Volume II â€” Number 45
Loretta Yang . CNV Foundation. Newsletters
M. A. Carretero.
It seems that arrive hopeful news about an upcoming economic viability of the National Glass Centre Foundation, La Granja (Segovia).
presented as the Friends of MAVA, always told us: Ah, yes, of The Farm! With envious had to get them out of their error with "No, Alcorcon."
This positive outlook on the future of our flagship CNV fills us with a joyful hope for the reopening of the facility to continue manufacturing the beautiful pieces that come out of their ovens and how accustomed we are to admire.
Therefore, we continue with great concern the evolution of the viability of its maintenance and commissioning of their ovens again.
Also, how could it be otherwise, we are delighted that its prestigious and skilled glassmakers and the rest of the staff can return to run their jobs and continue to produce beautiful pieces that we are accustomed.
But we also remember the unpleasant news that we have been coming from the various glass makers of our country in our visits to their workshops and in connection with the operation of the Centre. In some cases, have sent their complaints about the difficulties they have had to suffer in carrying out some of the specialized courses, especially in the last stage of operation.
"market" to try to lighten your store stocks based on a significant cut in the prices of their products. We also have submitted their concerns regarding the view that the sustainability of the CNV was based on government grants. Considered it necessary that the entity should be governed by business criteria and not to rest its management in public aid, as seen now, could be undermined by political upheavals, economic or otherwise.
The Foundation has within it aspects of incalculable value. Your Tech Museum is impressive, both to perform a very important educational work The prestige of this global through the many tools are center is unquestioned. Only there in their rooms, covering In other cases we have been aspects from ancient times to be analyzed over time to concerned by the influence develop their business and the manufacture of glass, as of political issues in their mathe prestige accorded to to admire the many of sculpnagement, prioritizing, in his institutions and individuals tures by leading artists of opinion, on the technical and world repute. who could show they were pedagogical. proud owners of a piece Nuestra sede: In others have shown us was We too have had the oppormade in La Granja. Castillo Grande de strange that the Foundation tunity to enjoy a guided tour S.J. de Valderas In our travels to different had opened sales offices of through their facilities. its products in the major capiAvda. Los Castillos, s/n countries we have always Specifically in my case, I have sought manufacturing centals of our country. 28925 ALCORCĂ“N. learned a lot from the exceters of artistic pieces made (MADRID) Here again we have witnesllent guides who accompaof glass to see the firstname.lastname@example.org sed that artistic glass factories nied us and showed the diffeces in techniques, design, located in other countries rent aspects of the Museum. price, prestige, etc.., And around us were either local or Not only technical issues but whenever we have signed agreements with exalso how to address the puclusive shops in the industry of blic and to convey the pride decoration, for example, to of belonging to an institution exhibit and sell their creations like the CNV. in them. The availability of the friendsIn this respect we show our hip of its Director, Paloma Passadness when we got the tor, we are proud and we news that the SEC had set a know that has endured some very bitter with the latest vicissitudes through which is passing the National Glass Centre.
S PE C I A L I NT E R E S T:
Important issue: the Intellectual Property Law (XV) M.A.C.
Part of the month
Intellectual Proper- available to the authors the amount coty Law
With the Czech glass With Ana Belen Llavador
Activities on the MAVA News
Volume II — Number 45
Glass recycling How does CONTENTS:
Part of the month
With the Czech glass
With Ana Belen Llavador
Activities in Museums
Nacho Criado in Retiro
Activities on the MAVA
Pianos with glass
The CNV in Croacia
Fernando Cortes to UK
The glass museum
work, the producer, at least once a year, must provide at the request of the author the necessary documentation.
llected in respect of such remuneration. To this end, the Government may establish by regulation the Where the audioviWhen an author's consual work is shown in appropriate procetribution is not complepublic places by pa- dures. ted by unjustified refuying an entrance The projection or dis- sal thereof or by reafee, authors will be play without requiring son of force majeure, entitled to receive a entry price, the trans- the producer may use percentage of revemission to the public the part already comnue from such public by any means or pro- pleted, respecting the display. cess, wired or wirerights of one on it, witIn the case of export less, of an audiovisual hout prejudice, if any, work shall entitle the of compensation apof the audiovisual authors to receive propriate. work, the authors may assign the right appropriate compenShall be considered referred to by a lump sation, in accordancompleted when the sum if the country of ce with the general audiovisual work has destination is impossi- tariffs laid down by been established the ble or extremely diffi- the corresponding management entity. final version, according cult the exercise of to the agreement in the right. In order to facilitate the contract between Entrepreneurs in pu- the author's exercise the director and the producer. blic rooms or showro- of rights granted to oms shall periodically you by the exploitation of the audiovisual make TITLE VI. Cinematographic and other audiovisual works.
URGENT NEWS ERE Foundation CNV.
Staiend glass in Guadalupe 19 Glass recycling
Culture 2012 Programme
Interview to Silvia Monge
In the cathedral of Leon
Glass workshop in Murcia
The Executive Commission of the Foun-
record of employment regulation (ERE).
dation of National Glass Centre (NSC)-
For his part, President of the Works
composed of one representative from
Council, José Luis Duque, expressed his
With Claudia Bolzman
the Ministry of Education, one of the
satisfaction at the fact that the Board
Museum glass cube
Ministry of Finance, the president of the
"provide 70 percent of the departure of
Tomas Saraceno in NY
council, the mayor of the Royal Place
other years. Not to give anything to 70
and address of the same-has met to
percent, not bad news. "
finalize the details of the viability plan
In this regard welcomed "if they keep
The ERE of CNV (1)
that seeks the resumption of the Friday,
the entire workforce of 55 employees
The ERE of CNV (2)
and noted that, even so, the next six
This appointment will have been redu-
months will be crucial for the center."
ced, by 30 percent, the amount provi-
Meanwhile, the mayor of the Royal Site
New galery in Mexico
ded by the regional government to this
of San Ildefonso, Jose Luis Vazquez, re-
Laminados de Ayer
cognized the effort made by the Go-
According to the director of the Natio-
vernment of the Community, although
nal Glass Centre Foundation, Aurea
he added, the council "would have to
Juárez, this means that the SEC will re-
make sense of their right to exist in a
ceive 200,000 euros, which means that
project like this." Councilman criticized
"we will meet to assess the best ways to
this entity "provides 0.5 million euros to a
start the activity again."
museum in the capital, while the CNV
Juarez said the goal is to keep the enti-
re workforce, which has last January found in the second
Part of de month. Elvira Hickert.
expose in Tucson during the 27th convocation of the Glass Art Society. The work represents the sculptor in the MAVA entitled "Antares", name a star in the constellation Scorpius. The piece combines flat glass obsidian. For its brightness and beauty, obsidian traditionally been granted esoteric properties.
Volume II â€” Number 45
It is a natural glass of volcanic origin widely used by prehistoric peoples for making ritual objects and spearheads and arrows. Mesoamerican cultures widely used obsidian to make tools or as an ornament. Also used to create weapons like the fearsome maquahuitl or mace and spears and arrows points, for being very sharp drilling and chopping the skin and flesh with ease. Even surgical instruments have been discovered before Columbus made from this material. Today, obsidian blades are used in cardiac surgery and eye because its edge is much thinner than steel scalpels, with up to five times sharper than the latter.
Hickert Elvira was born in Atizapan de Zaragoza, Mexico, in 1939. The celebration in 1992 of the XXII Congress of the Glass Art Society in Mexico, accounted for many Mexican artists, engaged in other disciplines, a definite boost to the use of glass in his works. The sculptor Hickert Elvira was one of them. Shortly after casting conduct a course with Eric Hilton of New
Jersey and fusing with Robert Nachman and Duane Dahl, giving no return to the glass entrance in his work. This, Elvira Hickert gave continuity to a path begun a decade earlier by a good number of Mexican artists who had established their own studies in order to work with glass as the basic material, including Raquel Stolarski-Assael and Ana Thiel, with the later (1997)
The cuts made with obsidian blades are thinner and cause less damage to tissue, it allows surgical wounds heal quickly. In Mexico, the cradle of Aztec civilization, obsidian stone is considered a magical and sacred. Elvira Hickert has participated in over 50 group exhibitions and 18 singles throughout the world.
Established artists. Loretta Yang.
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The flowers that adorn many of his works symbolize the difficulty and brevity of life. The life of a flower is this passage from hatching wilting. As the bud becomes a flower, which sparkles and pure fragrance, its end is looming on the horizon. In other words, the height of her beauty is exactly the time before its decline. That's why the sight of a flower can have on the viewer a joy mixed with sadness.
In the 1980s, a group including Chang Yi and artist Loretta Yang raises the possibility of using glass as a material for artistic creation, leading to the company Liuligongfang in 1987. It was at that moment, in which Loretta Yang was at the height of his fame as an actress, when he decides to devote himself to end glass art. It is a pioneer in Chinese contemporary art glass. His first sculpture was a Buddha, an issue which was moved several times because it represented his personal beliefs and philosophy of life.
He found that the first property of glass, transparency, was able to account for the philosophical meanings. One of the Buddha's words were: "What comes when you reach the light and my body, my soul, my mind becomes similar to that of glass. Pura. Transparent. Perfect." Loretta Yang has exploited all the qualities of glass and all its possible deployment in space. His depictions of Buddha seem transparent and light, thanks to the work of the materials allow the combination of mixed media and lost wax casting.
In this context, Loretta Yang believes it is possible to enjoy every moment in which we consider as inevitable the suffering caused by the loss of loved ones, health, youth, life. The art of glass can reflect this philosophy, because of their fragility associated with its beauty. True wisdom consists in being able to see through these unstable forms that live in life. His art becomes a metaphor for his attitude towards life, his own conception of Buddhism. The techniques of casting, casting and lost wax, are not mere artistic process that leads to the conclusion of a work of art, but become in the hands of Loretta Yang, in the implementation of a mindset, a voluntary philosophy and existential.
Young artists. Robert Bender. illustrated children's picture books. In 2009, after helping his wife for many years in various technical aspects of glass made in mold, began to do their own work in glass sculpture. In 2011 was Inclusions in the New Glass Review, and this year has been invited to the exhibition of Habatat. He has been invited this year to 50 Anniversary of Studio Glass Movement.
In 1984 he graduated from Syracuse University as a BFA in Illustration. From 1984 to 1992 he was a freelance illustrator having as clients the New York Times,
Psychology Today, Billboard Magazine, newspapers and pharmaceutical publications and educational. From 1992 to 2008 he wrote and
With the Czech glass.
When loitering around Prague see in the many shops there are so many vases, sets of glasses, plates, pendants, rings, necklaces and lots of beautiful glass products, we will not know which one to choose. To facilitate the difficult task a bit, we recommend the best brands of crystal truth.
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Beautiful One of the companies most famous crystal products Jablonec is Precious. Precious crystal containing 30% lead, which is achieved with a special brightness. After a wave of bankruptcies in the years 2008 and 2009, during which closed many glass Czech glass industry in this country is revived, writes the daily Mlada Fronta Dnes. The future of these windows depends on new technologies and modern designs, the paper said. Instead of decorative glass, many factories reopened to engage in the production of components for cars and planes and for the photovoltaic industry. Currently glass factories employ about 15,000 people and begin to miss them and more experienced workers, the newspaper said. In a week open in the city of Světlá nad Sázavou a new window, Bohemia Machine, which will produce exclusive collections of carved cups, designed by leading designers both Czech and foreign.
His invention, a colorless glass carved in the most various forms, became under the name of Bohemian crystal in one of the national symbols and, of course, also a lucrative commodity. The glass industry developed more strongly in the north, in the mountainous regions rich in timber, water, sand and other siliceous materials. A traditional center of glassmaking is the city of Jablonec nad Nisou, which houses several companies engaged in the manufacture of chandeliers and crystal glasses, and the famous jewelery Jablonec. Other centers of the glass industry are Zelezny Brod and Novy Bor.
The most talented glassmakers around Jablonec and produce jewelry, chandeliers and decorative objects of luxury with this crystal. Beautiful glass products are exported to the world. The store that sold in Prague is located on the street Jindřišská. Moser The headquarters of the company following world-famous crystal products can be found in the northwestern Czech Republic, Karlovy Vary. Moser The company specializes in crystal glasses, crystal unit known for its rich colors and also respect the environment.
And is that the glass Moser glass factory contains no lead. But basically the whole region at Moser has its shops literally around the foot of the mountains and mountains Lusatian Jizera is littered the world and, naturally, also in Prawith large and small glass foundries gue. Statistics show that the glass indus- where there are extraordinary and Swarowski try has grown over the past two ye- beautiful objects. ars. Who does not know the brand SwaFor example, near the city last According to data from the Czech mentioned, in the town of Lindava, rovski. 25,000 employees, stores in 40 countries, luxury crystal products Glaziers, last year's earnings Czech is the glass factory Ajeto, the fafactories reached more than one mous Czech designer Borek Sipek. with unsurpassed design. billion euros and glass products for about 800 million euros were expor- Here products are made of real ar- Few, however, know that the Austrian company has its origins in the ted abroad, says Mlada Fronta tistic value, plus you can see glass Czech Republic. Dnes. blowers in action. If we were to take only one thing Excursions to the glass factory Ajefrom the Czech Republic, then the- to are very popular with tourists! re would be food for thought. The best brands of Bohemian glass One simply has to be Bohemian To find Bohemian crystal, however, glass! do not go to northern Bohemia. Czech glassmakers for centuries Well-known brands are represenformed part of the world leaders, ted around the world without bringing their trade gradually to exaggeration and, of course, also absolute perfection. in Prague.
Its founder, Daniel Swarovski, was a native of northern Bohemia, where he learned the craft of glassmaking. Later he moved to Austria and founded the town of Wattens the company gradually conquer the world.
Our visit to Ana Belen Llavador.
Institutional orders is not short, not even private entities, resting their confidence in the excellence of their techniques to the different parts that institutions award the winners in different kinds of events, commemorations, appointments, etc..
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Family celebrations Ana Belen also request some pieces of glass with which to remember any occasion. And his desire to fight against adversity also has a high percentage of the temporary weather we are going through, and comes to the greyhound breed. It comes from a family where hard work of the mine has been his daily bread. In the early days of last May we were visiting Ana Belen Llavador in his workshop in Guardo (Palencia).
Ana Belen spent many years working the glass and he began studWe take the bridge the day of the ying through courses at the NatioMadrid to visit the Romanesque Pa- nal Glass Centre Foundation at La lencia and closer until I keep to see Granja (Segovia). the works of Ana Belen. After research has been contiOur first impressions of their achievements in glass was a huge surprise to see that they were executed with all kinds of glass processing techniques.
nuously in the realization of new techniques and today the exhibition of works in his studio reflects the variety of techniques that dominates.
Torch, mold, hot melt, thermoforming, glass, laminate, tiffany, carving, matting, etc..
As you can see from the pictures we put on another page of this newsletter, Ana Belen has a well stocked shop work tools to develop their work.
She has made the windows of the parish church of San Juan Bautista in the locality. In our Bulletin No. 29 of January 2011 we reported the prize had been awarded at the Christmas window dressing competition in
With the economy in a recession like we are living, has been defending Llavador well thanks to the prestige it enjoys with the people around and even outside it.
Actuamente his brother keeps going down every day to do their job chopper in the bowels of the mountains of Guardo. And we had the pleasure of meeting to coincide with him in the workshop that an order came to leave her sister. As we said, the work in the mine is not what it was, conditions have improved. But however much they have improved working conditions, to see how the ground floor is sinking as the lift to start the gallery and the black ore rock for eight hours and twenty minutes to eat the sandwich, should not be a a pretty one, at least for us. Conclusion. A visit to remember a very positive way for long. Thanks for that, Ana Belen.
Line of research: Inclusions (IV).
EstefanĂa Sanz Lobo.
Some materials, such as bones or fish bones, may give good results in inclusion provided to dry before use for several weeks, and issuing a way to evacuate the gases that will undoubtedly ensue.
Volume II â€” Number 45
The bone of Fig 1 is purposely placed outside the perimeter of the glass sheets so that they allow the evacuation of gases. In this photograph, is still within the layers of glass, but in fact is completely burnt and turns to dust easily, which could be removed, leaving only his mark as an air bubble. Another possibility is the double cooking, is to make a first batch by putting a glass on bone, spine, etc., So that organic matter is burned, releasing gases from burning themselves and at the same time, the glass is on it is thermoformed. This thermoformed glass with organic debris (be careful since they have become ashes and are very fragile) are baked again on another glass.
substances are converted to ashes too fragile, virtually impossible to keep after the first firing, as with paper, burlap or wood chips. These three tests of Figure 3 were performed using a double firing of bone, fish bone and head of shrimp respectively. The three materials were dried for several weeks before use.
wood between two glasses. This area and not burned raises bubbles, but retains its dry and dusty. III.2.4.4. Inorganic inclusions. This issue has been experimented with materials which have been grouped as follows: glassy, metallic, sand, refractories.
In some cases the stresses produced between the glass and the material contained are so great that cracks occur in the glass.
Materials and vitreous enamels.
These breaks appear to deshornar only in extreme cases, at other times are unpredictable and can occur at any time.
The main issues to be taken into account with respect to these materials mentioned in the previous chapter, but mention here other relevant issues regarding the internal volume, compatibility, the expressive possibilities, and so on.
Inclusion of slag from burning coal in Fig 4. The photograph on the right was taken right out of the oven sample. Although tensions were strong, breaks are not seen yet. But a year later, the sample was completely broken.
Thus the organic matter is enclosed In Figure 2 fragment of a play with different elements such as powder without the risk of bubbles. blue frit, copper wire, glass transIn the experiment, have been suc- parent ground. cessful the second baked bones and fish bones, which have a large Inclusions should be highlighted in gray, made by placing burning ash amount of calcium, but other
This group will include the chips and dust from stained glass, enamels and glazes and other materials.
Depth effects can be achieved using a combination of layers of transparent glass and coarse chips is enormous. It is necessary, however, provide for the formation of air pockets placing a transparent glass sheet of the same thickness as the framing fried therewith. Thus, sharp cut shapes created inside the glass layer.
Volume II — Number 45
Activities in Museums I.
Volume II — Number 45
Activities in Museums II.
Volume II — Number 45
Activities in Museums III.
Salon Berazategui Glass.
Volume II — Number 45
Stained Glass enrolled in technical categories such as Classical, Small Format, Technical and NonTraditional Sculpture, created by artisans in glass of Argentina and the rest of the world .
We do get information about the sixteenth Glass in Art Show organized by the Municipal School of Glass Berazategui, Buenos Aires, Argentina.
Awards by categories: First Prize Traditional Techniques: AR. $ 1,000 and a diploma.
The recognized quality of its proposal and the time spent in the Hall are based on the development of the Municipal School of Glass, unique of its kind in South America, working tirelessly in promoting glass as working material for artists, artisans, designers and producers, recovering local craft techniques, and documented thanks to a file on this specific activity instances organizes exchanges with institutions in the country and abroad.
Speaking of Berazategui is inevitably talk of the glass by the large First Prize for Non-Traditional Techni- amount of glass for many decades industrial ruled the destinies of this ques: AR. $ 1,000 and a diploma. It will take place from September 8 city in the south of Buenos Aires. But to October 14 this year 2012 in the Environmental Objects First Prize, paradoxically his famous School of exhibition hall of the complex San Ornamental and Decorative: AR. $ Glass-dependent Secretariat of CulFrancisco. 1,000 and a diploma. ture and Education of the municipality recognizes a much more moThe reception of the work will take Second prize in three categories: dern origin. It was early 1990 when place on Thursday 23, Friday 24 diploma. the remarkable stained glass artist and Saturday 25 August 15 to 19 hours. Culture Complex in San Fran- Mentions in all categories: Diploma and Nidia Danessa after giving talks For more information visit their web- on stained glass is commissioned by cisco, "School City of Glass", Calle the municipal authorities to build a 23 and 149 of the City of Berazate- site or contact at 4226-4244 from small workshop to teach the basic Monday to Friday from 16 to 20 gui. techniques of this ancient art with hours. The grant awards are: the help of architect William Patiño. The Hall of Glass in Art Berazategui GP Acquisition: AR. $ 4,500 and a is responsible for consolidating and diploma. reward the most exquisite pieces
Nacho Criado in Retiro.
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of Nacho Criado focuses on materials such as iron and glass, as the work LSD (1990-1995). Among the work he did in the late nineties included the installation of large format of traps and lies (1999) and the work dedicated to the musician Glenn Gould and writer Samuel Beckett, between the departure and arrival is the only possible adventure shipwreck (1997). Moreover, the Crystal Palace has 7 pieces designed and made specifically for this space. The work of the Crystal Palace show the persistence and evolution of the interests of Raised in Ecuador The Palacio de Velázquez retroslike photography, which falls on the on his career. pective brings together a wide seidea of "process time", as in the lection of work by Nacho Criado for work ladder (Tracking) (1971-2009) In 1991, the palace opened its doors for the exhibition of Nacho Criafour decades, although in some dedicated to the group or Zach ways, this body of work resists being experimental art, in which the artist do: Parts of water and glass. Now, 21 years later, the same space welread so literally retrospect, it rewas related: Excavation Zach comes back seven of the works mains - as intended the artist, acti(1972), which can be viewed at that made this show and they were ve in the process. the Palacio de Velázquez. made expressly to be displayed That is, many of these parts contiThe exhibition includes one of the here. nue to evolve, due to the action of most important procedural works the characteristic collaborating Raised: In / digestion (1973-1976), in The group is chaired by the glass, a material that threads the long haul agents used by the artist. which the artist presents a review of Nacho Criado and reverberates The exhibition takes a broad review of The Art Gazeta devouring action on the architecture of the palace, of the history of Criado, but not per- of moths. creating a new strain: broken glass, fectly follow a chronological proThe body and nature are important the work in ruins. gression. elements in his works in the early Parts as They can not come tonight The first works made between 1966 seventies, among which are its per(1991) or alpine Wound (1991) thus formances, documented through and 1970, explore ways to insert a reflect on the fate and future. space of strongly reductive sculptu- photographs and films, such as Body Series Action (1974): White Some of the works can be seen in re. (Peeling) and White (White and Ja- the Palace are monumentalizadas At that time, the artist begins work vier eating apples). Both can be reworkings of earlier works. on the perception of time and in seen next to another of his films: In One of the most complex projects particular on aspects of change, the corner (Jim and Kings) (1977). process, motion or duration. Nacho Criado combined his artistic he did was kiss his ass in the monkey (1991), where he worked for almost side with jobs related to the world Moth-eaten or decayed wood, as ten years. of architecture. in the work YZ (1968), painted as Raised in this piece reflects on the the Moon Series (1969), or flexible Among the designs and models irons, as recreated in Eccentricity that are exposed, is the project de- action to provide and drink to the (1968), are the main materials used signed for the 1978 Venice Bienna- bottom. by Raised in this period. le, Intersection (1975). The anecdotal is elevated to a naNacho Criado has used various techniques throughout his career,
During the nineties, the production
rrative sequence where everything is bathed in a large dose of irony and a scenic presentation.
Activities on the MAVA. Pablo Pizarro.
Volume II — Number 45
and very dynamic. Try free and is more ephemeral. Before wearing the metal and is now the metal and soul. In another step, the glass is not superficial and presents inside, embedded as a biological process in the structure of its support. After a change in the treatment of the metal support of his work, looking for a more dynamic structure, greater dynamism in the glass and a greater presence of metal in the set.
"Inhóspito habitado" On May 9 opened a new temporary exhibition at the MAVA. This new exhibition presents a series of works by artist Pablo Pizarro exclusively for this show. While his artistic training is primarily self-taught, perhaps due to an innate desire for experimentation, it has been enriched with new knowledge, ideas and experiences coming out of contact and collaboration with artists from many different disciplines. This has allowed him to enter mainly in painting, pottery, wrought iron and glass, finding in this last item your preferred means of expression. It is in Sigüenza (Guadalajara), where he lived until age 18, where he met artists such as Veiga, Canfrán Lucena and Antonio Santos Viana, with the latter will have the opportunity to study two years painting. Later, he moved to Madrid for university study and will be where
participate in his first exhibitions in alternative spaces in the city. During these years Paul helped Pizarro exhibition projects with various artists, most notably: - Rudy Gritsch (Austria). Fusing. - Miguelangelo da Silva (Portugal). Glass. - Ramon Recuero (Spain). Forge. - Marta Ugarte (Spain). Ceramics and glass. He then moved to Toledo permanently and that is where he has his workshop and carried out its work.
Many of the figures resemble anthropomorphic shapes, forms a balance impossible. In other moves to new phase in large-scale works, attaches great importance to take his work to the street, always recycled material, not try to hide the origin of the materials used. Then passed to another stage where glass and metal are confused, you want to look like a single material and that in his speech the metal eventually becomes glass. Now thanks to redo parts of small size, more intimate, such as in this exhibition.
A constant in the work of Paul is the When your shop does not look for use of recycled materials. work or speech which is its immeIn his first glass processing what diate meaning. Never work with a mattered most was the influence single work, is creating a universe in of the flow of color in his works, chaos. Nor does a pre-design has a from then to find a dynamic in its target. support. The care about sustainability in the In another post introduces the vioworks they perform, the ecological lence in these metal supports and footprint it leaves on them, how to calm the violence is what you much energy used in the making, use the glass. what will happen to her when disposed is it going to be able to recyThen the glass is no longer suited to cle? its support, but acquires its own life View photos
Pianos with glass.
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continue to let Kuhn handle sales. "It's too early to say now which of these two paths we take," said Johnson. "Jon has great ideas and are happy to work with. But it depends on how vallan sales. " Kuhn's study employs 28 people who grind, engage and work on the pieces of glass to create works of art. Many of them are large pieces that allow the work to be rotated, emitting brilliant light patterns as they rotate.
Jon Kuhn played the flute as a child, but left to focus on his passion for turning glass into art. "When I got into glass, drop everything else," Kuhn said recently in his studio located in downtown Liberty Street. Now Kuhn is returning to music, but bringing his love of glass with it. Arranged with Bosendorfer piano company to create a high-end pianos that will work with glass embedded Kuhn on piano and on the bench, creating an effect that Kuhn says he will make the piano shine like a diamond. The piano will be named along with Kuhn Bosendorfer name. It is expected that the first piano arrives this fall, and Kuhn already has designs for other pianos with its glass work.
piano company, said Eric Johnson, regional sales manager for Bosendorfer. The model sells for $ 280,000. Kuhn-Bosendorfer model will sell for $ 1.2 million.
"What made this project different is that we had to do lots of very tiny pieces," said Kuhn. "Most of my work is much larger, wider, measuring between 6 and 40 inches and can have up to a million components."
The price represents the rarity of the instrument and craftsmanship it takes to produce it, Kuhn said.
Create glass work for the geometric designs of piano means thinking in terms much smaller, no more than one-half inch scale.
Johnson said the company considers the piano Kuhn-Bosendorfer model as a commissioned work for Kuhn, Kuhn being in charge of selling, not resellers Bosendorfer.
"It is about developing new techniques, new technologies where we can improve things on a small scale," said Kuhn. "It's much more than the work of a jeweler."
"This is really good," said Johnson. "We hope you have many more."
There are over 200 individual pieces of glass that will be embedded in pianos.
Not the first time the company pianos Delegate is for work. It has everything a history of creating pianos designed by architects, artists and designers.
The piano may be the beginning of The company involved in the sale a new firm of Kuhn. of pianos designed by Kuhn depends on the response from custo"The idea of making extraordinarily mers and resellers. rare instruments is really exciting," said Kuhn. "If the reception is good, I think I'll talk to him about the distribution The traditional model of Bosendorthrough the network of dealers," he fer piano, which includes inlaid wosaid. Otherwise, the company will od, probably the most expensive
Each contains 100 to 500 different pieces of glass. The glass is sent to Vienna, Austria, where the company makes Bosendorfer pianos. "It will be like a diamond-encrusted piano," said Kuhn. "It will be really a great instrument." The first full piano will stay in the study by Kuhn.
Glass techniques. Color palette (XIII).
Estefanía Sanz Lobo
The test of Fig 1 is made by superimposing several layers of float glass of Spanish Glass 3mm thick, in each of these pictures were painted red lines using the third fire polish DV0860 Reflex Ceramic dissolved in water, without binders.
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As shown in the photograph, the three-dimensional effect achieved is interesting. However, some change color glazes between panes, as in this case, in which the colors were very dull and slightly brown except on the surface of the first sheet. Some interesting effects can be achieved by painting not as simple to achieve with glazes we have prepared for these tests (decoration glass low-temperature third firing for ceramics, glass decorating float), as gradients or effects watercolor, more transparent as more diluted.
gave good results also in a sandwich, and bad on glass (need lots of polish to get good result), except that the color green reaches either between glass melt. Some artists use in their paintings on glass "techniques inside out." Begin with the details that will be seen through the glass, and end colors beyond. Thus, the surface is clear and bright.
Perhaps the process of sifting enamels on a surface is one of the most interesting sculpture, since it can create areas of color with indistinct boundaries.
In some cases, it can be thermoformed and glazing at the same time, provided the ripening temperature of the glazes and appropriate for the range of thermoforming. Whether following enameled traditional procedures, as other more current, the enamel can be mixed with elements such as sand, copper wire, etc. to create textures.
The experimental work of Figure 2 has been realized by combining the enamel with silver leaf inclusions false. The enamels were distributed using a sieve.
We used a mold while the enamel is baked, so that was achieved in a single firing the internal volume and external.
According to this method, the dry enamels applied with a sieve. May also be made with great care on the glass surface using a teaspoon.
In Figure 3 we see two tests with enamels, more or less diluted with gum arabic to achieve effects similar to watercolor.
Templates can work with masks and superimposed on the glass, so as to protect certain areas of enamel, thus creating patterns or textures.
On windows you lose some saturation, and amending the texture.
This type of overlay planes helps create the illusion of an interior volume.
Thus, the colors and the internal volumes of the glass does not come into conflict with the external volume, ie, it is easier to achieve consistency between the transparent and internal dimension of the object created and the outer shape thereof.
When the enamel is scarce, the result after cooking is not good, and experienced some of the glazes go well on glass, but not in sandwich and vice versa.
On the right is made sandwich, with pretty good results.
In the picture below, the texture is, ultimately, on the right, first.
When performing this procedure, you must wear a mask to avoid inhaling enamel.
hese tests were made with glazes for ceramic Reflex third fire.
In Figure 4 two samples of textures collected by interposing between the glass and a mesh sieve.
In other tests with glazes range Maquimetal FT (float glass enamels)
In both cases, is not in surface sándwch.
Moreover, the procedure dry dusting occurs. This represents an additional advantage when you want to make a sculpture by superposition of several thick layers of glass, as we catch the glaze as a sandwich between them. When we put the glaze with a brush, we run the risk of contaminating the resulting colors as binders such as sugar or gum arabic used with glazes leave traces to burn, especially if they do between two glasses.
N E W S (I).
Exposure in La Granja.
The challenge of the sample, sources of CNV in a statement, "is to show how artists apply the glass as a carrier of ideas, communication" and to account for the kinds of relationships and the different means of expression and their difficulties.
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Under this idea, and different ways to communicate through the glass, visitors can observe a total of nine facilities and a video projection of Pilar Aldana, and Joaquin Tembleque Merixtell Falco, Lorraine Valdeperez, Xavi Muñoz, Ricardo Calero, Tabanera Yolanda, Ana Talens, Monika Uz, Javier Velasco and Miguel Soler.
A dozen artists from around the country participate in an exhibition organized by the National Glass Centre (NSC) and the Royal Glass Factory at La Granja de San Ildefonso (Segovia) under the title 'Is there anybody there?.
The exhibition will run until September at the Hall of Lights Tech Museum of Glass from Tuesday to The show, whose undisputed prota- Friday, Sundays and holidays gonists are glass and Communica- from 10:00 to 15:00 and on Saturtion, aims extolling the use of glass days from 10:00 to 18: 00 hours as a creative material and decou- the price of 5 euros. pling of the idea of material for domestic use and luxury.
Culture 2012. Italian artist of great relevance in the context of Arte Povera. It is from 1963-1964 when he made his first works, works characterized by transparency, by the reflection mirror surfaces and the use of optical effects in geometric structures. His humanistic art makes you think of the possibility that each work proposes a solution to a problem, served in various materials, rejects the unity of style and interprets the Italian tradition linking nature and culture. His works, long meditated, leave room for immediate insights that help the artist to finish his work. Luciano Fabro, who amicably called Homo Faber Celant began, around 1963, to produce works with glass in highlighting the nature of the transparency of the material and the phenomenon of reflection. From reading and deepening the philosophical work of Wittgenstein, Favre was introduced in experimenting with various elements taken from the real environment. In Edera (1969) arranged on a sheet of glass framed in lead, ivy, quite orderly distributed over the surface.
Last May we visited the Museo Nacional Centro de Arte Reina Sofia.
During the visit we saw the work of Luciano Fabro, Murano glass and silk shantung.
N E W S (II).
CNV Foundation in Croacia.
Thanks to the collaboration of the Museum House of Držić Manin and his director Vesna Delic Gozze, on Friday, May 25, opened in the city of Dubrovnik on glass exhibition of the Royal Glass Factory, entitled:
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The Farm Kraljevska Tvornica stakla , with pieces from the eighteenth to the present. The sample disclosed in this beautiful city and until the 29th of July, a set of parts vidriooriginales of La Granja, photos and video training on this royal manufacture, history The National Glass Centre Foundation made a presentation on the
Royal Glass Factory in the Croatian city of Dubrovnik.
Fernando Cortes in United Kindong. Fernando will participate. The team consists of representatives of various trades such as carpenters, masons, stone conservators, plumbers (who are those who restore and maintain the roofs and downspouts lead the building) and, of course, glass. In the case of the glaziers, the goal is to work, both regular maintenance and restoration, and windows of both medieval and modern period. In our confidence that Fernando is going to develop its engagement with all kinds of professional and responsible work, we estimate that two-year contract can become a work of a much broader term.
Fernando Cortes Pizarro has won a place of stained glass restorer for the cathedral of Lincoln (UK). This place was offered publicly for months and Fernando went to that offer. Well, those responsible for British cathedral have chosen on their
Apparently, this is a two-year contract and will begin his duties in the month of August.
Spanish glassmaker for the world in general and in the stained glass in particular has to serve with pride and an incentive which a foreign entity the prestige of the British cathedral has prefixed the merits and the good work of Fernando Cortes Pizarro to many other candidates of other nationalities.
The objective of these parties is to form a team for the restoration and maintenance of the cathedral and
For our part, we give our most enthusiastic congratulations to Fernando for this achievement.
merits in the world glazier and specifically stained glass in space.
The glass in Museums: Sanghai.
offers visitors the opportunity to act for themselves, creating a glass object. This will be a great experience for young students. The glass facade is owned by a company that produces glass and placed U-shaped panels (500 individuals), these were imported from Germany.
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First, the elements were assembled from the bottom to reduce transparency. In a second step, we selected key words in 10 languages and plastic strips were applied on sandblasted surface. These words were equipped with LED backlighting to create striking effects of light during the day and night. The new Museum is located in Baoshan, Shanghai, in an old industrial area of glass in an area of 40 thousand 300 square meters. There are 30 buildings of which two were selected for the project, being the first to be based on an interactive experience. The Museum is housed in a glass bottle factory in an old warehouse.
only be adapted to Museum with the use of new technologies that have the construction. We also added two new complex elements to improve ease of use, disclosure requirements and experience of museum visitors. An empty space is now connecting the two existing buildings on both floors of the exhibition, allowing visitors a comfortable move and provide additional space for temporary exhibitions and events.
The main building includes a gallery of glass art, workshops for artists and visitors, exhibitions halls, cafeteria and offices, as well as the The- Wrap one half around the old wame Park (G +). rehouse a two-story structure of steel was added to provide a repreFor the location of the industrial sisentative and light areas lit lobby te, a problem was the lack of pushop, cafeteria, library, interactive blic transport and distance, so it re- museum entrance, opposite the quired very attractive for people to main entry plaza, shops restauattend the place. rants, offices and restrooms along This meant that the Museum had a the side faĂ§ade. multifunctional design the whole context. The facade is special about the new building is G + park with sculptures of artists, research centers and industrial development with commercial facilities. The concept envisaged the preservation of existing structures and will
Both sides of the old and new building are clearly visible on the facades and interior spaces of the Museum, providing an additional item to the exhibition connecting history to the future. Attractions The hot glass show is the main element of multifunctional design also
Visitors are guided through new and old parts of the building with a light, while new areas are implemented as open space with glass as the main material. The process for manufacturing glass facade Preparation Glass U-shaped channel is imported from Germany as a local supplier can not provide the required material properties. As a first step of work, dispose of the remains on the surface of the material. Covering The black enamel coating is applied on the inner face of the glass surface of the channel. Hardening The coating must be reinforced during 120 minutes in an oven. This permanently apply the coating of glass channel. Requires a temperature of 400 degrees. Sandblast For sandblasting characters are removed from the enamel surface, so that transparency is still in these areas later with LED backlight.
The Treaty of Guadalupe Monastery Windows (II).
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aprenden no tiniendolo por trauajo sino por deleite y no ay duda que el que es inclinado a la virtud (que llamamos trabajo) reçibe particular gusto mientras manosea estas cosas y muchas más quando be ejecutado lo que ydeaba en su mente. Los religiosos es fuerça que tengan duplicado este gusto, porque mui raro será el que no se lo ofrezca a Dios y ofreçiéndoselo será fuerça que Dios le ayude, y ayudándole todo se le hará fáçil y de mucho recreo”.
of his day-to "religiosos moços, que Overview of the Treaty of Guadalu- son los que más propiamente se pueden aplicar a este exerçiçio" pe but also of years to come. Before going to discuss details of the processes and methods descri- Clearly, on the other hand, reading the text that is not enough to form bed in the various chapters of the treaty, I would like to highlight seve- any apprentice but has been rairal general questions about its con- sed as an educational complement to classes or practical work in tent. the shop or, as its author, "with soFirst, with respect to the objectives me hobby and medium speech sought or the reasons that led the can understand the theory of this author to write it, they are in their treaty and understanding it will be own words, “dar alguna luz al que easy in practice. " se quisiere exerçitar en esta abilidad de haçer bedrieras, que es de In this sense also underlines the brono pequeña esençia y utilidad pa- ad familiarity, clarity and didactic ra el serbiçio de esta Santa Casa y sense that writes and expresses the de sus hijos y [no es] menos ponde- author, speaking always in first person, as we have seen, a student raçión el que se allan pocos of reader totally beginner course in [iciales] y maestros en esta faculthe art and which on first name tad”. terms all times. In short, the author is intended exclusively for the monks of the com- It is noteworthy that the author, besides being a perfectionist with his munity with the intention of being work, as well is evident throughout in office some of them to avoid the treaty, is a deeply religious perhaving to seek out and save glaziers substantial expenditure to the son and someone who certainly loves and enjoys his job. community. Fernando Cortes Pizarro.
The text can also perceive a certain intention of posterity as it is designed not only to train the monks
When it comes to apprentices reads: “en abiendo… luz en las cosas que se… con façilidad lo
Elsewhere, the author highlights the paucity of official glaziers existing at the time, which, although a phenomenon known at present, no less revealing coming from a primary source. As noted, the already mentioned decline in the art of stained glass that was produced from the seventeenth century had forced the monks from Guadalupe to hire an external master glassmaker, in this case for the windows of the New Sacristy. This glassmaker had been too expensive ("two thousand reais"), especially taking into account also "gave him, serving as a religious, ospedería bed and carried on and brought at the expense of the community" and it is partly for this fact so in the monastery decided to form internal hereinafter monks to perform the necessary work of glassware, a task that will handle the author of the manuscript. This need for autonomy with respect to foreign and self-sufficiency in performing necessary tasks in the monastery was certainly common in religious communities in general, forcing monks and nuns who lived there to learn a whole series of trades considered as a must.
Recycling. Mismanagement in Spain.
Volume II â€” Number 45
The European Commission has
Ecologists in Action, the Federation
viability for several studies, all wit-
opened a procedure to several
Ecologistes de Catalunya, the Glo-
hout additional cost to industry.
countries, including Spain, to verify
bal Nature Fund, the Balearic Ornit-
the percentages of separate co-
hological Group and Greenpeace,
llection and recycling of glass.
the measures implemented by
Additional data asked for estimates that do not achieve the figures set by European legislation. Failure to comply may cause penalties for states.
Spain have not been effective
Other materials, perhaps because of the pervasive crisis, have reduced their rate of recycling.
enough to achieve the objectives
This is the case of appliances, who-
se recycling has fallen 20% since
In addition, the European Union wants to increase recycling rates,
2011, according to a study of environmental platform Recycla.
for which enacted a new policy
The overall recycling rate in Spain is
The European Directive on packa-
that will increase the recycling ra-
three kilograms per inhabitant per
ging and packaging waste recy-
tes for all materials required in 2020. year, according Recycla.
cling rates sets of different materials (paper and cardboard, metal,
Criticized in this respect has been a
A figure similar to countries like
wood, plastic and glass).
Royal Decree-Law that virtually clo- Greece, Estonia and Portugal. ses the door to the implementation In Norway, however, the average is
In late 2008, it was supposed to
of a deposit refund system for used
achieve a 60% recycling of glass,
packaging and trade, a system
but it seems to have succeeded in
that has been implemented with
great success in countries like Ger-
According to environmental groups like Friends of the Earth,
many, Denmark and Norway, and can reach triple the rate of collection and Spain confirm their
28 kilos. In batteries, the collection rate is 34%, similar to France or Finland. People keep throwing materials containers work instead of approaching a point of collection of waste.
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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. In this month of June we will take
group interested in making the visit.
a guided tour through the facilities
As we have had a positive response,
of the School of Mines, Madrid, to
the request was made timely and
see the fine collection of stained
we are waiting to have date and ti-
glass available to this unique buil-
me for the visit. It should be noted
that visits to these facilities are made
After reviewing the suggestions
by volunteer guides, usually fellows
received regarding the possibility
who practice at the school, and
of this visit we got in touch with all
must count on their availability.
our friends to see if we have a
Culture 2012 Programme. since the beginning of the pontificate of Leo X (1513) until his death in 1520. The selection exhibited include such famous works as the altarpiece of Santa Cecilia (Bologna, Pinacoteca Nazionale) or the portrait of Baldassare Castiglione, the Louvre.
Starting on day 12 the Prado will present what will be one of the most important exhibitions to date devoted to the work of Raphael Sanzio (1483-1520) and his workshop, and will be the first centered on the late stage of production that made him the most influential painter in Western art.
Organized in collaboration with the Louvre Museum, which will host the exhibition as a second home-the show will offer a journey through more than seventy works, forty paintings and thirty drawings, which will be presented on a chronological journey through the activity of the master Urbino in his last seven years,
In addition, highlight the broad representation of major works of his disciples, Giulio Romano (c. 1499-1546)) and Giovanni Francesco Penni (1488-1528), who, under the strict control of Rafael, participated actively in the workshop last orders. So this month plays a return visit to the Prado Museum to see this splendid exhibition. In our newsletter for the month of July we will take a report of our visit. The exhibition will be on display until September 16.
Interview to Silvia Monge.
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For this we studied the painter and his work for about 6 months along with an art historian. The show had a very interesting and very rewarding, with great reviews by the Costa Rican healers. There I am exposing painting, drawing, glass and ceramics. You can see the exhibition on my website. One of the things that my attention was the glass because the public saw techniques and treatments that are very innovative. How did you develop your career? In the glass is even stronger because their transparency allows us to Silvia Monge, Costa Rican artist observe not only what's in the who began his career 32 years ago works but at the same time reflects doing watercolors, in their journey us and forces us to look at ourselof life was exploring different mateves to ourselves to ourselves. rials and is now working the glass with various techniques that allow I've always liked to experiment, so you to express yourself. take advantage of transparency Published in Objects with Glass.
His career has major solo exhibitions, numerous group shows and great prizes. It is an excellent representative of Costa Rica and the field of glass art.
besides, in my latest works I'm incorporating a lot of drawing with different materials.
I have taken courses with artists from the Czech Republic, Italian artists, artists from the U.S. and definitely personal experimentation and also handling other techniques greatly enriches any work to do.
During my career I have participated in over 80 exhibitions in Costa RiGlazes, frits, glass photo printing my ca, United States, Spain, Argentina, pencil drawings, I'm mixing techniMexico, Egypt, Holland, China. ques including ceramic pencils. What techniques do you use?
With this interview we propose move into his work. One technique I like is to make glass blocks with 8 or 10 sheets beWhy did you choose the glass as a cause this way you can work each material for your work? and achieved depths that are a very unique feature of the glass. It is very difficult for me to discuss my career another separating I use the Bullseye glass. technique. I have been a watercolorist for many years and there is this fascination with the slides and how you can get them from the very superficial view in a work to the core, in order to know the soul of it.
For many years I started doing stained glass and then followed the love of glass.
What was your last show? In my most recent exhibition is on now at the National Gallery of Costa Rica with Maricel Alvarado did homage to the surrealist artist Leonora Carrington.
I have work at the National Art Museum of China, Collection Development Bank in Washington, National Gallery of Costa Rica among others. Three of my glass works are published in the book Printmaking Techniques on glass by Jody Danner Walker. During my career I have won several awards. The last two have been in a contest he did in Inter-wide Latin America and the Caribbean where I got the first and the last was this year where I got the National Award for Fine Arts Achilles J Echeverria 2012 alongside the Costa Rican Association of watercolors.
Leonel Duran, married to the art.
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glass in the studio of French artist Guy Meliava. While studying, he commissioned the construction of Central, East and West in the History of Venezuela, the Venezuelan stained glass designed by Gabriel Bracho and developed by the creative hands of Duran.
Walking through what he calls his garret, Leonel Duran claims to be selfish to devote his life to art and neglecting other human satisfactions, necessary for all the common man.
my future," says Duran, who is glad to be able say that his mind was stronger.
From the age of 12 began to study drawing at the School of Fine Arts of San Cristobal and a His hands cracked, his gentle fa- year later involved in founding ce and their willingness to stroke the Arturo Michelena Art Center, show that he is a special being, at Colegio La Salle, the Andean "I am the only artist who sells capital. "There we met boys with everything he does" pronounplastic and concerns to the teaced, followed by a slight laugh, chers who guided us," he says. announcing the final phrase of the sentence " because all I do Completion of their primary education, the young man's dreams is commissioned. " agigantaban and was so much Although it seems true joke, Du- passion and insistence that his ran specialized in monumental mother decided to accompany art of sculpture and stained him to the Venezuelan capital glass techniques by large proto study other alternatives. portions need to be responsible for a specific institution. For him, Duran explained that the motpresent their pieces is not neces- her figure was his main support in the early years: "When I was sary: "I move into other areas," little my older brothers wanted he says. to correct my drawings, but they An example of this are the piewent scolded by my mother beces of glass and Araure Battle of cause she believed in my interBattle of Bottle (1984), that pretations," says the man who adorn the Museum Petrolea in walks by your workshop to show Tachira, the huge stained glass his brushes, brushes and colored Centre, East and West in the His- glass, tools are familiar and give tory of Venezuela (1980), 110 life to each of his "children" Imsquare meters, which is in the peachment throughout the Defense Ministry in Caracas or country. her most recent works Parental dresses justice (2005), located in With the mother company arrithe National Building Barquisime- ves in Caracas at age 16 and to and the bronze sculpture Po- began his career at the School pe John Paul II (2011), arranged of Arts Cristobal Rojas in their in Church III Montalban sector of classrooms resolved concerns with the advice of Regulus PeCaracas. rez, Gabriel Bracho, Victor and However, once it was not easy Pedro Leon Zapata Valera, masfor him. Born in Ermita, municipa- ters of fine arts in Venezuela, lity of San Juan Bautista del Tawho should be their integral forchira, confesses to come from a mation. conservative family, "My parents Not content with his studies in were opposed to me to be a painter because he did not con- the capital, partly to Paris to specialize in the art of stained sider the trade as a career for
"In the country there was the possibility of creating these pieces, thanks to my training in Paris, on my return, I developed the technique of stained glass and I even named professor in the School area Cristobal Rojas", narrates. In teaching, the artist spent 33 years of his life and "it allowed me to do my job plastic without sacrificing my job," says the man starting the 80's installed the first workshop of stained glass in the country. In addition to teaching, took a two-term president of the Venezuelan Association of Artists and the National Committee of the Fine Arts Organization of the United Nations Educational, Scientific and Cultural Organization (Unesco), from 1995 to 2000 . Duran says "admirer of the Renaissance artists because they lived the commission and is the same as I do", four centuries later, but in Venezuela, far from Florence Italy, 1500. And, just as Renaissance artists Michelangelo, Leonardo Da Vinci or Raphael Sanzio, Duran also was creator of a new national art style: the escultovitral, which consists in combining the techniques of sculpture with glass as a material principal. "My contribution is for the stained glass art is an integral, not dependent on the architecture, but have expressive possibilities of the same magnitude as the architecture," says the artist. The medallion of Simon Bolivar, located at the end of Avenida Libertador in Caracas, is the first part made by the artist in the art. Duran's hands do not stop, however mixed with dusty books in his shop, only home that shelters him from the perseverance, because in his words: "Art consistency is the main goal to continue to have success, "inspired by the historical premise of Simon Bolivar phrase: Only God grants victory to perseverance, prayer that is repeated daily to motivate the artist creation.
Estudio Ciento2. to value it," says Sonia.
Study percent2 markets its creations through promotional campaigns at craft fairs and targeted delivery of cards and a careful after-sales service.
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In addition to the fairs, have three outlets in shops in Seville, Marbella and Barcelona, where the premium artisan product. "There is no perfect product, which is essential to who makes a product for sale is to define what the target audience, and once decided to try to differentiate it from other offerings in the same industry," argues Michael. Since ancient times, man has given consisting of necklaces, earrings, to a quality decorative glass almost rings, bracelets, brooches, cufflinks, supreme. bracelets, pendants and other archaeological line called, which Millennia of civilization after this makes reproductions of glass obmaterial obtained by fusion of najects of antiquity, as OINTMENT cotural elements, remains one of the re sand lachrymatory, Phoenician most popular visual demands of masks, beads and ancient archeohumanity. logy inspired collections that also include jewelry. For color, transparency or turbidity and the ways he represents has be- The vocation of the glass work of en exploited in countless referenMichael and Sonia arose after both ces. had passed through the School of Art. His work, pure craft, keeps the importance that has been in all past civilizations, as well as keep the hands of Michael and Sonia strokes you have set harmonic compositions in this mixture of silica sand, soda ash and limestone.
"We saw a newspaper published in an introductory course to glass blowing one week at the National Glass Centre Foundation (FCNV) Granja de San Ildefonso in Segovia.
They, Miguel De Diego and Sonia Osuna are responsible for percent2 Studio, a workshop for the work of glass located in AznalcĂĄzar.
Originated here, and direct contact with the glass and the development of our business, "says Michael.
Percent2 study is dedicated to the formation of the trade, through courses focusing on teaching techniques for producing glass pieces with a torch, as the manufacture of beads, modeling and blowing, but also to craft production, with two main work, a glass jewelry,
Since then began a prolific relationship with the glass that endures today, as demonstrated in the great reception of their collections. "Our product quite like it, we live since 98 production workshop, this is the best indicator that we have
For them, the main value is the aesthetic result of the part that makes and quality in execution. "To achieve this we spend most of our energies to shaping design, color, balance and proportion and that the execution of the piece of glass is as uncluttered as possible." The work of these two craftsmen is based primarily on hot techniques: molten flame or furnace, blowing, drawing, thermoforming, which for the finished parts using cold working techniques, such as cutting, sanding, matt or polished. His specialty being the work of the glass with a torch. Currently working on two new projects, one of them has started this year and includes, in addition to technical training courses on glass, a new facet that has been imparted training for Lifelong Learning Centre at the University of Seville, Experimental Archaeology : glass in ancient times. Hot glass workshop. "It was a very satisfying experience and we are already preparing for next year new editions," they conclude both artisans.
Other trends. The Gioconda (1).
It is gray, without colors. And Da Vinci's painting is not so. In the tastings we've done in the least affected of the box, and we proved that Leonardo wonderful colors are there: the blue sky, pink ... If you see the Mona Lisa in its current state and then see how it has been the Santa Ana, fall in the account of what I say.
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- So, sooner or later, will be cleaned and restored. - There are currently no plans, although the restoration of a makes clear that the other is perfectly possible.
"La Gioconda" seems a corpse " He does a lot, too many decades that echoes between the walls of the Louvre one of the most passionate debates in the art world: that between supporters and opponents of restoring the Mona Lisa by Leonardo da Vinci. Two schools of thought, two opposing philosophies, unlimited dose of symbolism and the inevitable factor of convenience or inconvenience for marketing reasons, they collide is at stake the future of the world's most famous portrait. Should we continue looking at the Mona Lisa mysterious and evanescent-also arguably blurred and full of crap, who sang Théophile Gautier, the other romantic poets and makers of legends and is still admired by 20,000 visitors each day, or must an urgent operation to remove open-heart colors to a patient in danger? If it were, of course, the direction of the Louvre would have to undertake another mission truly heroic: replace all the merchandising of one of the images represented and reproduced in the world, in fierce competition with Che Guevara. "It is true that in regard to the Mona Lisa, live in the middle of two opposing logics", you agree Delieuvin Vincent, head of the XVI Italian painting in the Louvre. But immediately afterwards, and after drawing a gesture on his face grave in
the middle of this interview with El Pais, says: "La Gioconda, now, looks like a dead, is a painting that is slowly disappearing, and if nothing is done , the patient worse. " The presence in a current exhibition called Louvre Mona Lisa del Prado, a copy recently restored in the workshops of the Madrid gallery, adds further arguments: "People see that Spanish Mona Lisa in the Louvre, so clean, and gasps almost seems like a pop box, and of course, think what can be added under the layer of dirt, "says Delieuvin. At 35 years, who seem no more than 28, is a qualified expert in the work of Da Vinci. Not for nothing was he who coordinated the spectacular restoration of one of the masterpieces of Leonardo: Saint Anne with the Virgin and Child. - It's simple: if we do La Gioconda restauráramos exactly what the Santa Ana The same method, the same process. - But the restored or not? - Hmmm ... now there are no plans for that. - But do you think is necessary? - Absolutely. - Why?
- And the curator of Italian paintings in the Louvre XVI would like, obviously … - Obviously. It's a dream. But anyway, is constantly on intensive supervision. - Oh, really? And what exactly is the ICU of the world's most famous painting? - There is a storage device end, warning that the slightest alteration. - The last check he underwent intensive in 2004, right? What about since? - No, in 2004, when he settled in its new location (the Hall of the StatesGeneral) was made an intensive screening, it is true, but later, in 2009, he underwent a new reflectography and other tests. - With what result? - That La Gioconda have symptoms of fatigue. - I suspect that, besides the technical challenge that would imply a hypothetical restoration would face other problems: it is a work with a limited iconic power. - That is true. But look at the Santa Ana … - Yeah, but there is a difference.
an that much of what we might - For the painting of Leonardo da consider the public does not know Vinci is a painting full of life and who painted the Holy now when we see the Mona Lisa .. / .. seem to be seeing a dead woman.
Other trends. The Gioconca (2).
Volume II — Number 45
master's obsession with the most microscopic detail. "He was a genius, but also a real maniac, so I could not finish his work." What happened in the workshops of the Louvre with this masterpiece serves as a test inevitably face a hypothetical restoration of the Mona Lisa.
.. / .. Ana But hardly anyone in this world who do not know what is La Gioconda. At worst, the decision to restore it would not start from a director of the Louvre or a Minister of Culture ... but a president. - (Laughs) Well, we're still not there. And ultimately, the decision to restore or not always obey technical criteria, a real need of restoration. As happened to the Santa Ana, where they were producing small detachment of paint. - And in the Mona Lisa? - One thing is clear: the more time passes, the picture will look worse. There are parts that we hardly appreciate. And within five years, will show less. Or accept that ultimately we will have a sort of contemporary painting all black, and accept that nothing will or we will be forced to intervene. The varnishes made as a screen, three-dimensional appearance that Leonardo gave gone. It is a picture that is disappearing ... the bottom is practically invisible. - True, I saw it first in 1978 and last for two years. It has nothing to do, unfortunately …
"As with La Gioconda" explains Dieulevin, "over the centuries were being added to the painting several coats of varnish, it is very irregular layers in some areas of the table, over time, suffered cracks and were overshadowing the box and changing its color, turning yellow to go: the buffy coat had given the painting look like black and white, many - And the patient worse. And that people have confused the effect we cheat, because the Mona Lisa with the famous sfumato of Leonaris the only work of the Louvre has a do but he, in his treatises on painspecific lighting ... there is a special ting, makes clear sfumato is the installation of light around her that transition between light and shacounteracts the effects of dark var- dows ... but always through color nishes. Without that special light, and its variations. " the picture is much darker still. BesiThe basis of the controversial prodes having a rather large crack in cess of restoration of Santa Ana the head, caused by the aging of was just that: a progressive-and mithe varnish, newly stratified. llimeter-lightening of these layers of And there had to intervene and, of varnish. course. But there is danger of lifting "The restorers did not remove all the pictorial material. layers of varnish, but the lightening Delieuvin Vincent knows what he was to avoid direct contact with speaks. The rescue of the Santa Leonardo's pictorial material, and Ana with the Virgin and Child ensecond, to respect what the Louvre dorse him. "We thought we know called the patina of time." For this, everything about this work and we the team of curators and restorers realized that there was a whole of Italian painting in the Louvre, with world to discover, and there in the Italy's Cinzia Pasquali and Vincent restoration workshop, it was like Dieulevin to the head, turned to a watching Leonardo resurrect every sophisticated device capable of day, as aligerábamos varnish layer, measuring with absolute precision reappeared its universe, for exam- the thickness of each layer of varple, the melancholy face of the nish. This is a ray that enters the box Virgin she knows her son will die, so and stops at the edge of each lasubtle, so ambiguous, magnificent, yer of varnish, however minute it fascinating, we were piecing tomay be. "That allows almost matgether the puzzle millimeter by milli- hematical control of the restoration, meter and getting answers to our and almost absolute certainty, insfundamental question: how could tead of cutting to the chase, we Leonardo da Vinci had spent 20 were easing slowly slice to slice, like years painting this picture. " a sausage ...". The result: the original palette of Santa Ana, the Virgin What he continues to impress in and Child looks splendid, with its the galaxy Leonardo is the Tuscan blue / blue, her pink / pink and white / white ... and not like a painting that seems ill with hepatitis.
Visit the Cathedral of Leon. windows have here.
I get many of these good ideas, we will prove useful in the cathedral of York. - How does the importance of the windows Leon? - Should be considered as one of the most important groups of the early Middle Ages in Europe.
Volume II â€” Number 45
And the end is also a high quality and interest. - What impressed you most about the 'Pulchra' since the last time you were? - The progress of the restoration team. Anyway, you go and is still being amazed by the size and splendor of the interior. It is one of the great European antique stained glass expert Sarah Brown works in the conservation and restoration of stained glass of York Minster and led workshops framed in the intense visit to a select group of British stained glass made during the last May the Leonine Pulchra and other monuments of the province.
ensuring that the windows shine even more and preserved for future generations.
I was also impressed by the efforts to make the public involved in the work of maintaining the cathedral.
- Anything to improve, a change that advice?
The opportunity for the public to get on the platform and see the windows up close is an unforgettable experience.
- I would not advise anyone.
The team is progressing with admirable caution and working under the highest standards advocated - What impression takes the state of by the International Corpus Vitreaour cathedral? rum. - 'My impression is that the Cathedral of Leon is up to his reputation as a' cathedral of light '. The conservation team's work is
In York we are also working hard to get the public to approach our work. - What about Leon?
- 'It's a beautiful city with very friendly and welcoming. Will definitely return - I found very family-everything I've and recommend to friends and coseen in the shop, but I was very im- lleagues. Deserves to be better pressed with the protective glass known. - What is left?
Glass workshop in Murcia (XII).
Volume II — Number 45
JIMENEZ PEDRO CASTILLO JULIO NAVARRO PALAZÓN JACQUES THIRIOT
OVEN 1 (second phase) The fourth stage reflects a completely different conception of the oven and came out of a total reconstruction that fundamentally transformed the plant (Fig. 16).
which alternate layers of galena (covered by a red crystallization due to oxidation), other clay with remains milky green vitrification.
When in this manner colmató the cuvette, settled in a flat base which is not distinguished and the central depression of the sidewalks, but continued to use Instead of elongated layout of the oven, as shown by the rethe preceding phase, now takes mains of molten lead extending the form of a tendency circular on the surface and matched. with a diameter of about 1.20 m. Slightly southwest retains the At this time the oven had a cen- springing of the vault with a tral depression surrounded by a height of 15 cm and an inclinaperimeter sidewalk in a circle tion important. composed of bricks that formed To the southeast, the sidewalk is a polygonal. located a few centimeters The cuvette was 80 cm in diame- behind another older. ter and 7 cm deep and abundant inside the remains of gale- In the fifth step is completely rena, plus some lead and copper constructed walls of the vault substantially reducing the diaoxide. His background irregular meter (Fig. 17, Fig. 23). fragments of bricks and crucibles, fine sandy clay taken very Now the mouth is open in the cooked, resting on a pitching opposite direction, east, and the disposed on the surface above. cell used as the basis of the preThe mouth continues to open to the west, framed by two brick walls together leaving a span of 55 cm.
Were these furnaces used as kilnvat and / or crucibles were used? What product? In this last phase were abundant traces of galena lead and copper and molten lead, such evidence, coupled with the absence of glassy concretions on the walls and floor of the oven, make us suppose that is used for melting lead from galena, lead to oxidation or to obtain silver cupellation, however, it is remarkable the absence of residues characteristic of the latter process. Stratigraphic levels in the workshop we found several fragments, curious, mirror composed of a lead plate on which was spread a thin layer of clear glass between them what seemed quicksilver (Plate 28), is it possible that this furnace was connected with such productions? Despite the above we can not yet determine the role of the furnaces of this second phase.
vious phase of galena and lead Furnace 5 fills.
As happened in the previous oven, the walls are still manufacThe fire was not available in the tured with clinker bricks and tank but in the hallway that con- mud taken, both the rebels and nected with the mouth, separa- the flooring was coated with a ted from the first by a small dam layer of clay hardened by fire. In the filling of the work were alof clay sheets alternating with so used fragments of crucible, the galena. jar and clay mixed with sand. Generated using the formation The base of the firebox had a of concretions of galena in the basin that once solidified, would central depression that extended into the mouth. be very difficult to start, so we chose to match the base and The emergence of lead inside regrowing the dam through con- the bricks were made suggests tributions of clay. that in the workshop, with clay This resulted in a stratigraphy in the interior of the bucket in
obtained from barriers there excavated, mixed with waste
Located in the center of the workshop, a furnace was noticeably different from others, because it had two chambers separated by a grid superimposed puff. The bottom, for the combustion plant was approximately circular and had a diameter of about 90 cm (Fig. 18; Lam. 24 and 25). It was excavated in the ground and inside was lined with stones more or less flat to slap and, above all, remains glassy plate 3 to 4 cm thick, no doubt from some pre-existing glass furnace.
Interview to Claudia Golzman. Enjoy the moment of the inaugura-
tion. - How was your trip to Portland? The trip was exquisite. Portland is a beautiful city, I felt very comfortable there be among people who think glass, working glass
Volume II — Number 45
and glass feel. The first was to visit the Bullseye Gallery. I could hardly believe we were there exposed, my room and me. Bullseye toured the factory, I saw the care and seriousness with which glass is made that wonderful … Interview with Objects Glass.
I took a course on new techniques.
Claudia Golzman, glass artist in Ar-
- How was the process from which
I was fascinated with everything
gentina first participated in the in-
you registered for the competition
ternational competition Emerge
blocks of glass, kilns, machinery …
I think the most important work,
I learned a lot, I saw works of great
organized by Bullseye, and this is its seventh edition, which finalist did
happening around me, the huge
with his "Breath".
being connected with the work.
For the first time are finalists other
If it matches any contest or date of Emerge During the inauguration, I was privileged to meet Klaus Moje lounge time to have a finished
Latin American artists such as Rita Neuman, Karina del Savio, Luisa
work, it's time to show it.
and talk with him.
Restrepo and Eduardo Nieto.
I am developing stamps a few ye-
He was one of the most exciting mo-
Jurors for Emerge 2012 were as fo-
ars ago, with different words and
ments of my life.
In New York I attended the inaugu-
Laura Addison, Curator of Contem- I chose the end of 2011 one of porary Art Museum of New Mexico, them to present at Emerge. Silvia Levenson, Artist and Klaus Mo- The most pleasing news to be a fije, Artist. nalist shocked me and I decided
ration of an exhibition of Lino Tagliapietra, it was wonderful to meet you, see and hear so much work to tell how it works.
Claudia Golzman interviewed who
- What does this part in your career?
traveled to Portland to attend the
I wanted to meet other artists, see
It is a very important step in my path
awards ceremony and attend the
my work there.
be one of the finalists of Emerge. Argue, the key is to keep working.
Museum glass cube. "began to form a collection in Madrid", where the main museum.
For A Coruña involves completing one of the hallmarks of the past 30 years because the city has three other science museums: the Domus, the Aquarium and Science Museum.
Volume II — Number 45
THE BUILDING The seat is a glass cube designed by architects Victoria Acebo and Ángel Alonso, among others awarded the National Prize for Young Architects of the 9 th Biennial of Spanish Architecture. It's like a glass box that houses inside which will appear as two buildings
The Galician branch of the Natio-
The Chamber is the Shift of the lar-
nal Museum of Science and Tech-
ger pieces, beautifully, Heritage
nology (MUNCYT) has been inau-
Hall has the technological jewels,
gurated by the Princes of Asturias.
Spanish Innovation Room space for sing concrete blocks containing all museum services. research Iberia Chamber jumbo
The building, which is almost like a glass box, opens its doors in A Coruña on June 1 with a collection of 14,000 pieces, including a jumbo part of Iberia, the first particle accelerator designed and construc-
pieces that in September 1981 moved from New York to Madrid, Picasso's Guernica, and Interim Chamber Expos a temporary exhibition on the QWERTY keyboard.
ted in Nuclear Energy Board by
The MUNCYT have a network of
1957 headlamp or flashlight that
partners to carry out activities in
worked at the Tower of Hercules in
Spain and with exhibitions of works
the second half of the nineteenth
from the collection located in Gra-
nada, Valencia, Pamplona,
It may cover patents, appliances, large objects like a flashlight as a
A tree whose branches are impo-
Between them and the glass envelope are defined the exhibition halls of different sizes and heights, all filled with a diffuse light. The building was built by the County Council and transferred for use as National Museum and from the outside is possible to differentiate the different zones.
Valladolid, Salamanca and Ma-
The architectural features allow the
exhibition of large-volume, excep-
beacon that worked at the Tower
Its director, Ramon Nunez, recalled
of Hercules or film projectors in dif-
that the museum was created by
ferent showrooms now open as Bo-
Royal Decree 32 years ago.
However, it was, from 1982, when
tional virtue which has made possible the installation of the front and undercarriage of the Boeing 747 or the assembly of the first particle accelerator designed and built at the Nuclear Energy Board by 1957.
Tomas Saraceno in New York. If traveling with children, they must be over 10 years and have a
minimum height of 48 centimeters. Must wear appropriate shoes and is not allowed access to bags, backpacks, cell phones or cameras. Visitors can use the free lockers on
Volume II — Number 45
the fourth floor to store personal items. the autor Tomás Saraceno was born in San Miguel de Tucumán (Argentina) in "Cloud City", by Argentinian artist
"Cloud City" is made using
Tomas Saraceno, is a constellation
transparent materials and
consists of 16 modules
reflective glass segments cut
interconnected with each other
geometric shapes and joints,
and created specifically to be
reinforcements and steel cables.
exhibited at the Iris and B. Gerald
The sculpture is accessible to
Cantor (the terrace of the
Metropolitan Museum of Art in New York). This impressive sculpture has some measures 16.5 meters long, 8.83 meters wide and 8.5 meters high, is inspired by multiple structures and
1973. Architecture from the University of Buenos Aires, has received awards such as: Kunstpreis-1822, (2010), winner of the Calder Calder Foundation in partnership with the Foundation Scone, (2009), the
Of course, given its fragility, each
Hessian Kulsturstiftung in Rotterdam
day comprises a limited number of
(2003-2004 ), the National
Endowment for the Arts-Argentina-
These can be picked up free on the fourth floor of the museum.
Italy at the IUAV of Venice (20032004) and first prize in Bundeswettbewerb des für Bildung
bacteria, foam, worlds, social
Visitors can enter and walk through und Forschung Bundesministeriums, (2003). modular structures that make up
networking and neuronal ... etc.
elements: clouds, bubbles,
Open to the public until November 4, 2012.
Volume II — Number 45
This month we include some pictures of the technique practiced by Loretta Yang.
The ERE of the CNV (I). Committee Chair Company, Jose Luis Sanz Duque said in its statement
that "we know that the intention of the company is making reproductions of the Royal Glass Factory at La Granja through contracts with other outside companies and we understand that This is aimed at closing furnace blowing the Royal
Volume II â€” Number 45
Glass Factory at La Granja. We think this may be a way to replace the signature 'Royal Glass Factory at La Granja', which would lose the prestige that we have attained and recognized since the eighteenth century. " However, this fact was "absolutely The direction of the National Glass
In this sense, the director of the
refuted" by the president of the
Centre finalized the formula to ke-
Center said in an increase in pro-
Centre in writing elacueducto.com.
ep all of its staff, consisting of 70
duction as a way to make good
workers and that since January 1
the loss of income.
What if Juarez is recognized that
are subject to a Temporary Record of Employment Regulation (ERE).
However, he said "next June 1st we ces will be limited if production increases as expected." will open again with complete sa-
The purpose of the meetings, said
fety and all staff."
Specifically, the Ministry of Culture
with the same template "our chan-
The release of employees to keep in its director, Aurea Juarez, is to ensu- This announcement coincides with mind you were born with the Natiore the survival of the Centre that a statement of the works council of nal Glass Centre Foundation, "the the budget has been reduced. promotion, development, educathe National Glass Centre. tion and dissemination of crafts-
manship and history of glass manuIn the statement of the works coun- facture artistic and other cultural in the previous year and the deparcil is charged with the direction of activities related to technical and ture of the Board "is to be determithe National Glass Centre not to glass art. " ned in the budget" and was close meet with them to pass on the sito 700,000 euros. Indeed, survival workshop employtuation and have done a poor mament and training program of the Juarez said the goal is to gain acnagement. Centre has been questioned, as recess to niche markets from NatioThis "dragging has debts of more cognized Juarez, after reduction nal Heritage, which so far have not than one million euros over five ye- and possible removal of the items had access, such as catering, ars", during which they add, "has awarded to the Center by the Juncleaning and conservation. been reduced by 20 percent the ta de Castilla y Leon, though, " number of workers." eventually we hope to include sohas contributed 7 percent less than
The ERE of the CNV (II). statement.
Outsource production The committee believes that every high salary executives perceive those equivalent to the salary of four workers, so they accuse those responsible for the CNV-action to find solutions that will safeguard the ac-
Volume II — Number 45
tivity. Even beyond their concerns when the court employee asserts that "the intention of the company is making reproductions of the Royal The feelings that breathes the
"Workers continue to believe that
Glass Factory through contracts
works council of the National Glass
the current crisis is being marketed
with other outside companies and
Centre Foundation (CNV) are not
as an excuse for poor manage-
we understand that is aimed at clo-
ment, which has been dragging
sing the ovens blowing "suspected
debts of more than one million eu-
the committee. The note emphasi-
ros over five years."
zes that if so, would the substitution
A statement issued by the worker representation suggests doubts about the future viability of the en-
The staff representative body emp-
tity that is currently involved in a re-
hasizes that at the time "has been
cord of employment regulation.
downsized by 20% and grants until
The national spokesman of the staff notes that this ERE ending June 1, but uncertainty persists despite news the address on the last glimmers of light at the end of the tun-
this year have been the same, except in 2012 which have fallen as a percentage not determined by the
of the firm of La Granja. "We would lose the prestige they have acquired and recognized since the eighteenth century and would be contrary to the statutes of the foundation," concludes the note.
direction" spokesmen complain co- "A credit to be spent before granllective. ting '
nel crisis stifling the Royal Factory of
The committee darts company in-
The board of the National Glass
sist on targeting those responsible
Centre Foundation approved the
for the institution granjeña.
application in April of 300,000 euros
In April, the Trustees gave the gre-
to strengthen its battered state in
en light to new ways to strengthen
"After five months of ERT, the Natio-
distribution networks and save the
nal Glass Centre Foundation has
historic institution Segovia.
saved 540,000 euros in the chapter
The works council said that "is alrea-
on personal" point sources of wor-
dy spent before they are granted,
and to be 160,000 euros of gas bills,
The address, in front of which is Aurea Juarez, took an optimistic some
of the measures put on the table at Before the entry into force of the that meeting. One such proposal was approved the request for a credit facility amounting to 300,000 euros "to
first record of employment, undertook a feasibility study which advised a number of measures for the reorganization of management.
catch up" with the payments that
"We know with certainty that has
were due to staff. This helps "puts us
not done anything, with the aggra-
in good condition to start," said
vating circumstance that all em-
then responsible for the National
ployees of the foundation we are
Glass Centre Foundation.
in a record time of employment
Debts of € 1 million
regulation and the only ones who are discharged and collecting their
The committee does not see it with
salaries are the directors of the va-
such good eyes.
rious areas, "continues the
the absence of budgets.
multiple invoices from different suppliers, a number of payroll workers, added to the credits and provides the foundation reach a figure of approximately € 1,800,000, "reporting the body of the template. Uncertainty about the granting of this new policy is also present in the criticism of the committee, apostille that the center has been cut for unpaid gas.
Summers in Gobernors Island. Cooper-Hewitt Museum and the Walker Art Center that explores so-
me of the best graphic design work produced since 2000, and another exhibition organized by the Museum of Glass Corning in collaboration with the Cooper Hewitt Museum (June 30 to July 29) it will offer
Volume II â€” Number 45
demonstrations of glass blowing. The season started well with the public opening of the Castle Williams after a major renovation of three years has cost $ 6 million. With this renovation, visitors can enjoy this historic structure, know your history with interpretive signs and for The weekend of Memorial Day
the 5 districts, craft beer and live
marks the beginning of the summer music. of Governors Island.
In addition to programs of regular
The island open on Saturdays, Sun-
activities of other years, such as
days and Monday holidays from
those organized by the Children's
May 26 until September 30, from
Museum of the Arts for children 1 to
10:00 am to 7:00 pm.
12, or demonstrations of compos-
To start the season was held the traditional PicNYC 26 and May 27 with 20 food stalls with chefs from
ting on the farm for all audiences, this season will also feature a large exhibition graphic Design (May 26 to September 3) organized by the
the first time, enjoy the unique views of Lower Manhattan and New York Harbor from the top of the castle. Anyone who wishes can access most of the Historic District and the waterfront and at Picnic Point of Governors Island, with free ferry every half hour from the Battery Maritime Building at the corner of South and Whitehall Streets , next to the ferry terminal in Staten Island Manhattan.
Volume II — Number 45
New gallery in Mexico.
Aller Laminates removed ERE. the protest was called off.
Volume II â€” Number 45
In September 2011, the company called power to raise an ERE than a year by falling orders. After a tense negotiation, in which unions and employers failed to reach an agreement because the company raised 16 layoffs finally signed an agreement to conduct a one-year rotating ERE, which would affect the entire workforce. Manuel Puga said that during these months, the ERE has been carried out "as agreed in principle on a rotating basis to ensure that no worker is unemployed for more than nine months." Not all bad news firms Asturian Basin.
since we are returning to normal absolute."
Laminates plant Aller, dedicated to the production of automotive glass at the site of Marianes, workload has recovered and removed the record of employment regulation (ERE) signed in September 2011 for a period of one year .
The new contract represents a major step forward for the firm allerana. So far, the plant was dedicated solely to the production of parts and this is the first time you sign an important agreement for the first team.
The company's 52 workers yesterday began to work, to meet a new order they have received from the In addition, Puga said that Audi is a Audi car company that will last for "serious" to "practically guarantees us workload over the coming yefive years. ars." Allerana plant will produce automotive glass from its factory in 9000 In turn, expected to contract 'would definite boost for the firm. " Marianes weekly glass windows of Labour disputes in Laminates, Aller the model A-6 of the Audi home. began in July 2010 when the comThe chairman of the board of lami- pany laid off five employees and nates Aller, Manuel Puga, said the the unions called a strike to decontract "guarantees a significant mand reinstatement. workload." Eventually, however, there was no In this new context, responsible for agreement between the two signing allerana expect workers "do plants represented in the plant, not have to be regulated again, CCOO and UGT-SOMA-FITAG, and
The board president said the company began to recover workload a few weeks ago, after receiving a request for a known model of a Spanish car company. Aller Laminates shares management with the company Vetro Tool, dedicated to the manufacture of machinery for the production of automotive glass and seated in the circle of Caborana. During the past year, this plant is not only not affected by the plight of factory Marianes, but it has grown. Those responsible for the firm are negotiating with the City Council to extend the ship Aller. Tool Vetro promoted the creation of Aller Laminates in 2005. The company began operations in 2009 with the participation of Sadim, Hunosa dependent. Since then, the company achieved a total of 4.5 million euros of aid funds miners.
Exit the fair Getxo. items from 26 specialties.
Visitors also enjoyed live demonstrations by the craftsman Gipuzkoa Igor Obeso, the only master of glass blowing Euskadi pulse, and the Biscayan potter Alex Gonzalez. Moreover, in the adjoining street fourteen Ibaiondo concentrated food stalls where there were baked
Volume II â€” Number 45
goods, traditional bakery, derived from duck, chocolates, cheeses with denomination of origin and sweet pralines and more. According to Ibanez, one of the secrets of this fair is "the effort of the organization to bring Getxo many specialty and very diverse. We bring good product of true artisans, no resale." On this occasion, the event brought together professionals from Bizkaia, Gipuzkoa, Alava, Navarre, AndaluSay it is not how it begins, but how
Athletic Cup final and the swelte-
ring heat did on Friday.
And the success of the craft fair
There were few people and did a
Getxo endorses it.
little shopping, but then, on Satur-
After a hesitant start, the event began rising sharply to reach a balan-
day, the turnout began to rise and Sunday as" he adds.
sia, Aragon, Asturias, Cantabria, Catalonia, Valencia, Castile and Leon, Castile-La Mancha, Galicia, Madrid and Murcia. There was no lack either artisans from countries like Italy and Portugal for the first time, the fair hosted
ce sheet total of 50,000 visitors over So, the date the craft he repeated
representatives of Japan and Iran,
the three days of the fair.
the previous year's figures, which
which the audience approached
confirmed the attractiveness of a
the Oriental ceramics and objects
show that will serve three decades
made of camel bone decorated
with watercolor, respectively.
The 98 positions of the square of
"We had concerns with the Iranian
the Station became a steady tric-
craft and the Japanese girl, but all
kle of people who had the oppor-
were cleared. Has been very good
tunity to purchase handcrafted
experience and they were deligh-
"It was a strange weekend," he admitted yesterday Ainhoa Ibanez, head of the classroom culture in the organization of the craft fair. "It started very loose due to the
ted," said Ibanez.
Nuestro Boletín tiene su redacción en: Castillo de San José de
Valderas. Avda. Los Castillos, s/n 28925 ALCORCÓN MADRID
Volume II — Number 45
Al vidrio por la cultura
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
Glass Workshop. Images.
Volume II — Number 45
Volume II — Number 45
Glass Workshop. Images.
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Lámina 28 Fig. 16
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Pablo Pizarro. Images.
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Ana Belén Llavador. Images.
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Nacho Criado. Images (I).
Volume II — Number 45
Nacho Criado. Images (II).
Bulletin for the month of June 2012 Friends of MAVA.