Page 1

Volume II — Number 43

April 2012

Monthly Newsletter

JOSÉ CHARDIET . Conferences in the MAVA. Newsletters

Nuestra sede: Castillo Grande de S.J. de Valderas Avda. Los Castillos, s/n 28925 ALCORCÓN. (MADRID)

In this April we will have the pleasure of attending three major conferences in the MAVA, in the Lecture "The glass ....".

M. A. Carretero.

be conducted by Mario Sergio Ramos.

In addition, after the conference we will be happy to see him perform live doing some exceThe first conference will be llent work by master it possesborne by Alicia Duran and will ses. focus on "The future is in the Mario Sergio is a member of glass." our Association and an exceAlicia is a CSIC researcher at llent artist who performs work the Institute of Ceramics and using the technique of torch or Glass, and thus an excellent candilón. connoisseur of all that affects And in different weeks of the the glass. Interesting this viScience of Madrid has intervedeo. ned doing demonstrations of Fully aware of the possibilities his technique in our Museum. with this element and the future holds for us to use across A few months ago went with our friend Luis Macht Albacete different lines of research being carried out in the most Corning to participate in the courses for a week gave the prestigious worldwide. prestigious artists Paul Stankard And in the pages of previous and Lucio Bubacco. issues have included some Mario Sergio specifically liked articles that develop ideas about the uses of glass in the the embodiment of figures with future and through which the large sizes and treatment of organization finds that all the the human body through the different aspects of the indivi- techniques used Bubacco Lucio. It also greatly interested in dual life will be realized through manufactured items the inclusion technique that makes Paul Stankard. glass.

us she had been asked to make a small collection of bikes. Later included in his Facebook page a photograph of the precious collection he had done. In our opinion, taking into account the refined technique that has Mario Sergio, we believe that should make every effort to find enough time to make glass sculptures that can auparle one of the most important positions within the world of glass through the torch. The third lecture will be given by Yolanda Tabanera. In his lecture will give a presentation of their work and discuss his experience with glass artisans. Yolanda's biography we can see on their website is most diverse. It began as a student of German and then move to the fine arts. It depicts a multifaceted woman in their various artistic expressions.

Elements such as esparto, stone for the realization of litI invite you to view a very inte- Following the return of course, hographs, ceramics, poetry, resting video on these aspects embodied the teachings receishort texts and drawings ....... ved in a few figures that we and can be accessed found very interesting. through the link below. Since 1998 works as a teacher at the German University of But the obligation to make The second conference will Trier. parts for the various craft fairs and for the many commissions Since 2002 incorporates in their he receives almost daily have carriages and glass sculptures. not allowed more time to carry out the parts he had wished. We invite you to attend these In our recent meeting with him at the Craft Fair of Madrid told

three conferences.

April 2012

Page 2


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

 Part of the month

Intellectual Proper- be subject to the execution of the contract ty Law

 Visit to Angela Teunissen  Spanish in Emerge 

Solido Infinito

 Activities on the MAVA  News

Volume II — Number 43

 Our activities

 Glass recycling  How does CONTENTS:

TITLE V. Transmission of rights.

to the following rules:

1. Payable by the assignee to obtain copies CHAPTER lll. CONTRACT for the public comOF THEATRICAL AND munication of the MUSICAL PERFORMANwork. These must be CE. initialed by the author. The producers of public entertainments 2. The author and the shall be considered assignee chosen by depositaries of the remutual agreement muneration for the the main performers authors of the commuand, for orchestras, nication of their works choirs, dance groups where that consists of and troupes like the a proportional share in director. revenue. 3. The author and the This weekly remuneraassignee shall agree tion shall have it avaion the wording of lable to the authors or the publicity of comtheir representatives. munication. Execution of the con- Causes of resolution. tract. If the entrepreneur has Unless the parties have acquired exclusive agreed otherwise, shall rights, once started

public performances of the work, suspends them for a year. If the employer fails to comply with the obligation under paragraph 1 of Article 78. If the employer fails to comply with any of the obligations referred to in paragraphs 2, 3, 4 and 5 of that Article 78, after being requested by the author for their implementation. Causes of extinction. The contract expires in addition to the general grounds, where, for a work release and his stage performance being the only form of communication, it has been clearly rejected by the public and so had been expressed in the contract.

Part of the month


Established artists


Young artists


Visit to Angela Teunissen


Spanish in Emerge


Research line


Activities in Museums


Solido Infinito


”Universe Island”


FEAM’ Congress


Activities on the MAVA


David Magan


Technical Glass




Culture 2012


New culture magazine


Glass Cours in Albacete


builds then Picasso ter-

The glass museum


minal (T2) for its north

Without "bisphenol"


side, and is characteri-

Glass recycling


Cultural tours


Culture 2012 Programme


cade with a length of

Exposition “Singular-es”


225 meters and high

Visit to Malaga


ceilings, which facilitate

False-Color Actions


Other trends


The company Vitro Cris- de los Vados, provided

Jarosav Havlas in Tenerife


talglass has been char-

more than 17,000 squa-

The underground train

Glass workshop in Murcia


ged with supplying the

re meters of glass with

station has the same

”Bibles of Sepharad”


glass required for the

added value for the ex- design as the new airpansion of Malaga air- port terminal in terms of

We're going to Malta


airport and for the walls port and 5,700 square

Aluminum and Glass 2012


and ceiling near the

meters architectural

How does


station which takes you

glass for walls and roofs

New headquarters COAM


to the airport.

of the nearby under-

Glass in Calatrava


Thus, the multinational

ERE in AGC Glass Europe


mejicana, which has

Francis Toledo in Mexico


ERE in Vidrieras Rovira


La Mediterranea in Paris





Last minute. through a press release, the new terminal (T3), it

zed by maximizing the factor of enlightenment since it has the glass fa-

the entry of natural

expansion of Malaga

two factories in El Bier-

ground station linking the airport in Malaga to Fuengirola.

zo, and another one in

According to details

Camponaraya in Toral

from the company,


space and natural light. For the design of both projects took into account Vitro "parameters of sustainability and energy efficiency."

Page 3

Part of de month. Jaromyr Rybak.

April 2012

glass sculpture in the interior and exterior architecture, resulting in exposures Rooms Rooms I and II, but accounted for a large impact on their Czech colleagues, had little impact outside (NEW GLASS 2/91: 11).

Volume II — Number 43

Between the second half of the 80's and early 90 performs a series of three-dimensional works, abstract, whose inspiration symbolic elements of the sky-sublimation, elevation, and land. The play "Red Cloud" in the collection of MAVA, belongs to this series. With Jaromir Rybak she participated in the 15th edition of Glass Now, in 1994. (GLASS NOW 1994: 19). In the next edition of this international exhibition, Takako Sano invited with Stephen Dee and Mihály Melcher to make a special exhibition of his works (GLASS NOW 1995: 5). In recent years his work became more figurative, without being unrealistic. He studied at the Middle School in Zelezny Brod where you choose the specialty of Painting on Glass (1967 -71), which then completes the Academy of Applied Arts in Prague (1973-79) under the direction of Professor Stanislav Libensky.

priority glass-mold casting technique developed in his works by the couple Libensky-Brychtová-for his sculptures.

Monstrous creatures threaten gaping grades from the depths of hell imagined.

The mixture of glass with metal, especially brass, provides a set of contrasts between hardness and In 1979 he established as an independent artist in Prague, beginning brittleness that opens a new avenue of experimentation. his collaboration with Gizela Jaromir Rybak belongs therefore to Šabóková in architectural and ligh- In his teaching career prominently. the generation of Gisela Šabóková, ting. Milan Handl and Dana ZámezniThe relentless pursuit, which chaková, to name a few. racterizes the work and personality Rybac's work fits perfectly into the of Rybak, led him to make interes"Czech School", one that uses a ting experiments integration of

Page 4

Established artists. José Chardiet.

Your web

April 2012

Connecticut State University in 1980, then went on to attend Kent State University where he earned his MA in 1983. Some of the honors he has received include: a grant from the artist in 1984, Creative Glass Center of America, and Fellowship Tapes in the Institute of International Education, 1988-1989.

Volume II — Number 43

Joseph's experience in teaching is extensive. From 1991 to 2000 he served as Professor of Sculpture in Glass and the University of Illinois at Urbana-Champaign. He has also taught at Pilchuck Glass School, Penland School of Crafts, Haystack Mountain and the School of Crafts.

Chardiet Joseph was born in Havana, Cuba in 1956. He emigrated with his family to the United States in 1960, where he

settled in New Haven, Connecticut. Joseph obtained his undergraduate degree from Southern

Joseph has participated in numerous solo exhibitions and group invitation. He has worked in many public and private collections, including the Renwick Gallery Smithsonian American Art Museum, Washington, DC, the Museum of Art and Design, New York, NY, Corning Museum of Glass, Corning, NY, Museum of Art Yokohama, Yokohama, Japan, and Musee des Arts Decortifs, Lausanne, Switzerland. He has been widely published both nationally and internationally. Since 2000, Joe has maintained his studio in Providence, Rhode Island, where he works full time creating his sculptures.

Young artists. Ana Paula Ferrua.

Your web Art Works in Angel, London, England. 2004 Start Kussica, glass jewelry, with the artist Isabel Torres Zabaleta. Kussica born with the idea of a different product, combining the techniques of fusion of Isabel Torres Zabaleta, and my knowledge of old techniques in blown glass made in Italy, having achieved the desired goal with it. Work at The Saatchi Gallery, London, England. 2003 He works as an assistant in the Vetreria Anfora, Murano, Italy.

Born in 1975 in Buenos Aires, Argentina. He studied architecture, graphic design and his first steps in the field of glass were to include this material in the sets you made.

2005 Was selected to participate in Coburg Glass Price 2006, Germany.

In 2004 he moved to London, England, where he now lives.

For the third time Veste Coburg Art Collections became the seat of the European competition of contemporary glass art, which started in 1977 and is recognized worldwide, being one of the most important competitions worldwide recognition.

In 2006 he works as assistant to the artist Silvia Levenson, Italy.

Design a project for the Venetian Berengo Fine Art Gallery, Italy.

In 2002, his interest in glass led to a move to Murano, Italy, where he studied glassblowing techniques at school Abate Zanetti,

The Venetians learned how to work with glass, all these secret techniques passed down from generation to generation. 2002 He works as assistant master stained glass Franco Bressan, Padova, Italy. Franco Bressan's work are part of private collections and public buildings in USA, Mexico, India, Japan and Europe.

Page 5

Visit to Angela Teunissen. • The valuation of other

April 2012

• The joy and unión Give • A work of art to another and as you get in return

Volume II — Number 43

Angela's husband was a few days ago at the Museum of Glass Art Alcorcón to provide the realization of an exhibition of works by his wife without charge to the museum. A few days later received with great surprise and disappointment on the other hand, a MAVA mail which informed them that could not make that statement because the characteristics of the works of Angela did not fit the criteria of the Museum. If this information is correct, and we have no reason to think that it is not, the doubts that assail us this refusal are What criteria for who? Catalan why not? Is what is being exposed recently in the MAVA, with all our respect for their authors, they comes to terms with what is exhibited in the permanent collection? Does the Museum can now afford to decline any offer of a stroke implies that any expense? Would not it be wiser to leave it in the pipeline for possible future need? On February 29 we visited the house-museum Dutch artist Angela Teunissen is in Madrid. Even when they should have included this reference in the Bulletin of last February, could not be so because they are already closed issue. All works have been carried out on Angela some inspiration from the artist related to its vital principle "give and take = share". Therefore, the project entitled "Art of Sharing".

bonuses (or commissions) for people who do not work and people who take possession of money that is not theirs but of society. See how beautiful it may be the world if you give her to another part of your wealth. Do not empobrecerás, you'll give and increased emotional value to your wealth. Share your wealth. Sight • How beautiful can be a part • What do other happy

On their website announces: "Buy a glass object and gave him another, if you want to give it as gift to another person. He / she will be surprised and look with new eyes the Art of Sharing.

• The positive effect on your environment

A work of art as a positive counterpart of the culture to catch, high

• How to enrich your inner

• That it also encourages others to share Feel

• The happiness of another also increases your luck

With this policy we believe that the official who holds the address MAVA is making a deplorable management and a clear sign of this is the loneliness in which is the collection, with fewer and fewer visitors. Given that the museum has the figure of Javier Gomez as its Artistic Director and his appointment by the previous Municipal Corporation and the approval of the various political groups that formed it, gives it the power to decide on the suitability of the works to be displayed, do not understand the reasons why the officer aforesaid is irroga such powers and dismisses out of offers that the museum receives from the artists who perform their works with glass, basically. And above all, that the offer does not involve any payment for municipal coffers. View images

Page 6


Spanish in Emerge. production of objects using the latest techniques of glass.

April 2012

Luesma Vega made art glass, art glass projects requiring, special corporate gifts, commemorative items for institutions, special objects and surfaces for hotels.

Volume II — Number 43

Vega has exposure Luesma and workshop in the Poble Espanyol de Barcelona. His philosophy is to produce limited editions discounts and unique pieces. In the case of plates, and after the experience of working with the restaurant El Bulli, can offer very short productions and special features. 55Bcn is the brand name that produces special surfaces for fine dining. There are also Spanish representation in Emerge 2012. In our Bulletin No. 42 last March we announced the selection of the artist Karina del Savio Argentina to participate in this event organized by the Bullseye Gallery in Portland, Oregon (USA) and is the most important contest in the world. Our illusion because a Hispanic artist had been selected to participate in this event we desire clouded

our research and we failed to cap- They also work with interior designers, architects and designers, adviture the selection of the works of sing and producing projects. two artists are much closer to us. It works "Autumn Leaves" and Xavi Luesma Esther Vega, and "Avionet" by Antonio Sciacca and Eduardo Nieto. The study Luesma Vega was founded by Esther Luesma and Xavier Vega in 1991. The main activity is the design and

Vega Luesma reused up to 95% of waste glass and even use the waste of other workshops, so that their packaging and parts are fully recyclable. As for Antonio and Eduardo, who form the group Aleph, have been selected for the work "Avionet"

Page 7


Line of research: Inclusions (II).

Volume II — Number 43

April 2012

EstefanĂ­a Sanz Lobo.

A traditional history of the inclusions is that of the medallions, portraits, allegorical or religious fireclay and embedded in glass. The antique dealers often call these deposits because sulphides in contact with glass, fine porcelain cameo acquires a silvery appearance reminiscent of the silver sulfide.

mostly from the middle of the twentieth century. Therefore, inclusion consider the introduction of any material vitreous or vitreous not enclosed in a glass mass.

This can be accomplished mainly in two ways: working the molten glass mass, removing it from a crucible, or by working with the fusion techniques ceramic furnace or melter as those described along In a carved wooden mold, then molten iron poured artisan ceramic this part of the thesis . paste composition, the baked and In the second procedure we now cooled slowly then. turn. After heating the red cameo, it centered on a viscous glass at the same temperature, and coated with a glass portion of the measure, since the land without deformation refractory supports only one heat softened glass. Is an expensive procedure due to the high percentage of breakage. The only text where the word has been found inclusion, referring directly to the vitreous or vitreous materials enclosed in a glass mass, has been the manual Warm Glass, although the use of this term with this meaning is now current in any forum of contemporary glass. However, it seems that not much spread among scholars of the history of art glass, perhaps because this method of work has been used

Experimentation with inclusions. Most data have been obtained empirically inclusions, because as mentioned above there is not much information. For experimentation, we have worked with flat glass float of Spanish Glass 3mm. thick. The procedure is simple: cut square or rectangular pieces of glass and is enclosed inside a sandwich, the material being studied. Then introduced into the oven and baked under a proper temperature curve, which allow the two pieces of glass to reach total fusion.

It should make a piece of glass before cooking with a heat resistant material, indicating the matter is inside, because after cooking may be unrecognizable. You can not enclose any matter within the glass. During the testing of a new subject for inclusions, we venture some of the problems to be addressed, although not in all cases. Also we will meet with materials whose behavior we can not predict the glass: hence the importance of empirical findings for inclusion in these proceedings. Among the problems which arise when mixing glass with other materials point out the following: 1. Which are due to the physicochemical nature of glass. The first is the coefficient of expansion. As already mentioned several times, the glass has a specific behavior in its expansion and contraction, if it is adhered to a material which does not expand or shrink to the same extent at the same speed, breakage will occur.

The materials to include in the glass Thus, the material is enclosed within must be compatible with respect to its coefficient of expansion, or be the glass. sufficiently plastic to the incompatiThe scheme could be that disclobility does not produce cracks. sed in Fig 1.

Page 8

Volume II — Number 43

April 2012

Activities in Museums I.

Page 9

Volume II — Number 43

April 2012

Activities in Museums II.

Page 10

Volume II — Number 43

April 2012

Activities in Museums III.

Page 11

Solido Infinito.

Volume II — Number 43

April 2012

An exhibition in which everyone can find suggestive forms suspended in space, sometimes parts transparent, others opaque or deep where the color as an expressive element gives the sculptures a subtle beauty, achieving a perfect balance between fragility and elegance.

Glass, light material, seduction, transformation and deception!

And the rest, you see the same thing we see? Koen Vanderstukken

Water is the theme of the work of three artists, Luis Paredes, Studio Martin and Rosa Rojas Mendez, who have chosen glass as a sculptural material, in the wake of Studio Glass art movement that began Harvey K. Littleton, in 1962, putting up the first single oven to hot glass sculptures.

Each piece in the exhibition involWe can see what is missing, and Do others see the same thing we ves a thorough job of casting glass what we see is not present. see? ... art in space Orato Lola, I that can take several weeks to molook at a sculpture by Luis Paredes nitor the temperature drop for a Appearances are reality while realiand see a window on a rainy after- glass that supports the later works of ty sets, fatigued by deception. noon in the distance a forest and polished, engraved, painted, enaGlass, latest material that the artist mountains blurred ... a gray and meled, carved, resulting in unique can use to entice your audience. dreary as a farewell. pieces and surprising ... more info And yet ... Is it not true that everyt- Then I see a summer sea, waves hing we see by the light? Is the View images and wind, nostalgia blue … glass can only seduce and deceiFurther, a man says goodbye wave us? Is everything we see in line ving a handkerchief at the door of with reality at all times? his home water in a dreamscape.

Page 12

The Big Bang “Universe Island”. the universe's origin.

Volume II — Number 43

April 2012

The installation creates a three dimensional map of what cosmologists call "The Multiverse", a set of variations and other embodiments of possible universes. In this collision unlikely in conjunction with interior design and cosmology, McElheny is a lot of ideas that intersect with modern, abstract art to create a work of breathtaking formal beauty and science. The exhibition also included a film with a soundtrack commissioned by Paul Schütze.

McElheny is a glass artist for a long journey that culminated in works such as ISLAND UNIVERSE that came out during 2008 to 2011 in New York at the Museum of Glass and is now part of a collection of modern abstract art books . The artist who does the work is McElheny using the cosmologist David Weinberg for his work the Island Universe borrowed the name of the philosopher Immanuel Kant, who in 1755 coined the term in his General History of the nature and theory of heaven . "Island Universe" was born more than two hundred and ten years before the Big Bang theory, but

Shot in 16mm at the Metropolitan Opera House in New York, each of the sections represent the types of with the knowledge of David Wein- universes in the facility, and each berg McElheny managed to resection is entitled on the basis of the create the abstract sculptures are theoretical structure of each elescientifically accurate models of ment, as the violent type the Big Bang theory and illustrations (explosion) to the small scale, or the ideas that followed the general ac- frozen structure and the type of ceptance of the theory. emergency dyskinesia. The different lengths of the rods are based on measurements of time, disk groups and glass spheres accurately represent the clustering of galaxies in the universe, and focuses you do is mimic the brightest objects that exist, quasars. Island Universe proposed a set of possibilities that could have exploded into existence according to the amount of energy or matter in

The music editing and transmitting a rate of change, since it freezes and develops in relation to all scientific speculations about other worlds. This exhibition was also present at the Crystal Palace of Madrid's Retiro Park and the photo that accompanies this report was done for us on the visit to the exhibition.

Page 13

FEAM Congress.

Volume II — Number 43

April 2012

Once assembled members of Congress and held a dinner guest at the Hotel Amalthea. In the afternoon of that Saturday was held the Assembly of the Federation of Friends of Museums, a visit was made by the city and returned to Murcia. On Sunday morning we went to Cartagena to visit the Roman Theatre Museum, the walls of Carlos III and the National Museum of Underwater Archaeology (ARQUA). In both centers, their top executives made us a guided tour and closed ARQUA Congress. The second weekend of last March was held in Murcia the XX Congress of Friends of Museums. This Congress had as its motto "Friends, museums and cultural volunteer." We drove and drive to Murcia city and after leaving our stuff in the hotel, we move to the Archaeological Museum which was scheduled the opening of Congress. We arrived at the museum when I was starting the lecture by writer and journalist James Delgado and on "The Tudmir Cora." Then we enjoyed an extraordinary guitar concert by Carlos Piñana Conesa, graduate degrees in Music from the Conservatory of Murcia and Master in Music Research at the University of this city. Carlos belongs to a family of deep flamenco tradition and, therefore, has lived and assimilated flamenco since childhood. His performances are scattered throughout the world and has collaborated with many internationally renowned artists. He has also composed, directed

and performed the music of different shows. He currently holds the Chair of flamenco guitar at the Conservatory of Music of Murcia and the Department of the School of Art Foundation Flamenco Cante de las Minas. We end this Friday with a dinner party attended most of the delegates and other attendees. On Saturday we went to Lorca where there was a conference on What is volunteering? Taught by Amate Mar Garcia, managing director of the Platform of Volunteering in Spain. Then carry out a debate on the subject Keys to volunteer in the next decade. The companions during the day's work went to Alhama de Murcia, where they visited the Archaeological Museum "The Baths" and then came to Lorca to visit the Visitor Center Lorca. Time Workshop. After Lorca visited the city (Cloister of the Convent of Mercy, Museum of the White Pass Embroidery, Embroidery Museum Step Blue and the Church of San Francisco.

Back to Murcia in the afternoon each participant returned to his place of origin. In our opinion, we still consider, as in previous years, the working sessions of these Conferences are very short and are inadequate given the number of times that occur during the presentations. Nor do we consider of interest issues that have been discussed in the last Congress, when considering the varied problems that we suffer the various Associations of Friends of Museums and the need for us to find common solutions. We estimated, and we have stressed in the survey that we sent to the EGF, that Congress should take advantage of the hours of Congress to discuss problems and solutions, while the companions make a tourist program in the area. In the past we have taken a rather belligerent about this matter, but as we believe it is going to continue doing these events with the same schedule, we simply present our views because we believe that the most loyal is to make constructive criticism of what which seems manifestly improved. View Photos

Page 14


Activities on the MAVA. Conferencies.

Volume II — Number 43

April 2012

many years in Spain perfecting the art of working with glass rods shaped flame. A profession that requires much skill. In his lecture he will talk about the whole process of his work, from inspiration, tricks, solutions and challenges of their craft, materials, tools, etc.. After his talk illustrated with images, we will demonstrate a fashion plate with a torch. Wednesday, April 25: "Relationship glass artist-craftsman" by Yolanda Tabanera.

Lecture series "Glass in ... Science, Office and Art" From 11 to April 25, 2012 A year MAVA organized the Lecture "The Glass in ...." this time dedicated to science, the Craft and Art, in order to explore the enormous possibilities of glass from such different and interesting views such as those of a scientist, a craftsman and an artist. The three conferences will be held on Wednesday in April at 19h, in the Hall of MAVA:

Wednesday April 11: "The future is in the glass" by Alicia Duran. Doctor and CSIC researcher at the Institute of Ceramics and Glass, is an expert in the glass and its applications in science and technology. Very interesting and informative. Wednesday, April 18: "Profession: glass torch" by Mario Sergio Ramos. Born in Argentina, Mario spent

Artist of renowned national and international Tabanera Yolanda studied Fine Arts in Madrid and Munich. Although she does not work the glass, has long been using it in their works and installations. In his lecture will give a presentation of their work and discuss his experience with glass artisans. Free access to full capacity.

Page 15

David Magán en Objetos con Vidrio.

Volume II — Number 43

April 2012

From drawing to photography, sculpture, installations, projects for large format and virtual sculpture. What are your sources of inspiration? I guess it's the world around me. The music I listen, I read books, film and art that I see, my friends and family. It is difficult to discern what really inspires me, I assume that's all I care. Who are your influences in art? These have been changing like me and my work we have done. David Magan is a glass sculptor trained at the School of Arts and Crafts in Madrid. Light is the central element in his works, the use of transparency through the primary colors that overlap one another, create different colored cambinaciones vary by changing the position of the spectator experience with the environment. Why did you choose the glass as a material for your work? As a material ether, pure, clean and to which the light passes through and transformed.

Cold working the glass, from plates. Now I appeal especially Kenneth The short, the polish and sometimes Snelson, Naum Gabo, Palazuelo, the drill to get special shapes. Soto, Cruz-Diez, Richard Serra, Lucio In my glass sculpture conceive it as Fontana, among others. part of an ensemble, combined with other materials such as stainless steel and white concrete. Normally suspend the glass plates with steel cables. What glass do you use? I use glasses that are commonly used in the production of leaded lights. They go through a process of semiindustrial production and their colors depend on the internal composition of each.

Is a material that enables me to design the sculpture through the plane, in a different way to traditio- I care that its color is as pure as nal. possible, which have almost no texture and that, when overlapWith her three-dimensional soluping each other, producing new tions have not worked with an opacolors. que material.

What type of work you produce? These creations using overlapping Different media work from a compieces of glass of different colors mon language in which the transusually primary - that blend into the parencies and the chromatic, geospace and create blends of color metry and space concerns are aland the palette of a painter. ways present. How do you work?

How did you develop your career? With much effort, sacrifice and above all, perseverance. What are the plans for 2012? I have opened several fronts. Mainly, keep working hard with my gallery, Gallery Cayon, I will carry ARCO Madrid and other international fairs such as London and ArtBo PINTA (Bogota). I will continue presenting public sculpture projects, a topic that interests me a lot. Also I have in mind any installation design, as I did in 2011 for the Art of ArtBasel Statatements, but was not selected. And, surely, to produce a sculpture medium sized (1.5 - 2 meters) outdoors. As for exhibitions, have been selected for European Glass Context 2012, the New Talent category. So my work may be premium time in Denmark.

Page 16

Glass techniques. Color palette (XI).

Estefanía Sanz Lobo

Volume II — Number 43

April 2012

2. Degussa blue + 10% borax. As in the previous case, it becomes a thick sample (2.1), and two sprinkled, an on-glass (2.2) and another between glass (2.3) Degussa blue + 20% borax.

• On glass, adding borax, bubbles, even if the air bubbles are thinner. It is also opaque, and look at it from behind are very fine crackle in thin layers, medium and heavy. • On glass, adding borax and copper oxide black, no bubbles and the blue is darker.

The labeled sample is thick with 2.4, It is also more transparent. the 2.5 sprinkled on glass. Thick layer, it is clear glass, altDegussa blue + 30% borax. hough this does not present cracks. 2.6 is marked as the sample thick Thin layered half is full of crackle. as 2.7 and sprinkled on the glass. 3. + 70% blue Degussa borax 10% + • Between glass, bubbles much by huge balls that crackle and bub20% CuO. bles present in both layers of glass. Thick is tested in (3.1), sprinkled on • When mixed with lead borosilicaglass (3.2) and sprinkled between te results are very similar to those panes (3.3). obtained by mixing with borax. 4. Mix 3 + 10% talc (to add silica). The silica added is intended to har- The resulting blue color is very pale, and continue to form bubbles den the enamel. when working in a sandwich. This test is done to verify that the incompatibilities that may occur in • The sample with cobalt oxide and copper oxide, lead borosilicathe previous cases, ie 1 to 4, are te both gave best results, both bedue to the glaze is too soft. cause the resulting color, for the Also performed on thick (3.4), filtecontrolled formation of bubbles. red on glass (3.5) and filtered betExpressive possibilities of these ween panes. techniques. 5. Degussa tests without additives Enamel paint. blue, sprinkled on glass (5.1) and between glass (5.2). • Glazes • Displays with 10% cobalt, between glass and glass • sample with 10% lead borosilicate, between glass and glass. Test results of Degussa blue glaze: • On glass, no additives, very thin layer bubbling and thick. It presents very fine crackle medium and fine layer. There are also crackle when looking from behind the thick glass (is opaque). This clearly indicates a mismatch in the coefficient of expansion.

According to Morton (1999), the two main types of glass paint and enamels are metallic luster. Both apply similarly. Glosses are metal compounds which, in the furnace, a small amount of deposited metal on the glass surface, making iridescent. The oldest seems to be the silver nitrate, which becomes yellow when cooked. ELSKUS (1980), distinguishes between two types of colors to glass: the glass or grisaille painting (limited

palette and opaque) and transparent colors or enamels (more varied, but poor adhesion to the glass surface). The former are used to draw outlines, drop shadows and graphics. Recommended in the house Reusche, and others like Hancock and Drakenfeld. Application techniques on glass enamels. The term "glass paint" according to Kohler (1998) often refers more to the windows and other traditional methods, while "enamel on glass" usually refers to other artistic techniques. • Painting on glass. Traditional techniques The techniques of traditional glass painting are still used in contemporary glass art. Can be applied by brush mixed with an oil based medium or water. The water is cleaner because it does not leave residue when burned. The consistency of the mixture varies from enamel to another, but is often used a part of the enamel by two half. You must be dried before baking. ELSKUS (1980) suggests the following means: • Water • Alcohol • Oils such as clove, anise, lavender, oil of turpentine, dammar varnish • White vinegar • Glycerin • Water with powdered gum arabic • Water with sugar View images

Page 17

N E W S (I).

Visit to REEZ.

April 2012

Reez is the name Celina Re and John Lopez have taken to using the last two letters of their surnames, naming his studio glass art. They are located in the neighborhood of the Albaicin, Granada, and I were visiting on our trip we did to this beautiful capital, monumental em-

Volume II — Number 43

pire and history. Two artists from Argentina that, since 2002 living in Granada. Unfortunately not keep a good memory of its passage through the MAVA, like so many others. As they indicate, Reez is unity, is a partner dance, like tango, but going beyond the act of dancing. We called attention to three of his collections: Taxi, Boards and Spiral. Beautiful designs and bold composition. Currently involved in the creation of an ambitious project that will be released, if not bend their efforts in the streets of Paris. This will enable them to obtain a broad recognition of its work in the art of glass. From these pages we wish them every success.

Culture 2012. what has meaning for art Grenada as a destination for many artists, who for various reasons went through the city or even settled there. The first room, ranging from the late fifteenth century until the first half of the seventeenth century, a large diversity of styles and thus responds to the history of the city. The next room is devoted to monographic Alonso Cano (1601-1667). In the third chamber are present their best followers, like Pedro Atanasio Bocanegra, Juan de Sevilla, Pedro de Mena and José de Mora. Grants to non Granada in the fourth unit is justified by the need to highlight important aspects such as the influence of Juan Sanchez Cotan (¿1560? -1627) In still life painting of his time.

Last March we visited the Museum of Fine Arts in Granada. Located in the Palacio de Carlos V at the Alhambra. The Palace of Charles V in Granada is an amazing construction of the Renaissance style located in the heart of the Alhambra. It was built at the initiative of Emperor Charles V, who, after residing in the Nasrid palaces during their honeymoon in the spring of 1526, decided to take up residence in the Alhambra in Granada, within a much broader

Late in the second half of the nineteplan Granada configured as the new enth century begins to recover, with capital of the empire. some interesting figures as Manuel The Museum aims to show that it sin- Gómez-Moreno Gonzalez and other gles out on another, the thread could artists, whose works occupy the fifth not be other that the relationship with room. Granada and the Granada. The sixth room is devoted exclusively This idea translates into the two con- to works that have Granada as a cepts around which revolves the enti- theme, covering the period of greatest growth, from the arrival of rore exhibition, summarized in a single mantic travelers, 1830, until a century theme: the uniqueness of the art in later. Granada and Granada in art: what has been the evolution of art in Gra- In the last two rooms are works of the nada from late fifteenth century, hich twentieth century and contemporahas contributed to Granada history ry, respectively. of painting and sculpture as an artistic center that was first order and

Page 18

N E W S (II).

New cultura magazine.

April 2012

From the Museum of Avila send us news of the publication of a new cultural magazine, "laflordelacanela". This is the reissue of the Ministry of Culture and Tourism of the Government of Castile and Leon, prepared by the staff of the Directorate

Volume II — Number 43

General of Cultural Policy. It is an online newsletter, monthly, where you can find recommendations for literature, comics, art, music, theater, cinema, archives, museums and exhibitions, shows, concerts, albums … We hope that your interest.

Glass Course in Albacete. The University of Albacete frames its curriculum to the modalities of longterm courses, quarterly and of short duration. Short-term courses are proposed program covering a wide range of topics, its virtuality is the diversity of content that otherwise could not be included in the initial offer in September. Furthermore, the duration is so disparate from one day to three modalities in their methodological approaches, cluster, of timing, activities and approaches. The short course format is a proposed program in the People's University that achieves two important goals: first, to incorporate courses that complement the contents of the different classrooms and school, and, second, to accommodate proposals that, even without reference to the contents of any classroom, are considered interesting program in the framework of the VHS because they provide new content and interest to the public. This course is taught glass by our friend Luis Macht.

Page 19

The glass in Museums: Carmaux. the best public and private collections in the region of Midi-Pyrenees.

Volume II — Number 43

April 2012

Artists: Giampaolo Amoruso Régis Anchuelo, Laëtitia ANDRIGHETTO, Eléa BAUX, Thierry Boyer, Vincent Breed, Vincent CHAGNON, John CORNU, Hubert Crevoisier, Anne Donze, Anaïs DUNN, Sandrine Isambert, Markus KAYSER, JeanCharles MIOT, Philippe PAOLETTI, Isabelle POILPREZ, Colin RENNIE, Stéphane Rivoal, Jean-Pierre Umbdenstock, William Velasquez, Steven Weinberg and Gareth Williams. Visitors can complement the museum visit, discover and attend demonstrations of glass blowing at the helm every evening (except Tuesdays) at the opening of the museum (April-October). The outstanding feature of this museum is in the attraction and novelty.

A network of partner sites has been established at regional and continues to expand on the basis In fact, each year, a new exhibition of the particular glass professionals. Parallel to this process has been in Europe is presented in the Museum of Glass Carmaux, with emp- driven approach to the great names of glass in France and abroad hasis on contemporary glass art. (CIAV CERFAV, Marinha Grande An original way to reinvent the pla- (Portugal)). ce in all seasons (five months of In 2012, from 25 April to 15 Octooperation). ber, to be performed TRANS_verre The cornerstone of the project that exposure and invites you to discowas conducted in the building of ver the works of 22 artists, ranging the first glassware Carmaux. from the stunning glass creations of Jean-Pierre and John CORNU Its modernization began in 2006 Umbdenstock, the Young designers and continued in the next four yelike Anaïs DUNN or BAUX Elea. ars. These contemporary designs are With the help of a museographer confronted in an original way to a confirmed the project to rethink and structure the museum for glass selection of over 120 pieces of glass in the eighteenth century of to become the unmistakable and unique Midi-Pyrenees.

It aims to revive the tradition of glass in our territory, being home to young professionals in the art of glass placed in a position of autonomy, with the hope of a specific installation on Carmausin. The workshop also appears as the complementary part of live and visit the Museum of Glass. Your team can produce quality parts of the main techniques of working with glass: glass blowing, casting, fusing, thermoforming, blow torch. A room for finishing parts are being prepared (the cold finishing equipment is available). Since its launch in August 2003, the workshop has hosted twenty young glassmakers to supplement their education or to rent its facilities.

Page 20

Without "bisphenol" in glass containers.

April 2012

A, ITX (isopropylthioxanthone) phthalate, acetyl-aldehydes, and other potentially harmful chemicals. Bisphenol A is a hormone disruptor that has an effect similar to estrogen female hormone with operation.

Volume II — Number 43

Studies show that exposure before birth and early age causes changes in the mammary glands that predispose women to develop breast cancer over their lifetime. High levels of this substance is also associated with testicular cancer, decreased sperm count, abortions, a tendency to advance the date of puberty, obesity, diabetes, hypertension, heart disease and attention deficit hyperactivity disorder.

An Institute of Ceramics and Glass Center of Scientific Research commissioned by the National Association of Manufacturing Auto Glass Containers (ANFEVI) to confirm the absence of Bisphenol A (BPA) in glass containers has concluded that the analysis certificates glass containers manufactured in Spain by factories belonging to ANFEVI confirm the absence of all the substances on the list SVCH of European Chemicals Agency (ECHA).

Furthermore, no organic substances were detected, made consistent with the high melting temperatures (1500 ° C) and high residence times at these temperatures (~ 20 h) of the glass melt. Since these substances are deposited either in subsequent treatments, is ruled out any possibility of accommodating this type of substances in the final product. In particular, glass containers produced by all associated companies ANFEVI not contain Bisphenol

Exposure periods are most vulnerable prenatal, early childhood and puberty. Some countries have taken important steps to address exposure to Bisphenol A. Canada has banned BPA in the manufacture of bottles, while for the European Food Safety Authority (EFSA) has banned the use of this compound in bottles in 2010. The Food and Drug Administration (FDA) of the United States and the European Union are currently reviewing scientific information to determine whether to take further regulatory action.

Page 21

Recycling. Exposition “Las tr3s R”.

Volume II — Number 43

April 2012

manufacture of new products, or discarded so definitely cause the least possible impact on the ecosystem, will be given different treatment, "say the creators exposure. In "The Tr3s R" we will explain the process of transformation of four types of household waste, some old friends as cartons and paper and metal containers and plastic as well as organic matter and glass. It also focuses attention on an industrial waste such as copper, present in many devices of everyday life such as appliances or computers.

Society is slowly becoming aware of the need to further deepen the philosophy of the three Rs: reduce, reuse and recycle. CosmoCaixa Madrid returns to affect this important issue for our planet and opened on 1 March its new temporary exhibition "The Tr3s R" in his museum in the capital. There is plenty of time to go visit as it will for all until next February 10, 2013. The exhibition highlights the millions of products we consume and throw away the packaging of which after a few minutes of your life. Cartons and paper, metals, plastic containers, glass and other debris such as appliances and much more. Once used they become waste, until recently, ended up in the garbage indiscriminately.

Therefore, "The Tr3s R" raises the question: Can be remedied the problem of waste? The first step is to reduce consumption through responsible consumption.

The purpose of the exhibition is ultimately sensitize people about how valuable they may be small changes in habits, in this case add to the overall strategy to reduce, reuse and recycle.

The best waste is not generated! We must reuse products still serve.

The combination of the three must be a commitment by all, and visit this exhibition may be a good opportunity to understand why.

Reuse allows to extend the life of the products.

When: From March 1, 2012 to February 10, 2013, Tuesday to Sunday.

The last step is to recycle parts and materials to convert waste into raw material to manufacture new products.

Where: CosmoCaixa Madrid, Calle Pintor Velázquez s / n. Alcobendas. Madrid.

"The Tr3s R" is an exhibition that shows visually, simple and interactive latter process. The recycling of paper cartons and glass and also have their place. Residues are not all equal. Depending on its components and to reuse the useful parts to produce raw material suitable for the

Hours: 10am to 20pm. Guided tours for schools (5 th and 6 th cycle of Primary Education, High School students) and older programs. Languages: Castilian and English. Reservation: 91 484 52 74. Price: visit included in museum admission.

Page 22

 Our activities.

April 2012

In this section we detail the activities which take place this month, corresponding to the cultural visits related to the glass and outputs that we as provided in the program CULTURE 2012.

 Cultural Tours. As mentioned on page 30, we will visit several glass factories in Malta. Some are in the craft center "Crafts Village" is in Ta'Qali, in a hangar of a military airfield in World War II.

Volume II — Number 43

Another glass workshop in Valletta and another on the island of Gozo. We will also visit the workshop of Paco and Cris, trade name Carakuli Crafts.

 Culture 2012 Programme. village, Vitebsk, he married Bella and soon after was appointed Commissioner of Fine Arts. He founded the Academy and invites as teachers Lissitsky and Malevich. Teaches drawing in the colonies of war orphans, and that experience will make. The drawing was the way to penetrate, to "open the door" to the color, which is the support "of the spiritual." Disenchanted of course you are taking the revolution to the arts, decided to return to Paris.

In this April we will visit the exhibitions on the work of Marc Chagall, are installed in the Thyssen Museum and the Fundación Caja Madrid. This is an extraordinary double show not to be missed. Is impregnated with this gentle mystery that is not asking for explanations, but praying that we may share it. Compassion. To accompany him. Nothing is real. But that does not matter because something much better, which is cryptically offers credible. And of extraordinary beauty. No painter of his generation, and generate the excitement of color, has been so wise and sensible, and free, in the exploration of color and emotion. Chagall was born and learn to look at life in a small Russian town, Vitebsk, in the late nineteenth century.

Destined to be a modest farmer, manages to jump barriers and get a scholarship to St. Petersburg. And being accepted into the school of the Imperial Society for the Promotion of the Arts.

The drawing is only the starting point, I had explained to his students. That's his paintings. The drawing mark the contours but the basic issue is debated within the line, with color. That is pure matter, pure sensuality. An emotional response, gesture, the geometries of cubism. Even in his prints the line is bound, as if dibujase graphite but not with a brush.

"I was born dead. I did not want to live. " Thus begins enigmatic ChaIs 19 and a stubborn determination, gall his autobiography. a peasant, with whom he gets out of that environment and get aid to The book My Life, the only book he wrote and now reissued Cliff. go to Paris. And there occurs hatching, paradoxically found a place From its very birth Chagall, which far away, where his world is possinow met 125 years, makes his life ble. an allegory, contradictory between what really is and what hapHis only ambition is to grow your pens around them. painting. And found the place. Cendrars, Apollinaire, Max Jacobs, Seems to be in a captive state of Léger ... are their sponsors. He exwakefulness. The hardness of childhibited every year at the Autumn hood seems to have left their mark Salon in Berlin and have a major on their feelings. exhibition at the gallery Der Sturm's founding. Must have lived those years in a constant amazement that nurtured In Russia the Bolshevik Revolution the rest of his life. Chagall triumphs and feel you have a commitment to its people. The world he paints throughout his life is the reverberation of the world Return to St. Petersburg and enlists of Vitebsk stored in its memory. in the army. He returns to his

Page 23

Exhibition "– XXI century”.

April 2012

The glass is present through the work of Vega Luesma "Chasing Fontana II", a work sheet and cold techniques. The diptych is inspired by the textures that can be found in nature, ranging from the surface of a stone or cut made in a smooth skin.

Volume II — Number 43

The results remind us of the spatial concept of Fontana … Creativity, innovation, design, ability to convey emotion, to dream or smile and of course technical excellence are important criteria in selection. This exhibition is sponsored by the Spanish Foundation for Innovation of Crafts (Fundesarte) and funded by the Ministry of Education, Culture and Sport. The exhibition " - Spanish "" is a significant sample craftsmanship of the XXI century", of trades and crafts of the various continues its tour of Morocco. approaches being made in Spain in the early twenty-first century, From March 22 to April 22 can be with the common bond of convisited at the Cervantes Institute in temporaneity. Fez. Are these groups of traditional artiThen travel to Rabat, and then sans, consolidated figures that encontinue to Tetuan and Tangier, joy excellent reputations and vaand New Delhi in India. lues that young people are bursting with strength in the sector.

The current roaming has the support of the Instituto Cervantes. The inauguration took place on March 22 in the Exhibition Hall - Instituto Cervantes of the city of Fez (5, Rue Douiat, VN 30000 Résidence Walili Fez Morocco). Download the exhibition catalog.

Page 24

Visit to Malaga.

Volume II — Number 43

April 2012

From the time of the Phoenicians to the present day, Gonzalo has assembled a collection of over three thousand pieces, which rotates in the exhibition space for lack material to expose all. Supporting this collection showcase, the museum has a large component of elements of decorative arts, mainly acquired in the UK and our own families. According to its owner, two of the pieces to which he gives a higher value manufacturing are two cruets Catalan unique in that the handles are made of blue glass.

Last March we visited the workshop workshop has been made, mainly in Malaga Viarca with Alberto in church buildings in the province Cascón Martin the head. of Malaga. This workshop was founded in 1985 and has since developed an extensive curriculum of interventions in the making and restoration of stained glass.

Cascón Alberto has also worked largely in the enhancement of the windows of the Museum of Glass and Glass located in Malaga.

The collection of stained glass is very important and all have been made using the technique of grisaille or enamel. The visit to this important museum was very interesting and we far exceeded our expectations in terms of their content.

We expect and hope that its owner can have larger spaces in which to expose all the vast collection owned This museum, owned by Gonzalo and now has to be rotated, so that a It is the oldest shop in the city of Fernandez-Prieto, opened its doors visitor can only have a partial view of Malaga currently available. in September of 2009 after going all the funds the Museum possesses. through many vicissitudes and proIn their times of greatest developblems caused mainly by the cum- Another concern of Gonzalo Fernanment came to be about nine embersome municipal bureaucracy. dez-Prieto is the diffusion of the diffeployees to perform the heavy worrent techniques of stained glass by kload that had to do. On our visit to Malaga also had the young people, it intends to convert opportunity to enjoy a visit to the Currently, due to the crisis affecting Museum by its owner, who was re- one of the streets around the museum in a space where different the sector, only keep one and vealing to us the particular history workshops demonstrate to visitors the found good support in one of the of most of the pieces that have exvarious techniques used in the prosons of Albert, art student who seposed. duction of handicrafts. ems to feel a particular inclination to follow the family tradition. The glassware collection is extensiFrom these pages we wish him every ve, varied and some of them have success in achieving their projects. On their website you can see the an important artistic and economic many interventions that this value.

Page 25

False-Color Actions.

April 2012

The artist places his own work on land enrolled between the crystallization of a memory, a schematic flow diagram and the causality of a chain of thoughts. A series of 6-8 thematically related paintings are also part of the exhibition.

Volume II — Number 43

These include digital displays and collages showing the microuniverse Oursler own. Many of the characters find their way through all the different media within the exhibition. Tony Oursler, known for its innovative combination of video, sculpture and performance, exploring the relationship between the individual, the media and the mass media, with humor, irony and imagination. It opened in Soledad Lorenzo gallery exhibition entitled False-Color Actions "false color ACTIONS" Tony Oursler. The artist on this occasion, his fifth single in the gallery presents a collection of his most recent continuous exploration of the nature of human relationships.

Each individual installation is a combination comprising: bubbles of different colors made of glass blowing, photo prints and sculptures in fiberglass. Individually, the works present a stage on which light up and cast characters.

Here the artist adds new elements to their compositions of sculpture and video projections.

Blown glass bubbles represent the own speech bubbles in comics and in them are captured video projections.

Human figures printed to scale and colors abound in the gallery - these forms are cut out and reanimated by video projections and sound.

These facilities face juxtaposed animated characters, frozen, suggesting isolation and interpersonal struggle.

Among other artists, Oursler has collaborated with Kim Gordon of Sonic Youth member. In February 2010 his work was presented at the group exhibition Sonic Youth etc.. : Sensational Fix Art Center May 2, Madrid. From March 8, 2012 to April 14, 2012. Source: Galería Soledad Lorenzo. Image from the exhibition: FalseColor Actions.

Page 26

Other trends. The “Gioconda” visit to “Gioconde”.

April 2012

from the Royal Collection of Windsor and the National Gallery, which also provides the only original carton that remains of the three who did Leonardo (known back Bresciano coming from the Prado, and variations by two tributes-signed by Raphael and Michelangelo).

Volume II — Number 43

This impressive initial sketch, dated 1500, which strangely recalls the power of Picasso, has four figures instead of three (Juan Bautista fell at the end of the cartel, replaced by the innocent lamb that announces the tragic fate of the child ) and exposed for the first time with the final result. Conceived in Florence, left to paint the Battle of Anghiari in the Palazzo Vecchio, executed mainly in Milan and completed unfinished at the court of Francis I of France where Leonardo died, no one knows who commissioned the work, historians doubt among Louis XII of France and a Florentine collector. But we do know that the Santa Ana there was talk in 1503, and that Leonardo took it, along with the Mona Lisa and the beautiful San Juan Bautista, who also exposed now, when in 1916 he went to France.

The former faint blue mantle of the Virgin is now a very lively lapis lazuli. The hair and the veil of Santa Ana are so sharp that you can almost touch. In the rocky landscape in the background, the famous Leonardo atmospheric perspective, shaped by the mysterious technique of non-finite, and its vibrant gray have been clarified so that the Commissioner ensures that you can see a stream of water to the bottom, perhaps forgot to add " with a good magnifying glass. " The St. Anne Leonardo da Vinci, his most ambitious and more thoughtful, a huge oil painting on poplar wood solid (168 x 130 cm) that genius swept through Europe over the last 20 years of his life (1452-1516) , now shines with a light and more majestic than a box looks like a sculpture. After a 18-month restoration, which split the international scientific committee composed of 16 specialists to cause two high-profile resignations, the Louvre opens tomorrow overwhelming exposure, which lasts until 25 June and clothes to the new Madonna with Child and St. Ana with 135 works. The visit, a Tuesday and the Louvre closed to the public, it's exciting, "like attending a revival or a revival", as defined by the young and passionate Delieuvin Vincent, the museum curator who organized the exhibition. In his view "all great art deserves at least a century restoration," and this has required a long and not easy. The Louvre began to think about cleaning the

last, unfinished work by Leonardo in the nineties, given look dull and faded, and in view of the chips and the many layers of varnish-like yellow was the Mona Lisa. Once decided, in 2009, it was urgent to intervene, it took a year to seek funding and choose the team of restorers through public tender. The director of the restoration is the Italian Cinzia Pasquali, and the patron Barry Lam, CEO of Quanta Computer, a Taiwanese group. Although, during the work, the two scientists resigned Pasquali accused of having done too aggressive restoration, the museum today defended his work as "very careful" and states that it has followed the principle of least possible using clean techniques reversible so that in the future may be revised without damage. The hardest part was "spot clean and remove layers of paint and repainted" that hid the stroke subtle yet very physical Leonardo. One of the surprises revealed is that the infrared fingerprints had impregnated Da Vinci everywhere. "Now we know who put his fingers in the oil, that shaped the layers by hand, crushed and put the new layers to achieve the effect desired relief," says Delieuvin. The Santa Ana was the great obsession of the Tuscan master, the best sign of perfectionism, as more than 50 studies and drawings, mostly coming

According to Vincent Delieuvin, the work is "the scientific and artistic testament, his whole world is there, all his wisdom. The renewal of the iconography, the dynamism of the scene, the natural, landscape, life and the tragedy of the characters, the lightness of the lines give a magical effect, and we understand why in 1517 to see the Santa Ana the study of Leonardo was already a big draw. " Why has more fame and more seductive the Mona Lisa? "Because it looks at the viewer directly, because it is a portrait not divine because it is closer, because that challenges us and smile is a unique star." The direction of thought Louvre's Mona Lisa temporarily transferred to the rooms on the mezzanine which exhibits the Santa Ana at the end gave up, thinking that the 20,000 daily visitors entering the Louvre to see it not possible to appreciate the enduring influence of this Virgin languid that fascinated Delacroix, Degas and Max Ernst. Another of the gems of the exhibition is the humble Gioconda Madrid. The discovery of the Prado has a special place, 25 meters from the Santa Ana, and near the San Juan Bautista. Colorful and pimpante, arriving home to his model recalls the Mona Lisa is just a dark and blurry reflection of what it was. Varnished to dirt, tucked in his glass cage, saddened by the passing of time. Do you dare to touch the Louvre? "The restoration of the Santa Ana, and the magnificent restoration of the copy of the Prado have shown that it is technically possible to restore the Mona Lisa," says the curator. "Now we see through different eyes, a copy of Madrid has revealed details that do not know. It's still better than it was the Santa Ana But one day there will have to, because every day is darker. "

Page 27

Jarosav Havlas in Tenerife.

Volume II — Number 43

April 2012

The Czech artist works with the same passion that performing painting glass sculpture, thanks to knowledge gained under the tutelage of Professor Jan Cerny, (inventor of the technique) in the largest school in the town of Zelezny Brod , School of Glass Art. In Havlas Jarosav sculptures can be admired the poetry of his work and the realization of their ideas in this noble material, made with suggestive shapes and colors. Havlas's work is marked by the use of light to create works that navigate between real and unreal forms. The pastel colors of the paintings by Czech artist living with his sculptures. Havlas Jarosav displays his imaginary world Echevarría art gallery in the neighborhood santacrucero The Toscal. The canvases full of pastel Czech artist, who lives on the island since last year, are filled with fantastic shapes, figures and sensual exotic naked bodies of women. The exhibition also includes Havlas

glass sculptures can be seen in the gallery santacrucera until 9 April, from Tuesday to Saturday from 11:00 to 14:00 and 17:00 to 20:30. The public can enjoy Tenerife works carried out different techniques: pastel, oil, mixed media and sculpture in glass material. Techniques Czech artist dominates. His work with the oil technique begins by using vivid colors and unique technique, but sensitively mastered the art of cake that fills the gallery's art capital of Tenerife.

The creator of Czechoslovakia living in Tenerife since last 2011, has exhibited in different spaces and galleries internationally as the Kar Gallery (Toronto, Canada. 1974), Meridiene Gallerie (Montreal, Canada. 1975), Van Doel Gallery (Amsterdam , The Netherlands. 1977), Anita Schwartz Gallery (Frankfurt a / m. Germany. 1979), House of Culture (Santa Cruz de Tenerife, Spain. 1984), Gallery F. Quartilho (Rio de Janeiro, Brazil. 2004), Arcadia Gallery (Sao Paulo, Brazil. 2005), Galerie Deset (Prague, Czech Republic. 2010).

Page 28

Glass workshop in Murcia (X).

Volume II — Number 43

April 2012


pieces, so you can not always establish a direct relationship between the number of containers and workers.

The stove had a depth of 20 to 35 cm, a width of approximately 42 cm and its base is available in We have no conclusive data to slope towards the mouth, which say whether the furnaces stuwas oriented north. died had an upper chamber We ignore its total length, which annealing, for the progressive would logically be greater than cooling of parts, or if it was used for a furnace apart, in fact, one 102 cm preserved. of the hypotheses about the use Sidewalks would be about 40 cm to which it was intended the wide. oven 5 is this. The two furnaces already mentioned, identical except in size, reminiscent of a third party found on the street Sagasta of Murcia, before the twelfth century, and another of Denia. The four are structures of reduced dimensions can accommodate only one crucible to each side of the central fossa, two at most one side of Sagasta (Fig. 11). The specimens are Murcians melting furnaces work allowing many workers, installed around the structure, as would crucibles containing the frit which was made with the parts. One of these crucibles was found precisely in the area Puxmarina workshop, settling poceta reused as a water infrastructure later, probably of s. XIII, although it seems clear that the establishment glazier comes before us (Plate 31). In the oven Belluga, however, it was found that the group of the same furnace crucibles containing glass of different colors, probably used to decorate the

Furnaces 4 and 1 (first phase) OVEN 4

the next phase. In the second, the oven had in turn with a bench height about 45 cm followed by another having a height of 60 cm; either presented sidewalks trace of molten metal or vitrification. In the third phase oldest sidewalks were covered by an adobe building to form a single to a slightly higher level, the southeast sector of the resulting structure is the least altered, remaining there a thick layer of 8 cm blue-green glass.

There were some traces of the Stood at the northeast corner of vault of the north in the inside the workshop and presented a wall of the preceding phase. SW-NE orientation. The grave of the third phase was Retained over 2.50 m long and completely clogged by a glassy 1.30 m in width (Fig. 12, Fig. 21). mass of about 0.4 m3 heterogeWas made of adobe, some of neous with traces of red copper which were complete. and partially filled bubbles elongated charcoal. It consisted of a central pit of 0.50 m wide and 0.60 m high, su- The fund consisted of hardened rrounded by a horseshoewhite ash to a height of several shaped bench with a width of centimeters. Towards the hypotabout 0.60 m. hetical opening to the southwest, the bottom fell with the same fill. His remains are not allowed to rebuild the OS, corresponding to It is evident that the central part the door and the stove. of this oven was used for the preparation or premelting of the raw Only the southeast bench shows material and, necessarily, there traces of greenish vitreous. should be a wall to close the There is sufficient evidence to af- central fossa by the Southwest, firm the original work was rebuilt thereby forming a bucket. many times, though successive Unfortunately, all this changed repairs not substantially transforlater intrusions in the area, in any med. case, undisturbed land that In its first phase, the vertical wall should be under no remains oven is preceded by a sidewalk situa- cooking. The extraction, apparently cold, vitreous mass left apted at a very low level, which was repaid by the sloping wall of pear the brick wall, which was badly damaged epidermis.

Page 29

"Bibles of Sepharad" at the National Library. Jewish quarter and hostel being built

April 2012

in the castle grounds. The mayor of Culture, Sandra Martinez, on behalf of the City Council, invited the Minister to attend the opening of the inn, and to visit the Synagogue and the rich cultural heritage of the municipality.

Volume II — Number 43

Sandra Martinez said the Municipal Archaeological Museum of Lorca temporarily loaned three late medieval glass lamps, specifically the fifteenth century, from the synagogue. These are part of the temporary exIn The Hypostyle Hall of the Natio-

This inauguration was attended by

nal Library of Madrid was inaugura- the Minister of Culture, José Ignated on 27 February an exhibition

cio Wert, who was interested in the

called "Bibles of Sepharad".

current state of Lorca heritage,

An encounter with the culture in which they exhibit three glass

highlighting his knowledge of the emergency actions taken to date

hibition "Bibles of Sepharad: The lives cross the text and its readers." These pieces serve to illustrate aspects of worship and forms of lighting in the Middle Ages, particularly in the synagogue of the Jewish cas-

arising from damage caused by

tellated Lorca.


It is noteworthy that the temporary

synagogue discovered in the cas-

He also showed interest in learning

exhibition is organized by the Natio-

tle grounds.

directly Lorca Synagogue, the

lamps rituals belonging to the town of Lorca, specifically the medieval

nal Library of Spain, in collaboration with the Center for Humanities and Social Sciences CSIC.

Page 30

We're going to Malta.

Volume II — Number 43

April 2012


When you see the light in this issue,

military airfield in the northwest, the work the glass in this part of Europe.

we will be visiting different lands

military base used by the aircraft of

Maltese workshops working the

the RAF during the Second World

glass in this small country.

War (and today only small flying

Some are in the craft center "Crafts Village" is in Ta'Qali, in a hangar of

model airplane devices, although there remains the Aviation Mu-

Of course we will visit all the places we can and make them more interesting from the standpoint of historical and monumental.

seum), potters, jewelers, weavers

Keep in mind that the capital was

and potters working in the deve-

officially born in 1571 and in it were

In this center, as well as demonstra-

lopment of genuine products that

located the Knights of the Order of

tions of glass blowing, there is a

are then sealed the Malta Crafts

St. John.

huge store full of artwork made of


a military airfield in World War II.

glass blowing, fussing, thermoforming, blow torch, etc. Located in the hangars former

Another glass workshop in Valletta

We rented a car to visit all we can on the island of Malta and Gozo,

and another on the island of Gozo. which as we have had is gorgeous. So we really enjoy seeing how they At the turn inform our views on this visit.

Page 31


Isabel Garay "Aluminum and Glass 2012". meanings."

April 2012

An intellectual and physical, mathematical rigor and sensitivity and deep research. In his career he has been through the wood and clay refractory, Corten steel modular series, or black anodized aluminum, before emptying into the

Volume II — Number 43

glass in different colors. At the end of the year 70 begins its exhibition activity that leads him to perform solo shows at the Museum, the Botin Foundation, and continued participation in the eighties and “Open new paths to the spirit" is

material, where the very material

nineties in ARCO and other

one of the friezes that always

used is an expressive in itself.

European fairs of the hand Three

presides creation. Thoughtful pauses, exploration, sensitivity and metaphors shaped the career of Isabel Garay.

In this case the innovation comes from the hand of his show, which never exceeds the scope of the

Strokes galleries, Carmen de la Calle and Edurne de Madrid, which exhibits regularly.

soil itself, as explored in option

His work has been a way of

The veteran sculptor, a decade

series 'Mud and Stars'. The whole

understanding sculpture that links it

after his retrospective exhibition

proposal has been designed as an

to the minimalist tendencies of the

held at the Museum of Fine Arts,

installation in which the color and

60's. However, the artist created "an

now, go back to the showcase

simplicity of form, reduced to

important contribution was his

exhibition. Aluminum and glass are

rectangular formations, took the

ability to handle a material like

the materials that feed the renewed expressions of the artist in

stage exhibition. An encounter with clay, and detach it from its reference weight and tradition, to the artist's "solid and proven track

his business card back to the

record" in the national and

conceive a work of archaic

agenda of the galleries of the

international scene. Garay, born in

character in the beginning", which


Muskiz (Vizcaya), has spent most of quickly incorporates a new material, steel, as Hubert says his life living and working in

In the room Santander Del Sol St.,



creations. Over the past year,

In the sample of 2002 the Museum

For two decades his work has been

Garay has experimented with the

hosted a travel essential for their

developed from small pieces,

possibilities of polished and

creations since 1985, although his

compact and dense, 'Leaks' and /

anodized aluminum and glass,

new pieces regularly exhibited in

or 'Air Arm' in the 90, 'Module and

"that create transparencies and

the gallery Block Three, the last one matter' in 2000.

the many options presented in a

in 2009. Their presence in halls and

opens an exhibition of his new

completely new work." The textures fairs has been common in recent of these materials, geometry and color, on this occasion,


The stages in its production, as well as being obvious and emphatic, favor the evolution pure "research,

Garay is moved by love for the

the commitment to challenge the

materials and their possibilities, "for

way in eliminating the

The sculptor continues the

the sheer challenge of mastering

background", according to Jesus

exploration of an industrial

them, provide them with other


"harmoniously complement."

Page 32

How does.

Volume II — Number 43

April 2012

This month we include some pictures of the technique practiced by Susan Gott.

Page 33

New headquarters COAM. subjected to different transformation processes such as rolling,

April 2012

tempering and double glazing assembly, giving it the characteristics of safety and strength required in each case. The composition of laminated safety glass; Stadip Diamant, has been

Volume II — Number 43

used in the double skin lining the inside of the garden facade LASEDE. This forms a double foot ventilated facade not watertight thanks to the installation of a glazing in sliding designed and manufactured for this purpose, allows the user to the opening and closing thereof. Has also

The Venetian Glassolutions Saint-

The Venetian Glassolutions Saint-

ween the neighborhoods of Chue-

Both the choice of materials and

of 5 meters high and over 3 meters

ca, Chamberí and Malasaña.

the development of application

wide. These large volumes involve a

A project that started in 2005, the

functionality, the architect looking

difficulty in handling and high mobi-

result of a collaboration agree-

for a multifunctional environment

lity which, in this case forced to ta-

ment between the City of Madrid

which in turn has the roominess

ke special measures both in the ca-

and COAM.

and comfort of a home, COAM as- se as in placement. This, together pect that differentiates from other with the location of the work

been laminated safety glass used in Gobain has supplied the FCC engi- Gobain has worked from the start other applications such as elevator with the owner of the building, FCC neering technical solutions and walls and roof. (Fomento de Construcciones y glass used in the COAM. This work For exterior carpentry has opted for has been developed entirely-from Contratas) to define the constructia double glazing with safety glass ve aspects, delivery times or the the beginning and in each of its SGGClimalit of thick thermal insulaschedule of tasks and with the arphases, in collaboration with the tion helps, achieving significant sachitect Gonzalo Moure in desigclient, offering a comprehensive vings in energy consumption. In this ning the most appropriate for each solution for each application. area, the architect has chosen to application. Gonzalo, the current The nearly 11,000 square meters of retain the original facade, maintaifollower of the Bauhaus, seeks puriglass have been the protagonists in ning its classic look and rehabilitaty of the materials and the proporthe rehabilitation of the old San Anting the damaged areas. tion of finished space harmonics, ton Pious Schools, as the new Finally, include the glazing has befinding in the glass the perfect headquarters of the Official Colleen used in some of the interior glass combination of these three elege of Architects of Madrid. An area ments. Conceptually, the building's partitions EI120 and EI60 CONTRAof 20,000 m² of use multidisciplinary FLAM fire protection, which ensure design is based on transparency around a garden open to the puthe maximum protection against and open spaces, which is achieblic. ved with the simplicity of the mate- fire. The prestigious architect Gonzalo rials used. Such transparency is en- But perhaps the most striking aspect Moure has been responsible for this hanced by the choice of glass Diaof the work has been the complexirehabilitation which proposes "an mant, who becomes one of the pi- ty and majesty of some of the pieatmosphere of serenity to this new llars of this design and, fused with ces that have been projected. Spevenue with a garden epicenter." other materials such as steel, wood cifically for double leather interior and white concrete, form a single The new home of the architects, is parts are manufactured almost space. part of a great center located bet1,000 kg in weight with dimensions

It is a multidisciplinary area open to the public, whose facilities house

common office buildings .

(downtown) caused, in many cases, the work of receipt of material

the new headquarters of COAM,

The technical solutions developed

the Foundation, the Institute of Ar-

ad hoc for the architect, has been

chitecture, National Museum of Ar-

a challenge. The result has been

chitecture graduate training cen-

the manufacture and installation of

ters, the library, the Historical Servi-

almost 11,000 m² of glass composi-

In the words of Dean himself, Jose

ce and exhibition halls . It also hou-

tions in different solutions, both ex-

Antonio Barn, the goal is to convert

ses other facilities for public use as

terior and interior. Among them,

LASEDE College "in a generator of

a nursery, library, day center or a

glass Saint-Gobain Diamant, uni-

ideas and cultural, social and eco-

school of music. A nearly 500 par-

que for their unique purity and

nomic revitalization of the neighbor-

king spaces will serve the leisure

transparency. Depending on the

hood and reference of the Madrid

activities provided at the restau-

technical constraints of the appli-

citizens and visitors."

rant, terrace, showroom and shop.

cation, the glass has been

and installation were to be performed during the night, to avoid prejudicing the public activity.

Page 34

Glass in Calatrava la Vieja. the whole body were obtained by blowing the piece inside a mold.

April 2012

The decoration of the handle is irregular interlocking circles, obtained by a stamp. Chronology: 1195-1212. Comments: In both pieces, the ed-

Volume II — Number 43

ge and repié were processed separately and then applied. In al-Andalus Almohad no pieces like these. At the same Calatrava la Vieja, moSubject: two glass jars decorated

with a straight collar development

re copies have been found similar,

with mold. 1st: CV-84/C5/48/687. 2

and some flared.

though much more fragmented

nd: CV-84/C5/48/688 Subject: colorless and blue glass. Measurements: 1 st: high, 14.8 cm; edge, 9 cm base, 8 cm. 2 nd: height, 19.8 cm; edge, 9.3 cm, ba-

With pointed spout and handle full-

than these.

screen on the second copy-broken This has helped raise the hypothesis in the first-, flat section, which con- that locally produced, as with manects the rear edge with the upper ny other notable pieces Almohads found in the same place and at otbody.

se, 10.5 cm.

Presents repié truncated.

Place of discovery: Archaeological

From the edge to the top of the

excavations of Calatrava la Vieja,

neck, glass is dark blue, like the en-

1984. (Carrión de Calatrava. Ciu-

tire repié, while the rest of the body

dad Real).

is colorless.

Description: bitroncónico body

The diagonal stripes that decórate

her nearby sites, such as Alarcos. Exhibitions: 1995: Alarcos'95. The faithful of the balance. Museum of Ciudad Real. 2002-3: The Lesson of time. Museum of Santa Cruz. Toledo. Place of deposit: Museum of Ciudad Real.

Page 35

ERE in AGC Glass Europe.

Volume II — Number 43

April 2012


Powered by the combined effects of the sharp drop in demand and overcapacity in the European glass industry, AGC Glass Europe has informed the representatives in question intends to turn off two of its glass furnaces in Europe: a in the four furnaces of the plant Moustier (Belgium) and the furnace at the plant in Salerno (Italy).

intention to reorganize their operations to raise their competitiveness in the current difficult situation.

Accordingly, the stay will be discussed with the unions.

The two-fold initiative (oven off, more reorganization) could lead to The plant will continue its processing the loss of 123 jobs, a total of 719, and distribution. so first be discussed with the unions.

The consultations will also cover measures to soften the blow, such as creating a team of reThe Moustier oven has reached the employment. end of its useful life and will close in mid-March. Salerno's plant, for its part has a production oven, a laminated The absence of any signs of market glass line processing and distriburecovery plan is opposed to any tion center. renewal of it. Given the highly competitive environment, management Moustier plant also announced at a meeting of the Works Council of its

The furnace itself employs 125 people out of 140.

AGC Glass Europe has 18 float glass furnaces, distributed in western, central and eastern Europe. Based in Brussels and the European leader in flat glass, AGC Glass Europe produces, processes and markets flat glass for the construction industry (exterior glazing and interior decoration), automobile manufacturing, solar energy applications and various specialized industries.

Under the continuing effects of the financial crisis and excess local capacity, they proposed to extinguish It is the European branch of AGC the oven at the end of February. Glass, the leading producer of flat glass.

Page 36

Francisco Toledo in México. Then went into the oven and set color.

April 2012

As I did more of these circular windows that they should bring these two doors. That is what will show. "

Volume II — Number 43

In the text he wrote for the catalog, Jaime Moreno Villarreal explained that alballuri is "the Arabic etymology of the word 'bead', which means in Spanish accounts of glass necklaces and jewelry enristran, which means 'transparency or lens' ". The production of these "beads", Toledo worked in the glass workshop Xaquixe Studio, San Agustin Etla, Oaxaca, founded in 2002 by Christian Crosses and Harp Salime Thornton.

The mere mention of the name of Francisco Toledo is more than enough to attract the public to an exhibition of the artist.

In Gallery John Martin has been complemented with forms that collect other dimensions such as baskets and urns.

However, the content of Alballuri shows which opens in the Gallery John Martin (Dickens 33-B, Polanco, Mexico), will surprise more than one because there will be no painting or engraving and ceramics, but a total of 53 pieces made of glass, but also with mica mineral, metal foil, copper foil, inclusive, of gold.

During his participation in the Cervantes, Toledo said that the use of glass was a new facet of his work and he had to do with a project done with the firm Legorreta + Legorreta for the doors of the auditorium of the new building graduate Faculty of Economics, National Autonomous University of Mexico.

Toledo, who is in Oaxaca has also used tempered glass and blown glass.

Was asked to make "a kind of stained glass, then, I did it as circular windows in which I put my animals, octopuses, crabs, grasshoppers, fish, snakes, fleas, 'my cuts of mica, which were trapped between two sheets of glass.

Of glass plates or discs, 40 were shown at the Village Museum, in the context of the International Cervantes Festival last.

The first work that the artist did there was the medal to the International Prize Eduardo Mata Conducting, awarded at the Festival in the city Instrumenta Oaxaca. From 2010, Toledo began his exploration of various techniques in glass: blown, fused glass and now the sand. According to the workshop, Toledo is the first artist in the world to use the mineral mica encapsulated in glass. Last year, Toledo created the stained glass chapel in the center of the former Convent of San Pablo, Oaxaca, recently restored by the Fundación Alfredo Harp Helu. The different elements are reflected in the stained glass manifested one or the other, depending on the angle of light at different times of day.

Page 37

ERE in Vidrieras Rovira.

Volume II — Number 43

April 2012

last workers affected by ERE, numbering 102, including 27 workers who were dismissed initially by the figure of objective dismissal. Sources have indicated that with the output of the last affected by the ERE is reduced from two to one running furnaces, so that production Redice "almost half", so that the furnace is turned off included three production lines and maintaining has four lines, which are still in operation. This keeps the line Rovira Glass manufacturing soda bottles or 'white glass' jars or spirits.

Vidrieras Rovira halved its production after the departure of the last of the 102 affected by the ERE.

Factory Stained glass bottles Rovira, located in Alcalá de Guadaíra (Sevilla) has halved its production output culminarse after the last of the 102 workers affected by the record of employment regulation and layoffs objectives were initially, according to union sources have indicated.

Factory Stained glass bottles Rovira, located in Alcalá de Guadaíra (Sevilla) has halved its production output culminarse after the last of the 102 workers affected by the record of employment regulation and layoffs objectives were initially, Union sources have pointed to Euaccording to union sources have ropa Press on Monday that left the indicated.

Workers expect that the crisis "we continue punishing and no more layoffs" and recalled that "the company argues the crisis situation in the market to close the oven." In mid-January, most workers Window social Rovira approved the plan submitted by the company on this ERE, which includes compensation of 45 days per year worked. Sources have indicated that economic conditions have been met also have been eligible had the 27 laid-off initially.

Page 38

La Mediterranea in París.

Volume II — Number 43

April 2012

on the first floor of the museum has retained all its magnificence from its opening in 1900. The sobriety of the new organization of the architect Jean-Michel Wilmotte adds value to the glittering chandeliers, painted ceilings and gilded hall of this historic monument classified. As for the kitchen, Chef Yann Landureau prepares a traditional French cuisine, guided by original dishes related to the museum today. You can combine a visit to the museum and dinner at the restaurant on Thursday evening. Discovery menu at 55 € (drinks included): personalized reception with fitted wardrobes and access to museum collections. Group menus from 40 €. The history of the museum, its building is little banal. Located in the heart of Paris along the Seine, opposite the Tuileries garden, the museum has been housed in the former Gare d'Orsay, a building built for the Universal Exhibition of 1900. Thus, in a way the building is the first "work" of the collections of the Musée d'Orsay, which presents the art of recent decades elapsed between 1848 and 1914. Currently the Museum presents the first major exhibition devoted to EdThe restaurant at the Museum decor, very carefully, in its majestic gar Degas (1834-1917) in Paris, from 'd'Orsay "in Paris, opened last Octo- frescoes which invite you on a jour1988 retrospective at the Grand Paber 2011, has benefited from the ney in time to put yourself at the lais, collection' Maiaia 'to dress up their beginning of s. XX. tables. Degas and the naked ambition of The dishes of the Mediterranean, participating in the Musée d'Orsay The collection "Maiaia" knitwear traditional character, will be resto show the advancement of knowrescues the grandmother, eight ponsible for presenting the traditioledge about the greats of the sepoint, the inside, etc.. nal French cuisine, prepared by cond half of the nineteenth centuChef Yann Landureau. ry, after the homage to Claude MoThe restaurant is classified a historical monument, has a period The former Orsay restaurant, loca- net (1840-1926) and Edouard Manet (1832-1883) . ted

Page 39

Nuestro Boletín tiene su redacción en: Castillo de San José de

Volume II — Number 43

April 2012

Valderas. Avda. Los Castillos, s/n 28925 ALCORCÓN MADRID

Al vidrio por la cultura

Presidente honorario


Javier Gómez Gómez

Rosa García Montemayor


Evangelina del Poyo

Miguel Angel Carretero Gómez

Diego Martín García


Francisco Martín García

Pablo Bravo García

José María Gallardo Breña


Mª Luisa Martínez García.

Teresa Fernández Romojaro 

The purpose of this Association is to promote, encourage and support many cultural activities in the broadest terms, are related to the mission and activities of the Glass Art Museum of Alcorcon. Our goal is to develop and collaborate with other public or private entities to promote, protect and promote the art and culture. 

The Association of Friends of MAVA was incorporated on June 21, 2003 in accordance with existing management.

Tesorera Mª Angeles Cañas Santos

Page 40

Glass Workshop. Images.

Volume II — Number 43

April 2012

Fig. 1

Volume II — Number 43 April 2012

Page 41

Techniques. Images.

Page 42

Glass Workshop. Images.

Volume II — Number 43

April 2012

Lámina 41

Fig. 11

Lámina 21

Fig. 12

Volume II — Number 43 April 2012

Page 43

FEAM. Images.

Page 44

Volume II — Number 43

April 2012

Solido Infinito. Images.

Page 45

Volume II — Number 43

April 2012

Angela Teunissen. Images.

Bulletin No. 43.  
Bulletin No. 43.  

April Newsletter of the Friends of MAVA