister. It is very modern and very ecofriendly at the same time. The museum exhibits in chronological order, a permanent exhibition of the artist's varied works, including 550 drawings, jewelry, vases, dishes, lamps, vases … At the entrance of the great main hall is an imposing glass lamp made by the artist's son, Marc Lalique in 1951, and was restored for the museum's opening. The spider weighs about 1.7 tons, measuring three meters high and Until now if you wanted to see the taking as inspiration what he called consists of more than 300 pieces. It is truly amazing! work of Rene Lalique in Europe, the three F's: 'femme, fleur, fauone of the most revolutionary artists ne' (female, flowers and fauna). A party that is more like the room of the Art Deco, you had to go to Silvio Denz, which displays about Lisbon to Calouste Gulbenkian Mu- That is, the female body, animals 230 bottles of perfume old never (especially dragonflies and other seum. seen so far. insects) and nature with its flowers But since last July, in the French re- and fruit trees. They are a genuine sculptures, a gion of Alsace is a museum in the beautiful glass bottles created by same place where the great crea- At the height of his career as a jeLalique in series to market sometweler, and tired of being copied tor built a glass factory, is in a villahing as refined as a perfume in their designs, Lalique gradually ge called Wingen sur Moder, near change the way and let the noble small translucent artworks. Strasbourg. metals to become a glazier. If you visit this summer, from July 13 For many, Lalique (1860-1945) was' His early experiments date back to to November 11, 2012, an exhibition the glass Rodin ',' a poet of the the 1890s, but it was his encounter of his daughter Suzanne Lalique, a glass, the jeweler of the Belle Epogood opportunity to discover the que ... while for others it was much with the perfumer François Coty in sensitivity of this artist who used his more than that, was the inventor of 1908 decisive. talent to create works in porcelain, modern jewelry. glass, textiles or clothing for theater. From that moment he decided to leave jewelry and dedicated not Her earrings, brooches, tiaras, coLalique Museum. Rue de Hochberg. only to create works of art in glass mbs ... are the most imaginative Wingen-sur Moder (Alsace) France. pieces, made with great taste and bottles but also to produce the Tel 890 814 0033 388. greatest perfumers of the time. elegance and more elaborate techniques.
The Lalique Museum is designed by The creative genius of Rene Lalique the firm of architect Jean-Michel Wilmotte has managed to integraled him to experiment and used without any problems, materials un- te this former glass factory in the middle of the eighteenth century til now rare as ivory, semiprecious an exceptional landscape. stones, horn, enamel, glass .... Created many of the most representative jewelry Art Nouveau
The building, 900 square meters, is half buried in the topography of
Less than an hour from Strasbourg by TGV. Direct flights to Strasbourg with Vueling from Madrid and Barcelona. Open Tuesday to Sunday from 10 to 19 hours. Entry fee: 6 euros. www.museelalique.com
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The Treaty of Guadalupe Monastery Windows (I). fourteenth century.
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May 2012
The Treaty of Guadalupe is the result of a specific period in the history of the window, from the late sixteenth century, in which there was a clear decline of the art and consequently a loss of knowledge for centuries.
Fernando Cortes Pizarro.
The recent restoration of stained glass important treatise preserved in the Monastery of Guadalupe (Cáceres, Spain), has motivated the writing of this article, presented as a sort of annotated reading it. It has placed special emphasis on those aspects of the original text that refer to the craft of glass making, such as techniques and methods of work or the many tips and tricks offered, fruit of the author's own experience. It also made frequent comparisons between the situation in midseventeenth century and the present. Introduction The "Brebe treaty as the bedrieras traçar have and that luck is cut bidrio" written in the mid-seventeenth century and restored in the Institute of Cultural Heritage of Spain in Madrid in 2010, is undoubtedly a text of exceptional importance for the history of the window. This manuscript was located for more than a century in the archives of the Royal Monastery of
Santa Maria de Guadalupe in Caceres, not having carried out any study written on it until the nineties of last century, when Victor Nieto published Warden the first comprehensive study of the history of the Spanish glass. " Recently, Bartholomew Diaz Miranda after a thorough review of the manuscript date it reaches the mid -seventeenth century, probably around 1647, and draws Fray Alonso de Madrid, a friar Jerome's own monastery of Guadalupe as the most likely author of the , providing important documentation to support his hypothesis.
During the second half of the seventeenth and early eighteenth centuries were written in Spain two major treaties such as the Cathedral of Segovia, "Treaty on the glass factory ..." John Danis and "How to make windows ... "by Francisco Herranz, drawn up jointly between 1676 and 1690, and the" Secret Treaty of stained glass painting with fire "by Francisco Sanchez Martinez, 1718. Years later, in 1774, Pierre Le Vieil France wrote in the famous "L'Art de la Peinture sur verre et de la Vitrerie", probably the last great treatise on the window, which closed a period of decline and began new recovery phase of this art from the nineteenth century.
While there are many texts in Europe or treaties that deal with the manufacture of glass, those devoted to art and technique of stained glass are much more scarce and most were written during the Middle Ages.
All of these Spanish treaties mentioned have in common a clear desire to write down the processes, techniques and working methods of glassmaking craft essentials in order to preserve and transmit, mainly a reduced environment, foreground and thus prevent return to lost or, as in the case of the text of Guadalupe, save costs to the Holy House. Indeed, as rightly pointed out Diaz Look, these three texts were conceived as "secreteros" or notebooks for internal use, but to be printed and disseminated on a large scale.
Among these we highlight Heraclius and Theophilus, the twelfth century and those of Antonio da Pisa and Cennino Cennini, the
It is precisely these characteristics and the specifics of their content, these treaties have not been revealed until recently.
Nieto Warden, V., 1998: 233-235. Miranda Diaz, B., 2007: 342
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Recycling. Javier Peña Andres visit. much discussed.
May 2012
We know that can be reused many materials, including steel and plastics, and while in the latter case after recycling properties are not the same as the original plastic, resulting recycled plastic can be used for some less demanding application.
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But as I said Javier, not only can save energy by recycling, but there are plenty of materials with different properties that can save many electrical, engines, etc. … As an example, shape memory materials: imagine the awning of a terrace. Currently the most advanced awnings incorporate electric motors that regulate their movement through a knob or a facility automation. Suppose that the awning will install a system extension and collection of materials with shape memory materials which, when the sun is giving them and reach a certain temperature, stretch alone dragging them to the sheet and, when the sun and reduce heat, picking up his contract once the awning.
Last Friday April 20 received Tecnun Javier Andrés Peña.
selection of innovative materials in the world.
Javier is a Doctor of Science from the Polytechnic University of Catalonia, where he is also University Professor and researcher.
Besides being a basis for consultation, Mater done consulting work for companies seeking assistance in the selection of materials for some projects.
He is also professor and head of the Department of Science and Technology Elisava School of Design where they had the opportunity to meet you. Besides all this, Javier is Scientific Director and curator of Mater.
As a condition to be met by the materials to appear in the database Mater, is that these materials are available for sale to the public.
In the hour and a quarter-long talk, Javier raised the interesting theory that the problem of energy in the The Mater is a center for materials world is actually a problem of mabelonging to the FAD (Promotion of terials. Arts and Design) in Barcelona. And not just in terms of recycling is It is a library that is available a wide concerned, something already
On the other hand, imagine that recycled glass, applying a pretreatment, we get that store sunlight during the day then at night illuminate particular stay. Can we design public buildings illuminated in this way? Would not it be a good way to save electrical and harness solar energy? How would a pool whose tiles were made of this material could uniformly illuminate the pool without electrical installations can also pose a risk? All these solutions and were raised by Javier in a very interesting talk in which we all aware of the need to exploit the wide range of materials currently available worldwide.
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Our activities.
Cultural Tours. In the early days of this May, and taking advantage of going to visit the Romanesque Palencia, we will approach the workshop Llavador Ana Belen is in the industrial town of Palencia Guardo. Ana Belen is a young veteran in handling the torch to create glass pieces.
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May 2012
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 2012.
Since we observed their knowledge on this issue in its participation in the Holly Fair in the town of Soria Oncala. In our next newsletter we will have our impressions of this visit.
Culture 2012 Programme. Hence the name, Agents Partners, which can be either people who are put off the works as time goes on them: such as termites have eaten the wood of some of the pieces that can be seen in exposure. Rotten timbers, rusted iron, broken glass ... all your stuff home in a life that passes, they all support the future of a time it becomes, and, with patience, eventually destroying them.
This May Nacho visit the exhibition Raised in Crystal Palaces and Velazquez, the Retiro Park in Madrid.
complementary and mutually exclusive body and architecture, between text and image, between image and space.
Using different media, from photography to installation, architecture or video, Criado explored the relationships at once
And the dynamics that lead to these dichotomies, said the director of the Reina Sofía, can only be understood with the help of someone to complete it.
"While the art of the late twentieth century is an art space, as the two dimensions of painting, or the three-dimensional architecture, Nacho Criado is an art of time." "He did not like to look back, and surely would have created something different." Put a selection of his works under one roof, however, provides an overview of the whole, "you can see your drift."
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Rosa Mendez in Slovenia.
May 2012
The products of art of Slovenia will be presented in parallel with the products of the craftsmen of several European Union countries that had responded to the invitation for your cooperation.
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The exhibition will showcase the creative achievements that represent the continuation of historical memory, a component of the intangible cultural heritage and at the same time, a latest finding various forms of expression. The best craftsmen, both in Slovenia and abroad will be presented. His works are made of wood, stone, clay, wicker, straw (including raffia and grass), glass, iron, paper, natural fibers, wool, leather and wax, and include embroidery and bobbin work. In 1977, the city of Slovenj Gradec quality criteria are marked with a organized the "First Exhibition of Arts label recognizable respective marand Crafts Slovenian." kets gradually began to be regulated and also a remarkable level of When the products of art and recognition has been achieved. crafts were displayed at the Gallery of Fine Arts in Slovenj Gradec At the same time, biennial Slovenj was offered the chance to embark Gradec (some were also held in on a biennial trade show activity. Ljubljana) began to act as a high 1977 in Slovenia, however, marks quality showcase for creativity, cothe "birth year" of a new era for arts vering a period of two years and and crafts activities, at that time an important opportunity for the had begun to decline. marketing of products question. In 2012, 18 exhibitions will be held in What was lacking, in particular, Slovenj Gradec (some also in Ljublwas the appropriate transfer of skills jana). in technology and design and evaluation practices of experts, which Some authors whose work has beshould have provided significant en rounded to the achievements employment opportunities and of all life and creative work, were new revenue streams. awarded the "Golden Tendril" a title of excellence by the Chamber Later, in 1994 set up a system of asof Crafts and Small Business of Slosessment and marking of art and venia, which is the owner and craft products, resulting in the 90's chief organizer exhibition. "Art & Craft Slovenia Rokodelstvo" brand name. Another attempt to regulate the situation with regard to art and The products began to be systecraft activities in Slovenia was in matically evaluated using criteria 2001. from the experts. A system comprising about 13 or 14 Those who have been selected by centers in regional arts and crafts, the expert commission in the and partly subject, and was creaChamber of Crafts and Small Busited the main center of Ljubljana. ness of Slovenia, in possession of Between 18 April and 31 May, the the most universal quality are clearArt Gallery in Slovenj Gradec ly marked. Koroška will host the 19th exhibition Like all products that meet certain of international crafts.
Natural materials make their own contribution to current efforts towards sustainable development, improving the quality of human existence, offering a wide range of valuable improvements. The exhibition presents, as an example of international communication through activities and remarkable skills in the future could help create new jobs, promote employment of people with disabilities, generate considerable tourism potential and improving the identity of regional cultures in Europe. The sponsor of this exhibition highlight is the President of the Republic of Slovenia, Dr Danilo Türk at the front. During the time of exposure, artisans will gather at an international conference on the future challenges facing the creative arts and crafts in Europe as well as numerous events, meetings and art and craft workshops. Parallel to this, Slovenj Gradec will also host an exhibition of arts and crafts and works of fine art by members of the Slovenian Association of disabled workers and members of associations of disabled people across Europe. Our friend Rosa Mendez participate in this event with his "Collection Submarine".
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Enrique de Lucas Award.
May 2012
The jury praised the innovation and creativity of the piece, and the use of technology in the craftsmanship. In this second edition of the International Exhibition artisans participated from 32 countries in Europe, Africa and Asia.
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Lucas was one of four Spanish artisans invited to this festival, which also involved a craftsman jeweler in Salamanca, a potter from Granada and a specialist felt Biscay. As part of this Expo also developed an International Seminar on Innovation and Creativity in Arts and Crafts and Craftsman Job Expo. CRAFTS AND INNOVATION Enrique de Lucas (Toledo, 1969) has a long career marked by a mixture of tradition, design, art and technology applied to craftsmanship.
The craftsman Enrique de Lucas Toledo Adral Creations has been awarded the International Exhibition of Crafts and Traditional Crafts, organized by the city of Muscat (Sultanate of Oman) in collaboration with the Research Center of History, Art and Islamic Culture (IRCICA) Istanbul
(Turkey).
Among his awards highlights the third prize in the VIII Design Applied to the Craft of Castilla-La Mancha (1993), the first prize in the twentieth edition of this competition (2007), and the INNOVA Award at the Third Awards National Crafts (2008).
Lucas has won the second prize His most renowned and revolutioin the category of colored glass nary techniques are Placal, a tyenamel worth 3,000 dollars. pe of coating on ceramic base and Vitreolux, an application of The winning work is a colored LED technology for lighting art glass plate and recorded with glass. built-in LED lighting enhances color varieties of the piece.
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Exposure in Guatemala.
May 2012
embed the glass on the piece of sculpture, to not notice that they are two separate parts, but there is one after the other. As a piece of furniture, most of these pieces that have decorative glass, also have an option for a light (provided by an energy saving bulb) is behind or under the work, and light the building, probably, hence the name of exposure.
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But more than a technical matter or material, "Scenarios for a World of Light" is more thematic. Wunderlich plastic metaphors about dawn, light and circular worlds are common. LANDSCAPE TRADITION In the beginning, when Wunderlich was interested in artistic creation, began in one of the greatest traditions of Guatemala, such as landscape painting. His hand began to get used to the brush with this trend. Sometimes you do not know exactly which paint. Simply draw a line and another and another. Then follows the process the same figure asked to complete. At that time, Wunderlich says that's when it really is connected to the inside and try it out in their art. So every day. But the process of creating his most recent works was longer than normal. However, every effort yields its fruit, and now returns to public space to present their latest shows. Since last April 18 in Gallery Ana Lucia Gomez-Latin American Art (16 Calle 7-30 Zone 14), is open the exhibition "scenarios to a World of Light" by the Guatemalan artist Elsie Wunderlich. The exhibition will remain until early May. Admission is free. "Scenarios for a World of Light" presents a new evolution of Wunderlich, since it is the first time using glass as an artistic material. The process is very complex and laborious. It starts from the study at the time of conception, usually through the paint. Some works are to be externe as sculpture and glass.
Painting is the most important process, because everything comes from there, says Wunderlich. And through the work there can evolve. In this sample, we find from paintings to sculptures, some inlaid with glass, usually cast in a circular shape and pictorial decorations. Glass is a technical introduction that presents the artist for this exhibition. But for that reason, each piece has a further development, especially the times required by this material. In a flat glass, begins to decorate on the reverse depicting the painting, which was previously developed. Each form of painting, is done by small traces of painted glass. Other details the powder obtained with glass and some enamels. But for the glass baking process, must be very careful, because sometimes the dye changes too, and this could be detrimental to the work. The process leads to the same glass furnace several times. Finally, when the glass is finished, you are given a spherical shape (for most parts). Then, something that also requires patience and dedication, is to
But soon he began to discover his own style, and although this trend continues landscape, makes his way. And is that instead of showing the landscape as it should see, shows how she sees it from within. Then, the view is scrambled from their eyes. Since then, it has evolved, and is now in a phase of further evolution. First was the passage of realistic landscape to one that is subjective sublimizado the artist's eye. Then was the transition from painting to sculpture, and now, the use of decorative glass as an addition to the sculpture. And this trend being very personal landscape, Wunderlich found in the leaves of the trees are greater expression. Y is the leaves, although all are in the same way, one can say that no is equal to another. Each is a world in its own way. Each leaf has different colors, colored by their position on the light, or by their longevity. But rather than take a trip to the natural world that is probably several miles from home, the option Wunderlich preference is to bring nature into artificial environments such as urban ones.
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Other trends. Creative arts in Morocco. Joseph Freixanes (Pontevedra, 1953)
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May 2012
worked on a part that is like a memory card, a map. Marina Vargas (Granada, 1980) used a typical carpet on which he painted a Sacred Heart. Fernando Verdugo (Seville, 1942) used as a reason the model tiles of the Alhambra and Tono Carbajo (Vigo, 1960) conducted a performance with a verse in Arabic calligraphy on the edge of the sea.
The artist's dream: leave all to dedicate themselves to create carefree, at least for a period. If this is added an idyllic location in an endless virgin beach, in a house that looks like a luxury resort equipped workshops and sharing the room with other interesting artists, it seems too much to ask. If it were not for all that is given just to see fulfilled the dreams of others. Take names and specific to this game synergistic. The Artists Private paradise exists and is called Ifitry. It is 40 kilometers from Essaouira, Morocco, isolated to the point of not having internet or phone coverage. You get there only by invitation of the hosts, the media group Maroc Premium magazine and Arts du Maroc, with expenses covered stay. The artist agrees to allow the organizers to 50% of the works produced there. Since it began in early 2011, have passed through this place more than 200 artists from around the world, from Japan and China to the United States, France or Canada. Thus are forming a collection of international contemporary art in the museum that will house being built three miles away, but in the meantime have a built Contemporary Art Center in front of the residence next to the workshops. Mostapha Romli, commercial photographer and artist, is the soul of this project. "What we want is to put Morocco in the international contemporary art map," he says. The most recent was invited to Ifitry Oliviero Toscani, who, according
Teresa Muniz also adopted the colors for his paintings of the landscape (Madrid, 1942) and Diego Moya (Jaen, 1943), director of this project, combining signs of the technological age with the lands of different places. Ifitry is the name of a holy place. As Romli said humorously: "Too comforta- women, Islam did not permit to erect a ble for an artist." chapel in his memory. Built a marabout, but dedicated to another saint. From 7 to 17 April there was a group of The artists' residence and recovered Spanish residents, curated by Zara Ferthe legend pays homage. nandez, Cultural Association of the Western Mediterranean (MED-OCC), "The architecture simulates two shrines and invited by the Ministry of Culture and a medina," said Romli. of Spain in the program of New Urban Cultures Festival , which is being deve- Ten bungalows, spa, swimming pool, loped in Casablanca during this organic garden and a communal dimonth. ning room with views and notable local chefs. "They are artists of different generations because what we value is the "Doing this project has taken more professional and human experience," than ten years of paperwork, construcsaid Romli. tion and commissioning. "This is not for art students. In fact, I see it more like a laboratory than a single residence.
It takes patience and clear thinking. This is a private and independent, we have no state aid. "
We want you to have all the facilities to develop a project to investigate and which in turn may be related to each other. I think that's always rewarding, "said Romli.
However, it is not just international art. A priority of this project is also giving greater visibility to the Moroccan artists.
Spanish artists were invited on this occasion Ximo Friend, Tone Carbajo, Encarna Cepedal Jose Freixanes, Diego Moya, Teresa Muniz, Fernando Vargas and Marina Verdugo. Zara Fernandez says he formed the group "people who have worked with cross-cultural issues and are sensitive to the Arab world." "Being isolated and works much better," says Ximo Amigo (Valencia, 1965). He made a painting Ifitry clearly alludes to the motto of the project's edge (the abyss). "I am a mad Blue and here everything is blue and white," he adds. "Having worked closely with other artists allows us to share concerns and ways to resolve them. Also, being here is a respite from the situation in Spain. "
"Here we very late in this regard, we have no contemporary art museums and other countries. We like Spain in the seventies, but we expect the State to do things the delay will be higher. The culture in Morocco is to be built by the Moroccans. So we have taken this initiative to create a network of relations in June that now includes the completion of the First Biennial of Casablanca. " Diego Moya believes that this initiative is a good example in times of cuts to culture: "In Spain it is diluting the achievements so far. Morocco is emerging spontaneously in a world that rejects associative Western individualistic interests. "
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Historical catalog L'Ollería.
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May 2012
the exhibition is supplemented with 30 pieces of glass from private collections and the City, parts that are the catalog of 1933. This exhibition has been coordinated by Jose Vicente Vidal, a graduate in information science and local historian. On the other hand, on Tuesday, May 4 will present "The social commitment of a politician Krause: Rafael Albiñana and the Institution for the Education of Women of Valencia" by the author Ana Maria Reig.
The City of l'Olleria through its Department of Culture has prepared a comprehensive program to commemorate the month of the book, which as highlighted by the area councilor, Engo Jesus "has been made with his own resources and we wanted to include a variety of activities aimed at a wide audience, both adult and child. " On April 23 opened an exhibition that features "one of the first glass catalogs published by a company of our town, dates from 1933 and belonged to the glass company
Elena Gisbert Bolinches-La Primitiva, which had the first glass furnace in our town dating from S. XVII, "said Engo.
The presentation will take place at 20 hours in the library. Meanwhile, on May 18, Xavier Aliaga present his work "Vides desafinades".
And 21, there will be a workshop "Introduction to Social Networks" and 23 one of "Sources of Information for the Occupation" in collaboration The exhibition is located in the library "a perfect place to enjoy a re with IDEO-AEDL to attend these -written document so important to workshops prior registration is required at the library or http:// us as it reflects our history as maswww.bibliotecaspublicas.es/lolleria ters of glass and the importance and tradition of this industry in l'O- through its website. lleria." In addition, on Mondays and SaturOn the other hand, explained that days in May there will be workshops in addition to the catalog, which is for children in the library of l'Olleria. shown by way of panels that can be read in a more comfortable,
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Glass workshop in Murcia (XI).
The header may also have side- In the construction fill of this stage walk, although we can not secu- were found traces of lead. re it for the bad state it was that Is in the southeast quadrant of In the third stage, the oven also part. the workshop, in the vicinity of appears to maintain the same the access door (Fig. 3). type and orientation (Fig. 15). This hypothesis is supported by the presence in the southeast This is undoubtedly the most Its central pit was more than 1.50 corner of the oven, cut a tile accomplex of the oven and also m long by 48 cm wide with a slocording to a curved path, which dug the most enigmatic: the first pe that was accentuated after may be the rest of the inner wall is that it was remade five times the previous oven partially terraof the bench. and the second to the questions ced with sandy silt. posed by their formal and func- In the background are still some This oven could be longer than tional aspects. traces of flushing which may cothe preceding. rrespond to a soft start leaning it Moreover, successive reforms He distinguishes between two have significantly affected their would close the bottom of the successive sub-stages of a coaoldest remains, hindering further second or third stage of the oven. ting on all radial brick rowlock of attempts to return. the risers from the curb to reduce The side walls are retalladas at The oven has two construction slightly the width of the pit. several levels, apparently for the phases: the first shows two reconstruction of the furnace be- Unable to clearly define the constructions and the second low. boundary of a hypothetical lowone. lying south sidewalk. In these walls there are small The access pit (¿ashtray?) Was Could indicate a semicircular located to the west in the furna- fragments of lead and galena with red oxide structures can co- crack this wall oven or is it the ces of the first phase, which we me later and have seeped mark of a subsequent oven? now occupy. through cracks. A lump of galena found inside his At all stages of this phase, the In the second stage, the oven south sidewalk construction may oven, which is polygonal outside apparently reproduces the type come from the south wall of the plant, is built from a central pit seen in the above, since the oven later. surrounded by elongated or not plant and orientation are the sasidewalks. me as above, which is utilized as Despite traces of lead or galena found these furnaces do not apIn the first stage is very poorly re- a basis. pear were intended for fusion betained because of their reuse The outer perimeter could be cause the mineral discovered is and partial destruction by sucpolygonal (Fig. 14, Fig. 22), altcontemporary and belongs to lacessive ovens, so it is impossible hough inside the plant seems to ter stages. to restore its elevation (Fig. 13). have been oval, with lateral The structure resembles that of It opens to the west by an acbenches. the furnace 4 and the specimen cess pit that has few traces of fiThe central pit with a depth of unearthed in Belluga Square. re. 0.35 m and 0.45 m, is a little wiThe foundation pit is filled with der, thanks to a slight displace- Its operation will be considered material destruction (including a ment of its north wall, and, abo- after the analysis of the structure of the post. bar ahornar) on which the furna- ve all, a little shorter, as is done ce was built with bricks taken in adobe pending a new aucfrom clay. tion in pretty strong on the preceding. A central trench 50 cm wide and gentle slope, was apparently liSuffered great mutilations due to ned with benches with a height the furnace to be superimposed of between 10 and 30 cm. so that only retained about 35 or 45 cm of elevation.
Volume II — Number 44
May 2012
JIMENEZ PEDRO CASTILLO JULIO NAVARRO PALAZÓN JACQUES THIRIOT
Page 28
Exhibition of Pablo Pizarro. On this occasion shows the counterpoint: small creations suitable for in-
May 2012
doors but with the same force that large. Iron is used as a balanced media that glass gems engastan various shapes and colors, all with the common denominator of glass recycling. This small inkwells and bottles that
Volume II — Number 44
originally contained the most diverse liquids, take on new life and we suggest a guessing game in which we are forced to think about the past uses of the vessels and in its present conversion as objects art class. Paul Pizarro, a native of Madrid, very young moved to Sigüenza where he had contact with several teachers The Carlos V Hotel, located in the
A few months ago Pablo Pizarro
C / Trastámara, No. 1, continues its
staged a major exhibition at the
spring cultural program with the
Arms Factory at Toledo.
opening of the exhibition "Ferrum et speculum" Alcarrenian sculptor based in Toledo, Pablo Pizarro.
Sculptures of great size and weight, rooted to the ground anchor plates, authentic metal trees showing
The exhibition brings together a do- fruits of glass, or colored sheets
who penetrated into the world of art. Trained at the National Glass Centre of La Granja, his work underwent a quantum leap to call at the shop Albendiego Marta Ugarte, and start the investigation of the artistic possibilities of glass in different varieties of
zen works that the sculptor shows
created from melted bottles and
his mastery of glass casting techni-
cut lanterns love, and worms with
ques and was inaugurated on
heads that seemed to sniff litrona
The exhibition "Ferrum et speculum",
Thursday 26 April.
the air in search of prey.
installed in the hall, opened in the
blown merger.
hotel room of Charles V. Viridiana
Page 29

Brilliant design in glass. The pieces in the sample, in addition to its artistic quality, ergonomics
May 2012
have proven their ability and usefulness in their various fields. Archer says he has tried to mix both parts made with traditional techniques, with the most sophisticated and innovative, or ancient techniques of glass blowing mixed with
Volume II — Number 44
heat-resistant fibers that leave patterns on the glass surface, and from high-tech materials, to new and the Litracon (concrete that has become clear by the addition of glass), the glass sensitivity of an iPhone, or heat-sensitive glass that changes color when touched, or new uses in architecture. Artists and firms involved: Lindsay Adelmann Studio, Werner Alisslinger presented at the Pratt Manhattan
The exhibition curated by Sarah Ar- and CIAV, Omer Arbel for Bocci, cher, the Philadelphia Art Alliance, Alison Berger, Amiram Biton, James
Gallery until May 5, "... explores sus-
addresses the power of the glass
Carpentier Design Associates, Mar-
tainability, the manipulation of light
and its various uses, both aestheti-
co Dessi for J. & L. Lobmery, GlasPro
and contrast ancient and modern
cally and functionally, in addition
Switchable Privacy Glass, Helen
influences in contemporary glass."
coincides with the fifty years of de-
Lee, Aron Losonczi / Litracon, Ingo
velopment of the study of art glass
Maurer, Giovanni Moretti srl for Car-
in the United States, which is part in
los Moretti, Murano, Moving Color,
Bright Future: New Designs in Glass,
From sculptures, tables and lamps, made by designers and artists from around the world, the exhibition reflects on the aesthetic role of glass in everyday life.
more than 160 presentations on this Bruce Munro, Tom Patti, Robert Stadler, SWITCH Lighting, Hulger in the entire United States during 2012.
and Samuel Wilkinson, Liana Yaroslavsky.
Page 30
Vitrium in Alcorcon. the tin so that all parts are subject,
May 2012
"said Santiago Galvan Benedí. Fusion technology refers to a fritted glass plate. They stick to the plate "heat drop a mold and take the form" to the president of the association.
Volume II — Number 44
Mosaic is a film hit the lasetas (broken glass) and coat with aguaplast to be subject. According to James Galvan Benedí, is a job that takes time. His work is strongly influenced by the machinery used. Thus, the glass in the furnace remains 3-4 hours. You may have heard of the `Magic Highlights its involvement with the Waterfall 'masterpiece' by the
MAVA (Museum of Art Glass
association Vitrium '.
Alcorcón) in school activities.
This work, which is located at the
Under the heading `Tuesday to
Cultural Center Cooperating Burón MAVA '" children make a practice `Margarita 'is not the only one the
of merging into a plate of 7-8 cm.
group performs.
They themselves put the chips
Vitrium `'is dedicated to the craft of glass. Lamps, trays and boxes are
one day at least do one of the works. Vitrium `', which has 10 members whose average age is around 45, does its work only as a hobby:"
(crushed glass) or glass plates and
We are a nonprofit association.
make the design you want.
What we perceive from the sale of
some of the works that the
We we put the plates in the oven
association is responsible for
and come on Monday to pick it
developing.
up, "said President 'Vitrium'.
"It is not purely decorative objects
His works cover a variety of styles,
but all have a utility," said Santiago
from classic to modern. In fact, do
Benedí Galvan, president of the
not always work with existing
association.
designs, but made many designs
The group has participated in
herefore, it is not surprising that take
the association itself.
numerous activities such as the
The techniques are performed
Craft Fair organized by the
tiffanys, fusion and tiling. Tiffanys
municipality or exposures made
figures is composed of pieces of
every year in various cultural
glass, "Cut the pieces of glass, are
centers.
lined with copper and it extends
the work you invest in plant and equipment. Thanks to these sales was able to buy machinery "said association president. A machine that has a relatively high cost. The oven, for example, will cost 2,500 euros. The association `Vitrium 'was founded more than 10 years: We were students Tiffanys Workshop offered by the People's University of Alcorcón (UPA)," said Santiago Galvan Benedí.
Page 31
How does.
Volume II — Number 44
May 2012
This month we include some pictures of the technique practiced by Lucio Bubacco.
Page 32

"Touch the oracle" by Michael Petry. your only means of communication. Petry then permanently sealed
May 2012
glass bottles leaving hidden content. Joshua Wall D shows a 250 blown glass stones are hand-watered by the floor of the gallery. The Wall of Joshua D refers to the
Volume II — Number 44
biblical story of Joshua and the walls of Jericho torn. Resembling small stones, these glass stones evoke the magma of the earth and the many colors that are within, like the Petry own artistic impression of the natural environment. The exhibition The Touch of the Oracle, the multimedia artist and director of the Museum of London Contemporary (MOCA London)
These works provide an opportunity When he visited the museum, was for viewers to experience concep- surprised by the volcanic rock that
tual site-specific works made by Mi- forms the walls of the museum builchael Petry who takes inspiration ding.
Michael Petry, takes place until 29
from art history, mythology, and
July at the Palm Springs Art Mu-
contemporary culture.
seum, in the City of Palm Springs,
Every single piece relates and inte-
California (USA) .
racts with others and with visitors,
The sample account in all areas
creating an environment full of
with the written explanation of the
sound and visual complexity.
works in both English and Spanish.
Petry did not really make each of
The exhibition is closely related to
his artworks, but seeks highly skilled
the book The Touch of the Oracle:
craftsmen which works to light their
Works 2003/12, just Petry, since the-
conceptual ideas.
re are several parts to the collec-
For these installations, he has wor-
tion on paper collected.
ked with teams of glassblowers ins-
The digital version of the book is
pired and composers to create
available at this link: michaelpe-
works that require a high level of
try.net / projects.html
technical expertise.
The book is available on the websi-
Pissing is a facility of 100 recepta-
te of the publisher Thames and
cles shaped glass beads with gilt
Hudson:
mirrors that refer to the Greek myth
ww.thamesandhudson.com/97809 56911612.html Oracle In Touch (The Touch of the Oracle) are three monumental sitespecific installations: Golden shower, The Wall of Joshua D and the dilemma.
of Danae, who was pregnant by the god Zeus to spray it with a drizzle of golden water.
Petry's work is a direct response to the architecture of Palm Springs Art Museum and its location near the Joshua Tree National Park. The dilemma. The third component of the installation is a sound work's dilemma is played regularly by the gallery and offers the possibility of sound as a work of art itself. Using a text by Petry with music by John Powell and Gavin Greenaway's piece shows male and female voice singing a dialogue. The colloquial themes of the piece is inspired by the historical connection of Palm Springs and Hollywood cinema. Organized by the Palm Springs Art Museum, this exhibition is partially funded by the Council of the Museum of Contemporary Art, Donna
Petry invited 100 international artists MacMillan, Myrna Kaplan, Thelma to lay a book, a poem, an object and Gilbert Schnitzer, the Art Allianor text into glass containers, asking
them to imagine being locked in a tower and having the bottle as
ce for Contemporary Glass, Libby and Burton Hoffman, and Berengo Glass Studio Murano, Italy.
Page 33

Angela Teunissen in La Granja. exhibition, in our view, we do not consider the most appropriate, sin-
May 2012
ce we believe that the sculptures in glass should be able to see in all its aspects, not only from the front, and in this case, being located within the exhibitors, you can not enjoy the effect of light on the parts from all angles.
Volume II — Number 44
We therefore believe that the sculptures in glass, except for very justified safety reasons, be exposed on plinths. You can see images of the exhibition on the link below. This exhibition, as discussed in our Bulletin No. 43 has been rejected by the leadership of our MAVA, considering that does not conform to the line of the Museum. Apparently, the Tech Museum of La Granja line should have a less demanding than that of our Museum. After the visit to the Museum of La Granja to Segovia we drove to see our friends glassmakers at the XXXII National Crafts Fair. They are present in this show, which runs until next May 2, by the glass The Dutch artist Angela Teunissen
It had previously seen several of
out in the Tech Museum of La
them in his home and studio in Ma-
Granja (Segovia) a collection of his
drid and whose visit we record in
most recent.
our Bulletin No. 43 for the month of
On day 28 we visited the exhibition
April.
sector, Redondo Aura, Susana Aparicio (Sussanglass), Mario Ramos and Mariana Grande (Vitreus Ignis), Miguel Angel Blasco and Reinaldo Zamora (Fulkolor ), Carlos J. Pinilla (Lume Glass), Rosa Mendez and
and we were very pleased the
The presentation of these magnifi-
Natalia YR Benchoam (Artistic Stai-
quality of parts.
cent pieces in the
ned NYRB). Fair, as a whole, consists of 52 stands, so that the presence of glass sector or 13.5% of all exhibitors.
Page 34
Exhibition in Mexico.
Volume II — Number 44
May 2012
The city Mexicana de Taxco, required to strengthen the tourist industry with the help of all, being a melting pot of culture and expression unique in the country, said the mayor, Marco Antonio Martinez Sierra during the opening of the exhibition process Vitreous Art blown glass art at the Museum of Colonial Art Northern art group and coordinated by the National School of Plastic Arts (ENAP) of the Autonomous University of Mexico (UNAM). Sierra Martinez, who was with the cultural community, teachers and subject matter experts on the sample of derivatives techniques in glass, said the target in addition to
being a silversmith, is a wealth of artistic expression.
various forms, as in this case the culture.
From its architecture to the same relief, as their traditions, customs and the work of craftsmen silversmiths art reflecting taxqueño he said.
He said that the weekend will be two major conventions and religious tourism as well as them artists and culture lovers francs promoters hope will be the city of silver that requires a financial balance, the situation being experienced by the population.
He called the country's artists to take into account Taxco, to present their works and we engalanen with their jobs.
In the event the mayor was accompanied by Sierra Martinez ENAP coHe recalled that the required destiordinator, Jorge Soto Curiel, direcnation of visitors and promotion, so tor of the blown glass factory Arteif institutions rely on to bring their Norte, Miguel Angel Gonzalez, materials to the site, he said, will among others, who cut the ribbon have the presence of tourism in its and made a tour of the facilities to meet parts involved.
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Norberto Chutrau exposes "Playing with fire".
Volume II — Number 44
May 2012
- He took photos of the works, then move some pieces and the museum decided to exhibit my work. - What space the museum will be exhibiting? - In the room Victorica Miguel, which is quite large. I have four works which were exhibited at the Museum of Fine Arts and I also started to produce new parts for wear. In total there will be 23 works. - The proposal, what is?
It is self-taught and started in the art of glass fusing in 2007, and then take specialized courses in the Bullseye glass factory in Portland, USA. Since his return he participated in several samples of the National Exhibition of Art Glass in Berazategui, Buenos Aires, and the expo Artists Borges Cultural Center in October 2009. The following year he won second prize at the XIII National Exhibition of Art Stained Glass of Mar del Plata.
of raw materials and execution processes, where the author looks further its ability to condense a rich world view of possibilities, finding textual resolutions, color, contrast materials, brightness and transparency. By linking propositions, the works range from the suggestive buoyancy of lines arranged in patterns or shades, to the gestures of the strokes and subtle representation of figures and landscapes that make faces using the modulation of contours and full planes.
- 'It's always "playing with fire", with temperatures. I have some work where I spent the limit of 820 degrees and went to 950, then I got new effects with the material, which I call "boiled glass" because it really is in a liquid state and generates a very nice visual effects. - How does it feel to be able to exhibit in this space? - With great pride and humility, I see what people will say. I invited many glass artists. Although it may seem quaint, I know what my colleagues are saying. - What are your expectations?
Last year he was invited to exhibit Norberto parts are conceived with at the Museum of Fine Arts and cutools of all kinds in the shelter rrently presents her work at the Muworkshop where we see the mounseum of Fine Arts Quinquela Martin. tain landscape from the large windows. Alchemist, sculptor, craftsSeveral of his works were purchaman, all profiles are combined sed by domestic and foreign cowhen defining the task of who gets llectors. to raise a personal universe and Mother Mary in the chapel of the metaphorical. " church of Mar del Plata has placed The artist his "Cross of Hope" and the Nautical Club of Fort Tandil is located - It's going to be exhibiting in Bue"Weathervane Nautical". nos Aires …
- Two months ago I started to move the pieces to Buenos Aires, where I have the basis for the works. The 24 will travel to assemble the work and after that, will only see the public response.
The proposal
- What is the proposal for this new year?
Gnocchini Indiana says: "Made of fused glass, including other elements such as granite or iron sculptures Chutrau Norberto recover from a contemporary perspective and own totem-like forms that contain a proposal on earth. His works show a careful selection
- Yes, the museum Quinquela Martin, from 28 April for a month. - How did contact with this space? - It was through some friends from Buenos Aires who had direct contact with the curator of Buenos Aires and he is known Gnocchini Indiana, so that was so fluid. - How was the process?
- About accompanying from Tandil? - He has pledged Indiana Frolik Gnocchini and architect, who has a work of mine, besides my family and other friends.
- I was looking at some pictures of U.S. homes have walls made from recycled glass. I'm working a while with beer bottles. The short and do glasses or other items, and people really like. This deformation of the bottles I find useful for recycling. ow I see the frames. I think this could be replicated in schools as a way to help the environment or learn a trade.
Page 36

How is sea glass? . has edges let you return to where the sea was to finish his work.
May 2012
If one traces the network, find dozens of people who collect this type of stones that come out periodically and look for the beaches, preferably at low tide and after a storm.
Volume II — Number 44
Many of them are jewelers who then sell the stones in necklaces and earrings, and they abhor the sea glass created artificially. But how long does the sea to create one of these little gems of colors?
The origins of sea glass Sea glass is created from glass bottles and other objects of this material are thrown overboard. The unfortunate benefit of someone who throws his garbage is that after months or years a beautiful piece of sea glass shape and sometimes reaches the coast.
collect on the beach or on the shores of the Great Lakes. The sharp edges of the piece of glass become more smooth and soft to the touch, so do not cut it when you pick up your pieces of frozen sea glass. The freezing of sea glass
You can see that the glass has beDue to more stringent policies and en collected beach seems to be forces wildlife officials in most states frozen. of sea glass has become increasinThis is due to hydration process that gly rare because they throw the trash in places that are not suitable occurs in the ocean. is strictly forbidden. Baking soda and lime found in the Glass formation sea When a glass object thrown into the sea or a large body of water, waves or current break it, then you scratch the surface.
glass are slowly shedding due to continuous contact with water. This causes the appearance of freezing.
As explained by National Geographic, sea glass hunters have a This continuous action of the sea sort of code of conduct, whereby if gradually creating a piece of art to you find a piece of glass that still
Richard LaMotte, author of book "Pure Sea Glass" and possessor of a collection of over 3,000 pieces, says the sea takes about ten years to polish and rounding the edges of a glass and 20 to 30 years to leave it completely smooth. However, in his collection there were stones tumbling into the sea for over a hundred years. Some of these fragments, for example, belonged to bottles of beer manufactured in the late nineteenth and early twentieth centuries, and they can still read inscriptions on the brand or content. In fact, if you go to the beach and you're lucky, you can still find a small stone which read the letters of Coca-Cola or some other refreshment. A nice example of what the sea can do with our trash.
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
Trockel in the Queen Sofia.
May 2012
sea creatures and flowers created in the nineteenth century by the Blaschkas for the study of academic naturalists will show along with the watercolors of the seventeenth century artist Maria SybillaMerian, whose representations of flora and fauna , as beautiful as impeccably precise, proved to be invaluable for scientific study.
Volume II — Number 44
Trockel's contempt for conventional hierarchies of art, along with his interest in media and materials that once were associated with forms of local art or craft, also influences the selection. For example, an assembly of the sixties of the twentieth century radical feminist Ruth Francken, will share space with wool sculptures of Judith Scott, artist marginally affected by Down syndrome. The exhibition will also see pottery created by the very Trockel, along with new works in glass. This unique set provides new filters through which they can share the unique and influential practice Trockel over nearly three decades. It also offers the vision of one of the most admired artists in active and independent, a prospect that may be familiar to (some of) the details but it is wonderfully innovative in its entirety.
The exhibition "A cosmos", curated by Lynne Cooke Rosemarie Trockel and presents a world shaped by the ideas and the affinities of Trockel.
Works in a more conventional fall within the scope of science, but because of its sophistication and refinement venture into the field of art, pieces will be exhibited alongside that, despite having originally The exhibition will cover a wide ran- a primarily aesthetic purpose, soon ge of works from different periods showed their great value to scienand cultures, will bring together ce. pieces that are not usually assessed jointly. Thus, the delicate glass replicas of
From 22 May to 24 September, 2012. Museo Nacional Centro de Arte Reina Sofia | Building Sabatini | Plantan3 | Santa Isabel 52 | 28012 Madrid +34 91 7741000
Page 38
Nuestro Boletín tiene su redacción en: Castillo de San José de
May 2012
Valderas. Avda. Los Castillos, s/n 28925 ALCORCÓN MADRID
Volume II — Number 44
Al vidrio por la cultura
Presidente honorario
Vocales
Javier Gómez Gómez
Rosa García Montemayor
Presidente
Evangelina del Poyo
Miguel Angel Carretero Gómez
Diego Martín García
Vicepresidente
Francisco Martín García
Pablo Bravo García
José María Gallardo Breña
Secretaria
Mª Luisa Martínez García.
Teresa Fernández Romojaro
The purpose of this Association is to promote, encourage and support many cultural activities in the broadest terms, are related to the mission and activities of the Glass Art Museum of Alcorcon. Our goal is to develop and collaborate with other public or private entities to promote, protect and promote the art and culture.
www.amigosmava.org
The Association of Friends of MAVA was incorporated on June 21, 2003 in accordance with existing management.
Tesorera Mª Angeles Cañas Santos
Page 39
Glass Workshop. Images.
Volume II — Number 44
May 2012
Fig. 1
Fig. 3
Fig. 5
Fig. 2
Fig. 4
Fig. 6
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Techniques. Images.
Volume II — Number 44
May 2012
Fig. 1
Fig. 2
Fig. 4
Fig. 3
Fig. 5
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Glass Workshop. Images.
Volume II — Number 44
May 2012
Fig. 3
Fig. 13
Fig. 14
Lámina 42
Fig. 15
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Volume II — Number 44
May 2012
Our visit to Malta. Images (I).
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Volume II — Number 44
May 2012
Our visit to Malta. Images (II).
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Volume II — Number 44
May 2012
Our visit to Malta. Images (III).
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Volume II — Number 44
May 2012
Angela Teunissen in La Granja . Images.