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Boletín nº 40 correspondiente al mes de Enero de 2012.
Citation preview
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Letter to Santa Claus. M. A. Carretero.
Desired and expected Ma-
jesties of the East:
With an increase in my
anxiety directly proportional
to the increase of the effects
of this damn economic crisis
created some years ago by
the effect of the bursting of
the housing bubble and
maintained by the lack of
understanding of our mone-
tary authorities at European
level because they did not
suffer directly, I have you to
ask, to beg, peremptorily
granting of the following de-
sires:
To cease the demonic
quickly spiral-
unemployment crisis. And
I do not care about the
methods used for this, so if
you put me to work so ou-
trageous euros making
machine as if it adopts the
decision to wipe the slate
clean with respect to the
debts recorded in the ba-
lance sheets, and they
are only that, a note re-
corded in the accounts.
Our business leaders are
not going to easy and do
not always rest with them
the increased tax burden
and who undertake once
and for all and no matter
how difficult the fight
against tax fraud. It is not
just playing with marked
cards. We must avoid the
powerful laugh when they
see employees and unar-
med bandwagon
opportunities for tax eva-
sion.
Tell them that our bankers
allocate the huge funds
received recently the ECB
to make business easy
cleaning their balance she-
ets and / or buying sove-
reign debt. To allocate tho-
se billions of euros to in-
crease its lending accoun-
ting chapter to the private
sector, leaving aside the
actual coverage of their
risks and substituting the
projects that provide viable
entrepreneurs to create
wealth and value, alt-
hough that need to retrain
managers of office and
central services consist of
simplistic way to verify the
value of the appraisals on
real estate investments.
Iluminéis that our new politi-
cal leaders to take correcti-
ve action at least in the
short term curb rising unem-
ployment in our country. It's
just heartbreaking to hear
the plight of many families
where unemployment has
been primed and have
members in despair, wit-
hout, for its honest and res-
pectful mood, are released
to the desperate in search
of their livelihood.
That animéis young people
for that, while keeping
them eligible for a job as
an employee, engaged in
working hard to put your
brain to develop viable
projects that can create
wealth and pride in their
lives. It is unacceptable to
think that everything is al-
ready invented, and invent
things missing, you have to
get down to work now, wit-
hout leaving for tomorrow
what you can do today.
That should do our politi-
cians think that, in educa-
tion, to reach an agree-
ment to channel state defi-
nitively the organization of
the education of our chil-
dren and young people,
eliminating the dangerous
uncertainties that too many
years ago plague our edu-
cation system.
In plan a tad selfish and pu-
lled the coal to the sardine
window that animéis the
usual investors in art made
of glass and, taking chan-
ces, maintain financial re-
serves now immobilized by
fear of what will happen.
You to encourage our glass
artisans make distinctive
and unique work. That
doing repetitive parts not
going anywhere, it's a bit of
bread very hungry today
but for tomorrow.
That the artisans who enjoy
a refined technique in the
use of glass bear them a
nudge to take the leap to
the realization of quality art
pieces, so that the glass art
in our country can compe-
te with the many and good
is getting beyond our bor-
ders.
What to order llaméis rele-
vant organizations in defen-
se of the artisans to fulfill so
sharp bases Craft Fairs on
resales.
HAPPY NEW YEAR 2012!
Nuestra sede:Nuestra sede:
Castillo Grande deCastillo Grande de
S.J. de ValderasS.J. de Valderas
Avda. Los Castillos, s/nAvda. Los Castillos, s/n
28925 ALCORCÓN.28925 ALCORCÓN.
(MADRID)(MADRID)
[email protected]@amigosmava.org
Format PDF
Monthly Newsletter
Newsletters
J
E
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M
Y
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P
I
Page 2
C O N T E N T S :
Part of the month 3
Established artists 4
Young artists 4
Meeting with the recycling 5
Glass in the Reina Sofia 6
Research line 7
Activities in Museums 8
Roque, sculpture 11
Exposition the restingolitas 12
New World School 13
Activities on the MAVA 14
Craft Fair 15
Technical Glass 16
News 17
Culture 2011 17
Portrait in 3D 18
Cartagena cours 18
The glass museum 19
Ferrando’ sculptures 20
Glass recycling 21
Cultural tours 22
Culture 2011 Programme 22
Alejandra Gubinelli 23
Marianela Tisberger 24
Other trends 25
Investmen in de SFMOMA 26
Glass workshop in Murcia 27
Homage to Salvador de Haza 28
Badges of honor of the AEC 29
Sara Sorribes in Valencia 30
How does 31
Glass Christmas tree 32
Wishes for Granada 33
Chinese glass cliff 34
Glass for Appel 35
Bethlehem in La Granja 36
Directorate 37
Intellectual Property
Law
TITLE V. Transmission of
rights.
CHAPTER LI. Publishing
contract.
The duties of the editor:
1. Reproduce the work
as agreed.
2. Submit printer's proofs
to the author, unless ot-
herwise agreed.
3. Proceed with the distri-
bution of the work on ti-
me and conditions set
forth.
4. Ensure that the work is
exploited continuously
and commercial distribu-
tion in accordance with
usual practice in the pro-
fessional sector of publis-
hing.
5. Meet the author the
remuneration stipulated.
It shall also, annually, pro-
vide the author with a
certificate that is determi-
ned by the data concer-
ning the manufacture,
distribution and stocks of
copies.
The author is obliged:
1. Give the editor the
work to be published.
2. Reply to the publisher
for the authorship and
originality of the work and
the peaceful exercise of
the rights granted him.
3. Correct printer's proofs.
Without prejudice to any
compensation due to
him, the author may ter-
minate the contract:
1. If the editor does not
make the publication of
the work on time and
conditions agreed.
2. If the publisher fails to
comply with any of the
obligations referred to in
paragraphs 2, 4 and 5 of
Article 64, notwithstanding
the author's express requi-
rement demanding com-
pliance.
3. If the editor sale proce-
eds to remainder or destroy
the copies that detract
from the edition without
meeting the requirements
of Article 67 of this Act
4. If the publisher assigns his
rights to another party.
5. When, under various edi-
tions and exhausted the
last made, the editor does
not make the next edition
within a year of having be-
en required to do so by the
author.
6. In the event of liquida-
tion or change of owners-
hip of the publisher.
U R G E N T N E W SU R G E N T N E W SU R G E N T N E W S
2012 in Thimes Square.
The iconic New York's Ti-
mes Square Plaza, where
each year more than a
million people are con-
centrated to welcome
the New Year in New
York, has had the illumi-
nated glass sphere who-
se descent last Saturday
marked the transition to
2012 in the city of skys-
crapers.
The sphere is composed
of 2688 triangles of glass
designed by the compa-
ny Waterford Crystal,
which this year has inclu-
ded a new design for
288 of these glasses un-
der the name of "Let
There Be
Friendship" (Let there be
friendship, in Spanish),
with an engraving of
people holding hands
around the world, as de-
tailed in the Times Squa-
re Alliance website, in
charge of the festivities.
The huge multicolored
sphere, which weighs
more than five tons and
is illuminated by 32,256
LED lamps (LED) fell 24
meters at the last minute
of 2011 to welcome the
New Year, as it has done
since 1907, when he star-
ted this tradition.
Since then, the famous
ball drop has done this
every year except 1942
and 1943, when the ce-
remony was suspended
due to World War II, so
that in those years the
ceremony was replaced
by a minute of silence
followed by a chimes.
The popularity of New
Year's Eve in Times Squa-
re each year bears to
the square is filled hours
before midnight, a wait
that embellish music
stars.
This year has been Justin
Bieber, Lady Gaga and
Cuba Pitbull, among ot-
hers, in charge of enter-
taining the crowd of
people coming from all
over the world throug-
hout the day is concen-
trated there.
Also, like last year, mo-
ved into the square a
"platform for Kisses", whe-
re couples who have
long been found to se-
parate thousands, while
cocoa bars Nivea distri-
buted to prepare peo-
ple for the traditional kiss
that should receive the
new year.
SPECIAL INTEREST:
Part of the month
Meeting with the recycling
Glass in the Reina Sofia
New World School
Activities on the MAVA
News
Our activities
Glass recycling
How does
Important issue: the Intellectual Property Law (X) M.A.C.(X) M.A.C.(X) M.A.C.
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Page 3
Part of de month. Gerry King.
Gerry King's figure can not be ana-
lyzed only from the perspective of
being an artist who uses glass.
His work in fields such as teaching,
dissemination and study of con-
temporary glass in Australia since
the 80's, make it the main referen-
ce of this movement in his country.
Since the mid-seventies teaches at
the University obtained in 1993, the
title of Doctor of Creative Arts at
the University of Wollongong.
He has been invited to give nume-
rous lectures and workshops, while
he has published many articles on
education, history and crafts Glass
Studio in Australia and New Zea-
land, as well as critical texts on lea-
ding glass artists.
Since its foundation has been a ve-
ry active member of the
Australian Contemporary Glass So-
ciety, today Ausglass-occupying
the positions of President (1981) and
Vice (1987).
Like many other artists who began
their training in the sixties, Gerry King
came from pottery to glass.
When you view the glass is immer-
sed in the intense from a dual pers-
pective, technical and intellectual.
In general his work is the result of
multiple reflections and research
especially on the subjective per-
ception and metaphor of observa-
tion.
In 1996, after twenty years of tea-
ching, left the university to devote
himself exclusively to his work.
At this time corresponds significantly
Beginnings series.
Immediately before it had develo-
ped the series trepein, which owns
the work that King donated the
MAVA going to call his friend Javier
Gomez.
The series revolves around trepein
architectural flat glass constructed
with support acting fusing plate-
forms of boats or canoes, made up
of a wealth of color.
The decoration of the surfaces of
both plates and in general of the
vessels is based on geometric abs-
traction and iterative design, inspi-
red by fabrics and traditional costu-
mes of the Australian aborigines.
One of the first exhibitions held by
the MAVA after opening in October
1997, was devoted to the work of
this great Australian artist (MAVA
1999b).
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Page 4
Established artists. Jeremy Lepisto.
Jeremy Lepisto was born in 1974 in
Virginia and is a leading voice in
today's kiln-formed glass move-
ment.
Lepisto has a BFA with Honors from
Alfred University (NY).
He has worked for a number of
glass and glass related companies,
including Bullseye Glass where he
was the Lead Technician for Rese-
arch and Education as well as lead
furnace builder.
He has taught worldwide and has
held Visiting Instructor posts in both
the Rochester Institute of
Technology (NY) and the Canberra
School of Art (Australia).
His work is available from several of
the finer glass art galleries, including
the Bullseye Connection Gallery
and the William Traver Gallery. He is
a featured artist in the current issue
of American Craft magazine.
Much of his work, including his cu-
rrent Tower Series, sets the delicacy
of fine, pen-like illustrations against
both the weight and elegance of
glass. The result is work that is simul-
taneously familliar and captivating.
He is currently President and Mem-
ber of Board of Directors of the
Glass Art Society, USA
Participate in the 41 st Annual Con-
ference of the Glass Art Society, Se-
attle, WA.
It's like living in the glass factory in
Canberra, Australia.
Professor Glass is made in a mold in
the Australia National University in
Canberra.
Your web
Young artists. Devin Burgess.
Devin was born in Montpelier
(France) on July 26, 1979.
He graduated from B.F.A. at Alfred
University, College of Art and De-
sign. Alfred, NewYork in 2001.
He learned the techniques with
glass artists Greg Fidler, as an
assistant in Bakersville, North Caroli-
na, Kenny Pieper, assistant in Burns-
ville, North Carolina in 2002-04, with
Brent Cole, an assistant also in
Burnsville, North Carolina . 2002-04,
with Mark Weiner as a glassblower
in West Tisbury, in 2002, Neon Neo-
lux
as glassblower in Providence, RI, in
2001-02. with Elin Christopherson,
assistant in the Glass Arts Society,
Corning, NY, in 2001, Dante Mario-
ni, as an assistant in the Glass Arts
Society, Corning, NY, in 2001, Pratt
Institute of Fine Arts. Shop Glass
technology. Seattle, WA, in 2000
and Benjamin Moore Inc. IMC. Se-
attle, WA, in 2000.
It has been an assistant with the fo-
llowing artists: Dale Chihuly, Paul
Cunningham, Dan Daily, Nadege
Desgenetez, Dante Marioni, Robbie
Miller, Benjamin Moore, Richard Ro-
yal,
Preston Singletary, and Lino Taglia-
pietra.
In the last edition of Sofa Chicago
presented some of their work with
the Next Step Studio and Gallery.
In the past year 2010 has won the
Excellence Award in glass at the
Smithsonian Craft Show.
In the following video can be seen
Devin Burgess explaining their work.
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Your web
Page 5
Meeting with the recycling.
What for some is trash is another
man's treasure. And in many cases,
even a work of art.
More than a decade after its birth
as a laboratory where some (few)
artists were experimenting with the
reuse of waste materials, the Inter-
national Recycling Festival of Cata-
lonia, the Drap-Art, has returned to
Barcelona as the appointment of
recycling each year attracts thou-
sands of environmentalists, gallery
owners, artists, families and young
audiences interested in creating
more sustainable.
This year the festival has spread first
art exhibition and the fair so far
used to hold together.
Until Sunday, December 18, the
CCCB has hosted round tables,
concerts of Madame Humtata,
Electric Junkyard Gamelan New
Yorkers and Pierre Bastien (who
plays with machines built by him-
self), the Drap-Boutique and works-
hops in which the little ones can
make for Christmas gifts with old
computer parts.
And from 21 to 30 December the
Drap-Art exhibition and traditional
fair of Art and Design first moved
across the square of the Angels, in
the FAD.
One of the most anticipated guests
this year was Stephanie Senge,
who built a giant mandala with
consumer products.
"Stephanie came to Barcelona for
eight days," says the director of
Drap-Art, Tanja Grass, "and has be-
en investigating what objects are
consuming more in the city. With
them build a mandala as is done in
India. There the purpose of this
sculpture is to give thanks for the
good harvest. here is intended to
do a little reflection before eating
Christmas is coming, "says Grass,
which this year has detected a
slump as far as fashion accessories
concerns and a slight rise in deco-
rative objects such as lamps made
from waste.
Despite the popularity of recycling
has become applied in the design
since 1996, Drap-Art which opened
for business, the meeting still remai-
ning true to its humble origins,
alien to the boom of ecodesign
now invading many art galleries
and shops expensive furniture.
"We may miss some marketing, but
we support Drap-Art artists treat
everyone equally and now live out-
side of institutional or galerístico
world. In my opinion, that mazes
made Richard Serra at the Gug-
genheim (Torque elliptical, 1998)
have much to do in concept with
the work of many artists gathered in
Drap-Art, though less known and
not so famous have, "says Grass.
"What is special about our artists,"
said the director of Drap-Art, "is that
they are artisans. No charge to third
parties who manufacture its parts
are involved throughout the pro-
cess from beginning to end."
The visitor will find all kinds of propo-
sals. And of materials that have be-
en given a new life.
It Comglas the case study, which
have been professionalized in recy-
cling glass and sculptures suggest
bottles made from glass.
The Crehuet, name hiding after Pau
Gargallo, reinvents chairs, stools,
coffee cups and a lifetime with re-
cycled wool.
Albert Carvajal recreates accumu-
lating pieces as unexpected can-
vases as automobile engine cylin-
der heads trocedadas aluminum.
The Pan Weijuan Taiwan has built a
sculpture based human aspect of
VHS tapes handwoven which is en-
titled 'I miss you'.
Although the piece that will surely
raise more controversial is Fecal
Gioia Beauty Maini, who proposes a
corset made of "plastic bags of fo-
od and cat litter, toilet paper, feces
and cat hair, latex and glitter."
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Project exhibition at the Reina Sofia.
The Museo Nacional Centro de Ar-
te Reina Sofia (MNCARS) will under-
take a total of 12 exhibition pro-
jects throughout the year 2012.
A number, in principle, significantly
lower than the exhibits offered only
in the main museum building, in the
last 4 years, where they have come
to realize up to 18 to 20 exhibitions
per year.
To them, must be added those in
the buildings managed Crystal Pa-
lace, Palace and Abbey Veláz-
quez Santo Domingo de Silos. For
the latter exposures have not been
announced in the coming year.
Among the samples scheduled for
2012, are the individual artists dedi-
cated to Hans Haacke (Cologne,
Germany, 1936), James Coleman
(Ballaghaderreen, Ireland, 1941),
Nacho Criado (Mengíbar, Jaén,
1943 - Madrid, 2010), Rosemarie
Trockel (Schwerte - Germany, 1952)
and Mary Blanchard (Santander,
1881 - Paris, 1932).
Also you will see a more dedicated
to show the influence on the poet's
art, French playwright and actor
Antonin Artaud (Marseille, 1896 -
Paris, 1948) and, finally, a group ex-
hibition entitled "Meet the thirties."
In addition to these exhibitions, the
Museum's program will include a
draft Paloma Polo Carreño
(Madrid, 1983)-an artist-
Maisterravalbuena Gallery Pro-
gram Cracks, two singles by Sharon
Hayes (1970 - lives and works in
New York) and Heimo Zobernig
(Mauthenj, Austria, 1958), and two
specific interventions Rodney Gra-
ham (Vancouver, Canada, 1949)
and Roman Ondak (Zilina, Slova-
kia, 1966) in the Crystal Palace.
But the one that has filled us with
enthusiasm, so unprecedented,
that is detailed below, which shows
the glass as the main element of
the composition of the figures.
Exhibition: "One Cosmos"
Venue: National Art Museum Reina
Sofia (MNCARS)
* Artist / s: Rosemarie Trockel
(Schwerte, Germany, 1952)
* Commissioner of: Lynne Cooke
* Date of Event: 22/05/2012 -
24/09/2012
* Note: The exhibition includes a se-
ries of pieces that will realize the
ideals and aesthetic affinities Troc-
kel, in dialogue with a selection of
his own work done at various times.
This particular association is compo-
sed of pieces of work from a more
conventional fall within the scope
of science, but because of its sop-
histication and refinement venture
into the field of art, like the delicate
glass replicas of sea creatures and
flowers created in the nineteenth
century by the Blaschka for the stu-
dy of academic and naturalistic
watercolors of the seventeenth
century artist Maria Sybilla Merian,
whose depictions of the flora and
fauna, as beautiful as impeccably
precise, have proved invaluable to
the scientific study which will be
shown together with an assembly of
the sixties of the twentieth century
radical feminist Ruth Francken, sha-
ring space with sculptures of wool
Judith Scott, outsider artist affected
by Down syndrome.
The exhibition will also see pieces of
pottery created by the very Trockel
and recently produced works ma-
de of glass.
This outstanding collection will pro-
vide the basis to investigate from a
novel perspective unique and in-
fluential practice developed by
Trockel over nearly three decades.
It was time that "the Queen" take
an interest in works of art in glass.
Congratulations!
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Line of research: Test (IV).
Estefanía Sanz Lobo.
Test of total merger and relief.
Homogeneity of temperature in the
range 750 ° -850 ° C.
To make glass blocks, either by joi-
ning flat glass (float or Bullseye type
compatible), or in carrying out
works of molten glass, it is necessa-
ry to raise the temperature to the
point of fluency.
Failure to reach that point, the va-
rious parts are not properly merge.
But if surpassed, the glass can be
boiled, spread through the oven
and break it (in these conditions is
very corrosive).
For this reason it is important that
we determine what is the best tem-
perature to develop these proces-
ses.
At a high temperature around 820
° -850 ° depending on the type of
glass and pyrometric equipment,
producing what has been called
glass fusion or total fusion, also
known by its English name, full fu-
sing.
At this temperature, the glass is suf-
ficiently fluid to different flat glass
sheets join together without being
edges and, as the temperature ri-
ses, the surface tends to be the sa-
me level, even when placed seve-
ral overlays.
With a temperature not so high
(between 750 ° and 800 °, also de-
pending on the type of oven and
glass), fusion occurs in relief, in
which several plates of flat glass
are fused together, but respecting
the forms of these, especially if pla-
ced on other fragments forming
a relief.
By increasing temperature, the ed-
ges and artists of the flat glass frag-
ments are rounded increasingly fa-
ding away to nothing volumes to
reach the melting point total.
Purpose of test
The aim is, firstly, to map thermal
melting furnace, and secondly, de-
termine the temperature range for
float glass.
It is important to know what are the
characteristics of the furnace at
that temperature, because of a
work will depend whether or not
the relief desired, or seamlessly in-
tegrate the various elements or vi-
treous want to include in it.
If we know which areas are hot
and cold, we can take to load se-
veral books simultaneously that re-
quire different temperatures.
Test Development
To perform this test, based on ob-
servations of the two previous tests
on the softening point of the float
glass in the oven (590 º), and the
time at which the glass begins to
be quite fluid (714 °).
In the literature on fusing, we have
an approximate range of tempera-
tures that will serve to set the curve
for this cooking.
There are small discrepancies in
the sources and, furthermore, not
all refer to the float glass, but the
bullseye.
Test Preparation
To develop the test are prepared
"pyramids" of float glass sheets that
are coated with plates of the fur-
nace.
The following figure shows how they
prepared oven trays for testing.
The aim was to cover the largest
area possible with the glass pyra-
mids in order to have a more com-
plete picture of the thermal cha-
racteristics of the furnace.
The trays are coated with a com-
mercial separator, Shelf First Hot Li-
ne.
In Fig. 1 shows an oven tray with
glass pyramids to the test. It tries to
cover as much surface as possible.
In Figure II is a detail of the glass py-
ramids.
The test consists in raising the
temperature above 750 º C and,
after reaching this temperature,
slightly open the door for a few se-
conds while continuing to provide
heat to observe the melting pro-
cess.
When a pyramid is completely
rounded, record the temperature
reached and begins to lower the
oven temperature. In our case, the
temperature needed to achieve a
full merger was of 838 ° C.
To avoid desvitrificaciones, betwe-
en 800 ° C and 600 ° C keeping the
oven door open, trying to cool as
quickly as possible.
Once cold glass parts are removed
from the oven and check the ex-
tent to which fusion has occurred in
different parts of the oven.
The piece is more rounded, more
heat will be received.
Thus we can complete the thermal
map of the oven.
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Activities in Museums I.
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Activities in Museums II.
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Activities in Museums III.
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Page 11
Roque, the essence of sculpture in the abstract.
Austria seems to have adopted
one of the most international Cata-
lan sculptors: Agustí Roque
(Barcelona, 1942).
In Salzburg, now exposes an ant-
hology with a selection of 10 of his
most representative works of his
most famous, that of passable
sculptures made with steel and alu-
minum.
And in the same city, in 2013, first
shown her latest pieces, a radically
different work done to date but
maintains the unmistakable stamp
of the artist.
These are works that incorporate
color and glass (photo silhouetted),
two developments in the career of
a sculptor, but still maintaining the
openings Roque identify all parts of
Barcelona.
The presentation will be accompa-
nied by a retrospective covering
from early figurative works in clay
and plaster, to the current abstrac-
tion, "pure identity and pure essen-
ce of the sculpture," according to
its author, represented in different
materials: stone, marble, concrete,
aluminum, steel and glass.
Be carefull to end the current job.
The title refers to the materials
used: glass and steel, the first is the
fragility and the second hardness.
And all, the name and works are
an allegory of human nature.
"Man is strong, but in turn is not-
hing," argues Roque.
The color, so far absent from work,
humanizes a work which by defini-
tion is hard and tight.
Although beautiful. "Beauty is essen-
tial," he says.
Despite the interest in aesthetics
and the assertion that "the sculpture
is very difficult to express many
things," Roque Agustí not waive the
social component of their work.
Whether speaking of human natu-
re, as now, from the corruption of
power or force of arms, as in the ex-
hibition held at Galeria Senda in
Barcelona in 2000, or the current
economic speculation and power
banking, issue addressed in the in-
tervention plan being prepared for
a German museum in 2014.
But with so many international
shows, the sculptor does not have
time to exhibit at home.
The last presentation of his work in
Barcelona was in the room Joan
Prats, in 2006.
Although it has been offered: "In
two important galleries in the city."
But you can not think of anything,
for lack of time, until 2015.
The paradox is that despite the cu-
rrent interest Roqué galleries were
those to blame for the artist to
abandon his original vocation, pho-
tography. "In the 60's photography
still not considered art galleries and
not exposed".
Although to enjoy the sculpture in
Barcelona Roqué just go to the
avenue of Rio de Janeiro where he
wears the largest public sculpture in
Spain and possibly Europe, 306 me-
ters of concrete painted black and
Roque projected that in 1989 , re-
ceived the award FAD.
But perhaps, before visiting, be bet-
ter to wait until the City Council re-
move all traffic signals has discre-
tion in the middle of the artwork. On
it goes.
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Page 12
Restigolitas Exhibition.
The president of the Autonomous
Museums and Centers Cabildo de
Tenerife, Amaya Conde, and the
director of the Museum of Natural
Sciences of Tenerife, Lázaro
Sánchez-Pinto, presented an ex-
hibition on El Hierro restingolitas on
display in several copies of this new
volcanic material, unknown so far.
They are caused by underwater
volcanic eruption that began on
October 10 off the coast of La Res-
tinga.
Analyses indicate that volcanic
product is unknown so far.
For this reason, the Association vol-
canological de Canarias (AVCAN)
has proposed restingolitas name
for this material, that is, 'La Restinga
stones', and so have become po-
pular through the media.
The restingolitas are dark on the
outside and white inside and float
because they weigh less than the
seawater.
They look like volcanic bombs, sha-
ped more or less globose, mostly
between 10 and 30 centimeters in
diameter.
Contain large amounts of trapped
gases at high pressure, which are
released when they reach the sea
surface, hence the appearance of
floating stones that give off smoke.
His dark outer crust has a glassy
texture.
Basanite is a volcanic glass formed
by rapid cooling of basaltic pyro-
clastic first expelled by the under-
water volcano.
The thickness of the crust varies
from a few millimeters to several
centimeters.
When you move up to the surface
are adhering fragments of the sa-
me material, forming lumps of var-
ying size and appearance.
The interior is a snowy white mate-
rial to grayish, porous texture.
The solid part is composed of silica
(SiO2) in a 65-70% or more, forming
a lattice structure.
This network includes numerous tiny
vesicles, which give the appearan-
ce of rigid foam.
The volume occupied by the vesi-
cles is 90%, indicating a high con-
tent of gases that are expanded
during the ascent.
In most samples are also seen
black and deformed bands by
way of folds, whose chemical
composition is similar to that of the
outer crust.
However, the origin of the white
stuff is not yet clear.
Some geologists believe that it is
rhyolite, a type of silica-rich trachy-
tic magma, which produces highly
explosive eruptions.
In this case, however, would only
manifest in the early stages of the
eruption and also in insignificant
amounts compared to the rest of
basalt expelled so far.
According to another hypothesis,
the white mass does not originate in
the current submarine eruption, but
in ancient sediments deposited on
the seabed.
In both cases, the white material
would have been ripped from the
seabed by the violence of the
eruption and its fragments surroun-
ded by the juvenile basaltic mag-
ma, forming restingolitas that rose
to the surface of the sea by its high
content of water vapor and other
gases .
The floating pyroclastics that have
been appearing later are larger
and are hollow.
Lacking the internal target material
can not be considered restingolitas,
since its structure and chemical
composition are different.
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Page 13
New World School of the Arts.
Armando Guerra and his wife
Maria Cata Guerra, Executive
Board member of New World
School of the Arts (NWSA), hosted
an elegant evening at their beauti-
ful home in Coral Gables, Florida,
where more than fifty friends of the
Conservatory of Arts gathered to
celebrate the 25 th anniversary of
the school and honor their gener-
ous benefactors.
It was also a perfect time to an-
nounce another important mile-
stone in the history of the school,
the NWSA Legacy Society, a newly
created generous initiative that
promises to support a New World
School of the Arts in the coming
decades.
The NWSA Legacy Society, de-
signed by Lydia Harrison, former
member of the board of NWSA
Foundation, and her husband Burt
Harrison along with Dennis Ed-
wards, president of the NWSA
Foundation Board, allows those
who offer their support to include
New World School of the Arts in
your estate planning to increase
the coffers of the institution in terms
of scholarships.
With over two million dollars al-
ready committed, the program has
a stellar start.
"New World School of the Arts is a
powerful force in our community
and around the planet," said Lydia
Harrison to present the program.
"Our students not only are advanc-
ing in all aspects of art, but many
join the ranks of doctors, lawyers
and engineers, while others leave
their mark in academia, govern-
ment and nonprofit organizations.
We must ensure that the grants
funded in perpetuity to remain in
this wonderful institution, not only
for the benefit of the next genera-
tion of artists, but also for the good
of our community. "
Dennis Edwards, co-founder of the
initiative, added: "Creating the
Legacy Society allows us to iden-
tify, recognize and thank the com-
munity members who are ensuring
the future of NWSA."
Jeffrey Hodgson, Acting Rector of
New World School of the Arts, led
the program and acknowledged
the valuable support it has re-
ceived NWSA key members of its
board and patrons of the school
since its inception.
"Tonight we have to thank our
close friends and those who sup-
port us in this beautiful and inti-
mate reception. After 25 years of
love and support for students at
our school, these generous friends
have once again demonstrated its
strong commitment to NWSA
through the newly founded Leg-
acy Society. They have made the
silver anniversary of NWSA shine
brightly lit the way to go. "
The founding members of the
NWSA Legacy Society were
awarded and praised for his vision
and dedication with a unique glass
sculpture crafted by Susan Banks, a
professor of sculpture at New World
School of the Arts who teaches at
the renowned art institution for
twenty years.
Susan, with great dedication, a
unique gift made and "pebble" of
multicolored glass, presented in its
own mold, each member of the
new initiative.
"The glass stones are a beautiful
and meaningful detail thanks to the
Legacy Society members. As each
donor, each is unique, but together
they form the solid foundation of
our schools," said Edwards.
"Will keep mine as a treasure, and
when my friends see it in my home
and comment on its beauty, can
explain its purpose and meaning."
Inspired by the bed of a river, the
artwork illustrates the importance of
having a group of advocates for
strong and united Legacy Society.
Celebrating its 25th anniversary,
New World School of the Arts is a
center for performing arts and inter-
national level of excellence that
provides a comprehensive program
of artistic, creative and academic.
With programs accredited by the
National Association of Schools of
Dance, Music, Theater, and Art and
Design, awarded by the NWSA high
school diploma and AA degree,
and the BFA and BM after four
years of college.
Through a rigorous conservatory-
style program that reflects the multi-
cultural richness of Florida, NWSA
provides the tools for students to
become great artists.
Since 1988, more than 3,700 stu-
dents from all economic and ethnic
group have graduated from NWSA,
many joining the ranks of prestigious
arts organizations.
NWSA graduates are an integral
part of national and international
art world, which broadens the
scope of our community.
Recognized artists, playwrights and
actors and actresses honored with
Tony and Grammy awards.
Acting in the Jazz at Lincoln Center
and in major opera houses.
The exhibition of visual artists at Art
Basel and the Whitney Biennial and
its important top choreographers
and dance companies Alvin Ailey
American Dance Theater and
danced with the Martha Graham
Dance Company, among others.
New World School of the Arts was
created by the Florida Legislature
as a center of excellence in visual
and performing arts.
It is an educational partnership of
Miami-Dade County Public Schools,
Miami Dade College and the Uni-
versity of Florida.
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Page 14
Activities on the MAVA.
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Page 15
Craft Fair of the CAM 2011.
As in previous years we have been
visiting the XXIV edition of the Craft
Fair of the Community of Madrid.
We had the pleasure to greet our
friends from the glass in each of
their booths.
In order stand, we talked with
Mariana Grande, Arantxa Garcia
Sotillo (Art Glass), Xana, Miguel An-
gel and Reinaldo (Fulkolor), María
de la O Collado, Pineda de
Luelmo, Mario Sergio Ramos and
Susana Aparicio.
The Fair is being consolidated each
year as a major craft fairs, if not
most, of our national territory.
More than 190 booths this year of-
fer the public a careful and varied
selection of high quality handi-
crafts.
So far, according to statements
from various artisans present at the
fair, the organization has been very
careful in the selection of exhibitors
and exhibits that were conducting
the exclusive handcrafted by the
owners of the stands.
An artisan Alcorcón, with products
made in their loom, and one of the
previous editions of the Fair, had to
remove a sample of buttons used
for his clothes because they were
not self-realization. The stakes are
very high, it should be.
However, this year we have felt
some concern about the exhibits by
the owners of Il Vetro stand on be-
half of Nereus Casagrande.
This concern is reasonable taking
into account, besides the subjec-
tive opinion one may form the view
of the exhibition of their products,
which is manifested in his blog
when referring to the origin of their
handmade masks ("... Venetian arti-
sans experts ...) and glassware ("...
unique and original creations made
with care by artisans in Murano
wise ...").
Without in any way accuse us that
we could be in breach of the norm)
of the Base "tenth" of participation
in the Fair this year, we estimate
that any suspicion of resale could
cause damage difficult to repair as
the most exquisite respect for the
rules that govern this great event.
And since this issue concerns the
Fair glass sector in particular, we
call attention to the Chamber of
Commerce of Madrid to enforce
the rules published.
We believe that all the artisans at
the show to play with the same
cards and none should have the
slightest advantage in terms of per-
sonal effort in their work, without the
respect it deserves the large audi-
ence that is going to the Fair .
View photos
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Page 16
Glass techniques. Color palette (VIII).
Estefanía Sanz Lobo
• The colors of the enamels and
glazes.
Following Matthes, there are three
ways of coloring the glaze:
1. By dissolution or ions.
The dye compounds dissolve com-
pletely in the mass of glass with
transparent effect even in colors.
Among them: green copper, iron
yellow, green, iron, manganese
violet.
2. Coloring pigments.
Finely dispersed dyes in the glaze,
in particulate form.
The glass becomes opaque, chro-
me green, brown, iron, vanadium
yellow, Naples yellow, red, pink.
3. Colloidal or optical coloration.
The glaze takes submicroscopic
colloidal particles in suspension
(100 to 10 nm.) That only absorb
light at specific wavelengths, ac-
cording to the size of the particles,
reflecting only the red light
(metallic copper and gold), blue
(copper metal, glass droplets bo-
ron, titanium compound) or yellow
(silver or metallic bismuth).
If the oxides are not dissolved in the
vitreous mass, contribute their own
color as pigments.
CuO is the case in large quantities
does not green but black, opaci-
fied vitreous mass.
A lower melting temperature, the
greater range of colors and these
are more stable.
If the temperature is very high, the
colors are dissolved in molten glass
too, are destroyed by heat or disin-
tegrate into components dyes.
The reducing atmosphere also
changes the color of copper oxide,
iron, titanium, antimony, bismuth,
gold and silver.
Glazing compounds also influence
the color.
Some coloring oxides are only cer-
tain colors in certain composition
of the vitreous mass.
This would explain certain changes
of color in the third fire glazes,
when cooked between two pieces
of float glass.
Some colors do vary if second fi-
ring.
• How to set the coefficient of ther-
mal expansion of enamel or glaze.
To balance the coefficient of ex-
pansion of these products may be
more operations.
Almost all consist of different pro-
portions of added substances.
However, it is necessary to pre-test
results, because the glazes and
glazes have complex structures.
By adding another element can
be triggered mixed reactions.
For example, it is very difficult to al-
ter the eutectic mixtures.
We can do the following:
1. Mix glazes of different coefficient
of expansion and obtain a mixture
with a coefficient different from
those.
The drawback of this system is that
the new rate can not be calcula-
ted mathematically.
2. If the coefficient of expansion is
less than the base glass, you can
add some substance that will in-
crease this ratio.
SiO2 is readily available (in the
commercial form of quartz powder
and talcum powder - 3MgO. 4SiO2.
H2O) to harden, ie, lower coeffi-
cient of expansion of a glaze or
enamel.
More affordable materials to enter
the enamel or glaze sodium or po-
tassium (soften the glass) are
sodium bicarbonate, potassium
and sodium chloride.
However, they have major draw-
backs:
• Sodium chloride change colors,
can damage the ceramic coating
of the oven, and worse, releases
chlorine gas, very toxic.
• The sodium and potassium bicar-
bonates whose main component
gases: oxygen and carbon.
If not combined with other material
in the merger (by excess bicarbo-
nate in relation to the ratio of ena-
mel), these gases are released and
make big bubbles, very difficult to
control.
Baking is very dangerous. A percen-
tage above 1% can produce such
large air bubbles stop or bufado
crackle glass.
Artists such as Miriam di Fiore consi-
der adding a glaze fluxes too hard,
soften.
For this reason recommended bo-
rax to soften the enamel.
The case of borax (Na2B4O7) can
be complex, since this substance
introduced sodium, which increases
the coefficient of expansion, but
also boron, which decreases it.
In practice it has been done to
confirm the idea Miriam di Fiore.
3. Addition of different chips and
fluxes.
When you post how to adjust the
coefficient of expansion of enamels
for use on glass, Lundstrom, B.
(1991), indicates different mixing ra-
tios of "flux" (flux) and included wit-
hin the following substances:
• Glass bridge, crushed glass rich in
lead.
• Lead Monosilicato shaped fried.
• Enamel low melting point (426
Thompson, Thompson Colors Versa
2020 and 8591). They are soft gla-
zes, which melt at 600 ° C.
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Page 17
N E W S (I).
technology and communication).
And exclusive addition we could
see Daniel Garcia starring in his
debut before the cameras, so if
anyone missed this interesting
report can be viewed on the link
below.
On day 16 we visited the mono-
graphic exhibition dedicated to the
Impressionist artist Berthe Morisot at
the Thyssen Museum in
Madrid.
This is the first that appeared in
Spain and has 30 tables come Mar-
mottan Monet Museum in Paris and
the Pierre Gianadda Foundation in
Martigny in Switzerland, and the
Thyssen funds (which include The
Mirror of psyche).
The exhibition has been organized
into a theme and chronological pa-
rallel to the life of the artist and in-
cludes the following chapters:
'Corot and outdoor painting',
'Manet and intimate portrait', 'Paint
the life live painting ',' Parks and
gardens' and 'rural'.
In each room, his canvases of pain-
ters dialogue with other relevant in
your life, like Corot, Boudin, Manet,
Degas, Renoir, Monet and Pissarro.
Despite belonging to a family of
French gentry and what it entailed,
Berthe Morisot became a professio-
nal painter with the help of the
painters Camille Corot, from whom
he learned to copy nature and ma-
nage the light, and Édouard Ma-
net , who introduced him to the
world of artists and the impressionist
movement.
Morisot painted their environment
under the impressionistic approach.
Portrayed women engaged in their
daily lives, children, nudes, scenes
of everyday life in an intimate and
close that the difference in male
painters impressionists.
Culture 2011.
Unión Vidriera in La 2.
On Sunday December 4
Enterprising program of La 2, issued
a report on Union Glass.
In this chronicle will visit the factory
Teruel explaining some of the
vitreous processes performed
therein.
"Innovative Entrepreneurs" is a
program that shows how and
where innovative entrepreneurs
living working in technology-based
companies (related mainly to
renewable energy, energy
conservation and efficiency,
biotechnology and information
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Page 18
N E W S (II).
Miami-based conceptual artist NFN
Kalyan has designed this glass
sculpture with face of the NBA su-
perstar LeBron James.
Etching of sapphire crystal and steel
with a walnut base, the whole pie-
ce took nearly five months of work.
This picture of LeBron is the first of a
limited number of similar works.
To create the effect using multiple
planes of glass layers on the surface
meticulously recorded.
Viewed from the front faces are fu-
lly 3D and only when the viewer
moves to the side reveals the true
nature of illusion.
So far, Kalyan has created 3D por-
traits for Barak Obama, Chuck Clo-
se, the Dalai Lama and LeBron Ja-
mes in his series entitled The nature
of the beast.
3D portraits.
Cartagena glass Course.
The fifteen participants Glass Blo-
wing Course organized by the
Agency of Local Development and
Employment (ALDE), presented on
Saturday, December 3 at the
Museum of Santa Lucia jobs that
have developed as a result of this
training.
The Agency has managed to
rescue, preserve and promote one
of the oldest crafts in the history of
Cartagena, glaziers, through the
glass-blowing course that has been
developed at the Museum of Santa
Lucia from October 24 and came
to an end on December 1.
With this training, in which 15 stu-
dents participated, has tried to sti-
mulate the artistic production of this
material as it was found to exhibit
his works in the Museum, attended
by the Councillor for Employment
Diego Ortega.
This free course of 138 hours of tea-
ching, supported by the Regional
Employment and Training and the
European Social Fund and mana-
ged by ADLE, was aimed at unem-
ployed people, which over the sa-
me have learned such things as the
preparation the furnace, blown
glass pieces termination.
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building a glass factory ergono-
mic Ramenskoe City near Mos-
cow.
Under the deal closed today, De-
cember 6, between RUSNANO,
European Bank for Reconstruc-
tion and Development
(European Bank for Reconstruc-
tion and Development), the Ja-
panese group NSG and the Rus-
sian group STIS, have planned
the implementation of manufactu-
ring for the 2014.
The total investment volume amounts
to 300 million euros.
RUSNANO President Anatoli Chubais
noted that in many countries the rate
of use of ergonomic glass reached
90% against 5-7% in Russia.
That's why you need to apply efforts
in this area, concluded Chubais. Russian Nanotechnology Corporation
RUSNANO will invest 150 million euros in
Page 19
The glass in Museums: Charleroi museum.
The Museum of Glass in Charleroi, is
art, history and technique of glass
making.
Sample collections through a re-
trospective that begins with the
creations of the moment and is
leading to more primitive eras.
Harmony of light and materials, an
ideal time to learn all about the
glass.
Open Tuesday to Sunday, with dif-
ferential rates.
It was founded in 1973 by Ray-
mond Martin and offers an impres-
sive collection that covers the ma-
jor movements of glass, iron and
coal, both in Belgium and interna-
tionally.
Guided tours, by appointment, of-
fering a tour of the museum, finis-
hing in the workshop, a demonstra-
tion of how to work the glass.
The museum is open Tuesday to Fri-
day from 9 to 12:30 and from 13:15
to 17.
Saturday and Sunday from 10 to
12:30 and from 13:15 to 18.
Currently, the museum presents a
work of Olivier Devos, a young artist
from the region of Mons, which spe-
cializes mainly in the thermoforming
technique and its variations.
The results of their artistic approach
are a dialogue between the glass
and other materials like metal or
wood.
Claims the label "Made in Wallonia"
across Europe, where many of his
works are exhibited.
Recently this facility has been ac-
quired by the city of Charleroi, as
part of the consistency of the mu-
seum's acquisitions policy.
Complete the collection with con-
temporary glass thermoforming,
among others.
The presence of this glass curtain is
in line with the three principal axes
of the policy of the museum: art,
history and technology.
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Page 20
Six sculptures Ferrando.
Neptune, Mars, Venus, the Big
Bang, the solar system and astrono-
my as inspiration.
The self-taught sculptor Viktor Fe-
rrando, born 41 years ago in Calpe,
is the creator of the six modern
sculptures, located at significant
points in Gandia, have left no one
indifferent.
These artworks are part of the ex-
hibition 'Planet Ferrovia, sector 5.
Sculptor Constellatio 'which ope-
ned last December 14 and runs
through March 4.
According to the author reported,
the sample refers to "the texture of
the universe in an abstract way."
The creator expressed through the-
se pieces their personal interpreta-
tion of the Cosmos.
The materials used are steel rail of
Valencia obsolete and useless
glass insulators of electricity pylons.
Ferrando uses materials related to
the railroad tracks that are not
used to make works of art. And by
the way, recycle.
The Ducal Palace houses the Titan
work, 2,500 kg, which represents
one of the moons of Saturn.
"It is one of the planets that science
is investigating because it has more
atmosphere.
Find water represents life, and this is
what I have tried to reflect in the
work with human figures, "explained
the author.
In the main square was Venus, from
day 22 is moved to the Plaza del Rei
Jaume I.
The author was inspired by the color
of the planet and its relation to lo-
ve: "It is a sculpture with great gravi-
ty, that evokes tranquility, peace
and harmony."
Pious Schools is Neptune, the largest
exposure with 22,000 kilos, blue.
In a plot of the street Rausell is a fa-
cility where the artist wanted to
think about what would happen if
Mars will attempt to colonize Earth.
At the gates of the Paseo walkway
appears Plank's Wall, which repre-
sents the passage of time since the
Big Bang. It is made of railroad ma-
terial from 1813.
The councilman of Culture of the
City of Gandia, Vicent Gregori,
concluded: "It is an art exhibition on
the street. We want to bring art to
people, they can enjoy sculptures
that have a tour of streets and
alleys of Gandia, and form a sym-
biosis with the city's cultural heritage
and its history. "
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Page 21
Recycling. Pyrex glass or borosilicate glass.
Borosilicate glass must not be
mixed with glass to recycle becau-
se it melts completely at tempera-
tures of operation of recycling
plants.
The consequence is the appearan-
ce of small pieces of very hard
glass embedded in the end called
stones.
These stones present in the glass
cause structurally weakened to fa-
cilitate rupture of containers recy-
cled.
Pyrex glass or borosilicate glass has
a very good chemical resistance,
chemical resistance to water, acids
(except hydrofluoric acid and
phosphoric hot), salt solutions, or-
ganic solvents.
Another property of Pyrex glass is
resistant to high temperatures wit-
hout deformation below 550 ° C.
These advantages, together with
that of having a low thermal ex-
pansion, Pyrex glass are unrivaled
scientific papers.
This type of glass was born in 1912
as a result of an unfortunate acci-
dent eleven years ago.
On a rainy winter night in 1901, a
lineman came from inside the sta-
tion to warn the driver of a railway
freight train coming one by the sa-
me route in reverse.
To do this, began to turn his oil
lamp with signs about the danger,
but the cold rain hit the glass of the
lantern that was hot, made to be
broken and extinguished the light.
Following the unexpected, no one
could see the signs and fatal acci-
dent occurred.
To prevent further disasters of this
type, became a priority to find a
glass that resists thermal shock cau-
sed by temperature changes, im-
mediately starting the experiments
with different materials to meet this
requirement.
In fact, the solution had begun to
take shape since 1846, when the
German Carl Zeiss, Precision,
established a small workshop in Je-
na, Germany, where he produced
the laboratory equipment that de-
manded the university there.
Transform the company into the La-
boratorium Schott & Genossen
Glastechnische during 1887 was
able to announce the discovery of
the first formula of borosilicate.
Based on different experiments, re-
searchers at these laboratories
could see that if you added boron
oxide raw materials, the glass could
withstand temperature changes, it
was more difficult to melt, work,
and was virtually inert.
The discovery made by Schott &
Genossen Jena, Germany, later
moved to the United States, where
the researcher tried to perfect Cor-
ning until the outbreak of World War
I forced him to postpone his work.
But by 1915 Corning had already
begun marketing the Pyrex glass
baking dish.
Thanks to the theory of this young
researcher, demonstrated that the
glass itself was good to cook, heat
absorbing, while many of the me-
tals reflected this.
Corning acquired in most countries
patents for the manufacture of Py-
rex, and mass production in France
and England began in 1922.
Over the protests of the German
company that was originally disco-
vered borosilicate glass, in 1926 an
agreement was reached market
partitioning, whereby it was stipula-
ted that Germany, Austria and the
Scandinavian countries of the East,
would be reserved as a market for
Jena glass produced by Schott &
Genossen.
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Page 22
Our activities .
In this section we detail the activities which take place this month, corresponding to the cultural visits related to the glass and outputs that we as provided in the program CULTURE 2012.
Cultural Tours.
Culture 2012 Programme.
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In this January we will visit the ex-
hibition of Deineka Alekxandr
the Juan March Foundation,
Madrid.
First introduced in Spain by So-
viet artist Aleksandr Deineka
(1899-1969) and, through him, all
the time, in the dual context to
which he belonged, the end of
the Vanguard and the advent
of socialist realism is the purpose
This exhibition, the largest dedi-
cated to Deineka outside Russia.
It comprises more than 35 oil
paintings, some in large format,
complemented by works on pa-
per, posters and magazines, pic-
ture books, photographs, docu-
ments and photographs and au-
diovisual audiovisual, for a total
of 250 pieces.
Need to devote an exhibition to
historical time elapsed between
the great Russian avant-garde
experiment, which preceded
the Stalin-era Soviet art and
decidedly postmodern that ad-
vented after his death: the art of
the era of the dictator, which is
quite unknown, has been the
subject of exhibitions in the few
former Soviet Union, Europe or
America, and has often been
classified as a derivative art and
propaganda, the service of
ideology and education of the
masses.
To reflect the art of this period is
difficult to find a better example
than that provided both
strength Deineka pictorial as the
fascinating ambiguity of his art
and his figure, formed in the es-
tablishments of avant-garde,
was a member of the last groups
constructivist avant-garde (as
Oktyabr or OST) and agitator
committed to socialist revolution
and construction in the country.
Complete exposure and a care-
ful selection of works of Russian
avant-garde artists, with particu-
lar emphasis on revolutionary
development, magazines, post-
ers, books, documents and ob-
jects that reflect the peculiar
(and unknown) logic of relations
between avant-garde and so-
cialist realism, which came to
constitute a kind of artistic and
political vanguard of the prole-
tariat.
Using our visit to the area of Jerez de la
Frontera in these first days of January, we
will make a visit to Victor Polo, artist dedica-
ted to making stained glass.
Victor has his workshop in Mercedes Street,
2 in Jerez de la Frontera. In the center of the
city, Victor is dedicated to making stained
glass with modern designs, as we have seen
on their website.
So spend some time with him in his works-
hop and probes on their accomplishments,
projects and problems of the sector in this
part of Andalusia.
Page 23
Alejandra Gubinelli stated in Corrientes.
The boarding lounge Fernando In-
ternational Airport Piragine Niveyro
of the city of Corrientes in Argenti-
na, is the ideal space for the artist
Alejandra Gubinelli expose their
work made entirely of glass.
Glass fusing is the technique that
has been used for this sample
which was formally inaugurated on
Space 5 Expressing group.
The event was attended by Dr.
Nestor Pedro Braillard Poccard, De-
puty Governor of Corrientes, archi-
tect Agnes Presman, Secretary of
Tourism of the province, Mirian
Mosna, Director of Tourism, Lita
Freeman, Cultural Advisor of the
Honorable Legislature and others
Alejandra Gubinelli guest artists
and the general public.
This exhibition, like the 20 th Conse-
cutive Plastics Group Show Corrien-
tes "Express yourself" at the "Pinin"
Palm of the Undersecretary of Tou-
rism, forms mobile cultural spaces
of the city.
For this reason, interest was decla-
red by the provincial tourism port-
folio.
The Deputy Governor of the provin-
ce said it is a source of great satis-
faction to disseminate what has
been done there and more at an
airport that has been renovated
and modernized to be one of the
best in the country.
"The Corrientes is highlighted by the
contribution to the culture through
its music and customs, is a growth
and cultural enrichment," said
Brailler Poccard then acknowledge
the presence of all.
While grateful for the invitation Pres-
man Inés this cultural scene that or-
ganizes "Express yourself", then con-
firmed that this group provides the
scope for the development of crea-
tivity from different techniques.
"From the Undersecretary of Tourism,
Ministry of Production, Labour and
Tourism, we support these initiatives
where the traveling show" Pinin
"Palma is a space for these samples
that will allow tourists to know the
cultural manifestations of the provin-
ce because he speaks of his peo-
ple, history and society, "he said.
Then the provincial officer wished
success to the organizers and artists
to give voice to Gubinelli Alejandra,
who also had words of appreciation
to the Government of Corrientes
Province and all in general.
The artist said in this space will see
various works, including works that
stand as glass sculpture, glass mo-
ving boxes mosaicism.
Before concluding his speech, said
Gubinelli glass fusing technique, also
making a brief review of some of his
works in stained glass still preserved
in the churches of Christ the King
Hospital Vidal, Pius X in the city of
Corrientes and Immaculate Con-
ception Paso de la Patria.
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Vidrio
Page 24
Marianela Tisberger: Reflejos de luz.
Is an artist, art teacher, producer of
chocolates, jewelry and book aut-
hor. He knows that his only limit is
imagination and now confesses that
he is more awake than ever.
The guards guard the entrance to a
different world. This will call their glass
sculptures that convey almost two
meters peace. A feeling similar to
that shares the artist sitting on a
couch next to an old piano, where
there are no luxuries.
"These sculptures are inspired by a
council of elders who are supposed
to be the guardians of the universe,
24 beings of light of different dimen-
sions. Beyond that, the intention that
one puts on the play, exudes
"explains and clarifies that all their
work has to do with the spiritual and
light.
The home for adoption, is also his stu-
dio and plays an important role in
your life. It came almost in passing in
an intention to move to the moun-
tains and family for recommenda-
tions. Reached 5 years of La Plata,
where he studied Fine Arts degree
with a concentration in ceramics but
also recognizes that loves painting,
sculpture and space atmospheres.
The artista
"One is opening their searches. I
have now, but what defines me is
the work of great size. I aim to work
in public spaces, murals, a group of
sculptures in squares or paintings, "he
muses as he confesses that there are
structures with which we live that
have a visual weight, dense and
harmful and can be transformed by
art.
"Whether the language that look, I'm
wishing my work is for everyone. Not
the work of museum or gallery. I love
that children can play up my sculp-
tures, for example in a square and
that art is in the street. "
Days ago participated in a perfor-
mance Plottier where several artistic
languages united in a single speech.
The intervention integrates music,
dance, art, singing.
"When you start to take ownership of
these processes, it looks" she says,
blamed the violence against works
of art to questions of resentment.
"The breaking is filled with a resent-
ment that is not with what is brea-
king. The lack of money, opportuni-
ties, given as anger that is not really
anger but fear, and fear paralyzes.
The art speaks a different story. My
work is a work of peace, elevation,
joy. "
The workshop
The arrival Plottier meant a challen-
ge for the artist, a chance to open
doors. An example is the workshop
for boys, with whom he works
"literature college leguaje adapted
to children."
The workshop is a commitment to
creativity where you fight against
stereotypes, students are few, be-
cause he prefers the more personal
work. That debunks the kids there le-
arn to draw, because the inks are
loaded on the expression.
"We work on the floor, looking wheel
and move freely. When you give a
guy a pencil, a sheet and a table,
the boy begins to close, contractu-
res, not to express themselves in their
fullness. The space in which they
paint is freedom of movement of his
arms, produces a result that is incre-
dible. " It also explains: "When the
boy at school draws a tiny Mickey
Mouse and paints with fiber to crea-
tivity is closing the door lock.
Here it is not allowed anything that
comes from television. "
The autor
Marianela recognizes that since co-
ming to Plottier, expanded their
creative potential. Thus arose the
chocolate, copyright, jewelry and
handbags online copyright, which
will lead to the expression of an artist
who was looking for.
"There comes a time when the crea-
tive spirit that the raw material is an
anecdote. To transform two popes in
a dish is a creative act.
When you have trained your eye on
the aesthetic, then no matter if you
have to work is journal paper and
string, "she says, sums up the way that
allowed get to work with this diversity
of products.
"This happened with the chocolates. I
was working in the shop, and sud-
denly drawing with a wooden spoon
trying to emulate the plant stems
from the fence and told me to do it
in fine chocolate. As my husband
was traveling and decided to make
chocolates for him, and had wanted
to visually contrast color ... and there
came the flowers, seeds, fruit thin as
a game. Like a game comes around.
"
His productions are accompanied by
chocolate glass, shaped, for some,
capricious, observes the same route
of plants seek the light.
With respect to jewelry, the road is
not very different, and the secret is in
the creative workshop. "I was working
with the glue gun and started playing
with it, I made several designs and
bring them to a jeweler friend and
left the line. Today it sells well, the ring
and back chocolate, because we
women like jewelry and chocolate. "
Since drying of the flowers with natu-
ral methods-until the chocolate is
produced by Marianela and her hus-
band. "We intend to create a sort of
multi-space where the chocolates
are the work of art, jewelry author, a
good movie, good will," is sincere.
With regard to the brand at the mo-
ment is your signature. And some-
how, summarizes the different modes
of expression which the artist.
Although it has a website, one of the
challenges will be to exploit the multi-
media portal to sell and showcase
their work through the network.
Marianela breaks any stereotypes
about the artist and admits that mo-
ney is necessary, it has boosted his
personal signature, which also runs
several pictures that target products,
individuals, corporations and upscale
hotels, where they use their products
as amenitis, packed with denim.
"We grew up with the idea that the
artist also does not care about mo-
ney. And for a long time I thought
that I did not care, but also over the
years I realized that money is one of
the materials we use in this energy
exchange. With love we can solve
many things with money, others with
other water. Matter and is good work
is appreciated. "
The artist rests, imagination remain
awake.
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Page 25
Other trends. High-level scam.
The Belgian Pierre Lagrange was,
until this fall, one of those very few
lucky ones who can sit in your living
room and enjoy the unique parts of
the Abstract Expressionists tribe,
perhaps the more pedigree in the
circus of the art auction modern.
This London-based collector
bought in 2007 Untitled, 1950, a
feature of Pollock action painting
for 17 million dollars (13 million eu-
ros) in the New York gallery Knoed-
ler & Company.
When this year's auction at Christie
wanted the work was rejected. It
was true, he said.
Lagrange then sought the opinion
of different experts and concluded
that he had been deceived.
On December 2 filed a forgery in
U.S. federal court against the vete-
ran and respected gallery. After
165 years of life, this was closed just
two days earlier.
Also sued its president until 2009,
Anne Freedman, head of the sale.
The evidence submitted was a fo-
rensic analysis showing that the ta-
ble was no trace of pigments that
supposedly did not exist when the
work was signed.
The lawsuit, with the Lagrange
claim back the 17 million but does
not include criminal charges
against Freedman, opened an ar-
tistic version of Pandora's box kept
for days in suspense scene in the
Big Apple, noting with horror how
the FBI is investigating possible for-
gery of the 18 paintings sold by the
same gallery and one of its former
employees, Julian Weissman.
Values between 10 and 20 million
(7.6 million euros to 15.2) and
signed among others by De Koo-
ning, Pollock, Motherwell and Die-
berkorn, pictures come all the sa-
me hands: Glafira Rosales, the de-
aler who sold them both the works
and defends his lawyer arguing
that the gallery wanted to make
scapegoats.
Interestingly, the name of Rosales,
a Mexican of 55 years who resides
in Long Island and that in turn had
its own gallery in Manhattan and
another in the State of New York, is
associated, according to The New
York Times, a Spanish name: Ber-
gantiños José Carlos Diaz, a Spa-
nish entrepreneur and collector
according to the website that Ar-
tinfo.com is described in the pa-
pers from the suit as someone who
has been involved in counterfeiting
cases since 1999.
All works investigated were leaked
to Freedman and Weissman by Ro-
sales, who started bringing pictures
of American writers from Mexico in
1993.
According to a letter dated in 2007
and quoted by the newspaper
New York, this dealer trading in
works of a collector who had
bought Mexican American art in
the fifties hands directly from the
artists themselves (and therefore
no papers to prove their authors-
hip) .
The collector's son, whom she des-
cribes in the letter as "a family
friend who lives in Mexico and Swit-
zerland", wanted to sell part of the
collection he inherited, including
works by Motherwell, Franz Kline,
Clyfford Still and Willem de Koo-
ning, but insisted on anonymity.
Through Freedman and Weissman
some of these works came to Fine
Art galleries and Killala, who in Fe-
bruary sued Weissman and Dedalus
Foundation for having certified the
authenticity of a motherwell then
entitled classified as false and as
part of one of the most famous se-
ries of the artist, Spanish Elegy 1953.
P.24.
In the complaint joined another of
that foundation, which manages
much of the legacy of Motherwell,
for lying about his origin.
The case was closed in October
with an agreement that required
precisely Rosales to disburse most of
the $ 600,000 paid for Killala Fine Art
picture, and Weissman, to cover
the rest over the legal costs Dedalus
Foundation.
But it was learned on 15 December
during the first court hearing,
doubts about the authenticity of
the works sold through Rosales Fre-
edman are not new.
Testified the gallery in 2003 she
agreed to return two million dollars
to Jack Levi, chief executive of
Goldman Sachs who sold the Po-
llock Untitled, 1949.
Apparently, the International Foun-
dation for Art Research refused to
authenticate the work, so I asked
Levi cancel the sale and the gallery
Knoedler accepted.
After Freedman itself, along with
David Mirvish Canadian business-
man, purchased the painting.
"Based on my experience, I believe
that Ann Freedman has never sold
a work of art that she did not consi-
der it authentic. If the Lagrange po-
llock is not, as Freedman and I have
been cheated and demanded
another," said Mirvish, who was the
former owner of pollock now in dis-
pute.
For its part, the gallery has been ad-
vocated ensuring the judge: "I have
every reason to believe that these
pictures are authentic," and among
them is that she acquired three of
the works offered Rosales, a Rothko,
a pollock and a motherwell, it still
has. "I'm not defending.'m Defen-
ding the art in which I believe."
On the mysterious collector who
works as come Rosales continues
the silence.
Meanwhile, the New York art world
in a continuous boil conjecture.
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Page 26
Investment in the SFMOMA.
The Board of Trustees of the Mu-
seum of Modern Art in San Francis-
co (SFMOMA) has decided to in-
crease to 412 million euros budget
for the expansion of its facilities.
The SFMOMA has already met 80
percent of the 356 million originally
budgeted, so it is optimistic about
the possibility of getting an additio-
nal EUR 76 million to improve the
provision of space dedicated to
educational programs, exhibitions
and permanent collection.
The ambitious expansion plan in-
creases significantly from SFMOMA
as announced in May 2011, inclu-
ding new areas on the ground floor
that will communicate with each
other through footpaths.
The project promoters expect more
imbricate and the museum in their
city environment.
The expansion work, the design has
been entrusted to the Norwegian
architectural firm Snøhetta, will be-
gin in June 2013, with completion
scheduled for early 2016.
A plan "perfectly acceptable" ac-
cording to promoters, "in view of
the success achieved during the
first phase of fundraising" between
citizens and private companies.
That shows "the commitment of the
community" to boost growth plans
that attempt to "provide an unpa-
ralleled experience in the art of our
time," said Neal Benezra, director
of SFMOMA since 2002.
"The city of San Francisco has a
great partner in the museum,
which will further enrich our citizens
and visitors," he said to turn the ci-
ty's mayor, Ed Lee, who was pre-
sent at the launch of the new
plans.
So would "stimulate the enormous
generosity" companies that are ac-
credited art lovers in general to pro-
mote "an extraordinary project that
will benefit the children of school
age, the hospitality industry, cons-
truction industry and the Yerba Bue-
na Neighborhood ".
According to Charles R. Schwab,
Chairman of the Board of Trustees of
SFMOMA, the increase of 15 percent
in the initial budget is a goal
"achievable and sustainable," so no
doubt that the citizens of the Bay
Area of San Francisco will support
with their contributions economic
"our role as an educational resour-
ce, civic and economic develop-
ment".
The SFMOMA has one of the most
remarkable collections of the world
in modern and contemporary art,
and most important of the West Co-
ast of the United States.
In February 2009, the leaders of the
museum started another campaign
fundraising has doubled the number
of works that have, currently set at
27,000. That same year, the Fisher
Foundation announced the sale of
its renowned collection for a centu-
ry.
The expansion project designed by
Snøhetta study aims to integrate the
historic building by Mario Botta in a
"seamless whole" to reach the
130,000 square meters, double the
current.
Glass walls, terraces and outdoor
sculpture garden, the future will help
to open the SFMOMA to the city.
In addition, the galleries at different
scales and levels will facilitate the
most appropriate lighting for each
artistic technique, from video art to
photography and sculpture.
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Page 27
Glass workshop in Murcia (VII).
JIMENEZ PEDRO CASTILLO
JULIO NAVARRO PALAZÓN
JACQUES THIRIOT
The elevations of the walls, just as
we found, had brick work and it is
likely that their use is associated
with the repair of the original land
tapiales apparently available in ba-
tach show.
The eastern bay is occupied by a
unit of 6.00 x 1.70 m.
I was floored with a pavement of
lime mortar and opened the patio
door with a light 90 cm, approxima-
tely.
The wall that separates the yard
has the same bill the north lounge,
with the particularity that on repairs
later was used in addition to brick,
stone blocks, sometimes alternating
with brick executioners.
It is plastered with plaster on both
sides and on to the patio, next to
the north jamb, was kept a setback
in the plaster to settle a vertical en-
fondamiento alfiz belonging to the
arch that framed his income.
The southern corridor is a narrow
unit that opened onto the court-
yard through a span of 1.50 m.
measured from the nose tongs.
The wall had a factory identical to
those above, except the stretch lo-
cated east of the gate, where the
mud mortar of the foundation is re-
placed by blocks of white sandsto-
ne, doubtless reused.
The eastern end of the bay was oc-
cupied by the staircase, which do-
cumented only some remnants of
the foundation, sufficient to esta-
blish that consisted of a platform
boot which started the first section
of roof which rested on the south
partition wall (Plate . 17).
From there seems to be bent to-
wards the west, supporting a lintel
must rest on the wall that separates
the centreline courtyard and a pi-
llar attached to the Southern share-
cropping, whose foundation we
find some remains (Fig. 7).
The western corridor consisted of
three distinct and separate depart-
ments enter each other by brick
walls:
- The southernmost was the largest
and extended by the SO angle to
the wall that enclosed the house to
the south.
This is a part open to the courtyard
through a wide span indeterminate
because only retain the north
jamb, but could not be greater
than 70 cm.
I was floored with stone slabs and
on the south side of the room, lime
mortar.
In the NE corner was a well made
ceramic rings, except the rim that
was made with bricks, surely it was
possible to access both from inside
the piece and from the patio.
The dependence was tackled by
paths and mortar masonry pilasters
that we served as reinforcement
for the slab of wood holding the
southern bay since, according to
the position of the steps above, on
this piece due to rise a algorfa or
second floor.
The presence of well water and
paving slabs allows us to identify it
as a kitchen.
- The central space of the corridor
is a narrow room 1.38 x 1.56 m,
which always ran the underground
culvert that collected rainwater fa-
lling on the patio.
The pipeline to reach the interior of
the piece, broke to the north, pas-
sing under the wall that separated
the space that lies further north, as
we shall see, corresponds to the
gate.
Such an arrangement of the cul-
vert apparently no sense, since it
would make sense that they went
to a public sewer along the shor-
test path, which is coming directly
from the hallway.
The only possible explanation is that
the room before us host the latrine
because, as already demonstrated
in other homes in the Murcia Anda-
lusian is used to take water from pa-
tios to drag more of the filth of the
latrine, but also the size of depen-
dence and
support the hypothesis exposed lo-
cation.
- Finally, the northern part was occu-
pied by the first tranche of an an-
gled hallway that turns north to
open the street for the current me-
dieval Mother of God.
The span of the hallway that opens
onto the courtyard had two nose
tongs and a light 70 cm (Fig. 7).
Reforms of the house F
Throughout its history, the house un-
derwent many reforms, some of
which affected only the pavements,
while others changed significantly
altering walls and partitions the origi-
nal plant.
The court changed little over time,
but shortly after its construction was
the subject of a major conversion:
deep space was paved with bricks
thus disappearing from the center
(Fig. 7).
The only reminder of its previous pro-
vision that had the slight enfonda-
miento soil in the area of the old
garden, which was surrounded by a
perimeter slightly higher walker.
The room on the south bay was so-
on transformed into a portico sup-
ported by two brick pillars, retaining
the ladder in this vain.
At first floor of the porch was kept to
a level similar to that of the court-
yard, and then rise, as an open plat-
form to patio11 solution, reminiscent
of oriental iwans, although shallow,
disproportionate to its width , leads
us away from those models.
At this time in the freeboard is pro-
duced, the piece and the courtyard
was paved with lime mortar.
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Page 28
Homage to Salvador de Aza (CSIC).
Salvador de Aza was appointed Vice
President for Technical and Scientific
Research of the CSIC in July 1991. He
was then 58 years old and enjoyed a
solid reputation as a result of his rese-
arch career, his successful performance
for years as director of the Institute of
Ceramics and Glass (ICV) and partici-
pation throughout the 80's programming
tasks advice directed primarily to guide
and promote research in science and
technology of materials in the field of
CSIC.
As a researcher, theoretical and experi-
mental study of phase equilibrium dia-
grams and intelligent application to the
design of ceramic materials had given
him international recognition, in the di-
rection of the ICV, which took office in
September 1983, had shown an indispu-
table authority a significant capacity for
research management and in the years
of transition, your active involvement in
efforts that ultimately led to the esta-
blishment of the area of Materials Scien-
ce and Technology, CSIC and the crea-
tion of the Institute of Materials in Ma-
drid, Barcelona , Sevilla and Zaragoza,
had shown his deep knowledge of the
area and its special sensitivity to the de-
mands and industry trends.
With this background he was able to
meet the challenge that led to accept
the Vice President of the CSIC in a stage
of conflict. A series of management pro-
blems had led staff in the summer of
1991, a presidential change. The new
president, Elias Fereres, prestigious and
executive person had, at the time of his
appointment, a very limited knowledge
of the institution.
Vice President Salvador de Aza touched
him, therefore, play a challenging role in
the early months in office the new ma-
nagement team. His knowledge of the
Agency, its prestige, its experience and
its unique personality allowed him to get
out of the test.
With the house quiet, Salvador remai-
ned in the Vice President of Scientific
and Technical Research until July 1996,
he served continuously during the presi-
dencies of Fereres Elías and José María
Mato.
In a recent publication, one of us has
written that Salvador held office with the
same dedication, the same knowledge
and the same thoroughness
with which studied the phase equili-
brium diagrams or preparing their cour-
ses in his office at the ICV. That dedica-
tion and that coupled with his detailed
knowledge in the CSIC long history and
proven scientifically sound contributed
to his vice president, and by extension
the entire management team, authority
and recognition.
The Vice President of Scientific and
Technical Research at that time was lo-
cated at Serrano 113, separated from
the President, Vice President and Institu-
tional Organization and the General Se-
cretariat who were, as now, Serrano
119, the central building. On the first flo-
or of 113 Salvador Serrano had his offi-
ce, next to that occupied Antonio Cor-
tes, who was then Deputy Director Ge-
neral for Programming,
Monitoring and Information Science,
and close to Jose Ramon Alique, then
Director of the Office of Evaluation and
Technology Transfer. On the second flo-
or were the offices of the Area Coordi-
nators on the ground floor and the De-
partment of Postgraduate and Speciali-
zation.
With the support of all of them, which
maintained a constant fluid communi-
cation, Salvador had a thorough check
of current research projects in different
areas CSIC Scientific Technical different
programs funded by the National Plan
of the Autonomous Communities pro-
grams , etc. Health Research Fund.; in-
frastructure granted by various finan-
cing agents, the transfer of research re-
sults, patents and contracts with com-
panies, and scholarships and specializa-
tion courses, paying very special atten-
tion to what program called Temporary
Contracts of doctors who came to re-
place the post-doctoral fellowships,
from within their budgets, had been ca-
lling the CSIC and the National Plan to
1991 and was the immediate predeces-
sor of the program Ramón y Cajal.
With all this information in mind, in a ca-
refully annotated notebooks laboratory
notebooks were literally where experi-
mental conditions were carefully trans-
cribed in order to ensure reproducibility
of results, Salvador crossed the court-
yard of the main building CSIC way to
attend meetings management team,
Scientific Advisory Committee or the Bo-
ard of Governors.
And relying on this information the team
made the decisions and, among other
things, established the foundation to dis-
tribute the limited funds that, in those le-
an years, provided the institution to ma-
ke its own science policy that focused
on a so-called Scientific Program Perfor-
mance depended on the Vice President
of Scientific and Technical Research.
In the early nineties, the economic situa-
tion was quite shabby and rarefied politi-
cal situation, the research did not seem
to be a government priority and concern
of successive ministers of industry by the
CSIC, from the 1993 elections, was limi-
ted bit rather than the opening of scho-
ols and president of academic events in
some resonance.
CSIC's management team had little ro-
om for maneuver and, apart from efforts
within their means to maintain the inte-
grity of the organism against the claims
of some Autonomous Communities, fo-
cused its efforts on making the best use
of scarce resources organized so that
would be of the highest quality of scienti-
fic production. It was therefore a time of
restructuring and Institutes and Centers
assessments by external committees. In a
situation like this, the knowledge, expe-
rience and common sense of Salvador
were essential to allocate scarce funds,
make decisions about infrastructure ac-
tions and convince the best researchers
to take charge of the coordination of
scientific- techniques, forms part of com-
missions or tribunals constituted to grant
the limited places available.
Salvador was instrumental in strengt-
hening the scientific and technical areas
and define the role of Coordinators and
Area Committees on the occasion of the
launch of the Rules of Organization and
Operation, after a long gestation and
without its problems, was finally publis-
hed in 1993.
His long experience was crucial in gui-
ding the restructuring of institutes and
centers, particularly those of the most
complicated and contentious, in the se-
lection of the first associated units in the
development of the Action Plan 1995-
1999, in the transfer of management IRIS
network to CSIC and many other perfor-
mances, some of them in the area of
Humanities and Social Sciences and the
recovery history file of the Philippines or
special actions to support the Institution
Musicology Mila y Fontanals, although his
career as a researcher to put him closer
to applied research than any other
member of management.
As we have also recently had occasion
to write this little review can be summari-
zed by saying that years of Salvador de
Aza as Vice President came to end with
seamless management an honest and
selflessly dedicated to Science and the
CSIC.
José María Mato, CEO of CIC and CIC
bioGUNE biomaGUNE, former Chair of
CSIC
Manuel Martín-Lomas, Scientific Director
of CIC biomaGUNE, former vice presi-
dent of CSIC
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Page 29
Badges of honor of the AEC.
The Spanish Association of Scientists
(ACS) this year celebrated its 40th
anniversary with the award cere-
mony:
Badge of Honor-ACS
that being awarded for 14 conse-
cutive years by Spanish scientists
recognized professional in the field
of science and technology, as well
as Spanish and Latin American
companies for their strong support
for R & D + i.
In the past year, the AEC has cele-
brated the delivery of the Badge of
Honor AEC-2011 during its Annual
Social Dinner, held on Friday No-
vember 25 at the restaurant Riofrío
of Madrid to the following winners:
In the section of scientists:
Professor Dr. D. José María Guile-
many Casademon, Professor of
Metallurgy of the University of Bar-
celona, for their relevance and
recognized work in developing the
Plasma Arc technology for coa-
tings and applications on all types
of materials, founder of CPT at the
University of Barcelona, as well as
for his work throughout his career
teaching and research in novel
applications of Electron Microsco-
py in Metallurgy.
Professor Dr. D. Miguel Lafarga
Coscojuela, Professor of Anatomy
and Cell Biology, for his outstan-
ding research and scientific contri-
butions on the functional organiza-
tion and dynamics of the cell nu-
cleus, especially in neurons and nu-
clear bodies, which may help treat
and cure of several neurodegene-
rative diseases. In addition, for his
pioneering studies validating the
findings of Cajal on the cell nucleus
with the modern techniques of cell
and molecular biology, revitalizing
its publications the figure of the
Spanish Nobel in science internatio-
nally.
In the area of scientific publication:
D. Alejandro Gallego Barrera, Agri-
cultural Engineer, for his contribu-
tion to the popularization of science
in the field of Biology and Agricultu-
re for the excellent videos that has
been making and spreading in re-
cent years and especially recently
conducted on soil biodesinfección.
In the section of companies:
CEMEX, to coincide this year's re-
cent celebration during the month
of July in Madrid's leading Interna-
tional Congress on the Chemistry of
Cement in its thirteenth edition, has
been awarded to this employer
Mexican multinational for its strong
support for R + D + i in recent years
in our country and especially for his
contributions to the science and
technology for environmental pro-
tection.
ProRetina Therapeutics, a young
Spanish company, now located in
Navarra and has emerged from a
group led by CSIC researcher Dr.
Enrique de la Rosa Biological Rese-
arch Center, dedicated to the de-
sign of new drugs to treat retinal
degenerative diseases such as Reti-
nitis Pigmentosa and Macular de-
generation and other diseases.
From these pages we send our war-
mest congratulations to the winners
and the award received for their
excellent work on behalf of scienti-
fic knowledge.
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Page 30
Sara Sorribes at the Fair of Valencia.
Your booth space at the event Arti-
san in Feria Valencia, presided
over by a sign with your preferred
maximum, which marks his life and
professional career: "The most im-
portant thing for me in life is to smi-
le every day, and being glass arti-
san I did it. "
Sara Sorribes glass works successfu-
lly in all possible aspects in a mo-
dern artisan workshop: "The manu-
facture in tube, rod or plate, we
blow torch and 'fusing' in oven ma-
nual carving and engraving on the
sand and acid , we cut, polish, car-
ve, burn, melt ... "
However, this woman was in the
beginning for this.
Although born and raised in a fami-
ly that already had a glassware
factory, where he grew older and
had to seek employment, Sara
always smiling, so happy, I decided
to dedicate myself to this, and I hit
it squarely, because now I smile of
truth."
The family business was founded
by the grandfather in 1920 to ma-
nufacture glass bottles.
I was in Valencia Sagunto Street
and had dozens of workers. They
were the golden age of glass con-
tainers for all kinds of liquids. Later,
when the widespread use of plas-
tic, the father had to convert to
the force and went on to speciali-
ze in the development of blisters for
laboratories.
What makes Sara now has little to
do with it, but in his daily practice
of the trade shows a highly develo-
ped that comes from old to see
him as a child, to prove from soon
and having collected knowledge
and experiences of two previous
generations.
It is dedicated to design and deve-
lop exclusive parts and is based in a
shop near where he was the origi-
nal family factory on Calle Pepita,
28, along Sagunto Street.
Work commissioned for designers,
makes lamps, tears, hourglasses
and the most diverse objects of de-
coration. Some call it a certain way,
others suggested itself to customers,
although they have the last word,
of course, "because each client is
different and has different preferen-
ces."
Central to Sara is "the quality, rigor
and speed work in the service re-
quired." Raw materials, rods, tubes
and glass plates, are from Germany
and Murano (Italy), the best manu-
facturing facilities, which provides
the best guarantee for the result.
The fact is that the quality of their
work has resulted in a unanimous
recognition, to the extent that their
works are increasingly required.
He tears many liquid-filled glass for
decorating the Expo in Zaragoza,
working for universities, was a finalist
for the National Craft Award, spe-
cial bottles made for a famous
brand of whiskey, has represented
the Valencia Craft Centre in Mexi-
co, soon go to Milan ... And when
traveling always accompany their
two children.
Believes that creativity "should go-
vern our handicrafts, otherwise the
Chinese will eat us," and that,
among many things, makes exclusi-
ve buttons for a clothing manufac-
turer, "he says in China would have
them cheaper but never as good
and original, there's our difference
and our power. "
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pulled in another di-
rection.
And it happened
after having an en-
viable and well-paid
occupation, in front
of the library section
of a shopping mall
one day, with 24 ye-
ars, resigned and re-
turned to the world
of glass, to recover
that child fans to
blow the tubes red
hot to shape, the first
things he learned
with his father, and
now they and their
children, 7 and 8.
To be wrought that
career change was
decisive figure of his
father, because, as
he confesses, "I was
Page 31
How does.
This month we include some pictures of the technique practiced by Ben Edols.
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Page 32
Christmas tree with glass bottles.
In addition, the capital of Vall d'Al-
baida will for the first time with a
skating rink in the Plaza de Santo
Domingo to be operational later
this week.
Another important aspect of this
holiday shopping is why the Asocia-
ción de Comercios y Empresas de
Benifaió (Aceb) ) has carried out a
Christmas fair during the weekend
with great success.
Local merchants have been plea-
sed by the sales achieved in this
sample.
Moreover, for the purchases made
through January 5 will be entered
into a drawing for great prizes.
Also in Algemesí, the City and the
Association of Businesses and Servi-
ces presented a new edition of the
commercial animation campaign
to circumvent the 50 baskets of
Christmas in January.
The baskets are raffled among tho-
se who have completed their tic-
kets at different stores and contain
a ham, sweet and select a variety
of products. In addition, the Schola
Cantorum of Algemesí hold its tradi-
tional Christmas concert on De-
cember 22 at the Basilica of Sant
Jaume.
Finally, the school has scheduled
Alzira Alborxí different activities as a
show of solidarity with stalls fair tra-
de to benefit Oxfam and selling
candy to raise money for Unicef.
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All municipalities are preparing for
the Christmas holidays and they
have decorated the streets with dif-
ferent motives.
In this year Canals installed an origi-
nal tree five meters high built with
recycled material, particularly with
1,400 glass bottles, as explained by
the local council.
"In order that the whole world awa-
re of the importance of caring for
the environment and because of
the Christmas decorations that the
City is taking place these days,"
commented from the Department
of Environment.
It is a tree five meters high, the
bottles are anchored to the support
of an old disused lamp and a stone
-built oak volcanic tuff located in
the park Jaume I.
In Ontinyent space is being ena-
bled in the Plaça Major Christmas
with a tree birth and reusing items
that were used to mount the live
nativity scene in the Place de la
Concepción.
"Although this is not going to Bethle-
hem to perform because there are
times to spend the money (30,000
euros), the ontinyentins not run out
of Bethlehem," explained Council-
man Municipal Services, Manuel
Cuesta.
Page 33
Granada wishes for 1000.
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The Catalan artist Xavi Muñoz has
created a pool of glass, water and
electricity included in the "1,000 wis-
hes for Granada" and whose light
and sound sculpture is exposed du-
ring the Biennial Goals of the Foun-
dation of the Kingdom of Granada
which held these days.
The work has been prepared based
on the story that for centuries it was
believed that gods lived in the sea
and therefore water could make
the wishes of the people, hence the
custom of throwing coins to the
sources , reported the Millennium of
Granada in a statement.
The sculpture, "extremely delicate
and strong enough," was launched
at the House of Kicks Granada as
part of the Biennial Goals, based on
contemporary art and heritage.
Based on the myth of water and
desires, Munoz builds a column of
glass bottles thousand and three
feet high, so that each container
filled with water, including a desire
to anonymous people, "people of
the city," precise note.
The author has stated that this work,
"fosters the relationship between art
and the word" inspired by
"anonymous calligraphy of different
active participants in the work."
The sculpture is complete with a
backlit "very particular" and produ-
ced a sound installation by the Ar-
gentine musician Axel Doss, whose
piece "speaks of" water and eco
with anonymous voices reading so-
me desires.
The Biennial Goals 2011 comes in
this way several days in which con-
temporary art is done by way of
more traditional artistic disciplines,
with sculptures such as Xavi Muñoz
and others like Sam Arregui work or
drawing of the French experimental
Bérengère de Crecy.
This cycle is a journey of over 16
contemporary art projects until 18
December, have used and been
worth the cultural heritage, tangible
or intangible, of the city of Grana-
da.
For this edition, we have received
nearly 200 projects in 30 countries,
of which a group of experts has se-
lected 13 that, along with three
guest artists, form the Biennale.
Page 34
Cliff Path in Chinese.
The typical tourist is one who tra-
vels hundreds of miles to see so-
mething special from a distant
place, something to remember
for a lifetime and can explain to
their friends and neighbors when
he returns from vacation.
And if there is a feeling "extreme"
that will remind tourists visiting
Tianmen Mountain in Zhangjiajie
(China), is the ride on the road of
glass have been installed in one
of the most spectacular cliffs.
Every day hundreds of visitors test
their courage and nerves of
steel, making the walk along the
famous trail of glass that su-
rrounds one of the cliffs of the
mountain Tianmen (translated
Heavenly Gate Mountain).
This mountain was already fa-
mous for the huge natural cave
that is half way to the climb to
the summit, but those responsible
for tourism in the area have deci-
ded to increase the attractive-
ness of your visit to this spectacu-
lar tour.
Suspended more than 4,700 feet
to more than one blood run cold
was just seeing these images.
Glass, of almost 6.5 cm thick,
allow us to contemplate the
canyon as we pray for all saints
known for sure nothing goes
wrong on this trail recently built
glass, similar to that already exis-
ted for a time in the Grand Can-
yon of the United States.
To keep clean and undamaged
glass walkers are forced to cover
their feet before entering this pe-
culiar walk in the clouds, allo-
wing them to enjoy excellent
views of the mountain.
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Page 35
Appel Glass.
Apple has delivered to the City of
Cupertino plans reviewed the pro-
posed construction of its future
headquarters, the "Spaceship"
campus.
It is a giant 4-story building shaped
like a ring or UFO, with 260 thousand
square meters and a capacity to
house 13 000 employees.
Remember that Steve Jobs was still
alive who personally presented this
project to the mayor and officials of
the City of Cupertino in June this ye-
ar.
Jobs described the project as fo-
llows:
A circular ring must also be a nod
to the expression of Infinite Loop
(infinite loop street name of the cu-
rrent headquarters of Apple).
Project under the slogan: The Mot-
hership has landed, the mothership
has landed, is an amazing building.
"It looks a bit like a ship that has lan-
ded.
Have a wonderful garden in the
middle.
Is a circle. Is curved everywhere.
If you build things, this is not the
cheapest way to build something.
No piece of glass is straight in this
building. All glasses are curved.
We have used the experience to
build our stores throughout the
world, and know how to make lar-
ger pieces of glass for architectural
applications.
And, we manufacture specifically
for the glass construction. We can
do that curved across the outside
of the building ... It's pretty cool,
"said Steve Jobs.
As can be seen in a video, Steve
Jobs made sure that no one in Cu-
pertino personally opposed to this
project, to ensure the future of Ap-
ple.
As for the Environment, Steve ex-
plained as double the number of
trees, would the current parking
area of the property in an under-
ground location, plus an additional
4 storey building for parking.
3,500 jobs would increase (from
9500 to 13,000) and all the advan-
tages for the city in general if Cu-
pertino accept this proposal.
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Page 36
Nativity Scenes in the CNV of La Granja.
The Choir of La Granja offered
Carols in the Great Hall of the
National Glass Centre Founda-
tion a concert of Christmas ca-
rols during the opening of the ex-
hibition of nativity scenes from
around the world that has until
next January 9.
The show brings together nearly
a thousand different popular
cribs that have been made from
different materials such as glass,
paper, ceramics, clay, metals,
textiles, seeds, ivory or stone.
They come from countries on
every continent, including Ger-
many, Norway, Poland, Israel,
Costa Rica, Mexico, Guatemala
and, of course, Spain.
This is a collection of nativity sce-
nes and mysteries of the Nativity
of the most important exist to-
day.
Each of them represents an inter-
pretation of the distinctive featu-
res of each country and the his-
tory of mankind.
The exhibition is installed in the
Hall of Lights Royal Glass Factory
at La Granja and is open Satur-
days from 10 to 18 hours, Sun-
days and holidays and from
Tuesday to Friday from 10 to 15
hours.
Will be closed on Epiphany.
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Page 37
Castillo de San José de
Valderas.
Avda. Los Castillos, s/n
28925 ALCORCÓN
MADRID
Nuestro Boletín tiene su
redacción en:
Al vidrio por la cultura
The Association of Friends of MAVA was incorporated on Ju-ne 21, 2003 in accordance with
existing management.
The purpose of this Association is to promote, encourage and
support many cultural activities in the broadest terms, are rela-ted to the mission and activities of the Glass Art Museum of Al-
corcon.
Our goal is to develop and co-llaborate with other public or pri-vate entities to promote, protect and promote the art and culture. Our members may be fees, be-
nefactors, Full and juveniles.
www.amigosmava.org
Presidente honorario
Javier Gómez Gómez
Presidente
Miguel Angel Carretero Gómez
Vicepresidente
Pablo Bravo García
Secretaria
Teresa Fernández Romojaro
Tesorera
Mª Angeles Cañas Santos
Vocales
Rosa García Montemayor
Evangelina del Poyo
Diego Martín García
Francisco Martín García
José María Gallardo Breña
Mª Luisa Martínez García.
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Page 38
Area of Research. Images.
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Fig. I
Fig. II
Page 39
Glass Workshop. Images.
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Plate 17
Fig. 7
Page 40
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Craft Fair of the CAM. Images.