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. Visits. M. A. Carretero.

Last April was frantic about

our visits to various players

in the world glazier.

We started the month with

our visit to Malta to meet

the four glass factories in

the country: Mdina Glass,

Glass Valletta, Gozo Phoe-

nician Glass and Glass.

The first three are located in

the complex Ta'Qali crafts-

man on the island of Malta,

and the fourth on the island

of Gozo.

From what I saw in their

work, we devoted much

more to produce for the

tourism sector to contribute

their works to strengthen

the arts sector.

It may be that the effects

of the crisis largely limited its

production of works of art

and have to adhere to the

production of parts at low

cost for the customer.

We could also meet in Mal-

ta to Paco and Chris, arti-

sans performing their pro-

duction under the name

Craft Carakulis.

They have recently arrived

Spanish and based in Va-

lletta.

Cris is the one that produ-

ces works of jewelry

including glass in them and

Paco is dedicated, in addi-

tion to working with Cris, to

make sculptures in wood.

On 11, 18 and 25 have at-

tended the lecture of MAVA

"Glass in ... Science, Office

and Art" with assistance from

Alicia Durán, Mario Sergio

Ramos and Yolanda Taba-

nera.

On day 28 we visited the ex-

hibition of the works of An-

gela Teunissen at the Tech

Museum of La Granja

(Segovia), then we have

continued to Segovia to see

the XXXII Crafts Fair, where

we could chat with our

friends Natalia Benchoam,

Rosa Mendez, Carlos Pinilla,

Reynald Blasco and Miguel

Angel Zamora, Mariana

Grande, Aura Redondo and

Susana Aparicio.

For us it is a true pleasure to

meet new artistesanos using

glass as the main element

for the creation of his artistic

works and also be en-

contrárnoslos in other events

where they can participate

and share and discuss their

new experiences since the

last time we had saw.

Whenever we end on the

issue of lack of unity that is

felt between the various

components of Spanish

glassmaker world excepting

our Catalan friends.

And always we conclude

that the origin of this lack of

unity is fundamental ele-

ments of lack of time and

lack of confidence in the

need to respect the "other"

to the personal work.

It is also a factor that discou-

rages enhance binding ne-

gative experiences that

have lived in similar previous

initiatives.

We always offer the same

arguments:

As for time commitment

we offer our coopera-

tion through AVANCE

for not having to spend

any time in the neces-

sary bureaucratic tasks

that arise in any type of

association.

As for the lack of confi-

dence in a fair compe-

tition and the possibility

of an execrable piracy,

we question the con-

clusion that if the "other"

has enough technique

to copy what you need

to do if you can make

your own work?

The issue of negative

past experiences in simi-

lar projects and has a

worse solution must be

based on mutual trust,

wishes to take advanta-

ge of this type of pro-

ject and the necessary

control measures for

these negative past ex-

periences not longer

occur.

Since our Association we re-

main fully confident that the

union in these difficult times

it is absolutely necessary and

continue to show our willing-

ness to collaborate with the

Spanish glassmaker world in

accordance with the purpo-

ses stated in AVANCE.

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)

info@amigosmava.orginfo@amigosmava.org

Monthly Newsletter

Newsletters

Lucio Bubacco

Page 2

C O N T E N T S :

Part of the month 3

Established artists 4

Young artists 4

The ERE in CNV 5

¡Queen Sofia in Lafiore 6

Research line 7

Activities in Museums 8

Our trip to Malta 11

Fragility against crises 12

Activities on the MAVA 13

Glass and radioactivity 14

Technical Glass 15

News 16

Culture 2012 16

Glass houses 17

Corallo house in Guatemala 17

The glass museum 18

Staiend glass in Guadalupe 19

Glass recycling 20

Cultural tours 21

Culture 2012 Programme 21

Rosa Mendez in Slovenia 22

Enrique de Lucas award 23

Exposure in Guatemala 24

Other trends 25

Catalorg in L’Olleria 26

Glass workshop in Murcia 27

Pablo Pizarro exposure 28

Design in glass 29

Vitrium in Alcorcon 30

How does 31

”Touch the oracle” 32

Angela Teunissen 33

Exposure in Mexico 34

Work the Norberto Chutrau 35

Glass of sea 36

Trockel in the Queen Sofia 37

Directorate 38

Intellectual Proper-

ty Law

TITLE VI. CINEMATO-

GRAPHIC AND OTHER

AUDIOVISUAL WORKS.

They are creations ex-

pressed by associated

images, with or without

sound, which is inten-

ded to be shown by

means of projection

apparatus or any other

means of public com-

munication of image

and sound, regardless

of the nature of the

material media such

works.

The authors of an au-

diovisual work:

The director-

producer.

The authors of the

plot, adaptation

and the screen-

play or dialogue.

The authors of mu-

sical compositions,

with or without

words, specially

created for this

work.

It will always be neces-

sary permission of the

authors for exploitation,

by making available to

the public of copies in

whatever mode or for-

mat for use in the

home, or through pu-

blic communication

through broadcasting.

The authors may have

its contribution in isola-

tion, if not prejudice the

normal exploitation of

the audiovisual work.

When authors sign con-

tracts with a producer

for the production the-

reof, shall be presu-

med, unless otherwise

agreed in the contract

and secure the inaliena-

ble right to equitable re-

muneration, to have

transferred his rental

right.

The author who has

transferred or assigned

to a producer his rental

right concerning a pho-

nogram or an original or

a copy of an audiovisual

recording shall retain the

inalienable right to recei-

ve equitable remunera-

tion for the rental there-

of.

Such compensation shall

be payable to those put

into effect the opera-

tions of rental to the pu-

blic in their capacity as

heirs of the owners of the

corresponding right to

authorize such rental.

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

Last minute.

Like a great tide of glass, that's the best way we can describe what you

did the French artist Baptiste Aerial Debombourg in creating a facility in

Brauweiler Abber, Benedict monastery near Cologne, Germany.

While the glass touches the ground, Debombourg creates a layered ef-

fect of ocean tides that are covering the floor, giving a magnificent result.

The work was completed on 14 April this year and it took over 420 hours to

complete.

SPECIAL INTEREST:

Part of the month

The ERE in CNV

Queen Sofia in Lafiore

Our trip to Malta

Activities on the MAVA

News

Our activities

Glass recycling

How does

Important issue: the Intellectual Property Law (XV) M.A.C.(XV) M.A.C.(XV) M.A.C.

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Page 3

Part of de month. Theodor G. Seller.

hometown (1961-1964), where he

teaches young people the art of

glass workers.

In fact, he was employed for some

years in the glass factory Zwiessel,

until in 1975 it stop working to esta-

blish independently.

Shortly after opening his own studio

and started his career with a first

exhibition in Coburg (1977).

In 1979 will be selected to join the

international traveling exhibition

New Glass: A Worldwide Survey, or-

ganized by Cornign Museum of

Glass.

During the decades of 70 and 80

complete their knowledge on tech-

niques of glass in Murano, Italy, and

in various American universities

where he was also invited to hold

exhibitions and educational works-

hops.

Professor at the Institut Für Werkstoff-

wissenschaften (until 1990), Universi-

ty of Erlangen and Frauenau also

participates in various exhibitions of

relevance as organized in 1983 in

London, under the title of Germann

Glass Today.

The International Exhibition of Kana-

zawa in his editions of 1988 and

1990, and several calls for the sam-

ple and Liege Classic Contempora-

ry Sculpture in Glass.

He knows the work with glass, with

the same ease using different tech-

niques and processes almost al-

ways blowing hot air, hand-

modeled and candilón.

Transparent masses with or without

color that shape human faces and

references, sometimes close to abs-

traction.

The inclusion of other materials such

as fabrics, skin, bone, etc.., Often in

his works.

His work is in the best museums in

the world, from Corning to the

Kunstmuseum Dusseldorf, from the

Ebeltoft Glasmuseum the Musee

des Arts Decoratifs in Paris, from the

National Museum of Ukraine to

Wagga-Wagga City of Australia.

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Erwin Eisch and Theodor Sellner

and are the two leading represen-

tatives of New Glass in Germany.

As Eisch, Sellner is from a popula-

tion-honored glass: Zwiessel in Lo-

wer Bavaria.

His first contact with the glass is

blown into the state school in his

Page 4

Established artists. Lucio Bubacco. Your web

Young artists. Emilie Haman.

Emilie Haman was the winner of

the contest Emerge 2012.

He was born in the French city of

Vannes-le-Châtel.

In his opinion "The art glass is beco-

ming more feminine and my work I

deal a lot of femininity.

I asked no questions when I deci-

ded to go.

Without having felt the effects, I

realize, however, in terms of con-

temporary art galleries or large

schools, as the Fine Arts, the men

are still well represented.

Men rely on men. "

In this contest Bulselle Co. our

friends Esther Luesma and Xavi Ve-

ga have been awarded the Good

Design Award for his work "Autumn

leaves"

Bubacco, born in Murano in 1957,

began working with glass as a

child, making small animals.

At fifteen he received his artisan's

license and began marketing fla-

meworked Venetian memories.

His fascination with anatomy, equi-

ne and human, we drew slowly

push beyond perceived technical

limits of his craft.

His large free standing sculpture,

worked hot and annealed during

the process, is unique in Murano

glass.

His pieces challenge our notion of

the glass, mainly emphasizing the

decorative and whimsical, the for-

mation and plasticity, rather than a

detailed elaboration or narrative

content presented as a mini-

installation.

In 1980 he began studying anato-

mical drawing with the Venetian

artist Alessandro Rossi.

His style takes a new dimension: the

movement of the figure becomes

the central theme of his work.

His masterpieces are made in Mu-

rano glass, also called "soft glass"

because of its high content of so-

da, which is famous for its charac-

teristic brightness and ideal for the

process of "lume".

Not only does the red rod blow.

Sets before our eyes the little vices,

the essence of greed that have

become small cockroaches, small

bugs that hide and feed on the

crumbs that fall from the big table,

the table of the Marquis de Sade,

Borgia or Madame Pompadour

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Page 5

The ERE in Centro Nacional del Vidrio.

The National Glass Centre

(NSC) approved during the

special meeting held betwe-

en the Board and members of

the Board, the Ministry of Pu-

blic Works and National Heri-

tage's request for an ICO €

300,000, with another packa-

ge, "which would solve the

employment regulation file in

one or two weeks, "as noted

by the director of CNV, Aurea

Juárez.

Measures designed to address

the drop in sales has been the

center, which approved an

ERE in the month of January,

Juarez said "the splendid work

of National Heritage", who for-

malized a contract with the

SEC for the restoration and

maintenance of the decora-

tion of the Royal Palaces of

the country.

Also, the director added that

the measures agreed shall be

authorized the conversion of

CNV in Society Limited and a

possible agreement with the

Junta de Castilla y Leon to fi-

nance international exhibi-

tions to bring products Sego-

via center around the world.

Although the measure is not

final with the regional

government, as Juarez said,

"are being studied from the

Board other additional grants."

The National Glass Centre an-

nounced earlier this week the

possibility of extending for two

months and the ERE as a pre-

ventive measure that has un-

dergone since early this year

by the withdrawal of subsidy

of € 300,000 names of the Bo-

ard for this year.

Juarez said the decision,

which affects 54 of the 70 wor-

kers, was taken as a precau-

tion and to prevent the May 1,

if they do not support, the

center can not afford.

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Page 6

Queen Sofia in Lafiore.

Her Majesty, Queen Sofia, held last

April 4 private visit with President of

the Balearic Government, Jose Ra-

mon Bauza, the Lafiore glass facto-

ry, located in the Mallorcan town

of s'Esgleieta, on the road Vallde-

mossa.

Sources of the Government to Eu-

ropa Press that the royal family had

moved to the Balearic Executive

hope that this visit was strictly priva-

te, so no notice has been given to

the media, except for regional te-

levision, IB3, yes it has been sprea-

ding the images.

It so happens that this is the first visit

by Queen Sofia, accompanied by

officials of the Balearic Islands after

his son, Inaki Urdangarin, declared

on 25 and 26 February as a defen-

dant in the Courts of Palma, in un-

der Case investigating alleged irre-

gularities in the Nóos Institute.

Those sources have explained that

the Queen's visit to the company,

has produced glass after Bauza to

give away an object Lafiore Reyes,

who liked to Sofia and who came

to place it on the Christmas table

La Zarzuela.

So after receiving this gift, the Que-

en went to the Balearic president

he would like it with him to visit the

company Mallorca as it was inte-

rested in learning the art factory

and the glass.

Thus, as reported by the Balearic

Executive in a statement during his

visit, His Majesty has shown "interest"

in the traditional technique and ar-

tistic glass Majorcan Majorcan

craftsmen employed by the com-

pany.

The owner of this family business, Mi-

quel Tortella, has guided the Queen

Bauza and the facilities of the fac-

tory and have been enjoying a de-

monstration of artistic glass making

"the traditional method," faithful to

the work systems used "for over 2000

years."

Thus, Sofia and the President of the

Government have been informed

about the inclusion for the first time

in Spain the melting furnace of the

type 'day tank', purchased by the

company, which has allowed "an

innovation in glass melting and ma-

lleability back. "

Also, following the demonstration,

have accessed the inside of the

tent of exposure of the parts and

have known the new designs and

colors characteristic of the glass

company, achieved with mineral

pigments.

During the tour, there have been

recent parts of the collections that

have been presented at the trade

fairs in Madrid and Frankfurt in

which the company Mallorca.

The Lafiore company visit ended

with a photograph of Queen Sofia

with all the staff of the factory and

shop Lafiore.

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Page 7

Line of research: Inclusions (III).

Estefanía Sanz Lobo.

2. Another difficulty related to both

physical and chemical characteris-

tics of glass as the artistic process

of melting the glass temperature

needed to reach full merger, which

we can place at 815 ° C.

Some metallic materials melt at lo-

wer temperature, so that their be-

havior by including them in the vi-

treous mass may be unexpected.

Other materials of organic nature

and disappear completely calci-

ned or leave just a trace of ash.

3. Finally, and also due to the mel-

ting technique adopted, with un-

controlled gas bubbles produced

from the combustion of organic

materials or the presence of oxides

of metals.

Also appear uncontrolled air bub-

bles, if the material is thick or con-

sists of small fragments that trap air

(eg, sand).

These bubbles are trapped betwe-

en two sheets of glass to melt

them.

Types of inclusions encountered.

The classify into two groups: orga-

nic and inorganic.

Among the first are included those

with an animal or plant origin, al-

beit distant: bones, feathers, wood

chips, fabrics, paper …

Among the latter have been parti-

cularly interesting metal, although

it has been experimented with ce-

ramics and glass fibers, sand, etc.

III.2.4.3. Organic inclusions.

The main problem is that these in-

clusions carry combustion: some

substances give off gases when

burned, which are trapped within

the glass piece.

These gases tend to give a black

tone, which comes to fully opacify

the glass.

At other times, the subject expe-

rienced is consumed leaving no

trace, just a fingerprint or some as-

hes.

These two tests (Fig. 1 and Fig 2)

have been made with burlap.

In Figure 1, was impregnated un-

derlay ceramic enamel blue dissol-

ved in water and, after drying, was

placed between two glass sheets.

2 is simply burlap.

In Fig 1 shows how the combustion

gases have created a large bub-

ble in the center of the workpiece,

which has been marked lines co-

rresponding to the weft of the fa-

bric.

In Figure 2, which is placed so that

part of the fabric was left out of

the glass, the gases to escape, and

there was a completely opaque

black area surrounded ash showing

traces of the fabric.

The sample in Figure 3 is a splinter of

wood, as shown in the picture, just

leaves a small footprint and some

ash.

Combustion gases have been eva-

cuated perhaps because the trap-

ped bubble is transparent.

In Figure 4 we see a test paper,

which is also seen a slight trace of

ash.

As in the previous case, nor has

trapped black smoke.

The test of Figure 5 contains human

hair enclosed in sandwich between

two sheets of glass.

Hair not only leaves an opaque

black, but also has a rough texture

feature.

Around burnt organic matter there

is a large gas bubble transparent.

For the test of Figure 6 we used a

goose, the calcined leaves a fine

and delicate strokes around a cen-

tral black opaque.

As in the previous case, there is also

a bubble of gas around the mate-

rial calcined.

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Page 8

Activities in Museums I.

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Page 9

Activities in Museums II.

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Page 10

Activities in Museums III.

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Our trip to Malta.

Last April we were in Malta visiting,

among other wonders, the glass-

works that exist there.

On the island of Malta firms visited

Mdina Glass, Glass and Phoenician

Glass Valletta.

On the island of Gozo Gozo visited

the factory of Glass.

The three factories on the island of

Malta are located in complex craft

workshops located in a former air-

field hangars Ta'Qali, near the city

of Mdina.

This airfield was used in World War II

as Allied planes shuttle and the ba-

se of the British air outside.

Gozo factory is also located in a

complex of craft workshops.

All of them consist of a workshop

for the work of handling the glass

and that visitors can observe the

transformation of the glass and a

store to sell products that are ma-

nufactured there.

The firm Mdina Glass, above all,

has spread throughout the island

different outlets for their produc-

tion.

A great idea that makes it easier

for the tourist who will not see the

factory can admire and buy their

products in other stores of the pla-

ces you visit.

They all use the technique of glass

blowing, either the air well in mold,

and Mdina Glass saw one of the

teachers using the technique of

torch or candilón.

What I see is that we have good fa-

cilities to perform their jobs.

We saw, however many parts that

could be applied within the mea-

ning of art glass, since most are ma-

de by applying the same standards

of design and industry standards,

even from the beginning to the end

the conception of the piece is per-

formed manually by a glazier.

In Mdina Glass saw some of his best

pieces with a clear influence of Pi-

casso's work.

In Valletta Glas was very curious to

see the varied collection of repro-

ductions on glass and electric gui-

tars of various sizes.

In Phoenician Glass we thought we

saw an increased interest in perfor-

ming art works such as the example

to illustrate this article.

We also saw the presence of the

economic crisis in the tents of these

factories, as the price cuts announ-

ced in coming up to 50% of its va-

lue.

It is very evident to visitors look

around the parts and lower cost,

however, higher quality parts with a

higher price are located in remote

areas and a number of visitors al-

most nonexistent.

View images

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Page 12

Take home a glass like the princesses

Elena and Cristina, best serve liquor in

a dish worthy of an ambassador or de-

corate your home with a table as the

centers that received the Zarzuela Pa-

lace gift by the City the Royal Site of

San Ildefonso to mark the link with the

Prince of Asturias Letizia.

Receptions your guests will not be the

same, have a sovereign excellence.

Everything is close at hand and pocket

thanks to an initiative of the Founda-

tion of the National Glass Centre (NSC)

who runs Aurea Juarez.

The success of the market that opened

in the headquarters at Christmas gran-

jeña made the institution to repeat the

experience during the last Easter to

dispose of their stock of their craft pie-

ces.

"These are items that were discarded

because they have a small tare imper-

ceptible and that failed quality tests,"

says the official of the entity.

Good because of that have welco-

med the attractive discounts of up to

70% in some of these jewels that are

the sign of the cultural and industrial

identity of an entire municipality, as

presumably the ruler of the Royal Site,

Jose Luis Vazquez.

Management has decided to main-

tain and encourage this market with

the carving of the cups, glasses, bot-

tles, decanters, paperweights and de-

canters live and direct customers to

take home your custom artwork.

For the modest price of 3 euros can

record their initials, the name leaves

something more expensive, 10 euros,

while details of the date carved out for

8 euros.

Have had to resort to this exhibition for

commercial purposes because the

blow is closed because of a record of

employment regulation that has been

extended two months after the Junta

de Castilla y Leon nominative with-

draw a grant for the current course.

Angela Teunissen or permanent Mau-

mejean Stained Glass of the ninete-

enth and twentieth centuries, and are

one of the most important funds has

the foundation.

These works are in the process of cata-

loging and comprise approximately

more than 9,000 drawings, 6,288 pho-

tographic plates, 26,130 meters square

of cardboard and 26 windows.

Visitors can also immerse yourself in the

history and development of glass tech-

nology used in different manufacturing

processes.

A large melting furnace built under

one of the two towering domes of the

Nave Horn chairs this journey through

the diverse machinery illustrating the

history of this cottage industry: from a

nineteenth-century French mill of hea-

vy granite wheels that moved by water

power to grind the raw material to hori-

zontal drum screens, crushers grinders,

mixers, enfornadoras, crucibles or ro-

lling.

Many of these models were rescued

from the ruins of the old Royal Factory.

A sample of that survival is possible.

Expectant optimism

While guiding the path of the facilities

which in turn travel tour groups, visitors

and school trips loose, both confess to

be expectant, worried, but with an au-

ra of optimism stronger than the glass

handle, display and work.

Another of those pillars supporting the

National Glass Centre is training. The

Royal Glass Factory has the only School

of Glass in Spain.

A unique professional educational op-

portunities and pioneer who began his

career as such in October 2006 in res-

ponse to the need to provide a tea-

ching equivalent to the long-standing

degrees, degrees now with the as-

sumption of Bologna Treaty and the

new European convergence space.

Formative and artistic side that dates

back to 1990 with workshop programs.

In 2009 he graduated the first class.

Students between 25 and 30 students,

the future talents of this discipline who-

se education is marked by a very inter-

national mark, claim the makers.

The other leg of the supporting bank

earnings today CNV is the store.

The showcase gives to the customer's

eyes collections of unique handmade

and unique, handmade by the masters

of the House using a historical mold

and following the same techniques as

their predecessors in the Royal Glass

Factory.

Sweet jars, bottles, cups ... exponents

of a real hearth industry wants to con-

front the crisis.

The fragility defies crisis.

Cut tap gifts.

Before and fractured the production

and marketing other blows by the

hammer of economic and financial

adversity.

The reduction or even suppression aids

and belt-tightening policies imposed

by administrations and which provi-

ded for the prohibition by law of insti-

tutional gifts cut the liquidity, solvency

and diminished the closed major sales

taps.

So the direction of the market devised

the formula to output at an affordable

cost to the cumulative production.

The particular merchant National

Glass Centre resented as ERE could

not help weighing about 53 workers.

Whenever making paralyzed as a re-

sult of temporary file happy-although

still taking orders and orders some re-

servation, as Cecilio says Straw, res-

ponsible for production, at present on-

ly a dozen employees maintain the

dynamics of the founding of the CNV.

The board of the Foundation of the

National Glass Centre met last Friday

and gave some guidelines to give

new direction to the organization, stre-

amline and release of these marketing

corsets that have so far restricted its

distribution channels and have led to

this " difficult situation "that has ope-

ned a rift in the future once the Royal

Crystal factory.

Paloma Pastor is responsible for the

exhibition space.

It is the part where the National Glass

Centre the visitor reveals the delicate

beauty of this material in its various

forms and techniques.

This lack of activity has led to demons-

trations of the furnaces have to admi-

re and discover through an audiovi-

sual.

At present, among other collections,

the Museum of Glass The Farm is home

to the temporary exhibition of the artist

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Activities on the MAVA. Conferencies.

In April last the MAVA organized

the cycle "Glass in ... Science, Offi-

ce and Art" consists of three confe-

rences:

"The future is in the glass" by Ali-

cia Duran.

"Profession: glass torch" by Mario

Sergio Ramos.

"Relationship glass artist-

craftsman" by Yolanda Tabane-

ra.

In the first conference, Alicia

Durán, PhD and researcher at the

CSIC, which appears in the image

illustrating this article, we made a

well documented statement of the

definition and characteristics of

glass, its structure, its properties, its

origin and development , its various

techniques, composition and evo-

lution. History of optical glass,

new glass, fiber optics, glass in as-

trophysics, advanced glazing, glass

and climate change, energy ba-

lances in special glazing and inte-

grated energy capture through the

glass.

The entire conference can be vie-

wed on YouTube via the following

links:

Alicia Duran I

Alicia Duran II

Alicia Duran III

Mario Sergio Ramos told us its ori-

gins in the world glazier, the difficul-

ties he had to overcome his self-

training in the handling of the glass

through the torch and his recent

attendance at courses run by Paul

Stankard and Lucio Bubacco Cor-

ning (USA) and in Italy.

Then we went with a description of

various pieces by him through slide

shows. He ended his presentation

with a demonstration in the works-

hop of his technique MAVA window

and delighted us with the realiza-

tion of the figure of a lizard.

The full conference and demonstra-

tion can be viewed on YouTube via

the following links:

Mario I

Mario II

Mario

Yolanda Tabanera made us a des-

cription of their backgrounds in art,

their education and their forays into

the performance of works of art

using various elements such as

hemp, ceramics, works on paper,

etc..

In the production of glass parts, Yo-

landa takes its design and execu-

tion goes through a master glass-

maker.

His works in glass ranging from small

parts to large installations, such as

those in the Monastery of Santa

María la Real in Nájera, in the Fine

Arts in Madrid, in the oven of the

Citadel, and in Pamplona.

Some of his works of small and me-

dium sized part of the exhibition Is

there anybody there? Recently pre-

sented at the MAVA.

We are waiting for us permission to

make public the videotape of his

lecture.

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Page 14

Glass to determine the radioactivity.

The Environmental Molecular Scien-

ces Laboratory (EMSL) of the De-

partment of Energy of the United

States is currently immersed in an

international program studying

glass pieces 1,800 years old from a

Roman shipwreck and a reservoir.

The main objective of this research

is not archeology, scientists are

analyzing samples for thousands of

years to assess how to eliminate fu-

ture radioactive waste safely

through the process of vitrification.

The glass dissolves very slowly, and

this is the main reason that is cu-

rrently being used to store radioac-

tive waste.

However, this advantage also pre-

sents a challenge: It is difficult to

conduct experiments over periods

long enough to allow scientists to

collect the results needed to refine

the computer simulations used to

calculate the behavior of the stabi-

lity of the vitrified waste for thou-

sands of years.

The study of dissolution of glass re-

quires a sophisticated instrumenta-

tion and glass former.

The test piece longest man-made

simulated nuclear waste glass has

been about 25 years.

But now, scientists Denis Strachan

and Joseph Ryan, National Labo-

ratory Pacific Northwest (PNNL)

have sought the collaboration of

EMSL and Italian colleagues for the

analysis of Roman glass remains re-

cently collected in Italy.

They will have to do with the most

modern technological means,

such as the LEAP system.

The LEAP is a system of atom probe

tomography can produce accura-

te images in 3-D chemical.

An inset map of atoms of Iulia Felix

glass recovered through the system

of atom probe tomography, or LE-

AP.

The red dots are carbon atoms

and oxygen atoms blue dots.

A source of ancient glass is Iulia Fe-

lix, a common merchant ship that

sank corbita type north of the

Adriatic Sea on the II-III century.

In the hold of Iulia Felix, along with

560 amphorae and some bronze

objects, there was a large wooden

barrel of approximately 1.4 meters

high with nearly 11,000 pieces of

glass.

The fragments came from a wide

variety of mugs, small vases, trays,

cups, bottles and dishes.

These fragments of glass, green,

blue and white, had been stored in

a barrel with intent to be recycled

into new glass.

In early 2011, the PNNL team wor-

ked with the University of Padua in

Italy to obtain samples of glass re-

covered from the Iulia Felix.

Glass was also recovered from an

excavation of a Roman villa than

1,800 years ago in the nearby town

of Aquileia.

And besides, are collaborating with

French scientists to study a third

sample glass of the same age from

a shipwreck off the southern coast

of France near the island of Embiez.

Evidence from the study will be inte-

grated with computer models to

improve simulations of the dissolu-

tion of the glass. The techniques

used in these studies are already

being applied in simulated corro-

sion of waste glass for accurate

comparisons between different ty-

pes of glass. Moreover, the results

enable engineers to use the incredi-

ble durability of vitrified waste with

confidence to the design of the

container.

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Page 15

Glass techniques. Color palette (XII).

Estefanía Sanz Lobo

Following ELSKUS (1980), it is prefe-

rable to use only powdered gum

arabic.

The procedure would be: palette

extends over a glass enamel a spo-

onful of finely ground, with a thick-

ness of about 2 mm.

About this glaze, sprinkle powde-

red gum arabic, until the cover as

snow but still see the nail under it.

Both components are mixed and

water is added slowly until it acqui-

res the consistency of liquid yogurt.

Should be left for a few minutes be-

fore use.

To find the proportion of enamel,

gum and water, the author propo-

ses an empirical method.

If the paint runs without preserving

the form given, is too much water.

If, once dry the brush, it goes to run

his fingers, has little gum arabic.

If the paint is not even scratching

with a fingernail, have too much

gum.

In Figure 1 are some test samples

with different glazes and agents.

In the above acquired gum arabic

was used in liquid state below the

gum arabic powder was used (1 st

left) and liquid (central) to give

best results from the liquid mixture,

contrary to expectations.

If you want to put several layers of

overlapping color, find the pro-

blem that a diluted to the previous

layer.

This is inevitable if the lower layer

does not carry any type of binder

(sugar gum), but only water.

If it was used a solution of gum ara-

bic, there are several procedures:

Baking between coats.

The result is high quality but expen-

sive.

Also MORTON (1999) suggests that

when painting on glass very com-

plex reasons, the glazes can be

applied in several successive firings

to achieve different effects.

When working layer upon layer,

cooking between them, will achie-

ve better results than if you work on

a single firing.

Mix the second layer with a wa-

ter repellent agent, if used be-

low gum arabic, as turpentine or

alcohol.

In Figure 2 presents a test basis with

different glazes.

These enamels are mixed with wa-

ter and acacia.

About them has spread gray ena-

mel dissolved in turpentine and co-

paiba balsam.

In the test of Figure 3 have been

used as diluents of colored glazes

water and turpentine.

About them has spread gray ena-

mel and gum arabic dissolved in

vinegar.

RESULTS: When the turpentine is

used as diluent in the upper layer,

dragging the color.

If the bottom layer was dissolved in

water alone, the color is partially

driven by the stroke of the upper

layer.

The top layer is more uniform and

has a better finish when dissolved

in copaiba balsam.

In other tests verified that the alco-

hol also gives good results in the

top layer, although the texture fi-

nish is not as good as the copaiba.

An interesting substitute for sugar

water are the type sodas Seven

Up.

To make the colors more opaque

white pigment is added, to make

them more transparent, add flux.

The use of certain diluents also in-

fluences the results of mixing colors.

Although there was talk of this mat-

ter, incidiremos again.

As an example, get an orange hue

by mixing red and yellow is not so

easy, and it was noted that the

component oxides of some colors

react chemically with each other

with unexpected results. Also the

binders used, or the fact be above

the glass or from glass influences

the results obtained.

In Figure 4 an example of different

mixtures of red and yellow for oran-

ge, placed on the surface and gum

arabic dissolved in liquid (top row)

and dust (bottom row).

Degussa colors for decorating glass

virtually disappear, as they are for

low temperature.

Colors L2298 (Maquimetal) with

VA2760 (Reflex C) react to marrón-

bronce.

The colors DV0860 and VP3115

(Reflex C.) result in a dull vermilion,

which mixed with arabic powder

melts wrong.

Finally, the two colors of red and

yellow chips Bohle give a bronze

orange.

In Figure 5 the same sandwich mix-

tures give different results: the two

Degussa enamels for glass give a

good orange, but opaque instead

of disappearing, the other dark reds

are blends, the colors L2298

(Maquimetal) and VA2760

(Reflections C.), react to black, the

bright vermilion mixture DV0860 and

VP3115 (Reflections BC), now give a

dark red opaque, and the two co-

lors of chips Bohle, give a tone of

red cherry and orange bronze with

good transparency.

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Page 16

N E W S (I).

Culture 2012.

New web ACAV.

ziers have begun including links to

natural and legal persons loca-

ted mainly in Catalonia and have

the glass as the main element of

their artistic achievements.

They also include information on

how the visitor can be associated

with the ACAV and provide the

number of the account you must

deposit the membership fee.

In the section "News" includes nu-

merous links to further information

on the review mentioning. Also in

this section are abundant refe-

rences to the world news related

to glassmaking in Catalonia.

Its design seems very simple and

practical, and will be one of the

sources to which we will go for

information on the news that we

deem to be of interest to include

in our newsletter.

So, congratulations! ACAV friends

for this contribution to the world

glazier.

Last March the sample were visiting

the Thyssen Museum and the Caja

Madrid Foundation dedicated to

Russian painter Marc Chagall.

At the Museum presents over 170

works by the painter made from the

beginning until the return of the Uni-

ted States, and the Foundation, with

free admission, more than 160 works

after his return to Europe.

The museum displays numerous de-

signs that Chagall sheets included in

the book of fables of La Fontaine

and in an edition of the Bible.

In this exhibition of works from the first

half of his life, full of references to ele-

ments, fetish for the painter: his

hometown of Vitesck, fiddle, the

cow, the pair of lovers, the Wande-

ring Jew, the rooster, the window, the

waning moon, the bouquets of flo-

wers.

In the tables of the Fundación Caja

Madrid, which belong to the second

half of his life, Chagall makes a great

reference to the world of the circus,

which was a big fan.

Chagall refused to participate in the

Cubist movement was in full swing

when he moved to France, but many

of his works part of the essential fea-

tures of this movement.

The painting of this magnificent artist

has no concern for reality when you

place the objects included in his

paintings.

He seems to care much reflection

that accompanies each of the pro-

portionality of space allocated to

them in the set.

In some of the fragments of his works

seems as if the frame had been pla-

ced upside down. So you can see

some of the houses upside down or

the meaning of the brush from the

bottom up, when I was supposed ot-

herwise.

Harmony in color is one of the essen-

tial features that we have seen in his

creations. The bright red, deep blue,

green hope, the immaculate white of

the figure of the bride ......

The figure of the wandering Jew with

the bag on his back and Rabbi with

the Torah are a constant in the work

of Chagall and manifest the lingering

memory of the origin of the painter.

The two loves of his life, Baba Beauty

and feature prominently in his works,

Bella in the first half of his life (he died

in 1948) and Baba in the second.

Chagall's life was marked by two

world wars and the Bolshevik Revolu-

tion. His disappointment in the direc-

tion they took revolutionary politics

made him leave his beloved home-

land and move to Paris.

But always longed for a very intense

his beloved people, the Jewish reli-

gion, the sound of the violin and the

figure of the candle seem to remem-

ber always keep the hope of a possi-

ble renewal of the happy past.

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On April 23 made its appearance in

cyberspace the new website of the

Catalan Association of Art of Glass.

A very good news for those of us

interested in everything that su-

rrounds the world glazier.

On the web you can find

numerous related information in

Catalan glass and its users in any of

its forms.

We also offer a wealth of useful links

to access many pages of all types

of schools, colleges, fairs, museums,

craft organizations, magazines, au-

diovisual spaces and other links.

In the section on information gla-

Page 17

N E W S (II).

plasterboard to organize the spa-

ce.

The award plasterboard, which

has been held for over 20 years, is

endowed with 1,000 euros and va-

lues the best architectural idea

presented by the students.

Winners have the right to partici-

pate in the national phase, which

will fail in Madrid and in which the

prize amounts to 6,000 euros, ac-

cording to the educational institu-

tion.

And there were two runners from

600 euros for the job 'Out the box'

by Juan Bautista Martinez and Al-

berto Tomás Muñoz Bonmatí and

'Space Invaders' by Francis Falber-

to Jseús Almonte and Miranda Ca-

rrasco Requena. The coordinators

and the jury have expressed satis-

faction with the high level of parti-

cipants.

Glass houses.

Construction: CONARQ, Peace Ar-

chitecture.

Located in a wooded and

mountainous topography and bro-

ken, the house integrates nature

coast being true to the purpose to

respect the forest and introduce it

to the architecture of the house.

The design was drawn up looking

sort the spaces around the trees for

the purpose of not overturned.

The plant is mostly free and the

home is ordered on slopes.

Both longitudinal walls are mostly

glass and looking achieve permea-

bility outward, trying to integrate

the most of interior architecture

with the advantages of the surroun-

ding nature.

We used the exposed concrete

formwork with rustic wood construc-

tion as the main element, genera-

ting textures whose language dialo-

gue with the local forest.

Corallo home in Guatemala City.

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A project to convert the structure of

a building as the crisis has left half-

built in eight glass houses, opened

in a forest of pillars with leisure and

workplaces has won the plasterbo-

ard, failed at the Polytechnic Uni-

versity of Cartagena (UPCT).

The winning project, submitted un-

der the theme "Clear in the woods',

was developed by three students

from the School of Architecture and

Building Engineering: Dilly Emma-

nuelle Garcia, Sergio Gimenez Fer-

nandez and Jose Maria Mateo To-

rres.

Students have developed a project

that, with very simple operations,

generate a forest of pillars of

Year built: 2010-2011.

Place of Performance: Santa Rosa-

lia, Guatemala City, Guatemala.

Author of the design: Peace Archi-

tecture - Alejandro Paz.

Partners in the project: Axel Mendo-

za, Gabriel Rodriguez, Alex

Titus, Mario Roberto Paz.

Claudia Pezzarossi, Wolfgang Sho-

enbeck.

Landscape Design: Pokorny and

Valencia - Landscape Architecture.

Consulting Structural: Structural

Consultants.

Page 18

The glass in Museums: Lalique.

Until now if you wanted to see the

work of Rene Lalique in Europe,

one of the most revolutionary artists

of the Art Deco, you had to go to

Lisbon to Calouste Gulbenkian Mu-

seum.

But since last July, in the French re-

gion of Alsace is a museum in the

same place where the great crea-

tor built a glass factory, is in a villa-

ge called Wingen sur Moder, near

Strasbourg.

For many, Lalique (1860-1945) was'

the glass Rodin ',' a poet of the

glass, the jeweler of the Belle Epo-

que ... while for others it was much

more than that, was the inventor of

modern jewelry.

Her earrings, brooches, tiaras, co-

mbs ... are the most imaginative

pieces, made with great taste and

elegance and more elaborate

techniques.

The creative genius of Rene Lalique

led him to experiment and used

without any problems, materials un-

til now rare as ivory, semiprecious

stones, horn, enamel, glass ....

Created many of the most repre-

sentative jewelry Art Nouveau

taking as inspiration what he called

the three F's: 'femme, fleur, fau-

ne' (female, flowers and fauna).

That is, the female body, animals

(especially dragonflies and other

insects) and nature with its flowers

and fruit trees.

At the height of his career as a je-

weler, and tired of being copied

their designs, Lalique gradually

change the way and let the noble

metals to become a glazier.

His early experiments date back to

the 1890s, but it was his encounter

with the perfumer François Coty in

1908 decisive.

From that moment he decided to

leave jewelry and dedicated not

only to create works of art in glass

bottles but also to produce the

greatest perfumers of the time.

The Lalique Museum is designed by

the firm of architect Jean-Michel

Wilmotte has managed to integra-

te this former glass factory in the

middle of the eighteenth century

an exceptional landscape.

The building, 900 square meters, is

half buried in the topography of

the land on which stands the roof

just painted green that mimics the

environment.

At the heart of the building is hid-

den an ornamental garden, for-

ming a cloister. It is very modern

and very ecofriendly at the same

time.

The museum exhibits in chronologi-

cal order, a permanent exhibition

of the artist's varied works, including

550 drawings, jewelry, vases, dishes,

lamps, vases …

At the entrance of the great main

hall is an imposing glass lamp made

by the artist's son, Marc Lalique in

1951, and was restored for the mu-

seum's opening.

The spider weighs about 1.7 tons,

measuring three meters high and

consists of more than 300 pieces. It

is truly amazing!

A party that is more like the room

Silvio Denz, which displays about

230 bottles of perfume old never

seen so far.

They are a genuine sculptures, a

beautiful glass bottles created by

Lalique in series to market somet-

hing as refined as a perfume in

small translucent artworks.

If you visit this summer, from July 13

to November 11, 2012, an exhibition

of his daughter Suzanne Lalique, a

good opportunity to discover the

sensitivity of this artist who used his

talent to create works in porcelain,

glass, textiles or clothing for theater.

Lalique Museum. Rue de Hochberg.

Wingen-sur Moder (Alsace) France.

Tel 890 814 0033 388.

Less than an hour from Strasbourg

by TGV.

Direct flights to Strasbourg with Vue-

ling from Madrid and Barcelona.

Open Tuesday to Sunday from 10 to

19 hours.

Entry fee: 6 euros. www.musee-

lalique.com

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Page 19

The Treaty of Guadalupe Monastery Windows (I).

Fernando Cortes Pizarro.

The recent restoration of stained

glass important treatise preserved

in the Monastery of Guadalupe

(Cáceres, Spain), has motivated

the writing of this article, presented

as a sort of annotated reading it.

It has placed special emphasis on

those aspects of the original text

that refer to the craft of glass ma-

king, such as techniques and met-

hods of work or the many tips and

tricks offered, fruit of the author's

own experience.

It also made frequent comparisons

between the situation in mid-

seventeenth century and the pre-

sent.

Introduction

The "Brebe treaty as the bedrieras

traçar have and that luck is cut bi-

drio" written in the mid-seventeenth

century and restored in the Institute

of Cultural Heritage of Spain in Ma-

drid in 2010, is undoubtedly a text

of exceptional importance for the

history of the window.

This manuscript was located for

more than a century in the archi-

ves of the Royal Monastery of

Santa Maria de Guadalupe in Ca-

ceres, not having carried out any

study written on it until the nineties

of last century, when Victor Nieto

published Warden the first compre-

hensive study of the history of the

Spanish glass. "

Recently, Bartholomew Diaz Miran-

da after a thorough review of the

manuscript date it reaches the mid

-seventeenth century, probably

around 1647, and draws Fray Alon-

so de Madrid, a friar Jerome's own

monastery of Guadalupe as the

most likely author of the , providing

important documentation to sup-

port his hypothesis.

Nieto Warden, V., 1998: 233-235.

Miranda Diaz, B., 2007: 342

While there are many texts in Euro-

pe or treaties that deal with the

manufacture of glass, those devo-

ted to art and technique of stained

glass are much more scarce and

most were written during the Midd-

le Ages.

Among these we highlight Hera-

clius and Theophilus, the twelfth

century and those of Antonio da

Pisa and Cennino Cennini, the

fourteenth century.

The Treaty of Guadalupe is the re-

sult of a specific period in the history

of the window, from the late sixte-

enth century, in which there was a

clear decline of the art and conse-

quently a loss of knowledge for

centuries.

During the second half of the se-

venteenth and early eighteenth

centuries were written in Spain two

major treaties such as the Cat-

hedral of Segovia, "Treaty on the

glass factory ..." John Danis and

"How to make windows ... "by Fran-

cisco Herranz, drawn up jointly bet-

ween 1676 and 1690, and the" Se-

cret Treaty of stained glass painting

with fire "by Francisco Sanchez Mar-

tinez, 1718.

Years later, in 1774, Pierre Le Vieil

France wrote in the famous "L'Art

de la Peinture sur verre et de la Vi-

trerie", probably the last great trea-

tise on the window, which closed a

period of decline and began new

recovery phase of this art from the

nineteenth century.

All of these Spanish treaties mentio-

ned have in common a clear desire

to write down the processes, tech-

niques and working methods of

glassmaking craft essentials in order

to preserve and transmit, mainly a

reduced environment, foreground

and thus prevent return to lost or, as

in the case of the text of Guadalu-

pe, save costs to the Holy House.

Indeed, as rightly pointed out Diaz

Look, these three texts were con-

ceived as "secreteros" or notebooks

for internal use, but to be printed

and disseminated on a large scale.

It is precisely these characteristics

and the specifics of their content,

these treaties have not been revea-

led until recently.

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Page 20

Recycling. Javier Peña Andres visit.

Last Friday April 20 received Tec-

nun Javier Andrés Peña.

Javier is a Doctor of Science from

the Polytechnic University of Cata-

lonia, where he is also University

Professor and researcher.

He is also professor and head of

the Department of Science and

Technology Elisava School of De-

sign where they had the opportuni-

ty to meet you.

Besides all this, Javier is Scientific

Director and curator of Mater.

The Mater is a center for materials

belonging to the FAD (Promotion of

Arts and Design) in Barcelona.

It is a library that is available a wide

selection of innovative materials in

the world.

Besides being a basis for consulta-

tion, Mater done consulting work

for companies seeking assistance

in the selection of materials for so-

me projects.

As a condition to be met by the

materials to appear in the databa-

se Mater, is that these materials are

available for sale to the public.

In the hour and a quarter-long talk,

Javier raised the interesting theory

that the problem of energy in the

world is actually a problem of ma-

terials.

And not just in terms of recycling is

concerned, something already

much discussed.

We know that can be reused many

materials, including steel and plas-

tics, and while in the latter case af-

ter recycling properties are not the

same as the original plastic, resul-

ting recycled plastic can be used

for some less demanding applica-

tion.

But as I said Javier, not only can sa-

ve energy by recycling, but there

are plenty of materials with different

properties that can save many

electrical, engines, etc. …

As an example, shape memory ma-

terials: imagine the awning of a te-

rrace.

Currently the most advanced aw-

nings incorporate electric motors

that regulate their movement

through a knob or a facility auto-

mation.

Suppose that the awning will install

a system extension and collection

of materials with shape memory

materials which, when the sun is gi-

ving them and reach a certain tem-

perature, stretch alone dragging

them to the sheet and, when the

sun and reduce heat, picking up his

contract once the awning.

On the other hand, imagine that

recycled glass, applying a pre-

treatment, we get that store sun-

light during the day then at night

illuminate particular stay.

Can we design public buildings illu-

minated in this way? Would not it

be a good way to save electrical

and harness solar energy? How

would a pool whose tiles were ma-

de of this material could uniformly

illuminate the pool without electri-

cal installations can also pose a

risk?

All these solutions and were raised

by Javier in a very interesting talk in

which we all aware of the need to

exploit the wide range of materials

currently available worldwide.

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Page 21

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.

This May Nacho visit the exhibi-

tion Raised in Crystal Palaces

and Velazquez, the Retiro Park in

Madrid.

Using different media, from pho-

tography to installation, archi-

tecture or video, Criado explo-

red the relationships at once

complementary and mutually

exclusive body and architectu-

re, between text and image,

between image and space.

And the dynamics that lead to

these dichotomies, said the di-

rector of the Reina Sofía, can

only be understood with the

help of someone to complete it.

Hence the name, Agents Part-

ners, which can be either peo-

ple who are put off the works as

time goes on them: such as ter-

mites have eaten the wood of

some of the pieces that can be

seen in exposure. Rotten timbers,

rusted iron, broken glass ... all

your stuff home in a life that pas-

ses, they all support the future of

a time it becomes, and, with pa-

tience, eventually destroying

them.

"While the art of the late twen-

tieth century is an art space, as

the two dimensions of painting,

or the three-dimensional archi-

tecture, Nacho Criado is an art

of time."

"He did not like to look back,

and surely would have created

something different." Put a selec-

tion of his works under one roof,

however, provides an overview

of the whole, "you can see your

drift."

In the early days of this May, and taking

advantage of going to visit the Roma-

nesque Palencia, we will approach the

workshop Llavador Ana Belen is in the

industrial town of Palencia Guardo.

Ana Belen is a young veteran in hand-

ling the torch to create glass pieces.

Since we observed their knowledge on

this issue in its participation in the Holly

Fair in the town of Soria Oncala.

In our next newsletter we will have our

impressions of this visit.

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Rosa Mendez in Slovenia.

In 1977, the city of Slovenj Gradec

organized the "First Exhibition of Arts

and Crafts Slovenian."

When the products of art and

crafts were displayed at the Galle-

ry of Fine Arts in Slovenj Gradec

was offered the chance to embark

on a biennial trade show activity.

1977 in Slovenia, however, marks

the "birth year" of a new era for arts

and crafts activities, at that time

had begun to decline.

What was lacking, in particular,

was the appropriate transfer of skills

in technology and design and eva-

luation practices of experts, which

should have provided significant

employment opportunities and

new revenue streams.

Later, in 1994 set up a system of as-

sessment and marking of art and

craft products, resulting in the 90's

"Art & Craft Slovenia Rokodelstvo"

brand name.

The products began to be syste-

matically evaluated using criteria

from the experts.

Those who have been selected by

the expert commission in the

Chamber of Crafts and Small Busi-

ness of Slovenia, in possession of

the most universal quality are clear-

ly marked.

Like all products that meet certain

quality criteria are marked with a

label recognizable respective mar-

kets gradually began to be regula-

ted and also a remarkable level of

recognition has been achieved.

At the same time, biennial Slovenj

Gradec (some were also held in

Ljubljana) began to act as a high

quality showcase for creativity, co-

vering a period of two years and

an important opportunity for the

marketing of products question.

In 2012, 18 exhibitions will be held in

Slovenj Gradec (some also in Ljubl-

jana).

Some authors whose work has be-

en rounded to the achievements

of all life and creative work, were

awarded the "Golden Tendril" a ti-

tle of excellence by the Chamber

of Crafts and Small Business of Slo-

venia, which is the owner and

chief organizer exhibition.

Another attempt to regulate the

situation with regard to art and

craft activities in Slovenia was in

2001.

A system comprising about 13 or 14

centers in regional arts and crafts,

and partly subject, and was crea-

ted the main center of Ljubljana.

Between 18 April and 31 May, the

Art Gallery in Slovenj Gradec

Koroška will host the 19th exhibition

of international crafts.

The products of art of Slovenia will be

presented in parallel with the pro-

ducts of the craftsmen of several Eu-

ropean Union countries that had res-

ponded to the invitation for your

cooperation.

The exhibition will showcase the

creative achievements that repre-

sent the continuation of historical

memory, a component of the intan-

gible cultural heritage and at the sa-

me time, a latest finding various

forms of expression.

The best craftsmen, both in Slovenia

and abroad will be presented. His

works are made of wood, stone,

clay, wicker, straw (including raffia

and grass), glass, iron, paper, natural

fibers, wool, leather and wax, and

include embroidery and bobbin

work.

Natural materials make their own

contribution to current efforts to-

wards sustainable development, im-

proving the quality of human existen-

ce, offering a wide range of valua-

ble improvements.

The exhibition presents, as an exam-

ple of international communication

through activities and remarkable

skills in the future could help create

new jobs, promote employment of

people with disabilities, generate

considerable tourism potential and

improving the identity of regional

cultures in Europe.

The sponsor of this exhibition highlight

is the President of the Republic of Slo-

venia, Dr Danilo Türk at the front.

During the time of exposure, artisans

will gather at an international confe-

rence on the future challenges fa-

cing the creative arts and crafts in

Europe as well as numerous events,

meetings and art and craft works-

hops.

Parallel to this, Slovenj Gradec will

also host an exhibition of arts and

crafts and works of fine art by mem-

bers of the Slovenian Association of

disabled workers and members of

associations of disabled people

across Europe.

Our friend Rosa Mendez participate

in this event with his "Collection Sub-

marine".

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Enrique de Lucas Award.

The jury praised the innovation

and creativity of the piece, and

the use of technology in the

craftsmanship.

In this second edition of the Inter-

national Exhibition artisans partici-

pated from 32 countries in Euro-

pe, Africa and Asia.

Lucas was one of four Spanish arti-

sans invited to this festival, which

also involved a craftsman jeweler

in Salamanca, a potter from Gra-

nada and a specialist felt Biscay.

As part of this Expo also develo-

ped an International Seminar on

Innovation and Creativity in Arts

and Crafts and Craftsman Job Ex-

po.

CRAFTS AND INNOVATION

Enrique de Lucas (Toledo, 1969)

has a long career marked by a

mixture of tradition, design, art

and technology applied to crafts-

manship.

Among his awards highlights the

third prize in the VIII Design Ap-

plied to the Craft of Castilla-La

Mancha (1993), the first prize in

the twentieth edition of this com-

petition (2007), and the INNOVA

Award at the Third Awards Natio-

nal Crafts (2008).

His most renowned and revolutio-

nary techniques are Placal, a ty-

pe of coating on ceramic base

and Vitreolux, an application of

LED technology for lighting art

glass.

The craftsman Enrique de Lucas

Toledo Adral Creations has been

awarded the International Ex-

hibition of Crafts and Traditional

Crafts, organized by the city of

Muscat (Sultanate of Oman) in

collaboration with the Research

Center of History, Art and Islamic

Culture (IRCICA) Istanbul

(Turkey).

Lucas has won the second prize

in the category of colored glass

enamel worth 3,000 dollars.

The winning work is a colored

glass plate and recorded with

built-in LED lighting enhances

color varieties of the piece.

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Exposure in Guatemala.

Sometimes you do not know exac-

tly which paint.

Simply draw a line and another

and another.

Then follows the process the same

figure asked to complete.

At that time, Wunderlich says that's

when it really is connected to the

inside and try it out in their art.

So every day. But the process of

creating his most recent works was

longer than normal.

However, every effort yields its fruit,

and now returns to public space to

present their latest shows.

Since last April 18 in Gallery Ana Lu-

cia Gomez-Latin American Art (16

Calle 7-30 Zone 14), is open the ex-

hibition "scenarios to a World of

Light" by the Guatemalan artist El-

sie Wunderlich.

The exhibition will remain until early

May. Admission is free.

"Scenarios for a World of Light" pre-

sents a new evolution of Wunder-

lich, since it is the first time using

glass as an artistic material.

The process is very complex and

laborious. It starts from the study at

the time of conception, usually

through the paint.

Some works are to be externe as

sculpture and glass.

Painting is the most important pro-

cess, because everything comes

from there, says Wunderlich.

And through the work there can

evolve.

In this sample, we find from pain-

tings to sculptures, some inlaid with

glass, usually cast in a circular sha-

pe and pictorial decorations.

Glass is a technical introduction

that presents the artist for this ex-

hibition.

But for that reason, each piece has

a further development, especially

the times required by this material.

In a flat glass, begins to decorate

on the reverse depicting the pain-

ting, which was previously develo-

ped.

Each form of painting, is done by

small traces of painted glass. Other

details the powder obtained with

glass and some enamels.

But for the glass baking process,

must be very careful, because so-

metimes the dye changes too, and

this could be detrimental to the

work.

The process leads to the same

glass furnace several times.

Finally, when the glass is finished,

you are given a spherical shape

(for most parts).

Then, something that also requires

patience and dedication, is to

embed the glass on the piece of

sculpture, to not notice that they

are two separate parts, but there is

one after the other.

As a piece of furniture, most of the-

se pieces that have decorative

glass, also have an option for a

light (provided by an energy saving

bulb) is behind or under the work,

and light the building, probably,

hence the name of exposure.

But more than a technical matter

or material, "Scenarios for a World

of Light" is more thematic.

Wunderlich plastic metaphors

about dawn, light and circular

worlds are common.

LANDSCAPE TRADITION

In the beginning, when Wunderlich

was interested in artistic creation,

began in one of the greatest tradi-

tions of Guatemala, such as lands-

cape painting.

His hand began to get used to the

brush with this trend.

But soon he began to discover his

own style, and although this trend

continues landscape, makes his

way.

And is that instead of showing the

landscape as it should see, shows

how she sees it from within.

Then, the view is scrambled from

their eyes.

Since then, it has evolved, and is

now in a phase of further evolution.

First was the passage of realistic

landscape to one that is subjective

sublimizado the artist's eye.

Then was the transition from pain-

ting to sculpture, and now, the use

of decorative glass as an addition

to the sculpture.

And this trend being very personal

landscape, Wunderlich found in

the leaves of the trees are greater

expression.

Y is the leaves, although all are in

the same way, one can say that no

is equal to another.

Each is a world in its own way.

Each leaf has different colors, colo-

red by their position on the light, or

by their longevity.

But rather than take a trip to the

natural world that is probably seve-

ral miles from home, the option

Wunderlich preference is to bring

nature into artificial environments

such as urban ones.

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Other trends. Creative arts in Morocco.

The artist's dream: leave all to dedica-

te themselves to create carefree, at

least for a period.

If this is added an idyllic location in an

endless virgin beach, in a house that

looks like a luxury resort equipped

workshops and sharing the room with

other interesting artists, it seems too

much to ask.

If it were not for all that is given just to

see fulfilled the dreams of others.

Take names and specific to this game

synergistic.

The Artists Private paradise exists and is

called Ifitry. It is 40 kilometers from Es-

saouira, Morocco, isolated to the

point of not having internet or phone

coverage.

You get there only by invitation of the

hosts, the media group Maroc Pre-

mium magazine and Arts du Maroc,

with expenses covered stay.

The artist agrees to allow the organi-

zers to 50% of the works produced the-

re.

Since it began in early 2011, have pas-

sed through this place more than 200

artists from around the world, from Ja-

pan and China to the United States,

France or Canada.

Thus are forming a collection of inter-

national contemporary art in the mu-

seum that will house being built three

miles away, but in the meantime have

a built Contemporary Art Center in

front of the residence next to the

workshops.

Mostapha Romli, commercial photo-

grapher and artist, is the soul of this

project.

"What we want is to put Morocco in

the international contemporary art

map," he says.

The most recent was invited to Ifitry

Oliviero Toscani, who, according

Romli said humorously: "Too comforta-

ble for an artist."

From 7 to 17 April there was a group of

Spanish residents, curated by Zara Fer-

nandez, Cultural Association of the

Western Mediterranean (MED-OCC),

and invited by the Ministry of Culture

of Spain in the program of New Urban

Cultures Festival , which is being deve-

loped in Casablanca during this

month.

"They are artists of different genera-

tions because what we value is the

professional and human experience,"

said Romli.

"This is not for art students. In fact, I see

it more like a laboratory than a single

residence.

We want you to have all the facilities

to develop a project to investigate

and which in turn may be related to

each other. I think that's always rewar-

ding, "said Romli.

Spanish artists were invited on this oc-

casion Ximo Friend, Tone Carbajo, En-

carna Cepedal Jose Freixanes, Diego

Moya, Teresa Muniz, Fernando Vargas

and Marina Verdugo.

Zara Fernandez says he formed the

group "people who have worked with

cross-cultural issues and are sensitive

to the Arab world."

"Being isolated and works much bet-

ter," says Ximo Amigo (Valencia,

1965).

He made a painting Ifitry clearly allu-

des to the motto of the project's edge

(the abyss).

"I am a mad Blue and here everything

is blue and white," he adds.

"Having worked closely with other ar-

tists allows us to share concerns and

ways to resolve them. Also, being here

is a respite from the situation in Spain. "

Joseph Freixanes (Pontevedra, 1953)

worked on a part that is like a memory

card, a map.

Marina Vargas (Granada, 1980) used a

typical carpet on which he painted a

Sacred Heart.

Fernando Verdugo (Seville, 1942) used

as a reason the model tiles of the Al-

hambra and Tono Carbajo (Vigo,

1960) conducted a performance with

a verse in Arabic calligraphy on the

edge of the sea.

Teresa Muniz also adopted the colors

for his paintings of the landscape

(Madrid, 1942) and Diego Moya (Jaen,

1943), director of this project, combi-

ning signs of the technological age

with the lands of different places.

Ifitry is the name of a holy place. As

women, Islam did not permit to erect a

chapel in his memory. Built a mara-

bout, but dedicated to another saint.

The artists' residence and recovered

the legend pays homage.

"The architecture simulates two shrines

and a medina," said Romli.

Ten bungalows, spa, swimming pool,

organic garden and a communal di-

ning room with views and notable lo-

cal chefs.

"Doing this project has taken more

than ten years of paperwork, construc-

tion and commissioning.

It takes patience and clear thinking.

This is a private and independent, we

have no state aid. "

However, it is not just international art.

A priority of this project is also giving

greater visibility to the Moroccan ar-

tists.

"Here we very late in this regard, we

have no contemporary art museums

and other countries.

We like Spain in the seventies, but we

expect the State to do things the delay

will be higher.

The culture in Morocco is to be built by

the Moroccans.

So we have taken this initiative to crea-

te a network of relations in June that

now includes the completion of the

First Biennial of Casablanca. "

Diego Moya believes that this initiative

is a good example in times of cuts to

culture: "In Spain it is diluting the achie-

vements so far.

Morocco is emerging spontaneously in

a world that rejects associative Wes-

tern individualistic interests. "

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Page 26

Historical catalog L'Ollería.

The City of l'Olleria through its De-

partment of Culture has prepared

a comprehensive program to com-

memorate the month of the book,

which as highlighted by the area

councilor, Engo Jesus "has been

made with his own resources and

we wanted to include a variety of

activities aimed at a wide audien-

ce, both adult and child. "

On April 23 opened an exhibition

that features "one of the first glass

catalogs published by a company

of our town, dates from 1933 and

belonged to the glass company

Elena Gisbert Bolinches-La Primiti-

va, which had the first glass furna-

ce in our town dating from S. XVII,

"said Engo.

The exhibition is located in the li-

brary "a perfect place to enjoy a re

-written document so important to

us as it reflects our history as mas-

ters of glass and the importance

and tradition of this industry in l'O-

lleria."

On the other hand, explained that

in addition to the catalog, which is

shown by way of panels that can

be read in a more comfortable,

the exhibition is supplemented with

30 pieces of glass from private co-

llections and the City, parts that are

the catalog of 1933.

This exhibition has been coordinated

by Jose Vicente Vidal, a graduate in

information science and local histo-

rian.

On the other hand, on Tuesday, May

4 will present "The social commit-

ment of a politician Krause: Rafael

Albiñana and the Institution for the

Education of Women of Valencia"

by the author Ana Maria Reig.

The presentation will take place at

20 hours in the library. Meanwhile, on

May 18, Xavier Aliaga present his

work "Vides desafinades".

And 21, there will be a workshop

"Introduction to Social Networks" and

23 one of "Sources of Information for

the Occupation" in collaboration

with IDEO-AEDL to attend these

workshops prior registration is requi-

red at the library or http://

www.bibliotecaspublicas.es/lolleria

through its website.

In addition, on Mondays and Satur-

days in May there will be workshops

for children in the library of l'Olleria.

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Glass workshop in Murcia (XI).

JIMENEZ PEDRO CASTILLO

JULIO NAVARRO PALAZÓN

JACQUES THIRIOT

Is in the southeast quadrant of

the workshop, in the vicinity of

the access door (Fig. 3).

This is undoubtedly the most

complex of the oven and also

dug the most enigmatic: the first

is that it was remade five times

and the second to the questions

posed by their formal and func-

tional aspects.

Moreover, successive reforms

have significantly affected their

oldest remains, hindering further

attempts to return.

The oven has two construction

phases: the first shows two re-

constructions and the second

one.

The access pit (¿ashtray?) Was

located to the west in the furna-

ces of the first phase, which we

now occupy.

At all stages of this phase, the

oven, which is polygonal outside

plant, is built from a central pit

surrounded by elongated or not

sidewalks.

In the first stage is very poorly re-

tained because of their reuse

and partial destruction by suc-

cessive ovens, so it is impossible

to restore its elevation (Fig. 13).

It opens to the west by an ac-

cess pit that has few traces of fi-

re.

The foundation pit is filled with

material destruction (including a

bar ahornar) on which the furna-

ce was built with bricks taken

from clay.

A central trench 50 cm wide and

gentle slope, was apparently li-

ned with benches with a height

of between 10 and 30 cm.

The header may also have side-

walk, although we can not secu-

re it for the bad state it was that

part.

This hypothesis is supported by

the presence in the southeast

corner of the oven, cut a tile ac-

cording to a curved path, which

may be the rest of the inner wall

of the bench.

In the background are still some

traces of flushing which may co-

rrespond to a soft start leaning it

would close the bottom of the

second or third stage of the

oven.

The side walls are retalladas at

several levels, apparently for the

construction of the furnace be-

low.

In these walls there are small

fragments of lead and galena

with red oxide structures can co-

me later and have seeped

through cracks.

In the second stage, the oven

apparently reproduces the type

seen in the above, since the

plant and orientation are the sa-

me as above, which is utilized as

a basis.

The outer perimeter could be

polygonal (Fig. 14, Fig. 22), alt-

hough inside the plant seems to

have been oval, with lateral

benches.

The central pit with a depth of

0.35 m and 0.45 m, is a little wi-

der, thanks to a slight displace-

ment of its north wall, and, abo-

ve all, a little shorter, as is done

in adobe pending a new auc-

tion in pretty strong on the pre-

ceding.

Suffered great mutilations due to

the furnace to be superimposed

so that only retained about 35 or

45 cm of elevation.

In the construction fill of this stage

were found traces of lead.

In the third stage, the oven also

appears to maintain the same

type and orientation (Fig. 15).

Its central pit was more than 1.50

m long by 48 cm wide with a slo-

pe that was accentuated after

the previous oven partially terra-

ced with sandy silt.

This oven could be longer than

the preceding.

He distinguishes between two

successive sub-stages of a coa-

ting on all radial brick rowlock of

the risers from the curb to reduce

slightly the width of the pit.

Unable to clearly define the

boundary of a hypothetical low-

lying south sidewalk.

Could indicate a semicircular

crack this wall oven or is it the

mark of a subsequent oven?

A lump of galena found inside his

south sidewalk construction may

come from the south wall of the

oven later.

Despite traces of lead or galena

found these furnaces do not ap-

pear were intended for fusion be-

cause the mineral discovered is

contemporary and belongs to la-

ter stages.

The structure resembles that of

the furnace 4 and the specimen

unearthed in Belluga Square.

Its operation will be considered

after the analysis of the structure

of the post.

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Exhibition of Pablo Pizarro.

The Carlos V Hotel, located in the

C / Trastámara, No. 1, continues its

spring cultural program with the

opening of the exhibition "Ferrum et

speculum" Alcarrenian sculptor ba-

sed in Toledo, Pablo Pizarro.

The exhibition brings together a do-

zen works that the sculptor shows

his mastery of glass casting techni-

ques and was inaugurated on

Thursday 26 April.

A few months ago Pablo Pizarro

staged a major exhibition at the

Arms Factory at Toledo.

Sculptures of great size and weight,

rooted to the ground anchor pla-

tes, authentic metal trees showing

fruits of glass, or colored sheets

created from melted bottles and

cut lanterns love, and worms with

heads that seemed to sniff litrona

the air in search of prey.

On this occasion shows the counter-

point: small creations suitable for in-

doors but with the same force that

large.

Iron is used as a balanced media

that glass gems engastan various

shapes and colors, all with the com-

mon denominator of glass recycling.

This small inkwells and bottles that

originally contained the most diverse

liquids, take on new life and we sug-

gest a guessing game in which we

are forced to think about the past

uses of the vessels and in its present

conversion as objects art class.

Paul Pizarro, a native of Madrid, very

young moved to Sigüenza where he

had contact with several teachers

who penetrated into the world of

art.

Trained at the National Glass Centre

of La Granja, his work underwent a

quantum leap to call at the shop Al-

bendiego Marta Ugarte, and start

the investigation of the artistic possi-

bilities of glass in different varieties of

blown merger.

The exhibition "Ferrum et speculum",

installed in the hall, opened in the

hotel room of Charles V. Viridiana

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Brilliant design in glass.

Bright Future: New Designs in Glass,

presented at the Pratt Manhattan

Gallery until May 5, "... explores sus-

tainability, the manipulation of light

and contrast ancient and modern

influences in contemporary glass."

From sculptures, tables and lamps,

made by designers and artists from

around the world, the exhibition re-

flects on the aesthetic role of glass

in everyday life.

The exhibition curated by Sarah Ar-

cher, the Philadelphia Art Alliance,

addresses the power of the glass

and its various uses, both aestheti-

cally and functionally, in addition

coincides with the fifty years of de-

velopment of the study of art glass

in the United States, which is part in

more than 160 presentations on this

in the entire United States during

2012.

The pieces in the sample, in addi-

tion to its artistic quality, ergonomics

have proven their ability and useful-

ness in their various fields.

Archer says he has tried to mix both

parts made with traditional techni-

ques, with the most sophisticated

and innovative, or ancient techni-

ques of glass blowing mixed with

heat-resistant fibers that leave pat-

terns on the glass surface, and from

high-tech materials, to new and the

Litracon (concrete that has beco-

me clear by the addition of glass),

the glass sensitivity of an iPhone, or

heat-sensitive glass that changes

color when touched, or new uses in

architecture.

Artists and firms involved: Lindsay

Adelmann Studio, Werner Alisslinger

and CIAV, Omer Arbel for Bocci,

Alison Berger, Amiram Biton, James

Carpentier Design Associates, Mar-

co Dessi for J. & L. Lobmery, GlasPro

Switchable Privacy Glass, Helen

Lee, Aron Losonczi / Litracon, Ingo

Maurer, Giovanni Moretti srl for Car-

los Moretti, Murano, Moving Color,

Bruce Munro, Tom Patti, Robert

Stadler, SWITCH Lighting, Hulger

and Samuel Wilkinson, Liana Yaros-

lavsky.

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Page 30

Vitrium in Alcorcon.

You may have heard of the `Magic

Waterfall 'masterpiece' by the

association Vitrium '.

This work, which is located at the

Cultural Center Cooperating Burón

`Margarita 'is not the only one the

group performs.

Vitrium `'is dedicated to the craft of

glass. Lamps, trays and boxes are

some of the works that the

association is responsible for

developing.

"It is not purely decorative objects

but all have a utility," said Santiago

Benedí Galvan, president of the

association.

The group has participated in

numerous activities such as the

Craft Fair organized by the

municipality or exposures made

every year in various cultural

centers.

Highlights its involvement with the

MAVA (Museum of Art Glass

Alcorcón) in school activities.

Under the heading `Tuesday to

MAVA '" children make a practice

of merging into a plate of 7-8 cm.

They themselves put the chips

(crushed glass) or glass plates and

make the design you want.

We we put the plates in the oven

and come on Monday to pick it

up, "said President 'Vitrium'.

His works cover a variety of styles,

from classic to modern. In fact, do

not always work with existing

designs, but made many designs

the association itself.

The techniques are performed

tiffanys, fusion and tiling. Tiffanys

figures is composed of pieces of

glass, "Cut the pieces of glass, are

lined with copper and it extends

the tin so that all parts are subject,

"said Santiago Galvan Benedí.

Fusion technology refers to a fritted

glass plate.

They stick to the plate "heat drop a

mold and take the form" to the

president of the association.

Mosaic is a film hit the lasetas

(broken glass) and coat with

aguaplast to be subject.

According to James Galvan

Benedí, is a job that takes time.

His work is strongly influenced by

the machinery used. Thus, the glass

in the furnace remains 3-4 hours.

herefore, it is not surprising that take

one day at least do one of the

works.

Vitrium `', which has 10 members

whose average age is around 45,

does its work only as a hobby:"

We are a nonprofit association.

What we perceive from the sale of

the work you invest in plant and

equipment. Thanks to these sales

was able to buy machinery "said

association president.

A machine that has a relatively

high cost. The oven, for example,

will cost 2,500 euros.

The association `Vitrium 'was

founded more than 10 years: We

were students Tiffanys Workshop

offered by the People's University of

Alcorcón (UPA)," said Santiago

Galvan Benedí.

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Page 31

How does.

This month we include some pictures of the technique practiced by Lucio Bubacco.

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"Touch the oracle" by Michael Petry.

your only means of communication.

Petry then permanently sealed

glass bottles leaving hidden con-

tent.

Joshua Wall D shows a 250 blown

glass stones are hand-watered by

the floor of the gallery.

The Wall of Joshua D refers to the

biblical story of Joshua and the

walls of Jericho torn.

Resembling small stones, these glass

stones evoke the magma of the

earth and the many colors that are

within, like the Petry own artistic im-

pression of the natural environment.

When he visited the museum, was

surprised by the volcanic rock that

forms the walls of the museum buil-

ding.

Petry's work is a direct response to

the architecture of Palm Springs Art

Museum and its location near the

Joshua Tree National Park.

The dilemma. The third component

of the installation is a sound work's

dilemma is played regularly by the

gallery and offers the possibility of

sound as a work of art itself.

Using a text by Petry with music by

John Powell and Gavin Greena-

way's piece shows male and fema-

le voice singing a dialogue.

The colloquial themes of the piece

is inspired by the historical connec-

tion of Palm Springs and Hollywood

cinema.

Organized by the Palm Springs Art

Museum, this exhibition is partially

funded by the Council of the Mu-

seum of Contemporary Art, Donna

MacMillan, Myrna Kaplan, Thelma

and Gilbert Schnitzer, the Art Allian-

ce for Contemporary Glass, Libby

and Burton Hoffman, and Berengo

Glass Studio Murano, Italy.

The exhibition The Touch of the

Oracle, the multimedia artist and

director of the Museum of London

Contemporary (MOCA London)

Michael Petry, takes place until 29

July at the Palm Springs Art Mu-

seum, in the City of Palm Springs,

California (USA) .

The sample account in all areas

with the written explanation of the

works in both English and Spanish.

The exhibition is closely related to

the book The Touch of the Oracle:

Works 2003/12, just Petry, since the-

re are several parts to the collec-

tion on paper collected.

The digital version of the book is

available at this link: michaelpe-

try.net / projects.html

The book is available on the websi-

te of the publisher Thames and

Hudson:

ww.thamesandhudson.com/97809

56911612.html

Oracle In Touch (The Touch of the

Oracle) are three monumental site-

specific installations: Golden sho-

wer, The Wall of Joshua D and the

dilemma.

These works provide an opportunity

for viewers to experience concep-

tual site-specific works made by Mi-

chael Petry who takes inspiration

from art history, mythology, and

contemporary culture.

Every single piece relates and inte-

racts with others and with visitors,

creating an environment full of

sound and visual complexity.

Petry did not really make each of

his artworks, but seeks highly skilled

craftsmen which works to light their

conceptual ideas.

For these installations, he has wor-

ked with teams of glassblowers ins-

pired and composers to create

works that require a high level of

technical expertise.

Pissing is a facility of 100 recepta-

cles shaped glass beads with gilt

mirrors that refer to the Greek myth

of Danae, who was pregnant by

the god Zeus to spray it with a drizz-

le of golden water.

Petry invited 100 international artists

to lay a book, a poem, an object

or text into glass containers, asking

them to imagine being locked in a

tower and having the bottle as

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Page 33

Angela Teunissen in La Granja.

The Dutch artist Angela Teunissen

out in the Tech Museum of La

Granja (Segovia) a collection of his

most recent.

On day 28 we visited the exhibition

and we were very pleased the

quality of parts.

It had previously seen several of

them in his home and studio in Ma-

drid and whose visit we record in

our Bulletin No. 43 for the month of

April.

The presentation of these magnifi-

cent pieces in the

exhibition, in our view, we do not

consider the most appropriate, sin-

ce we believe that the sculptures in

glass should be able to see in all its

aspects, not only from the front,

and in this case, being located wit-

hin the exhibitors, you can not enjoy

the effect of light on the parts from

all angles.

We therefore believe that the sculp-

tures in glass, except for very justi-

fied safety reasons, be exposed on

plinths. You can see images of the

exhibition on the link below.

This exhibition, as discussed in our

Bulletin No. 43 has been rejected by

the leadership of our MAVA, consi-

dering that does not conform to the

line of the Museum.

Apparently, the Tech Museum of La

Granja line should have a less de-

manding than that of our Museum.

After the visit to the Museum of La

Granja to Segovia we drove to see

our friends glassmakers at the XXXII

National Crafts Fair.

They are present in this show, which

runs until next May 2, by the glass

sector, Redondo Aura, Susana Apa-

ricio (Sussanglass), Mario Ramos

and Mariana Grande (Vitreus Ignis),

Miguel Angel Blasco and Reinaldo

Zamora (Fulkolor ), Carlos J. Pinilla

(Lume Glass), Rosa Mendez and

Natalia YR Benchoam (Artistic Stai-

ned NYRB).

Fair, as a whole, consists of 52

stands, so that the presence of

glass sector or 13.5% of all exhibitors.

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Page 34

Exhibition in Mexico.

The city Mexicana de Taxco, requi-

red to strengthen the tourist indus-

try with the help of all, being a mel-

ting pot of culture and expression

unique in the country, said the ma-

yor, Marco Antonio Martinez Sierra

during the opening of the exhibi-

tion process Vitreous Art blown

glass art at the Museum of Colonial

Art Northern art group and coordi-

nated by the National School of

Plastic Arts (ENAP) of the Autono-

mous University of Mexico (UNAM).

Sierra Martinez, who was with the

cultural community, teachers and

subject matter experts on the sam-

ple of derivatives techniques in

glass, said the target in addition to

being a silversmith, is a wealth of

artistic expression.

From its architecture to the same

relief, as their traditions, customs

and the work of craftsmen silvers-

miths art reflecting taxqueño he

said.

He called the country's artists to ta-

ke into account Taxco, to present

their works and we engalanen with

their jobs.

He recalled that the required desti-

nation of visitors and promotion, so

if institutions rely on to bring their

materials to the site, he said, will

have the presence of tourism in its

various forms, as in this case the cul-

ture.

He said that the weekend will be

two major conventions and reli-

gious tourism as well as them artists

and culture lovers francs promoters

hope will be the city of silver that

requires a financial balance, the

situation being experienced by the

population.

In the event the mayor was accom-

panied by Sierra Martinez ENAP co-

ordinator, Jorge Soto Curiel, direc-

tor of the blown glass factory Arte-

Norte, Miguel Angel Gonzalez,

among others, who cut the ribbon

and made a tour of the facilities to

meet parts involved.

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Page 35

Norberto Chutrau exposes "Playing with fire".

It is self-taught and started in the

art of glass fusing in 2007, and then

take specialized courses in the Bull-

seye glass factory in Portland, USA.

Since his return he participated in

several samples of the National Ex-

hibition of Art Glass in Berazategui,

Buenos Aires, and the expo Artists

Borges Cultural Center in October

2009.

The following year he won second

prize at the XIII National Exhibition

of Art Stained Glass of Mar del Pla-

ta.

Last year he was invited to exhibit

at the Museum of Fine Arts and cu-

rrently presents her work at the Mu-

seum of Fine Arts Quinquela Martin.

Several of his works were purcha-

sed by domestic and foreign co-

llectors.

Mother Mary in the chapel of the

church of Mar del Plata has placed

his "Cross of Hope" and the Nauti-

cal Club of Fort Tandil is located

"Weathervane Nautical".

The proposal

Gnocchini Indiana says: "Made of

fused glass, including other ele-

ments such as granite or iron sculp-

tures Chutrau Norberto recover

from a contemporary perspective

and own totem-like forms that con-

tain a proposal on earth.

His works show a careful selection

of raw materials and execution

processes, where the author looks

further its ability to condense a rich

world view of possibilities, finding

textual resolutions, color, contrast

materials, brightness and transpa-

rency.

By linking propositions, the works

range from the suggestive buoyan-

cy of lines arranged in patterns or

shades, to the gestures of the stro-

kes and subtle representation of

figures and landscapes that make

faces using the modulation of con-

tours and full planes.

Norberto parts are conceived with

tools of all kinds in the shelter

workshop where we see the moun-

tain landscape from the large win-

dows. Alchemist, sculptor, crafts-

man, all profiles are combined

when defining the task of who gets

to raise a personal universe and

metaphorical. "

The artist

- It's going to be exhibiting in Bue-

nos Aires …

- Yes, the museum Quinquela Mar-

tin, from 28 April for a month.

- How did contact with this space?

- It was through some friends from

Buenos Aires who had direct con-

tact with the curator of Buenos Ai-

res and he is known Gnocchini In-

diana, so that was so fluid.

- How was the process?

- He took photos of the works, then

move some pieces and the mu-

seum decided to exhibit my work.

- What space the museum will be

exhibiting?

- In the room Victorica Miguel,

which is quite large. I have four

works which were exhibited at the

Museum of Fine Arts and I also star-

ted to produce new parts for wear.

In total there will be 23 works.

- The proposal, what is?

- 'It's always "playing with fire", with

temperatures. I have some work

where I spent the limit of 820 degre-

es and went to 950, then I got new

effects with the material, which I

call "boiled glass" because it really is

in a liquid state and generates a

very nice visual effects.

- How does it feel to be able to ex-

hibit in this space?

- With great pride and humility, I see

what people will say. I invited many

glass artists. Although it may seem

quaint, I know what my colleagues

are saying.

- What are your expectations?

- Two months ago I started to move

the pieces to Buenos Aires, where I

have the basis for the works. The 24

will travel to assemble the work and

after that, will only see the public

response.

- About accompanying from Tan-

dil?

- He has pledged Indiana Frolik

Gnocchini and architect, who has

a work of mine, besides my family

and other friends.

- What is the proposal for this new

year?

- I was looking at some pictures of

U.S. homes have walls made from

recycled glass. I'm working a while

with beer bottles. The short and do

glasses or other items, and people

really like. This deformation of the

bottles I find useful for recycling.

ow I see the frames. I think this

could be replicated in schools as a

way to help the environment or le-

arn a trade.

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Page 36

How is sea glass? .

The origins of sea glass

Sea glass is created from glass bot-

tles and other objects of this mate-

rial are thrown overboard.

The unfortunate benefit of someo-

ne who throws his garbage is that

after months or years a beautiful

piece of sea glass shape and so-

metimes reaches the coast.

Due to more stringent policies and

forces wildlife officials in most states

of sea glass has become increasin-

gly rare because they throw the

trash in places that are not suitable

is strictly forbidden.

Glass formation sea

When a glass object thrown into

the sea or a large body of water,

waves or current break it, then you

scratch the surface.

This continuous action of the sea

gradually creating a piece of art to

collect on the beach or on the

shores of the Great Lakes.

The sharp edges of the piece of

glass become more smooth and

soft to the touch, so do not cut it

when you pick up your pieces of

frozen sea glass.

The freezing of sea glass

You can see that the glass has be-

en collected beach seems to be

frozen.

This is due to hydration process that

occurs in the ocean.

Baking soda and lime found in the

glass are slowly shedding due to

continuous contact with water.

This causes the appearance of

freezing.

As explained by National Geo-

graphic, sea glass hunters have a

sort of code of conduct, whereby if

you find a piece of glass that still

has edges let you return to where

the sea was to finish his work.

If one traces the network, find do-

zens of people who collect this type

of stones that come out periodica-

lly and look for the beaches, prefe-

rably at low tide and after a storm.

Many of them are jewelers who

then sell the stones in necklaces

and earrings, and they abhor the

sea glass created artificially.

But how long does the sea to crea-

te one of these little gems of colors?

Richard LaMotte, author of book

"Pure Sea Glass" and possessor of a

collection of over 3,000 pieces, says

the sea takes about ten years to

polish and rounding the edges of a

glass and 20 to 30 years to leave it

completely smooth.

However, in his collection there we-

re stones tumbling into the sea for

over a hundred years.

Some of these fragments, for exam-

ple, belonged to bottles of beer

manufactured in the late ninete-

enth and early twentieth centuries,

and they can still read inscriptions

on the brand or content.

In fact, if you go to the beach and

you're lucky, you can still find a

small stone which read the letters of

Coca-Cola or some other refresh-

ment.

A nice example of what the sea

can do with our trash.

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Page 37

Trockel in the Queen Sofia.

The exhibition "A cosmos", curated

by Lynne Cooke Rosemarie Trockel

and presents a world shaped by

the ideas and the affinities of Troc-

kel.

The exhibition will cover a wide ran-

ge of works from different periods

and cultures, will bring together

pieces that are not usually asses-

sed jointly.

Works in a more conventional fall

within the scope of science, but

because of its sophistication and

refinement venture into the field of

art, pieces will be exhibited along-

side that, despite having originally

a primarily aesthetic purpose, soon

showed their great value to scien-

ce.

Thus, the delicate glass replicas of

sea creatures and flowers created

in the nineteenth century by the

Blaschkas for the study of acade-

mic naturalists will show along with

the watercolors of the seventeenth

century artist Maria SybillaMerian,

whose representations of flora and

fauna , as beautiful as impeccably

precise, proved to be invaluable for

scientific study.

Trockel's contempt for conventional

hierarchies of art, along with his in-

terest in media and materials that

once were associated with forms of

local art or craft, also influences the

selection.

For example, an assembly of the

sixties of the twentieth century radi-

cal feminist Ruth Francken, will sha-

re space with wool sculptures of Ju-

dith Scott, artist marginally affected

by Down syndrome.

The exhibition will also see pottery

created by the very Trockel, along

with new works in glass.

This unique set provides new filters

through which they can share the

unique and influential practice

Trockel over nearly three decades.

It also offers the vision of one of the

most admired artists in active and

independent, a prospect that may

be familiar to (some of) the details

but it is wonderfully innovative in its

entirety.

From 22 May to 24 September,

2012.

Museo Nacional Centro de Arte Re-

ina Sofia | Building Sabatini | Plan-

tan3 | Santa Isabel 52 | 28012 Ma-

drid

+34 91 7741000

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Page 38

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. 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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Glass Workshop. Images.

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Fig. 1 Fig. 2

Fig. 3 Fig. 4

Fig. 5 Fig. 6

Page 40

Techniques. Images.

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Fig. 1

Fig. 2 Fig. 3

Fig. 4 Fig. 5

Page 41

Glass Workshop. Images.

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Fig. 3

Lámina 42

Fig. 13

Fig. 14

Fig. 15

Page 42

Our visit to Malta. Images (I).

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Our visit to Malta. Images (II).

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Our visit to Malta. Images (III).

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Angela Teunissen in La Granja . Images.

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