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. Laminated glass. M. A. Carretero.
The Spanish art world re-
lated to the laminated
glass and, in particular,
that affects the citizens
of Alcorcón, you are in
luck right now.
In this May will be two ex-
hibitions in the geograp-
hical area of Castilla-
León works of two artists
closely linked to our City.
The first, as to the date of
installation, and opened
on April 30 in the gallery
of Caja de Burgos in
Aranda de Duero
(Burgos) and corresponds
to the works of artist Pe-
dro Garcia, entitled
"Essences Light ".
His sculptures reveal its
essence from a unique
artistic conception of the
universe that surrounds
you.
Your sensitivity to the
ways lets boundless idea-
tion that is reflected in his
extensive oeuvre.
The exhibition will be on
display until the 18th of
this month of May.
The second will be ope-
ned on the 6th at the Pa-
lace of Verdugo City of
Avila.
Corresponds to the works
of Javier Gomez and will
be on display until the
29th of this month.
This show is titled
"Metamorphoses 1989-
2010" and it works Javier
exposes his early work
along with a selection of
more current works.
As noted in the inside pa-
ges, we will go the ope-
ning day of the Verdugo
Palace to accompany Ja-
vier and his wife Julia in
such an important time for
them, as both were born
in the village of Pedro Ber-
nardo Avila.
In my personal concept,
Javier's work has evolved
over time in five successi-
ve stages, always within
the art work in cold rolling.
The first technique was ba-
sed on what I call as "cut
and paste". Performing
one or more templates
drawn on paper, placed
above the glass sheet dra-
wing and cutting it accor-
ding to the previously ou-
tlined design. Once pre-
pared all blades, sticking
was oriented in different
directions to form the
sculpture.
In the second stage com-
bined he combined or
technique already descri-
bed above with the "cut
and paste", ie the reverse
of the previous technique.
First hit the glass sheets to
form a volume report, and
then, using a grinding or
other similar device to cut,
was "roughing" the volume
to get the part of the
sculpture complemented
with the first technique
performed.
In the third stage is decou-
pled from the technique
used in his first time and it
only uses described as
"cut and paste", with
which only works formed
volumes.
Until now, the works were
carried out by not inclu-
ding any color in the pie-
ces.
In the fourth stage there is
an important qualitative
leap. From the year 1999
adds color to his works,
which refined his art and
earn a lot worse in the fa-
ce of their expressiveness.
And in its current stage is
replacing industrial glass
used in earlier stages of
optical glass, of much hig-
her quality than the pre-
vious one and that allows
you to work a lot more refi-
ned in terms of expressive-
ness of colors and forms.
On our visit to this new ex-
hibition certainly enjoy
their work in this retrospec-
tive.
Nuestra sede:Nuestra sede:
Castillo Grande deCastillo Grande de
S.J. de ValderasS.J. de Valderas
Avda. Los Castillos, s/nAvda. Los Castillos, s/n
28925 ALCORCÓN.28925 ALCORCÓN.
(MADRID)(MADRID)
[email protected]@amigosmava.org
Monthly Newsletter
Newsletters
Bert van Loo
Page 2
C O N T E N T S :
Part of the month 3
Established artists 4
Young artists 4
The Mediterranean shuts 5
Visit to glass in Bohemia 6
Research line 7
Activities in Museums 8
Activities in the MAVA 11
Concerts on the MAVA 12
Crafts Award 13
More on FCNV 14
Exposition Javier Gomez 15
Exposition Pedro Garcia 16
News 17
Culture 2013 17
Concerts in the MAVA 18
St 18
The glass museum 19
Courses at La Granja 20
Staiend glass in Guadalupe 21
Glass recicled 22
Pilar Aldana’ exposition 23
Cultural tours 24
Culture 2013 Programme 24
ERE in La Granja 25
Fair craft of Segovia 26
Other trends 27
Lens Glass and aluminum 28
Reuse workshop 29
Celia Ulate in the UCR 30
Sinaga in Alicante 31
Reflexarte in Vigo 32
How does 33
Pedro Ramírez Vázquez 34
Glass in China 35
New master artisan 36
CR Art World Day 37
Edgardo de Bortoli 38
Broken glass 39
Directorate 40
Intellectual Proper-
ty Law
BOOK II. TITLE I.
Rights of producers.
The right to single
equitable remunera-
tion shall be paid by
the management
entities of intellectual
property rights.
The realization of this
right through the res-
pective manage-
ment entities include
negotiation with
users, the determina-
tion, collection and
distribution of remu-
neration and any ot-
her action necessary
to ensure the effecti-
veness of the former.
The producer of pho-
nograms the exclusi-
ve right to authorize
distribution of phono-
grams and their co-
pies.
This right may be
transferred, assigned
or subject to the li-
censing contract.
When the distribution
is made by sale in the
European Union by
the holder of the right
or with his consent,
this right will expire
with the first, but only
for sales and successi-
ve transfers of ow-
nership effected wit-
hin the territory.
Rental means of ma-
king available phono-
grams thereof for use
Limited time and with
economic or com-
mercial benefit directly
or indirectly.
Lending means of ma-
king available phono-
grams for use, for a li-
mited time, no econo-
mic or commercial ad-
vantage, direct or indi-
rect, provided that the
loan is done through
establishments accessi-
ble to the public.
It is understood that
there is economic or
commercial advanta-
ge, direct or indirect,
where lending by an
establishment accessi-
ble to the public gives
rise to the payment of
an amount not excee-
ding the amount ne-
cessary to cover its
operating expenses.
U R G E N T N E W SU R G E N T N E W SU R G E N T N E W S
The glass in the Museo del Prado.
The next day, May 8, at 19 am,
the authors of "The Glass painting
in the Prado Museum", José María
Fernández Navarro and Francis-
co Capel del Aguila, this excep-
tional work presented in the Audi-
torium of the Museum of Glass Art
at Alcorcón (MAVA).
With the reading of this work goes
a way in which the protagonist is
the guide on the various physiog-
nomies glass bottles, glasses, win-
dows, mirrors, optical instruments,
SPECIAL INTEREST:
Part of the month
La Mediterranea
Visit to Bohemia
Concert in the MAVA
Activities on the MAVA
News
Our activities
Glass recycling
How does
Important issue: the Intellectual Property Law (XXVI) M.A.C.(XXVI) M.A.C.(XXVI) M.A.C.
laboratory items, etc. .. that is
present in the pictures.
No other means of information
better than the paint can provi-
de documentary evidence as
true of the abundant and diverse
presence of glass in the daily life
of the time.
A loyalty unites the pleasure of
artistic contemplation. So follow
the tracks left by the glass in the
painting is a fascinating task be-
comes privilege when you have
the opportunity to enter the co-
llection of the Museo Nacional
del Prado.
Along the long hundred paintings
of the Prado Museum selected
for inclusion in this book contains
a particularly representative
twenty paintings, kept in other
museums.
It also includes images of original
glass pieces, from different mu-
seums and private collections
that serve as a reference for so-
me of the ones in the pictures.
www.amigosmava.org
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Part of de month. Raquel Stolarski-Assael.
In the words of Raquel Stolarski:
"A glass sculpture, is an intense
bright space filled landscapes.
Transparent layers of coated
prints, various materials and co-
lors flowing into the figure.
The interior and exterior surfaces
interact to create depth, volume
and illusory spaces within the
piece unique glass effect, which
refers to underwater worlds,
aliens or microscopic.
Each work is a mystery to unravel
through the creation, play, ima-
gination and discovery are the
key instruments of the artist.
But beyond that, glass is substan-
ce of which dreams are made
of ... "
His artistic activity private com-
missions shares of integrated lar-
ge-format work in architecture:
stained glass, murals, furniture
and other decorative pieces,
with sculpture.
A work full of sensuality, eroti-
cism, magic and baroque dre-
am very connected with the rich
Mexican esoteric imagery.
Rachel's world consists of fanciful
shapes, human figures and fan-
tastic animals that appear to
have a life.
Raquel Stolarski glass has wor-
ked over 30 years and exhibiting
his work since 1983, a year after
opening his own workshop.
The cast of solo and group ex-
hibitions of this artist spans more
than seventy appointments,
both at home-Vitro Art Center of
Monterrey (Mexico) In 1992, as in
Japan, Glass '94 in the U.S. Now,
GAS. International Conference
(1997) in Tucson, Arizona, in
Spain, of beasts, Ladies and ot-
her Characters (MAVA 2001),
etc..
This last sample is "Equus", made
with the technique that identi-
fies the work Stolarski: laminated
sand-blasted and acid someti-
mes also combined with etching
and polychrome.
www.amigosmava.org
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Established artists. Bert van Loo.
Young artists. Jeremy Maxwell.
Jeremy Maxwell Wintrebert quic-
kly realized that his life was
blown glass.
Seeking technical and eager to
meet blowers, traveled in Italy,
Czech Republic, United States,
and then moved to France,
where he perfected his training.
Glassblower for many designers,
is himself an artist.
Indeed, his creations are unique,
the combination is one of its
principles.
Words, images, sounds, Jeremy
Maxwell often follow their intui-
tions.
Art and design
Jeremy Maxwell describes his
work as "intuitive science".
Mind and technique are mixed,
and this is what makes your uni-
verse is original.
His pieces are truly art within the
meaning of the word (Latin Ars,
artis: technical knowledge skill).
The addition of color (including
the application requires a very
precise technique) accentuates
the ambiguity of certain crea-
tions.
The work becomes poetic and is
in perfect harmony with what is
called the design.
Finally, the impression of a ten-
sion between the softness and
strength that emanates from
their creations, marking the suc-
cess of animated objects.
Bert van Loo was born in
Holland in 1946.
Van Loo's work is classified into
six different times.
In the first three phases, Bert van
Loo uses figurative language
and symbols as a means of ex-
pression sometimes resorting to
clear glass or color on a black
background always to provide
greater contrast.
In the subsequent phases the
author approaches a more abs-
tract language that incorpora-
tes the use of other materials, is
the case of the stone combined
with lead.
The last phase is part of a more
conceptual field and someti-
mes engaged with the outside
world in which he lives, becau-
se, according to Van Loo him-
self, "a work of art must come
from the amalgam caused bet-
ween emotion and reason» .
In addition to many works of
workshop, the sculptor has ma-
de many custom pieces of mo-
numental for different institutions
and Dutch cities.
Van Loo, who has made guest
appearances in major glass
schools, art academies and uni-
versities, is a member of several
committees and councils in the
Netherlands cultural and art
consultant in various institutions.
www.amigosmava.org
Our web
Our web
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The Mediterranean shuts.
Business purposes, the closure of
the factory that kept the Medi-
terranean Olleria no longer an
accounting data more virulent
consequence of the financial
crisis.
But in the town of Vall, conside-
red the cradle Valencian indus-
try glassblowing-no record of its
introduction some five centuries,
the disappearance of the last
active representative blown ma-
nual process has been a major
setback, the that accounts eco-
nomist Mark sang in a recent stu-
dy of the powerful local industry.
The Mediterranean came expor-
ting to over 70 countries and 14
million euro bill per year, placing
on the market of low heat pro-
duction arising innovative and
creative designs.
Those were different times. The
company, founded in 1975, was
the epitome of the thriving and
successful business culture built
on the base of the glass and ex-
ported to all corners of the
world.
Today only keeps your marke-
ting activity, after entering 2009
into receivership.
With the shutdown of the facto-
ry, four dedicated to the glass
industry that have lowered the
blind in the last decade, as
Sang finds.
First was the dean, glasses Le-
vante, who came to have five
glass furnaces, 420 workers and
40 countries receiving their pro-
ducts.
Then the drip has been steady,
with Green Glass closures, Viart
and the Mediterranean.
Sang, subject specialist, emp-
hasizes that today there is only
one functioning industry in Vall
d'Albaida region in which the
glass was once leading activity.
This is the San Miguel Glasses
cooperative, which survives in
Aielo of Malferit despite the thro-
es of an economic situation
against, charging 15 million eu-
ros per year and 250 employees
on staff.
Economist points to the lack of
synergies and the absence of
policies that enhance the sector
tourist attraction as the main
causes of the decline.
Diving in the history of the activi-
ty, Sang is the first glassmaker
Olleria documented in 1584, an
artisan foreign imported a mol-
ding system that has its roots in
the Middle Ages.
Now, the researcher warns that
the future of this "culture of glass"
is in danger.
Although, as municipal sources
say, no record of entrepreneurs
interested in deploying new in-
dustries, the adventure is risky
and daring to take the step re-
quires a lot of courage.
However, concerned about the
disappearance of artisans who
have been shifting over the cen-
turies the technique.
Spread the legacy
The City promoted a project to
spread the legacy of glass in the
population.
The Glass House Museum ope-
ned in 2010, but is currently clo-
sed amid a rehabilitation process
is set in an old municipal buil-
ding, which never ends.
The council was interested in
opening an oven demo on it,
but backed by the high cost.
www.amigosmava.org
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www.amigosmava.org
Within cultural visits policy of our
Association and referred to the
area glazier, in the month of
May we will visit different places
in the Czech Republic where the
manufacture of glass has centu-
ries of tradition and a refined
manufacturing technique.
Therefore, on 21 May this month
several members of the Board of
our Association we move to Pra-
gue, capital of Czech Republic,
for a tour during a period of
eight days by different sector
landmarks Czech glass.
Once at the airport Vaclav
Havel of the Czech capital at
noon on the 21st, we will go by
car to the Hotel Ibis Praha Mala
Strana and we plan afternoon
stroll through the city.
Day 22 visit the Museum of De-
corative Arts and the Museum
and Moser Gallery in Prague.
On day 23 we will go to Pardubi-
ce in the morning to visit the
East Bohemian Museum and in
the afternoon visit the Glass Ga-
llery in Prague.
The 24th Karlovy Vary go to visit
the Museum Moser in that city
and in the afternoon we will visit
different places in Prague.
On the 25th we will go to Nizbor
to visit the factory during Rückl
CRYSTAL morning and afternoon
visit various places in Prague.
The day shift 26 Novy Bor to see
the Museum of Glass and then
Kamenicky Senov to see the
School and the Museum of Glass.
27 and 28 we will move to Libe-
rec to see Czech School, Mu-
seum and Factory in Zelezny
Brod Lhotsky. After visiting the
Museum of Glass and Jewellery
in Jablonec and return to Pra-
gue.
And on the 29th in the morning,
return airport transfers and Alcor-
con.
Endeavor to bring a good photo
shoot and video for our friends to
be partakers of the experiences
we have enjoyed visits to these
places as traditional in the world
of art glass.
Our visit to the Bohemian glass.
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Line of research: Inclusions (XIV).
Estefanía Sanz Lobo
In Fig 1 shows a single layer of
silver pan, yielding a yellow hue.
In Fig. 2, two layers of silver leaf,
amber tone offering.
When put a fair amount of silver
leaf between two glasses or
wrinkles occur fairly thick silver
metallic luster retaining some to
melt, as shown in Fig. 3.
The disadvantage of this mate-
rial is that you can not always
predict the effects, sometimes
yellow tone silver leaf is whitish or
greenish reflection, although
transparency is still yellow.
But the tone is quite unpleasant
reflection and opaque.
When you look through the mi-
croscope we can see a film of
crystals just above the silver, pos-
sibly a Local devitrification.
In Fig. 4 is an excerpt of a work
that shows silver leaf along with
other materials.
This silver leaf has a white hue is
yellow but when you see the
light.
Another possibility is bread mix
silver with enamel and chips, alt-
hough the results are not as inte-
resting as when working with
metal alloys breads.
In Figs 5 and 6 are two thin silver
samples with enamels.
The mixture Silver, unlike what
happened with the fake metal
breads, produces shades trans-
parent but opaque and brown
colors.
Gold leaf, unlike the fake breads
described above, they are com-
monly used in glass inclusions
and have been unable to find
information on this in the literatu-
re.
LUNDSTROM (1991) indicates
that for gold has gold looks rea-
lly should get in enough quanti-
ty.
The thicker gold layer, the better
the color.
Recommends gold put five la-
yers to achieve a good effect.
Also indicates that the firing
temperatures than gold sup-
ports ranging from 700 ° to 870 °
C.
Includes working with gold leaf
in his chapter on metallic lusters.
However, speaking only slightly
from the results that can be ob-
tained with pure gold, and even
mentioned that other types of
breads metal, gives no indica-
tion of plastic effects that can
be achieved with them.
Regarding the recommended
technique for working with gold
leaf, is similar to the traditional,
as advised to put a mordant for
gold remains stuck to the glass,
use a special brush to catch the
golden booklet (what we call "
polonesa ", etc.).
For example, consider a defect
breads wrinkles that metal can
have, instead of evaluating to
do intentionally to achieve a va-
riety of textures.
It says nothing of metal biscuit
mixes, glazes, etc..
In tests it has been found that,
indeed, a gold layer is almost in-
visible, and two barely give a
reddish tone, as shown in Figs 7
and 8, of which the first is a single
layer and the second is two.
When put more layers of gold
the results improve.
However, the thickness of the
gold foil requires great skill to pla-
ce the sheet where you want
and to do so that wrinkles are
not excessive.
Therefore the mixture of fine silver
and pure gold with other metal
breads poor results because
transparency is not achieved,
and the tones are not too attrac-
tive, as shown in Fig. 9.
It has been found very success-
ful, however, the combination of
fine silver leaf with fine gold leaf
between two glass melts.
www.amigosmava.org
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Activities in Museums I.
www.amigosmava.org
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Activities in Museums II.
www.amigosmava.org
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Activities in Museums III.
www.amigosmava.org
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www.amigosmava.org
Activities on the MAVA. Conferences.
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Concerts on the MAVA.
On the 5th of April last third
event was developed corres-
ponding to our "Concerts in the
MAVA".
This time there were two groups
of students from the Conservato-
ry "Teresa Berganza" Madrid im-
plementers two beautiful com-
positions Rodolphe Kreutzer and
W. A. Mozart, respectably.
The first group, formed by Miriam
del Coso (flute), Paula Salazar
(fiddle) and Paul strains (guitar),
performed in an exceptional
manner the work "Trio" Kreutzer,
French author (1766-1831) born
in Versailles and was a violinist,
teacher, composer and con-
ductor.
Two peculiarities, among many
others, stand out in the life of this
artist. The first, and at thirteen he
played a concert comprising
himself and the second, who
played with a violin built by An-
tonio Stradivari.
The concert by the trio of Ma-
drid Conservatory can go
through this link.
The work consists of three move-
ments: Allegro, Adagio and Ron-
do.
The second part of the concert
consisted of the performance of
the "Quintet KV. 581 "of W. A.
Mozart.
This work was performed by Ma-
ry Martin (violin), Esther Muñoz
(violin), Laura Gomez (viola), Ai-
da Bauer (cello), Blanca Guest
(clarinet) and Susana Perez
(clarinet).
This "Quintet" consists of four mo-
vements: Allegro, Larghetto, Me-
nuetto and Allegretto con varia-
zioni.
The group of interpreters Madrid
Conservatory had not yet per-
fected the last move, so deligh-
ted us with the interpretation of
the first three.
Mozart composed this work in
1789 initially for bass clarinet and
dedicated it to his friend, the
clarinetist Anton Stadler, name
that is sometimes quoted this
composition.
It is one of the best works of the
repertoire for clarinet and is very
popular for its lyrical melodies,
especially in the second move-
ment.
One of the outstanding features
of this quintet is equality and ba-
lance of the roles attributed to
each of the instruments involved
in the question-answer game
that the author masterfully bears.
This second work can continue
through the following link.
At the end of each of the com-
positions, there was a question
and answer session where the
audience could ask questions to
the performers and also the tea-
cher of the Conservatory who
accompanied them and kindly
lent to collaborate.
www.amigosmava.org
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National Crafts Award 2012.
www.amigosmava.org
This foundation, based in A
Coruña, has combined its sup-
port for Galician traditional crafts
with a commitment to innova-
tion and adaptation to new mar-
kets, offering a platform for
craftsmen and training assis-
tance.
It also undertakes the important
task of developing cooperation
in the areas of research and ex-
pertise in the techniques of pre-
paring the crafts of Galicia.
The finalists in the category for
public entities Promote Award
2012 have been the General Di-
rectorate for Industrial and Trade
of the Government of Extre-
madura and Crafts Training Cen-
tre, Restoration and Rehabilita-
tion of Historical, Artistic and Cul-
tural Albaicin, Granada
(Andalusia ).
The Innovation Award 2012, with
a budget of 3,500 euros, is the
award that recognizes the prod-
ucts, prototypes or actions made
in the two years preceding the
date of publication of this an-
nouncement, involving a com-
mitment to innovation of crafts-
manship, by utilizing new tech-
nologies, new materials, or the
innovative reinterpretation of tra-
ditional and other actions of a
similar nature.
This award was granted to Juan
Pablo Martinez, Tito, for his work
"Reinterpretation of ceramics in
interior architecture" in collabo-
ration with Trinidad Interior, and
which has brought together the
expertise of two family businesses
that bind in its third generation to
reinvent ceramics and interior ar-
chitecture, in dialogue between
tradition and innovation.
The two team members Sanserif
Creatius SL are closely linked to
Sara Sorrentino, Valencian busi-
ness lately has exposed their
glass creations twice, one in Va-
lencia Craft Centre and another
Fundesarte headquarters in Ma-
drid.
We refer to the first of the exhibi-
tions in our Newsletter n ª 48 for
the month of October last year
2012.
We also visited the second of the
exhibitions cited, and what we
intend in our Bulletin No. 50 for
the month of December last.
These master craftsmen of La
Laguna, specialists in skin and
leather, were also finalists in this
contest in the 2011 call.
His work is characterized by the
uniqueness of their shoes and
handbags, unique and person-
alized pieces of great color and
originality.
In the category Product Award
2012 were also finalists boots
came Jesus Blasco SL of Castilla-
La Mancha, Valencia José
Marín jeweler, the potter Anda-
lusian Juan Pablo Martinez (Tito)
and the Madrid company
Landspot Ceramic Designs SL
The Promote Award for Private
Entities 2012, with a prize of 3,500
euros, is awarded by the dedi-
cation of the candidates for the
enhancement of the craft, con-
tributing to its activity to give
greater visibility in an environ-
ment and prestige.
This prize has been awarded to
the Professional Association of
Artisans of Aragon by the strong
impetus given to the sector to
make an application project
design techniques to craft, ARDI
Plan (Craft + Design) began in
2006, improving sustainability of
production and creating new
marketing channels and col-
laboration between companies
in the field of production.
The Promote Award category for
2012 were finalists private enti-
ties the Federation of Artisans of
Castile and Leon (FOACAL) and
the Valencian company Sanserif
Creatius SL
Promote Prize for public 2012
has been awarded to the Foun-
dation Center Handicrafts and
do Galego da Deseño.
The Minister of Industry, Energy
and Tourism Jose Manuel Soria,
delivered last April 4 National
Crafts Award 2012 at the Valen-
cia company Alcora Art Antic, a
pottery studio located in Cas-
tellón, in a ceremony at the
headquarters of the Ministry of
Industry, Energy and Tourism.
National Crafts Awards, pro-
moted by the Spanish Founda-
tion for Innovation of Crafts
(Fundesarte), are intended to
give institutional recognition at
the highest level to those activi-
ties generally recognized as ex-
cellent and exemplary in the
field of contemporary craft.
In this edition, the Valencian
company Alcora Art Antic, SL
has been awarded the 2012 Na-
tional Crafts Award, endowed
with 7,000 euros, which recog-
nizes the set of an established
track record.
This is a pottery studio located in
Castellón and was a finalist for
the same award in 2010 and
2011 calls.
Also, were finalists for the Na-
tional Crafts Award 2012 Kima
Guitart craft catalan, Charo
Iglesias and Granda Art Work-
shops, SA, Madrid company,
and the Galician company
Asteleiros Triñanes Dominguez,
SL
Winners in other categories
Product Prize 2012, awarded to
products or collections made
and sold in the two years prior to
the announcement.
This award, with a prize of 3,500
euros, went to the Pisaverde
S.L.U.
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More on FCNV.
Posted by Fatima Martin in "vozpopuli" on
28/04/2013.
The Infanta Elena lamps acquired Natio-
nal Glass Centre Foundation (FCNV) of
the Farm discount of 9,000 euros, accor-
ding to the provincial coordinator unvei-
led UI in Segovia, Jose Angel Frias. "To
me it seems that Elena of Bourbon citi-
zen has enough money to pay one hun-
dred percent of what it was worth.
Lamps I have come to the Ikea bargain
price", praised.
According to the UI, which has brought
the matter to the House of Representati-
ves through a parliamentary question
response slope, the eldest daughter of
the King of Spain paid "about $ 3,000" for
"lamps that led to his house, which
would total 12.000 ". The transaction is
reflected in a statement of account mo-
vements of Caja Segovia (now Bankia)
from March 8, 2010, when the Founda-
tion received a transfer of Elena de Bor-
bon y Grecia.
Glass Spiders "in the manner of the XVIII"
It is a glass chandeliers Royal Glass Fac-
tory of La Granja, how dieciochesca
made. They are composed of a shaft or
axle consists of several modular ele-
ments blown hollow glass, which bloom
light arms and staves or scrolls, which
offer the viewer a sense of continuity, as
if they were the suppliers of garden sup-
plies Palace of La Granja.
From there hangs a number of pendants
like tears, pendants, pandelocas, balls,
pine cones, leaves ... that make these
pieces into true historical gems. Each
pandeloca is carved. Some of which
are preserved eighteenth century, are
stamped with fleur de lis, symbol of the
Bourbons.
"You need to have a few lights. This is
another example of poor manage-
ment," says a worker at the National
Glass Centre Foundation. In the templa-
te, whose work hangs in the balance,
does not fit on the head that the Foun-
dation questionable apply such dis-
counts without even monetize through
advertising, "to give enhancement parts
they deserve." In this regard, remember
that both the Prince and the Princesses,
the National Glass Centre glassware
them gave a singular occasion of their
wedding.
The "absurdity" of the lamp Agata Ruiz
de la Prada
And speaking of lamps and mismana-
gement, the employee of the Founda-
tion remembers the moment he arrived
Agatha Ruiz de la Prada to order a fruit
of his colorful lamp Magin. The good
man has the lamp, dolled up with all
sorts of hearts and beads, "took many
hours of work and money.
And neither paid nor has come for her.
And there we have the grotesque, the
ship woodshed the factory. "
These examples is in addition to the
string of irregularities, all documented,
which beat out the UI on the subject of
Redundancy Employment (ERE) that
threatens to fire 17 people in a deflated
staff of 55. ERE according to the Bureau
of Labor Land is not appropriate, having
been presented by management and
not by the Board of Trustees.
A string of irregularities
Such irregularities include contracts with
Cardboard Juarez, SL, a family business
by the director of the Foundation, Aurea
Juarez unjustified notes above 60,000
euros amounts hash it impossible to as-
sume that the principal contractual obli-
gations over 1,803.04 euros , or myste-
rious business advisory contracts
"allegedly in the Middle East" for 1,160
euros per month, including VAT, but wit-
hout relief for income tax. What's more,
the Foundation has tried to pass off
glass crystals The Farm Badalona.
"The management is trying to dispense
as many workers as possible. Try to buy
from other companies and then sold as
glass Real Sitio de San Ildefonso.
Thus can not be killed with a cultural,
artistic and historical as the Royal Facto-
ry. Things you can not do so very badly,
"he laments the worker, it is feared that
the ultimate goal is to liquidate the Na-
tional Glass Centre Foundation.
Two million euros of debt. The largest
creditor, Bankia
For example, a button. According to
sources within the FCNV,
"mismanagement has lost more than
150,000 euros each year. Indeed, the
Foundation's debt exceeds two million.
Creditors are, in this order: Bankia, Social
Security, Finance , other financial institu-
tions and suppliers. "
'Vozpópuli' has been in contact with the
Office of the National Glass Centre Foun-
dation of Real Sitio de San Ildefonso, un-
der the command of the Juarez Aurea
Granjena to confirm all those points, and
his reply was that "does not make state-
ments ".
Employers Parade
"There has been a very bad manage-
ment with the silence of all employers"
sums Frias, the provincial coordinator of
IU, who is surprised that he was still being
patron of the Foundation individually
Carlos García Revenga, secretary of the
Princesses Elena and Cristina, accused in
the 'case Nóos'. It also continues the po-
pular MP for alleged mail Segovia and
Barcenas, Pedro Ramon Gomez de la
Serna and Villacieros, known in the city's
aqueduct as "the nursery" (because sup-
posedly fighting in the street of Segovia
but it is unknown to policy livestock be-
longs).
Surprisingly, the list of patrons of the Na-
tional Glass Centre Foundation of Real
Sitio de San Ildefonso is as extensive as
'illustrious'. Piloted by Francisco Salazar-
Simpson Bos, hold the honorary presiden-
cy Majesties The Kings of Spain. Of its
25,000 square feet of stunning eighte-
enth century industrial architecture, ow-
ned by the Treasury and the Cabinet as-
signed by the Board "in what keeps the
activity" for years have passed from the
worlds of politics, as Tomás Villanueva
(counselor Economy of the Junta de
Castilla y León), Jesus Merino (accused
in the Gürtel case), Elvira Rodriguez
(CNMV), Isabel Carrasco (president of
the council of Leon), Ildefonso de Miguel
(former manager of Canal de Isabel II) ,
journalism, like Julio Ariza
(Intereconomía), the late Antonio Vaz-
quez Cardenosa (Diario de León), San-
tiago de Ybarra y Churruca (Vocento),
the company, as the very Salazar-
Simpson (Simpson Hello Bye Cars or
Cars), Germán Lopez Madrid (Volvo Car
Spain), Arturo Fernández (CISM-CEOE),
Javier Carved (ex Avanzit), Carlos Rocha
Moreira da Silva (BA Glass and former La
Seda de Barcelona), or Acute Gomez
Ulpian (Saint Gobain Wanner, SA) , and
other areas such as Pedro Rodriguez-
Ponga and Salamanca. They have also
had representation on the Board, besi-
des those central, regional, provincial,
local and National Heritage, Spanish
companies like Glassware, SGD La Gran-
ja, Aon Gil y Carvajal, and Corpus Vitrea-
rum Medii SEGIPSA Aevi.
The month of November 2012, the presi-
dent of the Foundation, Salazar-Simpson,
approved the termination of a handful
of employers, which the Board went from
a quarantine of Representatives 'only' a
score. Among them, as already mentio-
ned, have been individually the afore-
mentioned Carlos García Revenga, Ser-
na, Ulpian Gómez, Juan Luna (curator of
the Museo del Prado) and two more that
have become vacant.
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Page 15
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Javier Gomez exposition.
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Pedro García exposition.
Page 17
N E W S (I).
Culture 2013.
www.amigosmava.org
Glass funerary.
Louvre, Département des Peintu-
res, Paris) and Gainsborough (Tate,
London).
In these landscapes, gypsies hel-
ped put the note scenic but also
embodied a new harmony betwe-
en man and nature, it was neces-
sary for a life detached from the
strong bourgeois structures.
With the advent of realism, prestige
increases wandering community: "I
just initiated into the high life and
independent wandering gypsy"
wrote Courbet in 1853, while, Bau-
delaire proposed in My Heart Laid
Bare (1859-1863) , "glorify the prowl
and what could be called the
Bohémianisme [Gypsyism]".
From Courbet and Manet, the pre-
sence of the underclass in art is be-
coming increasingly common.
This question allowed realistic na-
rrow escape academic hierarchy
of genres, to find a sincere art that
show the true reality of modern life.
The gypsy and her children, Cour-
bet (Private collection) or The drin-
king water The Manet (The Art Insti-
tute of Chicago) represent this as-
piration to approach the real and
away from romantic stereotypes
about Gypsies.
Meanwhile, Vincent van Gogh
masterfully summarized in Cara-
vans (Musée d'Orsay, Paris) these
concepts.
re of the gypsy as announcing the
colorful character courtship.
In parallel, the nature was establis-
hed as favorite scenario for repre-
senting Gypsies, because topically
association made between this ra-
ce and the wandering life, as op-
posed to the sedentary life in the
city.
Bohemian camps in the landscape
will be then one of the most repre-
sented, as shown by the works pre-
sented here Teniers (The State Her-
mitage Museum, St. Petersburg),
Morland (The State Hermitage Mu-
seum, St. Petersburg / Musée du
This past April we visited the exhibi-
tion "Luces de Bohemia" in the
Mapfre Foundation in Madrid.
Since arriving in Europe around
1420, Roma had an enormous fas-
cination among artists and writers.
Many myths and legends populari-
zed topics around gypsies and, to
the Enlightenment, were often por-
trayed predicting the future or lin-
ked to the world of dance, theater
and dance.
From the eighteenth century, the
theme of "fortune" gained a new
boom gallant hand painters like
Boucher or Watteau, tried the figu-
The Local History Museum Montilla
has taken the dissemination plan of
their funds, with new conferences
focused on some of his most signifi-
cant.
On April 24 he spoke about the set-
tlements in the urban environment
during the Roman period, thanks to
a glass funerary preserved in the
museum.
Matilde Bugella was responsible for
assessing the pieces, ensuring that
it is almost a miracle that have be-
en preserved to this day.
They were discovered in the 80s
and the quality of the furnishings,
probably belonged to a farmer in
a village, whose remains have not
been located.
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Page 18
N E W S (II).
www.amigosmava.org
Cecilia" by Fanny Mendels-
sohn.
Currently teaching Choir and
Orchestra at the Conservatory
of Music "Teresa Berganza" of
Madrid.
For a better understanding of
the curriculum of this director
can click the link below.
Concerts on the MAVA.
gram that will develop these young
singers.
As we have found on internet pa-
ges, this choir is composed of
about 80 members and is led by
Pablo del Campo.
In 2006, Pablo del Campo premie-
red in Spain with the Chamber
Choir "Teresa Berganza" "Ode to St.
On Friday May 10th will have the
White Voices Choir of the Con-
servatory of Music "Teresa Ber-
ganza", Madrid, for the realiza-
tion of the fourth concert of the
program of our Association
"Concerts in the MAVA".
Through our Facebook page
and our website inform the pro-
Glowing in the dark bodies.
Jessyca Lloyd-Jones is a renowned artist who
uses lighting as a key element in many of his
works.
In collaboration with glass artists and specia-
lists in neon, Jessyca anatomical sculptures
created where the brightness of gases like ne-
on or xenon a touch "electric" and mysterious
to different human organs.
The collection consists of four organs (heart,
brain, lung and eye) blowing glass inside
which is encapsulated neon or xenon gas.
These gases glow showing different colors
when applied electrical current, producing a
fascinating and hypnotic result in these curious
sculptures.
The author wants to express with this work the
vital importance of energy in the human ana-
tomy.
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Page 19
The glass in Museums: Jablonec.
www.amigosmava.org
From as far back as the four-
teenth century Jizera mountains
in general and Jablonec and Ni-
sou, in particular, have been
closely related to the manufac-
ture of glass.
Spectacular advances in the
production of glass and jewelery
and exports in the second half
of the nineteenth century a core
made of Jablonec world famous
and jewelry center.
This success is reflected in the
development of the city.
Of all the attractions the city has
to offer, plus the Museum of
glass and high quality jewelery,
heritage monuments meets
glass manufacturing and design
in the region.
The steps followed Museum Ger-
man Museum Society, founded
in 1866 and opened its doors in
1911 in a traditional house.
In 1949 the collection was
moved to the old export house
Zimmer & Schmidt, where it re-
mains today.
The building was constructed in
1904 and was later adapted by
E. Herbinge in 1923.
It is a magnificent example of
Art Nouveau architecture,
popular at the time, and as such
is a listed building.
The museum has a wide range
of works in glass, jewelry, coins,
medals, posters and some mili-
tary objects.
New permanent exhibitions: "The
Magical World of Jewelry" and
"Enchanted Garden", "Seven
centuries of Czech glass"
opened in 2004 after three years
of intensive restoration work.
The information is provided to
visitors at various levels, and the
exhibition space is devoted to
presentations that illustrate the
manufacture of glass, jewelry
and individual works through his-
tory from its origins until today.
The Galerie Belveder in Mlýnská is
one of the oldest houses in the
city and baroque houses part of
the extensive jewelry collections
held by the Museum.
In Kristiánov a monument to glass
making is in a wooden house in
which faithfully recreated the his-
tory of what was once the most
important town glassmaking in
the Jizera Mountains.
The village comes alive each
year at Fair Marian, showing
many examples of the lives of
historical trades and crafts.
The Museum contributes signifi-
cantly to the cultural and edu-
cational activities of the general
public and professionals, and
activities for children, youth, pen-
sioners and disabled and men-
tally ill.
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Courses in La Granja.
Page 21
The Treaty of Guadalupe Monastery Windows (XII).
Fernando Cortes Pizarro.
On the drawings of stained glass
At the end of the treatise the
author includes 54 different de-
signs of stained glass, which as
we have seen are actually more
than windows themselves, indivi-
dual modular panels, of which
only 43 have survived.
Presumably 7 missing drawings
follow the style and forms of the
preserved.
These panels are all rectangular
format and types of windows
are geometric characteristics of
a period of time covering the
XVI, XVII and XVIII.
In this type of simple glass, color-
less and figuration, the spotlight
falls on the design aesthetic that
traces the network of lead,
being mostly colorless glasses,
although the author considers
the possibility of including some
colored glasses sporadically .
Some drawings -51, 53 and 54 -
are related vaguely architectu-
ral forms, while others, as noted
by Nieto Alcaide referring to the
drawings 19 and 52, are inspired
by models drawn directly from
the Third and Quarto Book of Ar-
chitecture by Sebastiano Serlio- ,
indicating a certain knowledge
of architecture by the author.
Of all the drawings preserved,
30 are composed exclusively of
straight lines, while 14 others
combine straight lines with cur-
ves, the latter being by far the
most difficult of execution, since,
as the author says: "... are more
difficult to assemble, and to tho-
se who are skilled business ... ".
While some drawings are tradi-
tional and have survived nume-
rous stained glass and other art
forms preserved at the time, ot-
hers however are clearly the re-
sult of the ingenuity of the aut-
hor and may never come to run,
or at least I do not know copies
Similar windows of the time.
Many drawings are accompa-
nied by a more or less extensive
depending on the case.
Sometimes the comment starts
with a "This window is mui ermo-
sa ...", which once again de-
monstrates the author's great
appreciation for the art of stai-
ned glass, including copies as
simple as those presented to us.
In a couple of drawings, in parti-
cular 2 to 19 - are specified
construction details as the best
location of the reinforcing rods
and their quantity recommen-
ded: "What ba marked with
dots, is the compartment jim-
mies".
In others specifically recommen-
ded a plea and that "... although
the matchlocks ADVANTAGE" or
"... take advantage of many
points of glass left over from the
two windows Background ...".
19 In the drawing, probably one
of the most popular motifs in the
windows Spanish since the sixte-
enth century, says: "This is the
most common window that ay in
all, strong and lost little glass has
to be such a good view echura
to doors and windows. "
20 In the drawing says the virtues
of his strong "trabaçon" that ma-
kes it "... mui good for sites with
high and defends his tenpesta-
des fortaleça the Air".
In the grounds 32, 33 and 34 the
author supports the use of multi-
colored glass, which "although it
is true that remove some light,
with all that is good-looking and
durable mui".
Drawing 39 is a round glass win-
dow blown individually, now
known as cibas, and tells us that
"Formerly much used these round
glass windows, because they
had good view with color diffe-
rences, which benian glasses
perfecion furnace with all ".
IF it is true that this type of glass
was very popular between the
fifteenth and sixteenth centuries,
it was not so in Spain and in the
countries of central and eastern
Europe.
About the cibas, explains that
although one of the difficulties
they present is that "... rredondos
glasses can not sever" because
"... bring the margin around the
circle and a thick border that
are unable Gueco to carve with
the saw-set ... "a simple and che-
ap imitation is to obtain" ... round
glasses which are flat and squa-
re ... ".
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Recycling. Pioneering project.
www.amigosmava.org
Jon Ander Lopez Garmendia and
Subijana Peio, graduates of the
School of Architecture of the Univer-
sity of Navarra, are the authors of
Ligh Emitting Bottle (LEB), a pionee-
ring lighting devices built from used
glass bottles.
These elements, subject to appro-
priate technology, become 'bulbs'
with which you can build from sim-
pler devices screens, all with low po-
wer consumption and with the ad-
ded value of reusing materials.
How did the project?
Initially we wanted to create a faca-
de reusing materials or objects sus-
ceptible of second applications. Par-
tiésemos hence a bottle of 33 cl. of a
famous brand of beer.
The proposal further charged sense
considering that he was considering
for a project of a cultural and multi
funded by that mark.
In this way, we were getting to meet
two objectives: first, to create a 'skin'
for the building with a contemporary
look, flashy or different, and an ad-
vertising and brand very important.
This took on added significance con-
sidering the location of the site, next
to the Teatro Arriaga in Bilbao.
What were the next steps?
From this point, we developed the
module with the intention of getting
the most technological to the bottle.
So think of it as possible pixel.
Due to their morphology and techni-
cal characteristics, we saw the possi-
bility of generating coatings with her
large multimedia applications in
fields such as architecture, epheme-
ral installations, scenery, street furni-
ture, signage, music venues, etc..
To achieve this, we use each bottle
as a small tube and apply to it the
concept and technique of lighting
devices based on electrical dischar-
ges.
Generate a light chamber at each
high voltage plasma at low pressure
and intensity.
In this way we create the LEB, which
emit a highly durable, very strong
and white, and also do not contain
mercury vapor.
How did the idea of reusing as glass
bottles to become luminous surfa-
ces?
It all started as a response to Final
Project presented by Luis Maria Uriar-
te. After delivery, we turned up and
we were selected to participate in
the National Entrepreneurs Fair held
at the Bilbao Exhibition Centre, Em-
bark 2011.
At first we start from an industrial de-
sign, but because of the good ac-
ceptance was the module, and the
various contacts we made, we saw
the opportunity to further develop
the project, why not?
Since then, thanks to the help of an
engineer friend, technically we
could develop the concepts on
which we base the LEB. In this way
we have an industrial design, a utility
model.
What prospects do you have for
your marketing?
Currently the project is stalled due to
various work commitments we have.
Furthermore, it should be noted that
to get to market a product is influen-
ced by many external factors: in-
vestment, market research, com-
mercial viability, customer available
… It is a long and laborious process.
The LEB are oriented to specific inter-
ventions beverage brands, which is
linked to marketing marketing strate-
gies and image that have big
brands like Coca-Cola, Heineken ...
We see great potential in him as a
publicity stunt for symbolic buildings
such as Coca-Cola factory in Fuen-
labrada, or timely interventions as
the Heineken Jazz Festival scenarios.
Recently visited Silicon Valley with
the Banesto Foundation, through its
program Yuzz. How was the expe-
rience?
The experience in the program has
been very positive Yuzz. It has given
us a different perspective than that
is instilled in the school. Do not forget
that the program is aimed at deve-
loping economic feasibility plans for
services or products. After a year,
we were selected as winners for the
trip to Silicon Valley. With this oppor-
tunity we were lucky to experience
firsthand the vitality and dynamism
that permeates the city of entrepre-
neurship, San Francisco. As always,
conclusions are drawn positive and
negative, although we realized that
the environment is critical to Silicon
Valley for ideas. Premium is much te-
amwork-something too closely asso-
ciated with the school, and at all ti-
mes are open to new initiatives,
however crazy they may seem.
How this project fits within your care-
er?
The project was a response to a sta-
tement of the final project, and with
the intention that we serve as an ex-
cuse for our first steps into working li-
fe. This goal we have met, as even a
customer came interested in crea-
ting the facade of his shop with LEB.
Also helped us to be part of the pro-
gram and follow Yuzz shaping us as
professionals. All this has been thanks
to the flexibility to work with our res-
pective parents in their studies, and
Garmendia Subijana-Merino Archi-
tects. In this way we were able to
combine our workday and LEB, devo-
ting logically, hours after work and on
weekends.
It should be borne in mind that it is
impossible to work full time, because
right now the project is in deficit. It is
more a concept than a reality.
What motivates you to persevere in
times of crisis?
The current situation is well known to
all, and now is "fashionable" innova-
tion and entrepreneurship. The truth
is, it's a good time to ask different so-
lutions. There is a willingness to listen
to ideas. Our aim has been to create
something to take but not to stay in a
drawer forgotten. The spirit of the ar-
chitect has always been aimed at
improving their projects, both in terms
of composition, construction, socially,
so somehow there is a vocation to
innovate. In fact, our goal was to get
grant Yuzz to prototype.
What difficulties have you encounte-
red?
One of the greatest difficulties, while
one of the pillars of an idea turned
into a business plan, is funding. In our
case, we have found people willing
to work in this area. But undoubtedly
the most difficult is to create a team
of faithful, where prime transparency
and trust between the parties. Peo-
ple invest in people not projects, this
is one of the most important things
we have learned. We're both restless
people, with enthusiasm and will, it
helps to not give up. We do not know
if the project will see the light, com-
mercially speaking. But what we be-
lieve is that we should not wait for
opportunities to come, but you're the
one who has to create the circums-
tances to appear.
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Page 23
Pilar Aldana exposition.
Road to Refuge includes work of
two sculptors agree creating in-
terior spaces that lead to a silent
and enigmatic world where the
eye is lost and the reason may
find rest.
Are roads, junctions, corners for
lonely souls are determined and
forceful spaces.
Pilar Aldana-Méndez draws mar-
bles spaces with precise and po-
lished forms or creating universes
with transparent glass volumes.
Buergi Carlo does so tough and
risky cuts in wood logs leaving
raw textures obscured by the
action of fire.
The sensuality of glass and stone,
and the passion of the lines in
the wood, give life to this show.
Carlo Buergi, Swiss artist Ampur-
da passionate about, I think in
2012 a new exhibition space at
Mas de Verges Massot where
permanently presents his work:
sculpture, painting and photo-
graphy.
This season invites Pilar Aldana-
Mendez, rooted in Catalonia
Colombian sculptor for 28 years.
He has chosen key works from
different eras such as buildings
to catch time, African Spaces
and recent works in glass and
ceramics series of Empty Soul -
Sanskrit.
Carlo presents his latest work
wood Inner Vision Series for the
first time we can see a selection
of previously unpublished photo-
graphs of the wild in the we-
tlands of Ampurda a masterful
touch to round this exhibition,
Road to Refuge!!
Exposure to Espai More Massot
Sculpture, Painting and Photo-
graphy
Carlo Buergi and Pilar Aldana-
Mendez
Opening 4 and May 5, 2013 from
16h to 21h.
Exhibition open until October 15,
2013.
More Massot, Road Verges to
Khafre, km 1
17142 Verges (Under Ampurda,
Gerona)
MORE INFORMATION
http://
espaimasmassotver-
ges.blogspot.com/
www.amigosmava.org
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Our activities.
In this section we detail the activities which take place this month, corresponding to the cultural visits related to the glass and outputs that we as provided in the program CULTURE 2013.
Cultural Tours.
Culture 2013 Programme.
www.amigosmava.org
On Monday, the 6th, we will move to Avila
to be with Javier Gomez in the opening of
his exhibition titled Metamorphosis from
1989 to 2010 and to be held in the Palace
of the Verdugo of the Castilian-Leonese Ci-
ty.
The exhibition displays works Javier his early
work along with a selection of more current
works.
In a place as interesting as the Palace of
the Executioner.
The exhibition will be open until May 29th.
Sorolla was facing his last works,
the gardens of his home, with
sincere simplicity and the extre-
me refinement of an artist full, still
mulling over the possibilities of
painting.
Parallel to the large orders rus-
hing in those years and especia-
lly the decoration for the Hispa-
nic Society of New York, in Soro-
lla matured through his paintings
of gardens, a poetics of silence
and privacy, with amazing con-
comitants with the sensitivity
symbolist / modernist time.
The next day we booked 3 par-
ticipation in a tour to mark the
closing of the exhibition
"Gardens of Light" in the Sorolla
Museum.
The theme of the garden has
been a recurring metaphor in
world culture.
Nature tamed and interior, a
sheltered and ordered from the
sensibility of man sought paradi-
se.
Sorolla captures this idea and
implements poured doing some
work where a number of ideas
that came already working on
his painting: light, truth, life ...
and this time it comes from a
more quiet and intimate pain-
ting.
The visit offers a last look at the
exhibition "Gardens of Light"
which will mature all that the
painter has given us in these
months of exposure.
His painting and ideas with us in
this journey, which elaborate on
the arguments of the artist to-
ward the subject of the gardens.
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www.amigosmava.org
The last ERE of La Granja.
since it has been obliged to dispen-
se with half the workforce.
Speaking to Cadena SER, the Ma-
yor of the Royal Site also has men-
tioned the statements made about
him by the provincial coordinator of
IU, Jose Angel Frias, who said Vaz-
quez "not aware of anything."
So, has dismissed his words as
"irresponsible and frivolous".
"When it comes from outside and
do not know what is living in a work-
place does not deserve any consi-
deration, neighbors of my people
are the ones to say whether or not I
find out," said.
The mayor pointed out that the City
of Royal Site, Senator Felix Montes
today to the head, was the only ins-
titution in 97 voted against the
amendment of statutes and is the
only one that has been put alongsi-
de the employees and has led
them to maintain an action aimed
at the Royal Factory.
That goal, as he stressed, "should
not be making a reality show to ridi-
cule the people in all the national
territory", but "appeal to the respon-
sibility for the maintenance of jobs."
The Works Council Chairman prai-
sed and thanked the efforts of the
municipality and has claimed to
continue in the same line for the
defense of their neighbors.
The Board of Trustees National
Glass Centre will meet to address
the termination of contracts to 17
employees affected by the Redun-
dancy Employment (ERE) presen-
ted by Management and the La-
bour Inspectorate has advised to
stop by defects in the form and in
the background.
This has been assured on Thursday
as the mayor of the Real Sitio de
San Ildefonso and patron of the ins-
titution, José Luis Vázquez (PSOE),
as chairman of the Works Council,
José Luis Duque (CCOO).
At the meeting, whose date has
not yet been made public, the Bo-
ard of the Foundation based in La
Granja, the end of the Royal Site,
reconsider the need to dispense
with the 17 people, half of the staff
of the Royal Factory.
The representative of the employe-
es, who has indicated the intention
of the Company to attend the call,
he explained told Europa Press that
the ERE is still valid, because the
management has chosen to keep
it until employers conclude whet-
her to go with it or remove it, which
in his opinion is a "mistake".
In this regard, he noted that the re-
cord has great potential to be con-
sidered improper and could even
be declared void, which
"aggravate" the situation even mo-
re of an institution lacks funds to
meet the compensation of workers
and for which the Government do-
es not provide in the budgets of
2013 no provision for this purpose.
However, Duke has stressed that
there appears to be intention to
suspend the ERE despite the efforts
of some governments to maintain
employment.
The City of Royal Site has tried, as
explained by its mayor, to preserve
jobs and activity of a center that
"transcends local, is a monument
and is owned by all Spanish".
Vazquez has argued that the CNV,
regional competition and mem-
bers of the Government, the Board,
the Council of Segovia, the Consis-
tory the Royal Place and the world
of glass and museums among its
patrons, pass into the hands of the
government and that the workers
themselves assume the responsibili-
ty to rescue the project making use
for it of their ability, knowledge and
his long career.
CHANGE OF LEADERSHIP
"It is essential that in these times
there is a change of leadership,
who are authorities that the Centre
take responsibility of employees,"
he asserted the ruler, who has insis-
ted that the president of the Foun-
dation, Francisco Salazar-Simpson
should leave his post after "failing"
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XXXIII National Crafts Fair of Segovia.
www.amigosmava.org
The City maintains its collabora-
tion with the Craft Guild sego-
viano, backing it materializes,
now, with the signing of the
agreement for the organization
of the XXXIII edition of the Natio-
nal Crafts Fair to be held from 1
to 5 May.
Institutional support is specified
in a financial contribution, 2,000
euros, to meet the costs of the
organization of the Fair, and
providing the necessary infras-
tructure, ie giving for free use of
space for holding the sample on
Avenida Fernández Ladreda.
The Craft Guild segoviano un-
dertakes to ensure that the acti-
vities are conducted in the most
favorable conditions for the en-
joyment of the public, visitors
and Segovia, as exhibitors from
different parts of the Spanish
geography involved in this show.
Given his hearth, prestige, public
response and interest of the arti-
sans by attending the National
Crafts Fair of Segovia is one of
the cultural events of the city
and is part of the annual calen-
dar.
The mayor, Pedro Arahuetes and
Crafts Guild President segoviano,
Jesus de la Cruz Leonor, have
signed this partnership agree-
ment.
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Other trends. Van Gogh in Amsterdam.
www.amigosmava.org
The 40th anniversary of the ope-
ning of the Van Gogh Museum
in Amsterdam, has clarified the
greatest misunderstandings su-
rrounding the painter: "was not
instant genius thought they wor-
ked very hard to understand the
technique and the use of color
of his art. "
He says Rik van Koetsveld, ma-
naging director of the center,
says goodbye to his office with a
sample demystifying.
Titled Van Gogh in his workshop
(Van Gogh at work) continues
the artist's evolution through 200
works and objects themselves,
as well as fabrics of his contem-
poraries, including Gauguin and
Toulouse Lautrec.
As the average age of the visi-
tor's center is 32 years, the ex-
hibition combines classical galle-
ries pictures on the wall, with
presentations ready to partici-
pate in the creative process.
There a microscope to get to
the guts of the canvas, overlap-
ping transparent molds to see
the different patterns painted on
the final painting, and scraps of
canvas in its various states of
preparation.
The beloved object, anyway, is
your box colored balls of wool.
The painter used them to guide
when mixing colors.
The problem is working tirelessly,
and lack of money led him to
use sometimes low quality pain-
tings that have not stood the
test of time.
The best example is the series of
cherry blossoms. In the original
three, the flowers were roses.
The time the white left and colli-
de with a similar work, the other
in pink, signed in 1888, as the
Dutch-Danish Christian Mourier
by Petersen.
What we now call material recy-
cling does not end there.
When Van Gogh had no linen,
dishcloths advantage.
And when I was desperate, tur-
ned around and used a canvas
and paint something else
behind.
The museum has three of these
examples in separate windows.
The result is fascinating.
The reason painting does not al-
ways correspond to the same ti-
me, so one side appear, for
example, some potatoes from his
Dutch period, dark and very fi-
lling. The other, a portrait of blue
light closer to the French stage.
Its just working feverishly pulling
at viewer smiling. Wind forgot to
paint an outdoor marina, as lear-
ned from the Impressionists, and
the sand stuck in the fabric fore-
ver.
Fabric wrapped in newspaper
for transportation, and was mar-
ked ink footprint.
Both ends have been thoroughly
analyzed for the sample with the
aid of scientific laboratory of the
multinational Shell.
The museum has made the Na-
tional Gallery, London, yield the
first version of Sunflowers.
Very satisfied, presented toget-
her with a later, from his collec-
tion.
It is the crown jewel because of
its reputation and because it illus-
trates the evolution of the same
reason.
There are five Sunflowers by Van
Gogh in the world and they are
all different.
The Bedroom at Arles, on loan
from the Art Institute of Chicago,
and the portrait of Père Tanguy,
loaned by the Musée Rodin, Pa-
ris, fulfilled the same educational
function.
However, collector gems are
sketchbooks and drawings and
watercolors by Van Gogh.
Shortly exposed given its fragility,
its thorough illustrate his artistic
approach, analyzed how much
each frame, as happens to draw
evil master painting, ending al-
most in abstraction.
As in the fabric tree roots, 1890.
The last of his life.
The exhibition runs until January
12 and can only be seen in Ams-
terdam.
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Lens Glass and aluminum.
The Louvre-Lens Museum is con-
ceived as a delegation or sub-
site of the famous National Mu-
seum of the Louvre in Paris, it has
a collection property, so strictly
not a museum but an art exhibi-
tion center located on the outs-
kirts of the city Lens, northern
France.
This project is signed Japanese
studio SANAA, true to his white,
ethereal style, the museum tries
to dematerialize their percep-
tion from the inside, so that the
works on display are those that
charge the viewer's attention
away.
Under austere minimalist design,
simple shapes and glass and
aluminum as main materials, is
totally opposed to the pomposi-
ty that awakens the Louvre.
The glass combined in different
transparencies creates reflec-
tions and ripples.
The structure is made of white
painted steel.
The rooms are aligned and flush
with the street, are large, no
walls and hang pictures of mo-
vable panels, which are chan-
ged according to the state-
ment.
Some glass roofs also can see
the sky and make the most of
natural light.
Visiting this museum is integrated
with the display.
For a period of five years, the
Great Gallery, called the Gallery
of Time, will present chronologi-
cally with the masterpieces of
the Louvre in Paris organized in-
to three periods: 70 works for An-
tiquity to the Middle Ages 45
and 90 for the period Modern,
via Egypt and the East.
Besides boasting works by Perugi-
no, Raphael, Botticelli and Ru-
bens, which visitors can admire
boxes next to the Louvre essen-
tial others, as "Portrait of Mariana
Waldstein" of Francisco de Goya
and "Antonio de Covarrubias y
Leiva" of El Greco.
This museum not only architectu-
ral and cultural significance, but
also economic.
Lens, the city where it is built, is
experiencing a decline since the
60s, due to the decline of mining
and with a rate of 16% unem-
ployment.
This new Louvre-Lens center
allows revitalize the area and
spread and monetize Paris mu-
seum funds (mostly stored for
lack of space) and Lens makes a
prominent item in the French cul-
tural map, attracting tourists and
economically reviving the city .
www.amigosmava.org
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www.amigosmava.org
Glass Workshop reuse.
Nearly a hundred members of
the university community-
students, teachers and PAS-
have participated in the Building
Workshop with recycled glass
that has organized the Vice Pre-
sident for Campus Sustainability
within Recapacicla program.
This program, which was laun-
ched in collaboration with the
Ministry of Agriculture, Fisheries
and Environment of the Junta
de Andalucía, is to improve the
management of waste at sour-
ce and supplemented with va-
rious activities held in the cam-
pus Teatinos.
The glass workshop was held in
the central courtyard of the Fa-
culty of Fine Arts and the School
of Architecture, on the campus
of El Ejido.
The workshop coordinator and
monitor Benito has been pain-
ted and has had a strong tur-
nout.
All workshop attendees have
brought a bottle or some old
glassware that after the applica-
tion of various techniques
(sawing, polishing, etching, bon-
ding ...) were transformed into
other useful objects (glasses,
ashtrays ...) or just art objects of
aesthetic interest.
This workshop is part of the pro-
gram Recapacicla, environ-
mental education program on
waste and recycling targets uni-
versity is organized by the Minis-
try in collaboration with the An-
dalusian Federation of Munici-
palities and Provinces, and Eco-
vidrio Ecoembes.
The program also includes va-
rious activities with playful and
participatory.
On Tuesday, the 9th, starting at
10 am was held in the Botanical
Garden of Teatinos the
"Recycling Day" which included
the Workshop Percussion
"Reciclamúsica" designed to le-
arn how to make percussion ins-
truments from items such as bot-
tles, cans and containers ....
Also able to visit the exhibition
"The waste in our society", con-
sisting of the installation of 6 pa-
nel custom expository explana-
tion to who wants it.
The day was completed with an
information point and a waste
Gymkhana and leisure corner,
where you can play with recy-
cled materials.
Activities continued from Wed-
nesday, the 10th, and Friday, the
12th, with the development of a
training course on "The waste in
our society: management and
environmental education aimed
know what steps can be taken
to reduce recycle and reuse the
waste generated in the university
and, selectively separating was-
te in their containers.
The course was held in the class-
rooms López de Peñalver and,
like the rest of the program acti-
vities planned Recapacicla was
free.
Finally, on April 14 was the dead-
line for submission of papers for
the first ReciclarArte contest was
open to all community college
campuses in Andalusia and pro-
viding prizes for the winners and
the organization of a traveling
exhibition and accompanying
catalog of selected works.
For more information on all acti-
vities of the program and for re-
gistration in courses and works-
hops you can visit the website of
the Environmental Management
System of the UMA.
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Celia Ulate at the University of Costa Rica.
Sanchez Ulate Celite transpires
his being and essence in shapes
and colors that attest to his desi-
re to unravel all the mysteries su-
rrounding the glass.
"Not if I go or come", "Time to
play", "The path of my life", "Ties
of Friendship", "Being thrown" and
"Sea of Tears", are some of the
works that puts test the creative
possibilities offered by this mate-
rial.
Celite presented the artistic ex-
hibition Forms of transparency in
the lobby of the Social Action Vi-
ce-chancellor of the University of
Costa Rica.
It is comprised of 16 works made
in 2012 and in which he uses va-
rious techniques such as fused
glass and intervened, hot glass
and fused raked block, glass fu-
sed with textile intervention, shat-
tered glass and fused and cast
glass.
He said the artist, "a fortunate
and dazzling with glass led me to
concentrate on this material elu-
sive, enigmatic and indomitable,
mystical and everyday. For over
fifteen years I have addressed
this way to get to know it, with
the desire and intention to unra-
vel all its mysteries.
In the process I discovered that
glass can ally with other mate-
rials to create an alchemy aest-
hetic, dynamic and refreshing. "
He noted that to do its work has
had the privilege of having the
substrate enriching their profes-
sional training as a psychologist.
"That's why the personal artistic
creation explore the subject of
human experience from the
perspective of meaning, empat-
hy and overcoming" he said.
Emotional possibilities of glass
For graphic artist and curator
Juan Diego Roldan Castillo,
"Celite Ulate is a Costa Rican ar-
tist who has researched, analy-
zed and incorporated glass, as a
resource that embodies expres-
sive concerns, allowing you to
develop deep levels reflective
aesthetic complexity".
He also notes that "this condition
of complexity, not a result cir-
cumstantial but the combina-
tion of that concern and appeal
of this raw material itself, which
turns into an artistic language
that touches various art practi-
ces from two-dimensional to the
dimensional graphic of what the
textile, the entropic a minimalist".
As Roldan exposure indicates
that, "Forms of transparency is an
exhibition that seeks to transform
the perception on the glass as a
model of artistic representation.
In this sense, the works represent
the sample restricted to particu-
lar stories of the artist, whose
aesthetic criteria incorporate es-
sential emotions of his life, and
allows you to symbolize them
through language and discrete
and warm feelings in an unusual
support ".
Celite Ulate
She is a graduate of the Psycho-
logy course. He has also done art
classes and workshops at the
School of Plastic Arts of the UCR.
He has also participated in con-
ferences, workshops and semi-
nars offered by Peter Mc Grain,
Tommy Giambuso, Gil Reynolds,
Stuart Goldman, Patty Gray and
Eva Vlasáková, among others.
She is founder and professor of
the Workshop Vitrocolor of Costa
Rica, where classes are taught
various techniques in glass.
He has also done several works in
flat glass for churches and resi-
dences in the country and abro-
ad.
He has exhibited his works in ga-
lleries as Sophia Wanamaker,
Klaus Steinmetz, National and Ar-
ka in Lithuania, the Costa Rican
Art Museum, the Children's Mu-
seum and the Director `s Park in
Oregon, USA.
Celite won the regional
"Expressions of Freedom" to com-
memorate the 50th. Anniversary
of the Declaration of Human
Rights.
In addition, his work "Columbian
Ceramics" is part of the perma-
nent collection of the Museum of
Art Textile University of Nebraska,
United States.
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The Museum of Contemporary
Art of Alicante (MACA) opened
on Friday 19th of last April, and
until July 7, a new exhibition of
43 works by sculptor Fernando
Gil Aragonese Sinaga, chosen
by the curator related and Glo-
ria Moure.
The panoramic entitled Ideas K
selected work path Sinaga from
1984-2011, a period covering 27
years of work that highlights its
experimental spirit and diversity.
"The most interesting part of the
exhibition is currently displaying
from an artist who has spent 40
years working" notes Commissio-
ner Gloria Moure.
This creator has defined his
sculpture as the result of
"combining many visual ele-
ments, materials, optics, chro-
matic and materia".
Sinaga visual uses unique mate-
rials such as mirrors, and mixing
photos, paintings, sculptures,
lights and metal. "Interlace ma-
ny elements that make the in-
creasingly complex work," he ex-
plains.
This retrospective is particularly
interesting in the MACA by con-
nections Sinaga's work with Eu-
sebio Sempere, artist whose
funds nourish the muso of Ali-
cante.
"I wanted to be here for the ad-
miration I have for Sempere as
an author who advances the
criteria of abstraction, painting
and sculpture an increasingly vi-
sual and kinetic, which is also in
my work, although I'm more wi-
despread" recognizes Sinaga.
Sinaga, a native of Zaragoza
(1951), is based in Salamanca,
where he teaches in the Depart-
ment of History of Art, Faculty of
Fine Arts.
After graduating in the fields of
painting and sculpture at the
Complutense University of Ma-
drid, Sinaga completed his trai-
ning in Germany and the United
States.
Ideas Alicante K reaches through
the cooperation of various agen-
cies, including the state-owned
Spanish Cultural Action, Castilla y
Leon, Catalonia, County Council,
Town Hall.
www.amigosmava.org
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Sinaga in Alicante.
Page 32
"Reflexarte" opened at the Cul-
tural Center of Vigo Novacaixa-
galicia April 19 to 29 June, a ex-
hibition tour through the infinite
possibilities of glass that will ma-
ke us reflect on its expressive po-
wer, seeing the work of renow-
ned artists and Galician Portu-
guese: Soledad Penalta, Tiago
Madeira, Manuel Patinha, Paco
Pestana, Alvaro de la Vega, Tint
Trouser, Montse Rego, Maria
Xosé Diaz, Carmen Senande,
Manzano and Julia Acisclus
Ares.
They created the collection of
sculptures that we enjoy, made
exclusively for the exhibition in
the workshops of the glass facto-
ry's Reflection, organizer of the
exhibition.
In celebrating the 75th anniver-
sary of the founding of Factory
Reflection, starts "Reflexarte",
which shows contemporary art
imaginative, surprising and qua-
lity through large works, dyna-
mic and fresh several prominent
artists of our country and the
country Portuguese, made in
their own factory workshops.
With these pieces inquire about
the artistic possibilities of this ma-
terial and its countless techni-
ques: laminate, enameled, ter-
mofusionado, etc..
Back in 1935 the factory of mi-
rrors The Reflection, for this ex-
hibition, was born in the city of A
Coruña, founded by Jesus and
Mary Bermudez Ares.
At that time was devoted exclu-
sively to mirrors and glazing of
buildings and, later, to artistic
creation with fused glass techni-
que.
Today this family business since
herculina emblematic in the city,
continues to operate at full ca-
pacity, led by the fourth genera-
tion of the same family, and re-
cording and several brands: Ar-
teviares for art glass, decorative
laminated glass Viladec and
Glass Factory for standard mo-
dels.
The old factory who knew upda-
ted and move with the times, is
heir to a great tradition which
led to owning a charm and keep
alive the care for the old, so, ma-
chinery and tools that work is
started exposed carefully preser-
ved in a small museum located
in the same factory.
It exudes authentic history in eve-
ry corner, something we are
aware the new heirs reason that
we wanted to share now with
this beautiful exhibition tells of
glass art form.
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“Reflexarte” in Vigo.
Page 33
How does.
This month we include some pictures of the technique practiced by Bert van Loo.
www.amigosmava.org
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Pedro Ramirez Vazquez, architect and sculptor.
porary material like glass, with
his natural transparency has
allowed me to shape elements
that let in light or the stop, the
multiply, the polished or nuance.
In a way, the light has been the
raw material with which I have
worked.
By the same token I used silver,
highly malleable material which
can build volumes and shapes
with multiple colors and bright-
ness.
These parts could be interpreted
as a manifestation "futuristic" sto-
ny expression prehispanic the
ancient sculptors.
My work as a sculptor is thus a
tribute to the great masters of
ancient Mexico anonymous they
are the seed of the cultural po-
wer of our country. "
Pedro Ramirez Vazquez, archi-
tect of large Mexican national
monuments like the National Mu-
seum of Anthropology, the Basili-
ca of Guadalupe and the Esta-
dio Azteca among others, also
has a career as a sculptor of
glass and silver.
In 1969, after having spent some
years designing projects for your
personal taste, you mount a
sculpture studio.
Since then he has devoted part
of his time to this creative activi-
ty.
His sculptures are in the collec-
tions of museums around the
world as the "Olympic Museum",
Switzerland, the "Daum Museum",
in Nancy, France, the "Ski Mu-
seum" in Hollmenkollen, Norway,
the Museum collection "Jan
Staubo" in Hammar, Norway, the
"Museo Amparo" in Puebla, the
"Glass Museum" in Monterrey, the
"Museum of Death" in Aguasca-
lientes and the "Museum of the
Presidents Coahuilenses" in Salti-
llo, Coahuila.
It is noteworthy that the monu-
mental stained glass window of
the Basilica of Guadalupe is also
their responsibility.
His silver work concern arises
from the Pavilions projects in
Mexico in the Seattle World's
Fairs in 1962 and New York in
1964, where exposed to high visi-
bility sculptures by silversmiths of
Taxco.
But it was not until 1975 when it
establishes connection with the
signature "Tane" where he crea-
ted some designs.
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The fundamental meaning of
the term "originality", once said
the great Catalan architect An-
tonio Gaudi, is to return to the
origin, back to the simplicity of
the first solutions.
"This reflection of Gaudí, led me
to design sculptures inspired by
the geometries and designs of
ancient Mexico.
The Mesoamerican art has a
strong and great aesthetic for-
ce, perhaps derived from the
search copy by interpreting na-
ture and its cycles as the gene-
rating principle of every effort,
ie, are expressions that interro-
gate the essence of life.
Working with so noble contem-
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them of their illnesses. He allies himself
with everything dissolves, penetrates
the hardest bodies and more com-
pact. As a small world, even on the
planets act as universal magnet at-
tracts purest influences to communica-
te them to the bodies with which it is
mixed. It also acts on the spirits, which
develops the powers, and he beco-
mes able to penetrate the deepest se-
crets of nature sanctuary. "
Another alchemist Thomas Vaughan,
aka Eugene Philalethes, in his treatise
on the soul hidden magic, writes on
glass, in this case, a liquid glass:
"It should not surprise you that says it is
a compound (" the soul is a fine gold
compound and simple light ") because
there is no perfect specific nature as
simple and devoid of composition, ex-
cept for Almighty God. Do not trust it
when Aristotle says that the elements
are simple bodies, it is unlike the expe-
rience manifests absolute and infalli-
ble. The spirit airline liability is a soft
substance, the only immediate robe
which envelops the soul as it descends
and is applied to the generation. The
vital radical liquor is pure celestial natu-
re and temperament responds in pro-
portion to the upper waters interstellar.
From this soul attracts passive spirit,
what happens when the first link in the
chain moves, ethereal water instantly
attracted to passive spirit, it is the first
visible receptacle in which superior na-
tures focus. The light of the soul so con-
fined, for this glass legitimate magic
liquid flows through the water, then it is
"manifest and visible light to the eye",
state that is subject to the artist. Herein
lies the mystery of the decade of the
magicians, his very secret and miracu-
lous pyramid or cone whose first unit is
always "on the horizon of eternity" but
the base of the pyramid is below "on
the horizon time "'.
In another of his treatises called The
Treaty of heaven on earth compared
to the substance of the glass with the
latest and most perfect production of
the Virgin Nature:
"This fine substance is the daughter of
the elements, is a very pure and sweet
Virgin who has not begotten nothing.
But if that were the case engendered
by fire makes for Nature, it is her hus-
band who knows how to seduce ...
and play with her get all her treasures.
She let go of her breasts one thick hea-
vy water, but as white as snow, the phi-
losophers call their virginal milk. Se-
cond, given the blood of his own
heart, living and celestial fire, called by
some the sulfur improperly. Third, finally,
gives them a glass secret that has mo-
re value and more luster than the white
rock and all its roses. Here it is, here is
his favor: if you can grab it. "
made the radical moisture of mixed
incorruptible, by the violence of fire,
separating the heterogeneous parts
and fuel. Many have imagined that
glass or matter, is what philosophers
used to make your stone, it is a very
stable material, and also that every
glass is reduced by a long and violent
action of fire. This is not, however the
idea that the term should be applied
glass, when in the works of philosop-
hers, while Ramon Llull questioned
about what was a philosopher, said
one who knows how to do glass. The
wise man understood, like other philo-
sophers, his teaching at the target,
which is a clear material, shining, shi-
ning like glass or crystal.
The Pharaoh glass or glass malleable:
The Sages often said they possessed
the secret of malleable glass back,
through his elixir. History teaches us
that a man was sentenced to death
for submitting a container to a Roman
emperor. The philosophers will present
a similar hazard. In principle that ex-
plains the white stone. Some unders-
tand it as the projection powder, be-
cause it is incorruptible as glass be-
cause it resists the action of fire more
alive, not altered or volatilize.
Glass of philosophers:
Means sometimes the vessel in which
the work is done.
Glass philosophical:
He has power over all things. Powder
screening is changing all metals in na-
ture, leave your printer on all indivi-
duals of the three kingdoms, curing
Posted in Asgravis.
Some literary sources date the first
glass manufacturing in the last dynasty
Zhu (1046-221 to. C.). During the period
of the Han (260 a. C. - 220 d. C.), the
use of glass diversified. Were made
with molded glass objects such as disks
Bi and other ritual objects.
The glass is said to be an inorganic ma-
terial, hard, brittle, transparent and
amorphous, whereas the glass, which
should not be confused, is a crystalline
solid and amorphous. One way to
achieve this is by melting silica sand
and sodium carbonate, melts at very
high temperatures.
In this state is considered a liquid when
cooled while its viscosity increases up
to look like a solid.
For its special thanks to the different
states can adopt, the glass has been
linked to the work of the alchemists
Gan. In fact, some philosophers have
called fire your mercury glass, because
glass like the radical moisture is extrac-
ted from adhered tenaciously to ashes
and only obtained by fire, mercury is
obtained from the radical moisture of
metals, if While the latter is delivered
through a much more benign fire.
The end of all things seems to ash and
ash is glass, so philosophers wonder,
what if a vile earth by fire glass is obtai-
ned, what will a land not blue?
Let us now see two examples alquími-
cos texts referred to glass. In his Dictio-
nary Mito-tight, for example, Sun Per-
nety says the following about him:
"Matter hard, dry, brittle, transparent,
The glass in old China.
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Carmen Martínez, new Master Artisan.
Eight artisans from the region of
Murcia with extensive experien-
ce in the glazier trades, baker,
traditional clay nativity scene,
baker, potter potter and artistic
metalworker have received at
the hands of the Minister of Uni-
versities, Business and Research,
José Ballesta, letters that credi-
ted as 'Master Craftsman'.
The Charter of Master Craftsman
is a professional distinction ac-
corded to those artisans who
have practiced the profession
for at least ten years and have
accredited vocational training
sufficient merit.
In Yecla, on Wednesday was
awarded the Master Artisan
Charter Carmen Martinez, ow-
ner of Glass craft workshop,
Opal.
It is not the first recognition he
has received, but this last men-
tion undoubtedly, adds more
prestige to work Carmen alrea-
dy doing for twenty years.
At the event, José Ballesta high-
lighted a very important value
these days and that "through his
work generate wealth, employ-
ment and economic activity."
"All this makes your profession,
vocation, is truly one of those
moments when we are".
This condition, besides being re-
cognized for their work, enabling
them to develop educational
activities designed to achieve
the survival of his office and in-
volves a commitment to partici-
pate in the training or promotion
to be developed from the Com-
munity of Murcia, as well as parti-
cipate in technical bodies for
those who may be appointed.
Although in this sense, Carmen
artisans clarifies that we are uni-
ted for a series of allegations to
craft the new law and will be ap-
proved shortly, to recognize tea-
ching.
Currently, Opal Glass, offers a
new and wide range of products
using the art of glass, like deco-
rative tiles, combo boxes, boxes,
ashtrays and all kinds of objects
that complement home decor,
and also now offer a wide range
of jewelery, pendants, earrings
and rings, hand designed and
unique, as no two pieces are
identical outlines.
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Art World Day in Costa Rica.
For his part, the artist Silvia Mon-
ge captured in a drawing in
charcoal and acrylic on paper
their concerns about the lack of
communication between
humans.
His works do mae! takes as its
starting point the Last Supper, Da
Vinci, to portray a modern dining
among young slaves of techno-
logy.
"The boys meet at a dinner with
friends, but spend all their time
communicating virtually with
your iPhone, without realizing the
real people around him.
Technological development has
provided us with very modern
appliances that can do everyt-
hing, but people do not commu-
nicate, "said the artist.
The exhibition is on display until
May 27 and can be visited from
Tuesday to Sunday, 9 am. m. to 4
The diversity of approaches is as
broad as the materials: iron,
glass, acrylic, watercolor, char-
coal, wood, and fiberglass resin,
among others.
"While I was learning to live, I le-
arned to die" was the phrase
that inspired Leonardo da Vinci's
work Frenzy, illusion and dreams,
the artist Oscar Carmona.
"It raises the duality of life and
death to the power of ego. The-
re is a widespread fear death,
because he is considered the
end of life, when in fact they are
two states that are complemen-
tary, "said the artist.
The work was worked in molten
glass with a technique known as
"painting with light".
"It uses powdered glass, which
spreads and working with diffe-
rent tools, and then baked at
1,475 degrees. After 24 hours,
the glass is cold and over,
"explained Carmona.
The April 15, 1452 was born in Flo-
rence, Italy, one of the greatest
artists of all time: Leonardo da
Vinci, and for this reason, UNES-
CO chose this date to celebrate
World Art.
In Costa Rica, a group of crea-
tors of the Costa Rican Associa-
tion of Visual Artists (Acav) cele-
brates his day with an exhibition
featuring his personal view on
power.
The sample Metaphors of power
is exhibited in the Museum of
Costa Rican Art and gathers 12
works of Leda Astorga, Herberth
Bolaños, Li Briceño, Roxana Bri-
zuela, Oscar Carmona, Córdoba
Magda, Alonso Duran, Rudy Es-
pinoza, Lillibeth Martinez, Silvia
Monge, Ileana Piszk and Carlos
Rodó, in which pose thoughts on
several issues, including the sco-
pe of the power and role of ar-
tists in the contemporary con-
text.
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First I found the material to me!
Second, I fell in love with him and
so we start building a relations-
hip.
The materials used were glass
threads discarding of blown glass
factory Quilmes (Glassware Pro-
gress)
The technique is simple, thread
formed glass panels of different
frames, merged panels up and if
I go back to add more material
and baked again.
Then fractionated panels with a
machine for cutting glass and a
UV glue parts.
- What are your plans for this ye-
ar?
For this year the plans are wor-
king hard in my studio with my
students, finishing works are in
progress and continue creating.
In October partake of SOFA Chi-
cago 2013 exhibition http://
www.sofaexpo.com/
For the next issue of New Glass
Review, Corning Museum of
Glass invites artists, artisans, de-
signers and architects around
the world to submit images of un-
published works in glass.
The deadline for registration is
October 1, 2013. In late Novem-
ber or early December, a jury se-
lected 100 images from the pre-
sentations.
This is the link to apply: http://
www.cmog.org/content/new-
glass-review-juried-submission
Two years ago that I'm aware of
this call and thrilled me so much
involved not only does the Cor-
ning Museum of Glass and New
Glass Review magazine, which
always shows the last thing the
world is creating in artistic glass .
Two friends, group members NO-
NOMBRE (Ana Paula Gabriela
Ferrúa and Gargiulo) last year
they gave me an entry to call.
Of course I was very flattered
and a goal for 2013.
The process was simple, the work
was done, I made some very
good pictures, assemble the
presentation folder, write to CD
and dispatched by mail my dre-
am to the world.
- Is this the first time you partici-
pate? What does it mean in your
career to be part of this selec-
tion?
Making the decision to partici-
pate was very moving. When I
received the confirmation letter
from the selection could not be-
lieve it, I felt like a mime, a hug
to the soul and spirit.
I have not clear what it can me-
an in my career, I only know that
when I got the magazine the first
thing I looked for was the work
published with tremendous awe
and the second was to see how
many countries were involved
and to ensure that all of Latin
America was only Argentina
with my name was very strong!
- How did you develop the
work? What techniques you
used and glass?
Article published in Objects with Glass.
Since 1985, the Corning Museum
of Glass edits New Glass Review,
an annual publication in which a
jury makes a careful selection of
the highlights of the year.
They are present in this selection:
contemporary art, architecture,
crafts and design created by
students, emerging artists and
consecrated worldwide.
The jury changes every year and
can be composed of curators,
artists, designers, art dealers and
critics.
This year was published the New
Glass Review # 34. The jury's job
was arduous as they received
the participation of more than
one thousand artists from 48
countries, who submitted a total
of 2973 images (could be up to 3
images per person).
The jury was composed by Tina
Oldknow, Hank Murta Adams,
Jutta-Annette Page and Jeroen
Maes.
100 were selected important
sculptures, installations and works
in glass.
As the only representative of La-
tin America, was selected as our
friend, the Argentine glass artist
Edgardo De Bortoli with his
"Empty 1", certainly a big step in
his career and a stimulus to furt-
her advance her artistic.
Interview with Edgardo De Bortoli
- What was the process of parti-
cipation in New Glass Review?
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Edgardo de Bortoli in New Glass Review.
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Broken glass in the Vall D'Albaida.
The Blog of Josep Antoni, in the Le-
vant.
The editorial in this newspaper
last Sunday, about the disap-
pearance of blown glass, a tra-
ditional industry that dates back
at least five centuries ago, in
Olleria, hit the nail on the head
and should raise alarms but not
of depression and desponden-
cy, but rather the rising, those of
scanning the horizon and, with
the cords that have on hand,
keep creating and generating
wealth. But coming ashore.
It is shocking, as happened in
Ontinyent, where nearly a deca-
de ago tried to build a textile
museum, synthesizer serve to
showcase the evolution of an
industry that was also originally
purely traditional, but paths we-
re globalization waves as atta-
ched to the Chinese economic
tsunami, and the generic crisis of
2008 have finally destroy a once
flourishing industry in the second
half of the twentieth century.
L'Olleria, emulating the very idea
of historical collection was also
in this dynamic museum.
A thought held by respective
consistory, spurred on, no doubt,
by the desire to generate ad-
ded value to their cities, as is to
serve and add a focus more
tourist attraction.
A claim that, given the current
situation, indeed resembles ca-
pricious and secondary emer-
gency battery to priority munici-
palities must attend.
The domino effect of broken
glass in Olleria is undeniable.
A look at the next census decli-
ne recorded in the city since
2009, points to other conse-
quences that are afflicting a po-
pulation that, in the past deca-
des, when he lived days of wine
and roses, with a company like
that watered Mediterranean ex-
ports all over the world map,
with a rudder driven by Luis Ferri
or the new vision for the design
names like Silvia Garcia hea-
ded.
Were years expansive, 80 and
90, in which the cooperative to
be erected in the flagship of the
traditional glass blowing indus-
try, has joined and diversified its
products market by offering in-
novative ceramic others.
But as recently splendor today
to become dark and creaks.
The glass blowing while Olleria
exist in people like Rafael arti-
sans Abdon regular contributor
albaidí glass artist, Josep Santjo-
an, in numerous works and
sculptures, performed a duet, in
which the de l'Olleria brought his
glass blowing technique
"technique for manufacturing
glass objects by creating bub-
bles in the molten glass."
Thus it should be noted that the
birthplace of glass, even under
minimal survival is assured, at le-
ast a hint of what was in that pla-
ce, as presage Abdon entrepre-
neurial projects, one of the last
blowers the Mediterranean.
The second population in popu-
lation of the Valley, as happe-
ned in Ontinyent was strongly
shaken by the collapse of its
main source of wealth, the first
city textile and glass in the se-
cond.
The two have joined the general
crisis of the economic sector it-
self. But it is regrettable that at
the institutional level, with a rui-
ned Generalitat especially by
the murky and erroneous policies
"bac i clean" which boosted
Camps Zaplana and not get any
restorative lifeline.
And while imposing the "every
man for himself" with large youth
population, adequately prepa-
red, packing in all directions of
the global village, which is must
"invent", day by day, as most of
the population Cuba under Cas-
tro, to ensure survival with not-
hing buoyant outlook.
Page 40
Castillo de San José de
Valderas.
Avda. Los Castillos, s/n
28925 ALCORCÓN
MADRID
Nuestro Boletín tiene su
redacción en:
Al vidrio por la cultura
The Association of Friends of
MAVA was incorporated on Ju-
ne 21, 2003 in accordance with
existing management.
The purpose of this Association is
to promote, encourage and
support many cultural activities
in the broadest terms, are rela-
ted to the mission and activities
of the Glass Art Museum of Al-
corcon.
Our goal is to develop and co-
llaborate with other public or pri-
vate entities to promote, protect
and promote the art and culture. www.amigosmava.org
Presidente honorario
Javier Gómez Gómez
Presidente
Miguel Angel Carretero Gómez
Vicepresidente
Pablo Bravo García
Secretaria
Teresa Fernández Romojaro
Tesorera
Mª Angeles Cañas Santos
Vocales
Rosa García Montemayor
Evangelina del Poyo
Diego Martín García
Francisco Martín García
José María Gallardo Breña
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Page 41
Line of research. Images.
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Fig. 1 Fig. 2
Fig. 3 Fig. 4
Fig. 5 Fig. 6
Fig. 7 Fig. 8
Fig. 9