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The MAVA changes hands. M. A. Carretero.

The last remodeling of the government team Alcorcon City Council , have establis-hed five holdings Hall , which the Mayor will lead to savings in expenditure . I doubt that this is so , since the rise of several Deputy Mayors Councillors to an increase in their salaries .

But specifying what our mu-seum is concerned, it will cease to be the direct res-ponsibility of the Depart-ment of Culture, whose ow-ner take away powers but will amount to Deputy Ma-yor for competition become the First Deputy Mayor Jo-se Gabriel Astudillo, dispos-sessed of the Presidency of the recent conflict ESMASA employee of garbage co-llection in our town .

This high office directly as-sume the new Department of Arts and Museums .

What will be the future of this new Councilman MA-VA ?

On the one hand , we ap-plaud the idea of separating the responsibility of the Mu-seum of Alderman , the Culture , which according to our direct experience and collected from other groups in the city , do not know , we say , no answer and so-metimes not know what you are signing , according to information published by

El Pais newspaper in an arti-cle published last March 17 , based on the Kafkaesque situation of " seamstresses Alcorcón ."

But on the other hand, with some reluctance we receive the transfer of responsibility to the Museum from Mr. As-tudillo .

We can not forget that this man forced us to abandon the Museum Auditorium to celebrate our concert sche-duled for last June 14 to mark the completion of a conference of Arts and Mar-kets .

Editorial In our Bulletin last July we were referring to this unique and eviction.

Hence our reluctance. A sign of arrogance of that caliber is not the best sign that demo-cratic behavior and respect for the rights acquired by an entity in advance is the most appropriate .

But it is also true that in the case of our Association , we can not go worse .

The former head of the mu-seum , Councillor of Culture, has not responded to one of our writings , has not given us the parts inventory owned by the Museum , has not be-en informed of the terms of the agreement signed with the Community Madrid for installation in the museum offices , a Legal Services and Family Counseling Ma-drid , despite our require-ments and because of this facility, kicked us out of our office and left us with no headquarters, no made with the Institute of Historical Stu-dies of Southern Madrid " Gregorio Jiménez " and the Polyphonic Choir

Alcorcón , that although they had to leave their offices in the MAVA , placed them in the building of the Center for the Arts.

On the other hand , has not attended any of the openings and exhibitions that have ta-ken place in the Museum since taking office in the De-partment , while other events held by various associations of our city itself have been told by their presence, de-monstrating their lack of in-terest in our institution.

Also noteworthy against this council announced its absen-ce in appearances at recent meetings of the District Bo-ards made in last March , when Mayor instructions , was forced to appear , along with Councilman Health mar-kets to submit to questions from those attending these meetings of said District Bo-ards citizens. The excuse put the presidents of these Bo-ards is that I had to attend the events of the Carnival .

Is not known in sufficient ti-me for such liabilities not quote him to appear at that time ?

Another clear sign of disres-pect for the citizens of this municipality by this council , and going ......

In view of this change direc-tly responsible for the team of our City government ex-pect and hope that is more responsive , more respectful and polite when answering the writings that we direct you to demand any informa-tion , if only a response ack-nowledgment .

Nuestra sede:Nuestra sede:

Castillo Grande deCastillo Grande de

S.J. de ValderasS.J. de Valderas

Avda. Los Castillos, s/nAvda. Los Castillos, s/n

28925 ALCORCÓN.28925 ALCORCÓN.

(MADRID)(MADRID)

info@amigosmava.orginfo@amigosmava.org

Monthly Newsletter

Newsletters

Vladimir Klein

Page 2

Intellectual Proper-

ty Law

BOOK III

Protection of the

rights recognized

by this Law

TITLE I

Actions and proce-

dures

Article 140 Compen-

sation .

1. The damages in-

clude the loss sustai-

ned and the gain has

ceased to obtain .

The amount may in-

clude research ex-

penses where incu-

rred for reasonable

evidence of the com-

mission of the offen-

se.

2. The allowance

shall , at the option of

the injured , accor-

ding to one of the fo-

llowing criteria:

a) , including lost pro-

fits suffered by the ag-

grieved party and the

benefits obtained by

the infringer misuse

negative economic

consequences .

For assessment shall

address the circums-

tances of the offense,

severity of injury and

degree of illicit disse-

mination of the work .

b ) The amount that

would have been paid

as compensation the

injured party , if the

infringer had reques-

ted authorization to

use the intellectual

property right in ques-

tion.

3. The action to claim

damages under this

Article shall lapse five

years since was enti-

tled to exercise it .

Article 141.

Precautionary measu-

res.

In case of violation or

when there is rational

and well founded fear

that this will occur im-

minently , the judicial

authorities may order

the precautionary steps

necessary for the im-

mediate protection of

such rights, and in par-

ticular:

1. Intervention and de-

posit the proceeds of

the illegal activity in

question or , if applica-

ble , the appropriation

or deposit of the

amounts due as remu-

neration .

2. The suspension any

activity that constitutes

a violation of the purpo-

ses of this Act , and the

prohibition of these ac-

tivities if you have not

yet been implemented.

The glass in Vizcaya.

www.amigosmava.org

Eduardo J. Alonso Olea UPV famed historian begins his investigation on glass in Bizkaia and Vicrila .

Promoted by Vicrila Fundazioa this project is in collaboration with the UPV / EHU , and tries to find out the history of glass in Bizkaia and in parti-cular Vicrila .

Eduardo has started work at the Foun-dation, which initiated this investigation Pretty eventually become a book

SPECIAL INTEREST:

Part of the month

Magan on The Farm

The Ladies in Cerdanyola

Concert at the MAVA

Activities on the MAVA

News

Our activities

Glass recycling

How does

C O N T E N T S :

Part of the month 3

Established artists 4

Young artists 4

Magan David in La Granja 5

The Ladies in Cerdanyola 6

The Eiffel Tower: 125 years 7

Activities in Museums 8

Activities in the MAVA 11

Concert at the MAVA 12

School Berazategui 13

Sips in handmade glass 14

The MUNCYT A Coruña 15

Nativity in MNAD 16

A very resistant glass 17

News 18

Culture 2014 18

Concert at the MAVA 19

Glass of La Granja 19

The glass museum 20

The oil piece of art 21

Stained glass in Miraflores 22

Glass recicled 23

Ana Yabar 24

Cultural tours 25

Culture 2014 Programme 25

New furnace in Leon 26

Other trends 27

Photos on glass plates 28

"The Glass Car" 29

Glass Harmonica 30

Penalty to Saint-Gobain 31

Dreams in glass 32

How does 33

Beings of Jessica Schneider 34

The Obsidian 35

Joseph Albers 36

The glass in Santander 37

Bohemian Glass 38

The glass in Aruba 39

Directorate 40

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

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

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coinciding with the 125th anniversary of Vicrila next year.

• He graduated in history and geograp-hy at the University of the Basque Country in 1988.

• Is PhD from the same university in 1993.

• From 1999 to 2003 he performed du-ties as Associate Professor at the UPV / EHU .

• From 2004 to 2007 he performed va-rious duties as Acting Labor University of the Basque Country .

• Since 2007 is a researcher in the De-partment of Contemporary History of the UBC and has participated in seve-ral R & D projects financed by public funds .

• also conducted work -sharing contract R & D of special relevance to compa-nies and / or governments.

• Our historian has numerous success-ful historical publications and contribu-ted in different national and foreign conferences .

17-01-13. Requesting inventory of parts that make up the per-

manent collection of MAVA.

11-06-13. Chance of receipt by the MAVA documentation on

glass offered by the President of the Spanish Association of

Science.

11-11-13. Requesting information on the agreement with the

Madrid social services to install the MAVA.

Writings unanswered by the Department.Writings unanswered by the Department.Writings unanswered by the Department.

Page 3

Pedro García belongs to a

small group of artists essen-

tial when discussing Spanish

glass.

His early , very young, the

trace linked to Joaquin Este-

ban Torres , a pioneer of art

glass in Spain .

With him participate in im-

portant international events

during the 80's and in the

Galerie New York Internatio-

nal .

As a solo attends Sympo-

sium in Munich, presents

work in Contemporaines

Sculptures in Glass et Verre

d' Europe in Liege , in its

1986 edition as 1989 comes

to Novy Symposium ' Bor

1988 and was invited to

Glass Kanazawa'90 .

Since then, he has continued

to nurture their curriculum

individual and collective well

as more commercial work

exposures.

A highlight exhibitions of

glass Nomads (1992 ), Volu-

me and Shape ( MAVA

1998 ) in the MAVA , the tra-

veling Fragility Fused or mo-

re recently at the Museum of

Polo House Vila -real

(2005 ) .

On June 2, 1983 , the newly

founded Grup Vidre'83 com-

pound among others by Pe-

dro Garcia, I first presented

their work together in the

51st edition of the Internatio-

nal Exhibition in Barcelona.

The work that Peter chose to

participate at that time was "

Core of fire."

" Core fire" belongs to the

first stage but is very repre-

sentative of their style and

their referents inspiration: na-

ture. Two hundred transpa-

rent float glass sheets 3mm

sickle generate a cylindrical

central space occupied by a

column of red glass sheets .

The author wants to collect

the time of eruption of a vol-

cano in the fire spurting from

the inside, in a sort of parallel

between the power of the

volcano and the strength of

the glass.

The constant search both

personally and artistically de-

fine the character and work

of Pedro García , hence over

the years have made pieces

in various techniques in both

cold rolled , and hot , thermo-

forming , casting or glass

paste.

www.amigosmava.org

Part of de month. Pedro García.

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Page 4

Republic, Germany, the Net-herlands , Turkey and Japan.

Vladimir Klein is one of the pioneers of Czech glass mo-vement, which originated in 1970 in the exhibition in Pra-gue with the first glass sculp-tures produced with polished optical glass .

In the current exhibition "Museum Gallery" in Fraue-nau, among other objects, you can see the hammer and chisel were used by a small method recently developed by Vladimir surfaces for finis-hing.

The core work Lisa is a desire to register the tension , gravity , the

compression and energy flow .

Although it is ordinary phenomena , tangibly present everywhere , is

fascinated by the process of revealing thermoformed glass.

The resulting sculpture emerges from its environment. Subtly per-

suades the viewer to question how we are connected with the for-

ces that shape the work and nature.

The juxtaposition of the natural and man-made have a strong pre-

sence in his work, along with an interest in the distinctive line and

the illusory form .

Apart from repeated exposures , Lisa also works commissioned

where she can respond to a natural or historic environment .

Originally from California with experience in graphic design, Lisa is

based in Surrey ( UK ) . He won a second prize in the Cup UCA

Farnham in 2005.

In 2012 she was nominated for the Aesthetica Art Prize and comple-

ted two commissions for the National Trust in Lacock Abbey, Wilts-

hire.

Also for The National Trust, which was commissioned by Unravelled

in 2013 to produce a sculpture for the house Tudor The Vyne near

Basingstoke.

www.amigosmava.org

Vladimir Klein, born on March 6, 1950 in Komarno , Czech Republic and studied at the Academy of Applied Arts in Prague under the su-pervision of Stanislav Libens-ky .

After finishing high school in 1975, he worked in industrial production .

In the years 1977-1985 Vla-dimir Klein taught as a pro-fessor in the school of glass Šenov, where he also worked as a director for five years.

In the first half of the nineties Klein taught at the Toyama

City Institute of Glass Art in Japan , where he received several awards for his work.

After this time in Japan , de-cided to provide expertise in the field of industrial design and was a designer Crysta-lex Trading Bohemia in the Czech Republic for nine ye-ars.

He has received numerous awards for his glass sculptu-res , exhibited in public co-llections around the world.

He has also presented solo exhibitions at Czech

Established artists. Vladimir Klein.

Young artists. Lisa Pettibone.

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Our web

Our web

Page 5

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David Magán in La Granja.

During the months of March, April and May , the Tech Mu-seum of Glass hosts the ex-hibition The invented color sample of the most recent work of the Madrid artist and member of our Association , David Magan .

His work has been exhibited in various parts of the world, such as Korea, Colombia , London , Denmark ... Beco-ming a benchmark in the world of glass.

Only Spanish representative in the European Glass Expe-rience organized by the city of Venice in collaboration with the Tech Museum of Glass in La Granja, the Mu-seum Vetratio Murano Glass Museum and Riihimaki in Finland.

He recently participated in the Arco Art Fair 2014.

Light is the true engine of his work, and his sculptures conceived in the constant

process experiment with this architectural space in which they fit .

The viewer's eyes comple-ment this fluctuating move-ment of light and his work.

The inauguration , which was attended by our President and our Secretary , took pla-ce on Thursday, March 6 , at 17:00 pm , in the Chambers of Lights, Royal Glass Facto-ry of La Granja .

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View photos

Modernism is not only a style of Barcelona, where buil-dings like La Pedrera, Casa Batllo and Palau de la Músi-ca, attract thousands of tou-rists. It is also the Maresme , which features works of Gau-di, Domenech i Montaner and Puig , connected by fa-mily ties with this region of the Barcelona coastline .

But there are other great examples of modernist works almost unknown . Is the win-dows event called " Ladies in Cerdanyola " , preserved in the Museum of Art Cerdan-yola (MAC ), considered one of the most outstanding examples of Art Nouveau glass in Catalonia.

They are also an icon of the city of Vallès Occidental , which is stamped on t-shirts , posters and magnets refrige-rators. After a restore pro-cess to restore its original splendor, lasviejas ladies have gone home.

The windows are three large panels ( 235 x 195 ) made in 1910 for the main hall of the summer residence of the tra-der Evaristo Lopez, who at that time remodeling the ar-chitect Eduard Maria Bal-cells .

In these six women who en-joy nature appear . In one case , two women swinging peacefully , in a second, two other launch from a boat

Page 6

The ladies of Cerdanyola.

conducted in two of the pa-nels , leaving for later " hope-fully this year," Romero calls the swing scene in better condition .

None established the aut-horship of this work colorist , color flooding inside the buil-ding ( built as a casino in 1894 by then Domenech Gai-età Buïgas Laboratories ) .

" We're on it , it is a complex issue. The triptych shows many analogies with works of Antoni Rigalt glaziers in the art , although the specialist Joan Vila attributed to the Al-satian glaziers based in Bar-celona Ludwig Von Dietrich Bearn .

Also see the artist's hand of Alexandre Riquer . No agree-ment , but it is clear the Bri-tish and Central European , like the dresses and hairsty-les influence, " Romero rive-ted .

The restoration has had a budget of 18,600 euros , of which the Government has paid 9,000 7,000 Barcelona Provincial Council and the City of Cerdantola 2,200.

According to Romero, last March the ladies have recei-ved a very special visit : Stu-dents of master stained glass restoration at the University of York, UK . " They were amazed ."

peonies swans on a lake , and the last two, pick flowers along the water.

The three panels , construc-ted of glass and cathedral plaquette , some discount and glazed , are a master-piece of the art of grisaille , which over time has led to an erosion of the structure that required intervention.

The intervention has been reviewed and reinforced the enduring structure of lead glasses , has stabilized the degradation of green and blue crystals and cleaned the parts , which has increa-sed the light and color.

" Since they were removed in 1984 to be exhibited at the Miró Foundation did not re-turn to its original place until August 2009 , just days be-fore it opened its doors on MAC . They looked like a Greek procession in Sitges , "says the director of the MAC funny , Txema Rome-ro , who says that after clea-ning " have incredible bright-ness and transparency. "

During the process, done by the workshop JM Bonet (opened in 1923) , overseen by the Center for Restoration of Furniture of the Govern-ment , it has been found that there were few reinstate-ments , uncommon in other examples of these fragile works. The intervention was

www.amigosmava.org

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Page 7

His ground - at 54 meters high will become a glass platform that give the visitor the "feeling of floating ." The Eiffel Tower, symbol of Paris undisputed inaugurase since the Universal Exhibition of 1889 , ce-lebrates its 125th anniversary engrossed in a rehabilitation pro-cess that will not return until after the summer its old . The development of the " Iron Lady " , as known to this structu-re 330 meters high end "around September or October," and will then , according to EFE a spo-keswoman for the company , arriving the festivities. Although the restoration is the main reason that this year has been put damper on celebra-tions , there is a second reason : "I celebrate its 120th anniversary and can not afford an annual tri-bute ." Behind this remodeling , explain , beats the need to " modernize" the monument , in particular its first floor , despite being the lar-gest of the three , with 5,000 square meters, is the least tou-rists congregate. Looking for that touch to make the first level of the tower more attractive , much of the soil at 54

- meters high will become a plat-form of glass that give the visitor the "feeling of floating ." The Algerian architect Alain Mo-atti , father of the idea , has also planned to surround the inclined surface , also transparent panels to increase the feeling of being suspended over the city. With the new device, Moatti show has closely supporting structures of the tower, hitherto hidden . A "lifting" from SETE hope that translates into an increase of 20 percent in the number of annual visits and justify , say , the ex-pansion project . The zeal to respect the work of the creator of the tower, Gustave Eiffel, also explains the restraint with which the works have been addressed , aiming at the moder-nization of the monument without losing its essence . The tower was inaugurated on March 31, 1889 at 13:30 local time, when Eiffel traced the 1,710 steps that separate the ground from the third floor from there and hoisted the flag of France. The architect (1832-1923) con-ceived as a temporary attraction for the Universal Exposition to be

destroyed 20 years later , but the radio antenna placed by the French Navy at its highest point being dismantled saved . Formed by 18,038 metal parts , assembled with two screws mi-llion , its 10,100 tons of iron also support the weight of the old paint , which is estimated at about 250 tons. The monument was surrounded by controversy during the two ye-ars it took to build it , with angry criticism from some intellectuals, who referred to it as a " disgrace " for Paris. Skepticism , however , soon be-came enthusiastic , and told the monument after its opening, with the approval of the Parisians. Height , allowing it to be appre-ciated from anywhere in the city, became a symbol that helped strengthen the international pres-tige of Paris. Located at the foot of the Seine and one end of the Champ de Mars , offers an exceptional view enjoyed an average of 7 million tourists a year, which places it as the fourth most visited cultural enclave of the city , behind the cathedral Notre Dame, the Sacre Coeur and the Louvre .

www.amigosmava.org

The Eiffel Tower is 125 years old.

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Activities in Museums I.

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Activities in Museums II.

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Activities in Museums III.

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Activities on the MAVA. Exposition.

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pursuit of an aesthetic lan-

guage and construction of

concepts that identifies

them.

As the title suggests ,

GLIMPSE , the viewer is in-

vited to take a tour of the ex-

hibition, to glimpse the world

of each of these artists and

leave with the desire to delve

deeper into the work of each

and feel the way they cope

with contemporary art.

aesthetic affinity , but rather

represents a gamble on a

search for artists through

their works are building uni-

que mapping positions of

contemporary art.

If anything unites these ar-

tists is the ability to prove to

the transformation of pain-

ting and sculpture through

material selection , process

development , new concepts

of installation, and the

This international group ex-

hibition , curated by Douglas

Ribeiro, Brazilian based in

Holland, with the participa-

tion of five artists : Javier

Gómez- Spanish - our Hono-

rary President and Jose San-

tiago Picatoste Pinar, Stegan

Annerel Belgian and British -

based Simon Zabell in

Spain .

The selection of artists is not

intended to highlight an

View photos

Page 12

www.amigosmava.org

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Concert at the MAVA.

To do this, we do a story

about the biography of the

authors of the works to be in-

terpreted and an analysis of

the various aspects of such

works.

Also on this occasion , and

as proof that this concert

program will increasingly

consolidating , the attendan-

ce was very prominent , ent-

husiastically applauding

each of the works that these

young performers masterfu-

lly executed .

In the end, as in all our asso-

ciation organizes concerts ,

the audience had the oppor-

tunity to ask the group mem-

bers had any doubts about

the different aspects of the

works that had interpreted or

musical training , for exam-

ple.

and Olivar del Castillejo

Foundation or the ABC Mu-

seum , among others.

They played the first move-

ment of " Quartet in D Minor

" by Mozart , the first move-

ment of "Sea " of Toldrá , "

The Bullfighter 's Prayer " by

Turina, the "Tango " from

Albéniz and " Humoresque "

by Dvorak.

Upon completion of the plan-

ned program , interpreted as

" bis " " La Serenata n . # 13

for strings in G major ," bet-

ter known as " Eine kleine

Nachtmusik " by Mozart and

" La vita é bella " by Nicola

Piovani .

As with all our shows , we

continue providing a strong

educational component to its

development.

On March 21 we celebrate

the twelfth concert of our "

Concert MAVA " .

This time it was the Cuarteto

Kamaronijn who participated

in this event.

This quartet consists of

Adrian Alberto Mariné Rijn-

hout and violin , Almudena

González- Regueral , viola

and Criptana Casero, cello.

It is a chamber music group

formed in this school year

and is composed of students

of the Conservatory of Music

Amaniel ( Madrid) courses

Professional fifth and sixth

grade.

Despite his short career has

extensive experience ,

having participated in the

contest " Sighs of Spain " at

the Canal Theatre , concerts

Page 13

www.amigosmava.org

Glass School Berazategui.

Glassware San Carlos " $

7,000 and diploma.

• Acquisition Second Prize :

$ 5,000 and diploma.

Awards categories:

• First Prize Traditional Tech-

niques , diploma .

• Nontraditional Techniques

First Prize diploma.

• Second Prize in both cate-

gories , diploma .

• Mentions in all categories ,

diploma

All accepted works will recei-

ve a certificate of participa-

tion . Great Acquisition Prize

can not be awarded to the

same artist two consecutive

years. Participants may not

reject the nomination Acqui-

sition Awards .

For more information click on

this link.

size of 60 x 80 cm, unrestric-

ted maximum and are provi-

ded with their bras ) , painted

with grisaille ( lete texture

and glaze coat low tempera-

ture ) , and blown objects ,

made with individual techni-

ques or interaction.

• non-traditional techniques .

Sculptures , blocks, plates ,

tea , reliefs, in thermofor-

ming , glass fusing , freefall,

glass paste , casting, rolling,

vitrocemento , sanded , ena-

meled , inclusions, rod to the

torch , carved, etc. will be re-

ceived . made with individual

techniques or interaction .

Excluded are utilitarian ob-

jects .

AWARDS

• Acquisition Grand Prix "

Berazategui, National Capi-

tal Glass " $ 8,000 and diplo-

ma.

• First Prize Acquisition "

In addition to this sample ,

the Municipal School of

Glass , under the Ministry of

Culture and Education of the

City of Berazategui, invited to

participate in the National

Hall and I XVIII International

Glass Art, to be held from 6

to 28 SEPTEMBER 2014 , in

the " San Francisco " Munici-

pal Complex located on the

street 23 and 149 , Berazate-

gui .

Participation in the National

Hall and I XVIII International

Art Glass on designers , ar-

chitects , artists and artisans

of glass, Argentine or fo-

reign , regardless of age .

Two categories are establis-

hed:

• Traditional Techniques .

Windows was received in rod

lead, brass, copper , nickel

and / or copper foil and glass

( to respect the minimum

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Page 14

Juan Habichuelas grandson and

Olympic medalist Joel Gonzalez

engaged in a 'press trip' in the Al-

hambra Beer Glass Factory

The Royal Glass Factory are still

prepared glass parts such as mas-

ter craftsmen did in 1727 , as the

guests were able to see the Alham-

bra Beers company , on Wednes-

day organized a 'press trip' to the

Royal Glass Factory of Real site of

San Ildefonso.

The group included , among ot-

hers , the Granada guitarist Juan

Torres Fajardo , grandson of the

saga of the ' Habichuelas ' , actor

Ruben Ochandiano and Olympic

medalist Joel Gonzalez, who won

gold in taekwondo in London.

They all lived personally experience

a piece of glass blowing techniques

using more than 300 years ago in a

workshop led by master Diego Ro-

driguez blower .

The action is part of the latest cam-

paign Alhambra Reserva 1925 , '

Art by Discover ' .

The company has worked with the

Royal Glass Factory in the develop-

ment of a limited edition of unique

glasses , made by blowing techni-

que .

The cups , numbered, are specially

made to taste this particular type of

beer as directed measures , thick-

ness, weight, more experienced

brewers.

The pack , designed especially for

Father's Day and includes craft beer

with a special format , is available

on request at the National Glass

Centre Foundation ( Pocillo Walk ,

1, La Granja, Segovia 40100 ) , at a

price only 150 euros.

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Sips in handmade glass.

Page 15

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The National Museum of

Science and Technology of A

Coruña is among the nomi-

nees for best European Mu-

seum of the Year 2014 by

the European Museum Fo-

rum, an organization under

the Council of Europe dedi-

cated to developing quality

European public museums.

The European Museum of

the Year Award is an annual

event which has been orga-

nized by the European Mu-

seum Forum since 1977 and

have received , among other

places , the Archaeological

Ensemble of Madinat al-

Zahra in Cordoba in 2012

and the Riverside Museum

in Glasgow in the UK.

This award museums that

stand out in terms of innova-

tion and quality as public

spaces is granted.

They can participate in this

contest museums in 47 Eu-

ropean countries members

of the Council of Europe if

they have been opened , re-

novated or expanded in the

last two years.

The National Museum of

Science and Technology of A

Coruña was inaugurated by

Their Royal Highnesses the

Prince and Princess of Astu-

rias in May 2012.

Prisma is located in the buil-

ding of Crystal, a cube of

glass among others awarded

with the National Prize for

Young Architects of the 9th

Biennial of Spanish Architec-

ture .

From the outside Prism can

see how a glass box blanket

inside what is displayed as

two buildings in one.

A tree whose branches are

towering concrete blocks

containing all museum servi-

ces .

Among these branches and

the glass envelope are defi-

ned the exhibition halls of

different sizes and heights ,

all full of light.

The building was built by the

Provincial Council and assig-

ned for use as a National

Museum.

Among the nominees is also

another Spanish center is in-

cluded in the exhibition Occi-

dens the Cathedral Church of

Santa María de Pamplona,

an experimental sample wal-

king several stages in the

history of the very new tech-

nologies for the origins of the

West .

Over 4,500 square feet in 12

rooms , visitors can experien-

ce firsthand the battle of Las

Navas de Tolosa , hear the

real voices of the monks sin-

ging Gregorian Leire or

watch were the villages who-

se archaeological remains is.

Other nominees in the con-

test are for example The Wi-

lliam Morris Gallery in Lon-

don, the Museum Spirit of

Switzerland and Madeira

Whale Museum, Portugal.

The winner of the contest will

be announced at a conferen-

ce to be held in Tallinn

(Estonia ) from 14 to 17 May

2014 .

The MUNCYT of A Coruña in Prism Glass.

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Page 16

Nativity, of Archímedes Seguso (and VI).

www.amigosmava.org

Article by Maria Josefa Almagro. MNAD.

.. / / ..

The glass or glass that have

made these figures is color-

less and transparent , usua-

lly it is just gold plating in

most of them , except No.

7017 ( Fig. 7), which provi-

des a stronger golden hue .

However the wings, halos or

cingula were gilded with an

intense layer of gold dust

that gives richness and color

to a colorless glass.

No Angel inv. 7015 contai-

ned in this page offers a be-

autiful waist shaped orna-

ment gold pendants that dis-

tinguish it from the rest.

Figures n ° s . inv. 7012 or

7015 in addition to said layer

of gold dust were rolled in

gray tones or sometimes

oval bases in the bottom of

the robes .

The style of this crib figuri-

nes is typical of those made

by the workshop Seguso in

the 50s.

While not bearing the seal or

signature, Print feature gold

dust reveals his undisputed

origin.

Some resemblance birth is

preserved in private

collections , sold by that firm

at that time , but anyway this

little work of art colored

glass , is now a true

collector's item , worthy of

becoming known especially

Christmas dates.

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Page 17

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A very resistant glass.

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A study conducted by

scientists at McGill Univer-

sity (Canada ) has mana-

ged to develop a 200 times

stronger than standard

glass one .

For this work , which has

been published in ' Nature

Communications ' , experts

have been inspired by the

shells of mollusks.

The authors began their re-

search by observing natu-

ral materials such as mo-

llusk shells , bones and

nails, which are very resis-

tant even though they are

made of brittle minerals

study.

According to the scien-

tists , the secret of these

objects lies in the fact that

minerals are joined toget-

her in a harder, larger unit .

In the case of shells , ma-

de by more than 95 per-

cent of a brittle material ,

the team noticed that the

pearl takes many of them

inside as a microscopic ta-

blets and is what makes

them so strong.

" The inner nacreous layer

of some mollusks is about

3,000 times stronger than

the minerals that make up

" , he explained lead aut-

hor François Barthelat .

Experts in materials scien-

ce takes twenty years stud-

ying the nacre to unravel

its secrets , and so far ,

previous attempts to re-

create its structure has be-

en a challenge.

Therefore, in this work the

experts have chosen to re-

cord on glass slides , using

a 3D laser nacre structural

patterns .

As noted by the article, to

try this new material was

detected which was much

stronger than glass plates

that had not been treated .

The ultimate goal of this

work is that , with this sys-

tem , the glass could

absorb impacts with better

performance and slightly

bend instead of break.

" A standard glass contai-

ner will break if dropped on

the floor . On the contrary,

a container made of this bio

-inspired glass is able to

deform slightly without

completely fracturing " ad-

ded Barthelat .

In this regard, he explained

that the glass can be laser

engraved with "stretch" by

almost 5 percent before

breaking , compared with a

strain capacity of only 0.1

percent for the standard

glass .

" The strongest glass can

be used in applications for

bulletproof windows, glas-

ses, or even smartphone

screens ," noted the expert,

who pointed out that glass,

because of its transparen-

cy , it is "functional" . " The

downside was the fragility ,

so far," he concluded.

Page 18

N E W S (I).

Culture 2014.

The Glass House of Umea.

www.amigosmava.org

own lifes changes and

stresses of nature, and

objects that convey stabi-

lity traditionally support

each other in a preca-

rious balance.

In the work of Cézanne ,

the landscape is the do-

minant genus , identified

(as in her Impressionist

colleagues ) with the

practice of painting outdo-

ors.

But , unlike the impressio-

nists , Cézanne also atta-

ches decisive importance

to the workshop as a gen-

re : still life.

Cézanne painting to culti-

vate both genders throug-

hout his career and esta-

blish an intimate connec-

tion between them, in his

still lifes introducing

landscape features and,

reciprocally , leading to

the order of landscapes

still life.

2014 The first exhibition

at the Thyssen Museum

in Madrid , is dedicated

to a key figure in the

painting of the second

half of the nineteenth

century , Paul Cézanne

(1839-1906 ) , conside-

red the father of modern

art.

Guillermo Solana, artistic

director of the Museum,

is the curator of this ex-

hibition , the first mono-

graph on the artist orga-

nized in Spain in the last

thirty years , which will

explore the relationship

between two genres that

haunted the painter with

the same passion : the

landscape and still lifes .

Like the Impressionists,

Cézanne painted lands-

capes outdoors, yet his

works lack of seasons

and times of day , and

nature motifs are placed

in a kind of staging.

Conversely, the French

painter incorporated their

square of the Swedish Ci-

ty of Umea, this glass

house of 30 m2 work of

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THE GLASS HOUSE

Situated in the central

Lars Rosenberg and all

glass walls, is a showcase

raised as part of European

Capital of Culture where

organizations, municipali-

ties, associations, clubs

and to the sister cities of

Umeå alternate to present

her proposals cultural

talks, music, theater, dan-

ce, exhibitions, works-

hops, films ...

Page 19

N E W S (II).

Concerts in the MAVA.

www.amigosmava.org

Wine glass of La Granja.

include an overview of the most important aspects of the lives of the authors and works that are to be interpre-ted, describing the origin and development through history of the instruments that will be used in the event.

And at the end of the con-cert, the audience will enga-ge in dialogue with the artists on the various aspects of their training, activities, etc..

Celebrate the 25th a new concert in the Auditorium of MAVA.

This time will be the soprano Marta del Barrio which will gi-ve us a twelve songs.

This will be the thirteenth and we have been programmed in our project "MAVA Con-cert".

Given that our concerts we develop in teaching plan, this time we will also continue to

the mayor of this town, José Luis Vázquez, the managing director of the Royal Factory, Emilio Cabanes, and CEO of Saint-Gobain Glass La Gran-ja, Mario Lopez. The goal was to put on the table "potential avenues of colla-boration in the bottling of wi-ne excellence offered by Bo-degas Emilio Moro with their wines and Sanchomartín Val-derramiro Malleolus of crea-ting a high-end package," sources reported yesterday Site of the City of Royal . Another possible avenues of collaboration was to initiate a research and innovation pro-ject to study the influence of bottled wine quality.

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of the firm, Joseph Moro, held a meeting on Monday at City Hall of the Royal Site of San Ildefonso attended by

Bodegas Emilio Moro stud-ying some of your wine bottle with glass Royal Glass Fac-tory of La Granja. The owner

Page 20

The glass in Museums: Sibiel.

Zosima Sibiel P. Oancea Mu-

seum houses the largest exhibi-

tion of icons on glass existing to-

day in Transylvania, a miracle of

artistic creation and religious ins-

piration of the investigation of the

Orthodox Christian tradition and

fantasy painters among Roma-

nian peasants.

A unique blend of Eastern tradi-

tion and Western art glass icons

spread throughout this vast re-

gion of Romania in the first deca-

des of the eighteenth century ,

reaching its peak between 1750

and the end of the nineteenth

century , and finally almost di-

sappeared between the two

world wars.

Founded in 1969 , through the

efforts of Father Zosima Oan-

cea , the Sibiel community and

also support institutions and pri-

vate donors, the Museum pre-

sents some 600 masterpieces of

the main types of icons on glass,

as well as works some of the

most important painters of

icons .

Sibiel Museum also offers the

opportunity to discover the figure

of the man whose name it bears

Entity: Father Zosima Oancea , a

man and a truly exceptional

priest with a clairvoyant intelli-

gence and tireless tenacity that

has made this to be an extraordi-

nary museum central Romania .

Painting on glass is an ancient

technique introduced in

Transylvania after the annexation

to the Habsburg Empire ( 1699 ) .

His extraordinary and mass distri-

bution was made after the mira-

cle happened in Nicula , a town in

northern Transylvania, where the

February 15, 1694 (or 1699 ) the

tears were gone for 26 days in

the face of the Virgin and Child ,

represented in a wooden icon Ni-

cula church .

The miraculous event transfor-

med the village into a major pilgri-

mage destination , and it is at this

time when pilgrims wishing to ta-

ke home a picture of the Virgin.

Thus the icon was integrated into

the internal worship of the Roma-

nian peasants.

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Our web

Page 21

Oil on a piece of art.

www.amigosmava.org

The Dutch artist Angela Teu-

nissen created exclusively

handmade and limited edition

of 150 pieces of hand-blown

glass .

For the first time , the company

jienense AOVE Spiritu_Santo

Cortijo has enjoyed the coope-

ration of the Dutch artist Ange-

la Teunissen to create exclusi-

ve bottle of hand blown glass

by hand, a piece of art in a li-

mited edition of 150 bottles.

The artist, who lives between

Spain and the Netherlands, is

one of the main representati-

ves of this work , which mixed

with large sturdy and strong

with more delicate or fragile ,

such as stone and glass mate-

rials expertise.

This time , to create the thick

glass that would shape bottle ,

designed a bottle mold in plas-

ter and then cast a mold of oli-

ve wood that produced a

craftsman Torreperogil town of

Jaen .

He brought the mold to Ams-

terdam where he created the

first bottles along with a blower

master.

The glass would be too heavy

to handle and , therefore, its

design had an attractive and

practical stainless steel pipette

with which to extract the liquid

gold.

Your size contains the right do-

se for a seasoning or flavoring

a dish cooked, and transpa-

rency and brilliance of the ma-

terial reinforces the purity of

the oil .

The body of the bottle comes a

curvilinear arm developed

using traditional linking delica-

tely in a glass glass Zwiezel

where oil deposit for both enjoy

olfactively to taste .

The piece is accompanied by a

table of olive wood with a drop

of oil.

In its development, Teunissen

used three days to cool the

glass, because of its thick-

ness , and , once cool , cut ,

sanded and polished the neck

and base, and printed with

sand , by hand , the name of

EVOO in Cortijo Spiritu_Santo

front and face your own neck of

the bottle.

For the design of this piece

was inspired by Angela Teunis-

sen oil droplets representing

Spiritu_Santo Cortijo logo and

as a result , the bottle takes its

own language that is interpre-

ted in a drop of oil in a crystal

drop , forming both a concept

of purity and great visual .

The limited edition of these pie-

ces can be purchased through

this website.

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Page 22

The stained glass of the Cartuja de Miraflores (Burgos) (IX).

Bulletin of the SECV.

This indicates that there has

been a dealkalization surface ,

whereby said surface is enri-

ched proportionally forming

oxides which have resulted in

a layer of silica gel .

In deteriorating pitting area

(Fig. 1a , Zone 2, Table III ) ,

the phenomenon that can be

identified is the same but more

pronounced , so that not only

has produced a surface layer

forming dealkalization and sili-

ca gel , but also has lost glass

mass , appearing new compo-

nents ( sulfur ) and increasing

the percentage of CaO , as a

result of the accumulation of

deposits of insoluble salts from

the corrosion products .

Although no data are available

comparison of the initial glass

composition by not having

enough of a sample for

analysis by XRF , the M-6 vio-

let fragment also appears to

be , in the more or less smooth

texture , a decrease of alkali

and alkaline earth oxides and

a relative increase of network

forming oxides (Fig. 1b , zone

3, Table III).

However, inside the craters

whose microstructures had a

clearer appearance filamen-

tous apart dealkalization phe-

nomenon and formation of a

silica gel layer , is detected a

highly chlorinated and somew-

hat lower sulfur (Fig. 1b zone

4, Table III).

In Fig 1c at higher magnifica-

tion micrograph of the appea-

rance of these filamentous mi-

crostructures observed inside

craters , in the case of sample

M- 7 is provided .

The presence of high concen-

trations of sulfur, chlorine and

calcium filamentous micros-

tructures inside craters and

pinholes , could be due to de-

posits caused not only by the

chemical corrosion of the

glass , which typically do not

produce these microstructu-

res , but also the a synergistic

effect of a biological degrada-

tion , possibly related to the

metabolic activity of fungi and

other microorganisms .

Finally , Figure 1d shows the

earthy appearance and powde-

ry glass fragment detached in-

side one of the craters obser-

ved in the sample F -3 .

The microanalysis by EDX per-

formed in different areas (Fig.

1d , zones 5 and 6, Table III )

showed that there had been a

significant decrease in CaO,

K2O and somewhat lower

MgO , as well as a significant

increase in SiO2 and P2O5 .

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Page 23

Recycling. Alcorcón save with Ecovidrio.

The city secretary and spo-kesman of the PP in Al-corcón , Laura Pontes , ex-plained to Efe that the new agreement with Ecovidrio will save 61,000 labor hours per year on the balance of the Municipal Services Company ( Esmasa ) .

According to his figures , the savings you get " adding sa-vings in maintenance and fuel truck ( 23,094 euros ) plus the salaries of two ope-rators ( 68,796 euros) and subtract the difference Eco-vidrio stops paying the an-nual fixed fee ( 30,000 eu-ros) . "

Pontes has detailed Ecovi-drio Esmasa paid to " 15,000 euros in cash " for mainte-nance - as it does today , to pick up the glass, which , in their opinion , shall " be res-ponsible , with its own staff ( two operators that work three days a week) and your own material. "

Thus, this non-profit associa-tion paid " 30,000 euros less " but Esmasa " stop earmark spending 23,094 euros "

maintenance and gasoline truck that public company devotes three days a week , to the collection of glass .

In this sense, the municipal public company spends 68,796 euros in wages for workers performing this task, quantity , detailed Pontes has now spent on garbage collection , as " any operator or lose their job or part of their salary. "

In this sense, the PP spo-kesman also referred to " the false strike encouraged by the Socialists" that had accu-mulated on the streets of the town up to 800 tons of gar-bage in the fifteen -day pro-test CGT , CCOO and CSI -F against the privatization of glass collection .

"It's understandable, he ad-ded , that a political party (PSOE ) where one of his councilors were wrong to count trees , other public money is spent on alcohol for parties of young or that it was Councillor of Finance is charged with alleged misap-propriation of public funds

are not very clear how to in-terpret the numbers and an operation . "

"The reality often exceeds the wishes of the people, and if free two workers and a truck to be allocated perma-nently to garbage collection is not a benefit to the city and neighbors, for then the lords of the PSOE will give way to other more qualified to repre-sent citizens ' companions said Pontes .

The strike also left during the protest last Saturday descon-vocatoria ( February 5 ) fifte-en detainees, including two minors , for causing damage to several downtown streets of the city, disobedience to authority and public disor-der , including other reasons.

The photo that we include in this article did last on 10 Feb called off the strike and gar-bage in our town , in one of the streets of our town and publish on our Facebook pa-ge the same day.

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Page 24

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ANA Yabar glass came through the Basque, and was the glass that opened the door to the yoga. To-day , he combines both activities professionally.

Each day leaves a piece of his soul in artisan glass pieces Carving point diamond dressing and colors with a matt and luster .

Work in the shop you have in your neighborhood farmhouse Buia , in Bilbao, a discreet corner of the town near which is also his home.

This activity began casually . What I wanted was to study Fine Arts , but it was "not for girls " , imposed his father. So did Magisterium , alt-hough I came to exercise .

"When I was studying in barnetegi , I was introduced to a very old glass engraver , Antonio Gómez " . It was 1980 , and Ana I asked him to te-ach him the art of scratching the glass.

He spent five years going to his workshop in Santutxu . " He was devoted to carve pieces wholesale to department stores such as San Martín Guerra , and made for a ridi-culous price , because then this work fell within the agreement for the building ," she recalls.

When his teacher he retired , he gave all his old equipment and Ana took her to Gasteiz , where his workshop was set up in 1988.

There are contacted craft associa-tions and council to seek aid and recognition to his technical skill and arrived early.

" I got a first prize for a carved vase with part of the first cover of Egun-karia , your spelling , picture and all ."

Today is exposed in Gasteiz Villa-suso Palace . " That was just one of

many first prizes that adds up to your resume.

In 1993 he returned to Bilbao after completing a course of blow torch , colored and frosted glass that ma-de a grant of Alava deputation in the workshop of Don Luis Arias Lo-cated in Recalde .

"At this stage learned to blow glass, but most joined my work was the use of acids to matt glass and color the pieces I stalk" .

Pitchers, bowls , mirrors , vases , cups, plates , bowls or decorated with motifs of nature , pastel, trans-parent colors , pearls , shells , wi-re , brass ... any material is allied with the creativity of the artisan lamps 53 .

In Conde Mirasol Bilbao set up his new workshop. Soon after he ope-ned his first store in Artecalle where practically working for businesses.

" Business was very good. Had a person working in the store and I was in the shop trying to meet de-mand. It was almost a production chain that left little time for creativi-ty ."

In those years there was also time for those long trips Mexico , Central America , Indonesia and India both have influenced him .

With the turn of the century and mi-llennium his life took another turn. He began a relationship of his son was born .

"I closed the shop because I wan-ted to reduce the company to so-mething more manageable for me , I sold my flat and we went into the purchase of this hamlet, in which we invest a lot of work . It was a tremendous waste . Ended up with our relationship after a couple ye-ars of coming here, and here I was with the baby , debts and a deep

personal crisis . "

But yoga was essential for her. " Carve the glass is very demanding in terms of physical strength, becau-se it is a fragile but very hard mate-rial such as stone . I had arm pro-blems and I signed up to do yoga to improve my physical and mental state."

That put the batteries " butt " and spent three years studying to gra-duate as a teacher of Iyengar yoga , one of the hardest to practice. Now teaching at a yoga center Santutxu .

CRAFTS IN CRISIS.

Along with his personal crisis , came the crisis of craft, that about eight years ago and moved on dangerous ground.

" They came to stop new technolo-gies , brands made in Taiwan and gift shop concept craft began to di-sappear. Many closed shops in Bil-bao ."

She has always been "lucky " in bu-siness, because people are looking for and make him many commis-sions . "There's faithfulness." There are also fairs in the Basque Coun-try , Madrid , Barcelona, Baiona , Milan and Germany, which "is a showcase and a point of connection with new customers."

Through the representation establis-hed in Catalonia , which absorbs much of its production , managed to work for the firm Windhis designing collections of bathroom accessories. Now working with Igor Obeso , mas-ter craftsman and molding molten glass in a line carved with verses from Joseba Sarrionaindia who are " very successful " lamps, and loo-king for a space where you expose them to the public in Bilbao. Soon ready online shop on their website.

Ana Yabar art in Basque.

Page 25

and the last two, pick flowers

along the water.

The three panels , constructed

of glass and cathedral plaquet-

te , some discount and glazed ,

are a masterpiece of the art of

grisaille , which over time has

led to an erosion of the structu-

re that required intervention.

The intervention has been re-

viewed and reinforced the en-

during structure of lead glas-

ses , has stabilized the degra-

dation of green and blue crys-

tals and cleaned the parts ,

which has increased the light

and color.

Boétie , Boisgeloup , La Califor-nie and finally Mougins .

In all the workshop becomes, at the same time, space for experi-mentation and reflection on the engine ritual and work of the ar-tist in the pictorial tradition .

Her workshops become " inner landscapes " - as he called them - in sacred precincts , represen-ting chronicling the stylistic and iconographic variations Picasso.

An important part of the exhibi-tion, organized by Fundación MAPFRE , comes from private collections that have been shown to the public rarely , so it is a uni-que opportunity to appreciate .

They also have the support of major national and international museums, most notably the Phi-ladelphia Museum of Art, Cleve-land Museum of Art, Indiana Uni-versity Art Museum, Phillips Co-llection in Washington , Centre Georges Pompidou in Paris , Ta-te Gallery, London Israel Mu-seum in Jerusalem , Bridgestone Museum of Art Tokyo National Museum of Modern Art Kyoto , Pushkin State Museum of Fine Arts in Moscow, the National Mu-seum Centro de Arte Reina Sofia in Madrid and the Museu Picasso in Barcelona.

I paint like other people write his autobiography. The pain-tings , finished or not, are the pages of my journal , and as such are valid.

Pablo Picasso

Picasso at the Mapfre Founda-tion.

The workshop gathers about 80 paintings , 70 drawings and prints , 26 photographs and a dozen blades artist who can ap-preciate how Picasso's studio becomes the center around which all creation revolves , the

place which his art and his life is intertwined .

The exhibition begins with the fa-mous Self-portrait with palette, 1906, and ends with the self-portrait also Man in the stool, 1969 , submitted only once in the Palais des Papes in Avignon in 1970.

Between the two works in which Picasso represents herself as a painter and staring at the viewer , it takes more than 60 years of his artistic life in which the artist works in different studies and in Le Bateau- Lavoir , Boulevard de Clichy , Boulevard Raspail , La

www.amigosmava.org

Evaristo Lopez, who at that time

remodeling the architect Eduard

Maria Balcells .

In these six women who enjoy na-

ture appear . In one case , two

women swinging peacefully , in a

second, two other launch from a

boat peonies swans on a lake ,

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 2014.

Cultural Tours.

Culture 2014 Programme.

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On 26th visit stained glass known

as " Ladies Cerdanyola " , preser-

ved in the Museum of Art Cerdan-

yola (MAC ) .

The windows are three large pa-

nels ( 235 x 195 ) made in 1910

for the main hall of the summer

residence of the trader

Page 26

New glass furnace in Leon.

" Not coincidentally, in a

year full of crises Tvitec

was able to grow 10 per-

cent turnover in relation to

year 2012 ," said the re-

gional manager .

The CEO of Tvitec , Ja-

vier Prado, recalled the

origins of the project and

stressed that " can be lo-

cated anywhere in Casti-

lla y León " became the

Bierzo and the estate of

El Bayo that originate in

this region.

" We are glad we set our

project in Bierzo and El

Bayo because it is a re-

gion that currently cros-

ses economic and serious

social difficulties due to

severe deindustrialization

by the passing of the cri-

sis and we believe we can

contribute in humble mea-

sure to regenerate the in-

dustrial sector in the area,

" he added.

The President of the Jun-

ta de Castilla y León,

Juan Vicente Herrera,

was in charge of opening

last March, the largest

glass tempering furnace

installations in Europe

Tvitec company , located

in Cubillos del Sil .

" The most important in

Europe in the transforma-

tion of high-quality glass

destined for various

uses , but primarily to ar-

chitectural building

plant ," said the regional

president .

Herrera stressed the va-

lue of " spectacular " Tvi-

tec facilities with the com-

missioning brand new fur-

nace and thanked the

Prado family that " effort

and drive" as an

"exercise of patriotism

and peasantry well un-

derstood ."

"Today means reiterate

constants sounding facts

and your commitment to

the Bierzo , León , with

the community of Castile

and Leon and the rest of

Spain ," he said .

In this line, praised the

new investment is in ad-

dition " to the significant

investment of nearly 50

million euros" since 2007.

He highlighted the exam-

ple of Tvitec at a time "

border" between recovery

and crisis.

"It is an example to us all

of a company that has

not been made and , like

many others, has not re-

signed nor surrendered to

the crisis."

This meant that in this si-

tuation to strengthen its

competitive to better me-

et the demands of the na-

tional and international

market since last year

spent 60 percent of its

production to export.

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Page 27

Other trends. Calar Alto at the bottom.

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The German-Spanish Astronomi-cal Observatory of Calar Alto lo-cated in the Sierra de Almeria Fi-labres is in critical condition to operate normally due to the dras-tic decrease of the budget, ac-cording to reports from workers of the Institute of Astrophysics of Andalucía ( IAA -CSIC ) .

Calar Alto has the largest teles-cope in Europe and mainland Spain , equipped with a mirror 3.5 meters in diameter.

The IAA- CSIC institute in Gra-nada and main user of telesco-pes , warns that since " they are losing hours of observation due to lack of staff " and failing " com-mitments to the international as-tronomical community " that uses telescopes Almeria .

"With the current budget does not open every night for ," said in a telephone interview the resear-cher Matilde Fernández , former director of the IAA .

Begin layoffs

In Calar Alto worked so far 48 people , but downsizing has al-ready begun with the announce-ment nine layoffs in services , laundry and cooking .

The remaining workers will apply a pay cut of at least 30% .

Fernandez says that these cuts will cause surely the brightest re-searchers, those with ability to find other jobs , leave the facility and march out , apart from

To the staff of IAA , this " new cri-sis " puts "endangered"

profitability euros over nine mi-llion invested in art instruments such as Panic camera and high-resolution spectrographs Carme-nes or CAFE improve scientific competitiveness observatory , some of which are still under de-velopment .

Such instrumental projects of in-ternational character, " represent a major industrial return in Spa-nish companies are just begin-ning to produce results ."

The IAA Assembly emphasizes the "need" that " enhances " as Calar Alto observatory , the "only national observatory featuring the Spanish astronomical com-munity over 180 observing nights per year and allows the develop-ment of projects ambitious and require great powers of observa-tion , "according to a briefing no-te highlights .

The Spanish Astronomical Socie-ty (SEA ) has expressed " deep concern " about the future of the observatory and stressed the ne-ed to save economic effort is "very modest" and a problem of will.

In a statement, the Association ensures that the financial situa-tion " not only has not improved since announced about a year ago , but continues to deteriora-te ," which puts "endangered the continuity in the short and me-dium term" center .

affecting the credibility of the work done at Calar Alto.

The last director of the facility, José María Quintana , recently resigned because, in his words, with no budget was allocated to maintain the high scientific level of the facility.

Workers IAA -CSIC remind cuts , after 40 years of operation of Ca-lar Alto, obey modification mana-gement agreement signed in April 2013 by the two owners of the observatory, the CSIC and the Max Planck Society in Ger-many.

The agreement resulted in a fun-ding proposal 2.7 million per ye-ar , " well below the 3.7 and 3.8 million euros to Calar Alto scored in 2011 and 2012 " , underlines the workers.

In addition , after the executive committee of the Calar Alto fell to 2.2 million.

To make matters worse , workers are continuing , " 600,000 of the 2.2 million from remnants of pre-vious years observatory " . The provision is thus reduced to 1.6 million , " an amount that preclu-des the viability of the center ."

The Germans away

The CSIC , meanwhile , reitera-tes that he has never plans to close the facility and cuts attribu-ted to the fact that the Max Planck Society , which so far contributed 50 % of the budget , has announced he wants to lea-ve the center in 2018 .

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Page 28

Photos on glass plates.

The Museum of Huelva host bet-

ween 19 March and 27 April, the

exhibition " Through the glass .

Collection of stereoscopic photo-

graphs " organized by the Minis-

try of Education, Culture and

Sports , through the Provincial

Historic Archive of Huelva, in co-

llaboration with Cepsa and the

City of Palos de la Frontera.

Stereoscopic photography is ba-

sed on the human vision and the

gap that exists in our eyes. They

each receive a different image

that connects the brain to create

the three dimensional effect. The

stereo cameras of the era had

two goals with two different ima-

ges with a small angle difference

between them is obtained. To

achieve the vision in three di-

mensions with a device called a

stereoscope photographs that

are put next to each other and

can be seen so that the brain in-

tegrates them into a single inven-

ted .

The photographs in the collection

are made on glass plates , sup-

port began to be used frequently

from the second half of the nine-

teenth century and continued to

be used during the first third of

the twentieth century.

Of the 620 photographs in the

collection , of which 40 are set

representative , include those re-

lated to France during World War

II, can be seen through them all

the harshness of the conflict on

the Western Front battles ( Mar-

ne , Ardennes , Somme , Ver-

dun , Ypres) , the trenches , the

technological development wea-

pons (planes, big guns , tanks ) ,

the lives of the soldiers at the

front and how the war affected

civilians.

Serves therefore this exhibition

as an act of remembrance of that

fact and memory of those who

directly or indirectly suffered the

atrocities of this war.

Along with the photographs of

the First World War we also en-

counter other French Protectora-

te of Morocco and various Spa-

nish towns , mainly Huelva , Se-

ville , Madrid and Granada .

This exhibition originated at the

beginning of 2011 when the

council palermo , mediated refi-

nery 'La Rabida' Cepsa , gave

the Provincial Historical Archive

a collection of 620 stereoscopic

photographs on Glass , 6 x 13

cm. , Following a cooperation

agreement in which the City of

Palos.

The Ministry of Culture , fulfilling

their duties to organize, protect

and disseminate Documentary

Heritage Andaluz, committed ,

through the Provincial Historical

Archive , to perform the work ne-

cessary for the preservation,

identification, description and dis-

semination of the collection.

Cepsa meanwhile , considering

the commitment to the environ-

ment in which it operates, and as

a sign of patronage and spon-

sorship , agreed to finance part of

the work done with the collection.

After identification work of the

photographs has been determi-

ned that these belonged to Alfon-

so Garcia Castrillo Polavieja , Po-

lavieja Marquis II .

The photographs were found in

an existing dwelling at San Jose,

19 Palos de la Frontera , which

belonged to the counts of the Val

Eagles.

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Page 29

“The Glass Car”.

Diageo , the world's leading pre-

mium distilled spirits company ,

through one of its flagship

brands , Johnnie Walker, has

launched an international video

incident on the importance of

control and driving do not mix

drinking and driving , a cause

that Diageo and Johnnie Walker

have been fighting since 2005 .

Inspired by the fragility of glass ,

video, entitled "The Glass Car" ,

stages a Formula 1 car made of

1,750 glass vases .

Beautiful and powerful , but fragi-

le , race car symbolizes the im-

portance of always make the

right decisions and avoid losing

control both on the road and in

life .

The video is part of the interna-

tional "Join The Pact" ( "Join the

Pact " ) , campaign which aims to

collect one million engagements

on social networks with the hash-

tag # ImNOTdriving to raise awa-

reness about the importance of

not mixing alcohol and driving.

In return , Johnnie Walker is

committed to giving away a mi-

llion miles of safe travel back

home worldwide .

"Our partnership with McLaren is

an incredibly powerful to talk

about responsible drinking plat-

form ," said Pilar Larrea Head of

Corporate Affairs and Communi-

cation.

" With the release of " Join the

Pact " We want to remind consu-

mers that , in life as in races ,

control is everything ."

The "hot glass " features two -

time world champion Mika Häkki-

nen Formula 1 World Ambassa-

dor - Responsible Alcohol John-

nie Walker- who manifests con-

sumption . " In racing, the impor-

tant thing is not to lose control

decisions are taken in fractions

of a second make the difference

between finishing first and finish

last , or even finish. glass the car

is a unique reminder of the ease

with which our dreams can be

destroyed . "

The video presents a stunning

model car racing McLaren crea-

ted three-dimensional images

and a stunning crash scene at

300 frames per second , the pro-

duction of which lasted more

than a week of work.

Join the Pact

Promoting responsible consump-

tion of alcohol has been one of

the cornerstones of its collabora-

tion Johnnie Walker since 2005

with the McLaren team .

Through this pioneering and Mi-

ka Häkkinen as Global Ambas-

sador for Responsible Alcohol

Consumption sponsorship, cu-

rrently with the pilots of the te-

am , Johnnie Walker plasma this

commitment , focusing especially

avoid mixing alcohol and driving

in the global campaign "Join the

Pact " - " Join the Pact " .

This campaign asks consumers

worldwide to commit to not drin-

king and driving through a sym-

bolic signature.

Since 2006, Mika and McLaren

F1 team drivers have led this ini-

tiative having gathered over the

years and a million commitments.

Mika has visited more than 30

countries on four continents

(including Spain ) and has spo-

ken to countless media, govern-

ments , stakeholders and consu-

mers , transmitting messages

through exclusive responsibility

hand experiences of Johnnie

Walker.

In Spain , in 2008 and 2009 ,

through various events in which

Diageo and Johnnie Walker were

accompanied by the DGT and by

Pedro de la Rosa, Lewis Hamil-

ton and Hakkinen own pilots, ne-

arly 200,000 signatures gathered

through this exceptional initiative.

In the Grand Prix Formula 1 Sin-

gapore Johnnie Walker revealed

this new step of "Join the Pact " ,

which involves getting another

million of commitments through

the unique hashtag # ImNOTdri-

ving .

In order to thank the million com-

mitments , the brand will give

away a million miles of safe re-

turn home around the world.

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Page 30

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The revival of the glass harmonica.

Crystal Instrument sound weird , banned in the nineteenth century for having " crazy " to generations of musicians , glass harmonica has been reborn in the fingers of a handful of passionate and seduces giants of rock and electronic music.

No conservatory teaches this ama-zing instrument , perfected in the eighteenth century by the inventor and " founding father of America," Benjamin Franklin. And only a few professionals are dedicated to him in the world , including French Tho-mas Bloch.

" There are five or six that we play just for personal taste.

This is a very small community , "he told AFP instrumentalist, invited by the Los Angeles Opera to play the part of a glass harmonica in Doni-zetti 's opera 'Lucia di Lammermo-or' , of which six presentations are made up April 6 .

Harmonica glass, rubbed instrument is named after the Italian word " har-mony " in reference to the harmonic richness of the instrument, accor-ding to Bloch , has nothing to do with the harmonica, a wind instru-ment of the accordion family inven-ted in the nineteenth century.

The " glassharmonica " , known in English as the glass harmonica , is a sophisticated version of an "instrument" that everyone knows : a glass full of water. Who has not ever slipped a wet edge of a finger?

He went to London to see musicians playing dozens of glasses with var-ying amounts of water that Benja-min Franklin decided to improve the system to create a more reliable and easy instrument to carry.

" He then asked for a glass blower to create 37 bowls of different si-zes ," said Bloch. Bowls , placed one inside the other without tou-ching , are attached to a rotatable shaft whose speed is controlled by a pedal . The sound is produced when the player slides his fingers smea-red with a mixture of water and chalk .

The set has a mix of " sewing ma-chine and kebab translucent " ap-pearance, musician jokes .

Since its creation , the instrument has a great reputation : Queen Ma-rie Antoinette herself touched him.

"We believe that there was some 4,000 glass harmonicas manufactu-red between 1761 and 1835 . Was played especially in the classro-oms ," Bloch said.

Mozart discovered in the home of the famous Dr. Franz Anton Mes-mer, who used to relax patients, and liked it so much he used it in his last work of chamber music.

Beethoven, Carl Philipp Emmanuel Bach, Saint- Saëns, Richard Strauss and later also composed for glass harmonica , nicknamed "the organ of the Angels" by Paganini.

But the passion for the instrument has not been without controversy . His seraphic sounds were accused of causing premature births, making howling animals abate " the most powerful man in less than an hour ," according to a medical dictionary in 1804 , and most serious , plunging his interpreters into madness .

"At first we thought it was the rich-ness of sound. But the real problem was the lead," Bloch said. In the

eighteenth century,

Harmonics were glass , but contai-ning 24 % lead . And the black paint that covered some bowls , to play the black keys of the piano, this was also saturated metal.

"Playing these instruments every day for 15 or 20 years could really be a problem , especially for lead poisoning ," said the musician.

In 1835 , the German police finally banned the glass harmonica , which fell into oblivion. Till Gerhard Fin-kenbeiner a German-born master glassmaker installed near Boston, decided to make the rare instrument in 1982. His workshop , which still works, it's the only one in the world that manufactures the instrument, which costs about $ 20,600 .

The revival of the glass harmonica caused the resurrection of his reper-toire of some 400 works , including " Lucia di Lammermoor " , part of which had been replaced by harmo-nic flutes. It was Bloch who was commissioned to " recreate " the opera in its original language in the 1980s .

But the sound of this instrument al-so fascinates contemporary musi-cians : from Björk Arthur H , to John Cage or the music of the film 'One Flew Over the Cuckoo's Nest' ( ' One Flew Over the Cuckoo's Nest ' , in Spain , Trapped sac, in Latin ) .

Gorillaz and Daft Punk: "Obviously teach properly could help raise awa-reness of the instrument," Bloch, who has worked with Radiohead, Tom Waits, and the cream of elec-tronic music noted .

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Page 31

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The General Court of the Eu-

ropean Union has decided to

reduce from 880 to 715 mi-

llion euros fine imposed by

the European Commission

(EC ) to the company Saint-

Gobain for participating in a

cartel in the market for auto-

motive glass .

The statement explains that "

the repetition of the unlawful

conduct of Saint- Gobain and

Compagnie ( its parent com-

pany ) has a lower severity

estimated by the Commis-

sion ," said a statement from

the Tribunal.

In 2008 , the EC urged a fine

of more than EUR 1,383

million , the largest ever im-

posed on a cartel, the Asahi,

Pilkington , Saint- Gobain

and Soliver companies,

agree their prices and share

the market for automotive

glass .

In particular , remember the

sentence, the agreement

was a settlement of delive-

ries of car glass between the

cartel participants , so that

the stability of the market

shares of each of them was

ensured .

Brussels Saint- Gobain con-

sidered a repeat offender ,

as the company had been

the subject of Commission

decisions for similar

violations in 1984 and 1988 ,

so we decided to increase

the penalty against it by 60

percent.

However, the judgment of the

General Court has confirmed

recidivism only in relation to

the 1984 decision .

When considering the be-

havior of the company was

less severe than estimated

by the Commission, the jud-

ges have decided to lower

the penalty increased to 30

% , so that the fine imposed

jointly and severally on Saint-

Gobain is established and

Compagnie now at 715 mi-

llion euros.

The EU TG reduced the fine to Saint Gobain.

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Page 32

Dreams made in glass.

Salvador Ruiz , produces glass miniature figures , deri-ved from the art of glassblo-wing .

Derived from the art of blown glass , this material is used for making pipes, earrings, bracelets , necklaces , jewe-lery and laboratory instru-ments .

To develop them skill and craft vision is required.

Salvador Ruiz , a native of Tlaxcala, Mexico , every day produces glass miniature fi-gures .

Says the biggest piece made is 90 inches tall.

The material used is Ameri-can glass , butane gas and

oxygen.

He learned the trade in the city of Puebla and perfected in Tijuana.

The first figure did was a uni-corn , at age 17 , and cu-rrently has an experience of a quarter century .

The tool nose pliers are used , a steel plate that ser-ves as a support level to gi-ve stability to the piece, with special mica lenses to avoid damaging their eyesight.

Patience and creativity is pa-ramount to make any figure.

Once the piece is set to cool. The next step is to put the color.

Salvador has five consecuti-ve years in Mazatlan. His greatest satisfaction is se-eing people happy when they ask a special piece.

Through his work he has known all tourist destinations.

After a day of work you can not get your hands wet heat radiating butane gas with oxygen.

The value of the workpiece depends on the size . Consi-der that their work is cheap compared with other arti-sans.

To Salvador, weekends are the best days of sale. He can be found at Cerritos beach.

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Page 33

How does.

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This month we include some pictures of the technique practiced by Vladimir Klein.

Page 34

Deep-sea creatures Jessica Schneider.

Sculptures . Once glass

workpieces try symbolize our

human nature. You perform

them demanded balanced

with the force of gravity

His creatures have come

from the depths . Transpa-

rent, viscous and forms, as

all abyssal being mutants.

But there, in that strange na-

ture, sculptural pieces are

full of content, symbology ,

also of life and philosophy.

The sculptor Jessica Schnei-

der has worked eleven -

piece glass and in March

opened the exhibition " Fila-

ment and severity " in The

Gallery , in San Isidro , Pe-

ru .

Standing in front of a sculp-

ture of Schneider one feels

compelled , forced to risk a

response to these strange

creatures , many of them wit-

hout a mouth , but all eyes

watching us .

" I am a figurative , expres-

sionist painter , but for this

show I won my relationship

with glass , which comes

from my childhood , as he

collected pieces of beach

glass , polished by the sea "

refers Schneider.

But the inquiry has gone furt-

her, not only by making a

master on the glass, but go

to the factories and works-

hops where they worked

with glass, such as bottles

and packaging, as well as

art.

It did so in Lima, and further,

in New York , Rome, in

Havana. " I saw there were

specimens " account.

But achieving these forms of

abyssal beings , ie , those

sea creatures that live bet-

ween three to six thousand

feet deep, was only possible

thanks to the loving rela-

tionship with the glass , plus

a personal fact .

" One day I ate a raw fish , I

felt bad and when I went to

the doctor, told me that a

stranger was living inside

me. I was scared , I lived in

my gut another being. It was

a bug , a guest who had to

remove it before he finishes

with me, " he tells the artist.

I think this strange being in

her womb gave him the idea

to formalize these sculptures

abyssal beings.

" Is that all we have into an

abyss , deep areas of out-

crop where our ideas, our be-

haviors . So are some more

surface dives other medium ,

but there are those who are

deeper. That's symbolic of

my abyssal beings , "says

the artist.

- A sculpture called "Self Por-

trait ." Nothing more transpa-

rent than glass portray .

Yes , nothing more sincere

than the transparent nature

of the glass to take a portrait.

And the glass is like life.

Glass is hard but brittle.

The day breaks , that's it ,

nothing recomposed and the

day you die , nothing brings

you back to life.

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Page 35

Obsidian. Natural glass (and III).

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Over the sound of obsi-

dian

When obsidian breaks and

fragments hit each other ,

their sound is very peculiar.

For Indians had a special

meaning and comparing pre-

cursor noise storms with a

stream of rushing water .

Among the literary evidence

about the poem is Itzapan

nonatzcayan ( "place where

the water creaky obsidian

stones ").

"Itzapan nantzcaya the awful

abode of the dead, where

the scepter wields Mictlante-

cutli majestic .

It is the latter end mansion

humans, there dwells the

moon phase and the melan-

choly shines dead : the re-

gion obsidian stones , much

rumor on the water and cre-

ak and squeak and push and

thunder storms are dreadful".

Based on the analysis of the

Latin and Florentino Vatican

codices , the researcher Al-

fredo Lopez Austin conclu-

ded that , according to Mexi-

can mythology, the eighth of

the levels that make up the

celestial space has corners

of slabs of obsidian.

Meanwhile, the fourth level

of the path of the deceased

to the Mictlánera spectacular

" obsidian hill " while the fifth

" obsidian wind prevailed ."

Finally , the ninth level was

the "place of obsidian from

the dead" , a space without

smoke hole called Itzmictlan

apochcalocan .

Currently the popular belief

that Obsidian has some of

the qualities attributed to him

in the pre-Hispanic world ,

so it is still considered a ma-

gical and sacred stone re-

mains.

Also, being a mineral of vol-

canic origin is related to the

fire element and is conside-

red a stone of self with

therapeutic nature , ie , a

"stone that acts like a mirror

whose light hurts the eyes of

the ego that no want to see

your own reflection. "

Because of its beauty, obsi-

dian attributed esoteric quali-

ties, which , now that witnes-

sed the beginning of a new

millennium , proliferate alar-

mingly .

And what of its extensive use

in the manufacture of all kinds

of souvenirs are sold obsidian

in archaeological areas and

tourist flea market !

In sum , we conclude that ob-

sidian , for their peculiar phy-

sical and aesthetic characte-

ristic forms , remains a utilita-

rian and attractive material ,

as it was for the various cultu-

res that inhabited our country

in past times , when it was

considered mythical mirror ,

coat generator and holder of

the images reflected .

Page 36

Josef Albers, the silent teacher.

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In 1953 , Robert Rauschenberg po-sed at the Stable Gallery in New York in front of one of his White Paintings . He wore one of those costumes from the 50 that always seem to be great .

It sits on one of his sculptures . Cross your hands on one knee very gently , too , perhaps.

Look bored gesture to the camera , as if tired , tired of the norm of Abs-tract Expressionism , which domi-nated the art scene of the time.

That painting gesture and brushs-troke brochazoanchos and dripping oil to reveal the individual behind , had become a backdrop .

I had seen well when Cecil Beaton for Vogue photographed some mo-dels meet the great Pollocks that exposed Betty Parsons in 1951.

And I would have guessed the sa-me Jackson Pollock to see their works reproduced as if they were painted in a fashion magazine pa-per.

His paintings seemed to be the per-fect modern stage on which to pre-sent sophisticated evening wear .

Intuyéndolo , Pollock seems to step back on the tables and even pain-ted shortly after he died in 1956 in an accident that was pretty suici-dal .

A flight to the sources that did not like Clement Greenberg , the refe-ree of the movement, who accused him of having lost the "thing " that he did not dare to call genius .

Somehow, Pollock knew I had to go back to white: fabric or paper she-et , as would Rauschenberg era-sing a drawing by Willem de Koo-ning, or white paint , not white , as it did in his White Paintings .

A quiet works that reflect their su-rroundings , to stay away from sta-tic light acquired through movement and its absence , the shadow , they were never the same because the viewer could be projected on them playing the way they were percei-ved .

Some pictures that inspired another silence , which the composer John Cage 4'33 '' noticed , but that refe-rred to another important charac-ter , a teacher Rauschenberg had looked very young when he deci-ded to go to study at Black Moun-tain College : Josef Albers ( 1888-1976 ) .

Albers was a modest artist, while in some cases preferred to forget him but that would be critical to unders-tand what happened to the pain-ting, sculpture and also after World War II , if the history of art of the past century have told you otherwi-se .

A painter who also work with white , in those delicate engravings made by embossing of the late 50s and are titled Intaglio Solo, or any of its Tribute to the square , which are light and its absence , the shadow , the drawing .

His vocation as a teacher , but not those who are capitalized and arti-culate the discourse of traditional art history , but of those who teach and those who really do not care to include in their own practice they can learn with and from students , as demonstrated in the magnificent exhibition organized by the Juan March Foundation , the most impor-tant has been dedicated to him in Spain , and it stresses this aspect showing some of the exercises you did with your students and the way in which some of these were inclu-ded in the interaction of color, the

basic treaty on the color of the first edition is taught.

A retrospective , entitled Minimum Means , maximum effect, quoting almost verbatim , ranging from so-me of his earliest drawings in which that interest is advanced and by light and shadow , to his very fa-mous Tributes to square the series who was working almost obsessive-ly for more than two decades , ma-king changes in rehearsing with the way the color reacts to what is around you by building painting.

Squares in which no perfectly straight lines because they are ma-de freehand and the trace looking eye.

Trials with light , color and percep-tion that are already in the paintings on glass or glass made at the Bau-haus , where he was a student and teacher, as the box with trellis ( 1921-1922 ) , made with pieces of bottles that stands in the first room and the transparency and reflec-tions are fundamental , as occurs , albeit more subtly , in the factories , somewhat later , that accompany it.

It is a testament to the also referred to his role as designer, presenting some of the furniture and utensils produced , and the way he faced to photography, to seeking the geome-tric structure that was hidden in the landscape, both in the natural and in the constructed .

A structure also found in their cons-tant trips to Mexico , born of another of his best-known series, Variant / Adobe , which have included some examples. Josef Albers is an artist who , no doubt, is revealed in the exhibition as essential to understan-ding the evolution of art in the se-cond half of the twentieth century.

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The glass in Santander.

The steel , glass and alumi-num have been his footsteps over the world.

A mold materials investigated, prosecuted , and altered by fin-dings that emotions are reflec-ted in one of the most impor-tant sculptural itineraries deca-des Cantabrian art .

Isabel Garay , provided no emergency , a declaration of principles in determining each appearance and intense creati-vity, returns this spring through a major exhibition while sum-marizing the most representati-ve of its long history and pre-sents profuse new identity .

Since the month of May to late July, the artist Muskiz (1946 ) but since the seventies linked to Cantabria , through his workshop / studio Galizano and participation in projects and presence in institutions , spaces and institutions of the community for more than forty years , will star in a big event at the Central Library of Canta-bria.

In the courtyard or plaza of the old Tabacalera, now hosting the group show of Perspecti-ves Festival of Women, will meet a diverse , exponential

and representative of its most iconic series and new works together : from eleven pieces , large sculptures of steel sculp-ture - ground white and black anodized aluminum , glass pieces , a dozen of his ' fossil books ' and a dozen pastels already joined over two years ago in his return to a private exhibition gallery, embodied proposal a celebrated exhibi-tion at Del Sol St , Space san-tanderino gone.

The entire exhibition is an ins-tallation in which the color, the simplicity of the forms , redu-ced to geometric formations and textures of materials com-plemented harmoniously occu-py the stage.

The artist herself will be the curator of the exhibition . However catalog will feature critical texts and, together with the exhibits, documentation creation process will be inclu-ded .

Organized by the Ministry of Culture , the exhibition will be parallel in time to numerous artistic events of cultural sum-mer, if the new edition of Arte-santander .

Small compact and dense

parts, elementary geometry , iron, rusted steel , corrugated , glass and aluminum make up the universe of Garay whose public artistic activity started with a first solo exhibition in 1971 at the strut Santander ga-llery .

The new works refer their most representative series : Gene-sis , On triangles , armed Air I and II , Modules and matter, aluminum and glass , and in the case of painting, the sky and its geometry. The MAS, the Botin Foundation , the Board Nicanor Pinole, Edurne , Re-calde of Bilbao, Gijón Barjola Museum , Carmen Street , Vanguard, Fundación Jesús Otero in Santillana del Mar, the Palacio del Marqués de Albai-cin Santander, Three Strokes are witness some spaces in your path .

He has also participated in fairs such as ARCO and Artesantan-der , lnterarte Valencia and FIAC Paris , Art Cologne Art London or until your previous retrospective at the Museum of Fine Arts of Santander where Garay showed a path creations 1985-2002 .

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If interested collectors disco-ver the authentic Bohemian glass should know that is not easy to find out if it is a mo-dern or manufactured in workshops elsewhere in Eu-rope , such as France or Ita-ly copy , much given to this practice from the Age Media.

Bohemian glass is made in this area of the Czech Repu-blic at least since the thirte-enth century and also in the current Polish Silesia, and there were factories where elaborated pieces of high quality , most often identified as Bohemian .

In addition , few pieces were marked and it would be only from the seventeenth centu-ry, when the glass of Bo-hemia would become known worldwide , so you can re-cognize without further ana-lysis , such as those made by their composition , test certifying their origin no doubt .

In the late sixteenth century a glass of exceptional trans-parency and almost identical to quartz, features giving him a reputation in all the courts of Europe , to the point that no social class highborn or wealthy families wanted to forgo be achieved showcase

these magnificent glasswa-re , lamps, and many deco-rative items that came out of the Central European re-gion .

The perfect finish , exceptio-nal quality and more favora-ble price, would transfer all boundaries , so , despite the fragility of glass , its high production makes it possible to locate many beautiful co-llections centuries old .

Candlesticks, centerpieces, vases, figures and sizes va-riadísimos reasons , lamps, sconces , chandeliers fan-tastic styles , glasses , cups , bottles, jars , candy , soap , jewelry, bells and hundreds of fused glass ob-jects and imagination , high-lighting baroque period ( bet-ween 1685-1750 ) , during the reign of the Habsburgs, when adopt the technique of mixing bronze and copper with glass , initiated by the gem cutter Caspar Leh-mann, in the city of Prague , protected from emperor Ru-dolph II (called the alche-mist ) just in the early seven-teenth century.

In more modern times , were devoted to the coloring , es-pecially the turquoise , ye-llow and pink, which would occur after 1840 , for glass

style glasses Venice, alt-hough the appearance would be more robust and genuine style .

Currently the BCT group ( Bohemia Crystalex Tra-ding ) is constituted as the largest manufacturer in the country and one of the lar-gest in the world .

The Czech state owns 49 % of assets in 2008 and closed two major factories located in the center of the Republic .

But still produced in factories as technical glass Sklarny Kavalier , Sazava , and orna-mental glass Crystalex , No-vy Bor or china manufacturer Karlovarsky Porcelan , Karlo-vy Vary.

That same year occurred in the Czech Republic more than 1.8 million tons of glass and porcelain.

Despite the tough Asian com-petition , the appellation of origin and excellent quality / price thereof , have been dodging the problems with more or less success .

Perhaps the production is less hereafter , but there's no denying the effort ( century to century) innovation , covering elegance and taste every house in the world.

The real glass of Bohemia.

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The glass in Aruba.

company, camera or scanner and then start to process the image with the software and create a design as per requi-rement specific customer .

The software controls the la-ser pulses and prints high frequency light in the glass and thus the image appears.

Precise control over the cour-se of the process allows the creation of 3D sculptures in glass without this tearing.

When a customer finally gets 3D glass highest quality, the product maintains long life durability .

You can choose a flat post-card style glass, small cubes or large glass , small glass or large heart-shaped trophies or iceberg , with or without light in the base, or key chain .

You can meet Christine Du-puis , President of Naley En-terprisees VBA Aruba and its partners in Caribbean Queen in Palm Beach Plaza Mall or visit their website for more in-formation.

Christine Dupuis had a dre-am to become an entrepre-neur in Aruba , she fell in lo-ve with the island long ago and wanted to create a pro-duct that reflects the beauty of the island , a product of universal attraction that could be sold to local people and tourists .

She found what she was loo-king in the glass and has sin-ce worked to make his dre-am a reality.

Christine now shares her lo-ve for Aruba by immortaliza-tion of the most memorable moments in the life of a very special way, in the highest quality of glass obtainable .

Today the company offers stylish glasses , which are carefully recorded with a 2D or 3D picture to customize a souvenir or a gift, it only ta-kes a few minutes to create, thanks to the incredible abili-ty of a laser to make precise designs.

Running on the island , this company offers a wide se-lection of individual glass gifts in all prices for different occasions , for example

graduation, weddings , re-minder of deceased , birth , anniversary , or to capture a special moment and spice in the glass.

To submit your glasses to a wider and more diverse au-dience , has made a sho-wing of " memorabilia " in Caribbean Queen , located in Palm Beach Plaza Mall, on 28 March, an exhibition that will give the opportunity to local citizens and tourists to experience the product for themselves.

Christine reports that its goal is to provide a superior pro-duct, created by experienced graphic designers to carefu-lly work with photos, images and text to create a stylish product as possible.

Working with tremendous dedication and trust compa-ny Christine is committed to excel in the area of production, delivery and cus-tomer service .

To record photos in 2D or 3D , Christine explains that the designers start with a standard image mounted through the website of the

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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

La Asociación de Amigos del MAVA fue

constituida el 21 de junio de 2003 de confor-

midad con la ordenación vigente.

La finalidad de esta Asociación es pro-

mover, estimular y apoyar cuantas acciones

culturales, en los términos más amplios, ten-

gan relación con la misión y actividad del

Museo de Arte en Vidrio de Alcorcón.

Nuestro objetivo es desarrollar activida-

des y colaborar con otras entidades públi-

cas o privadas en la promoción, defensa y

difusión del Arte y la Cultura.

Nuestros socios pueden ser honorarios,

benefactores, numerarios y juveniles.

www.amigosmava.org

Presidente honorario

Javier Gómez Gómez

Presidente

Miguel Angel Carretero Gómez

Vicepresidente

Pablo Bravo García

Secretaria

Rosa García Montemayor

Tesorera

Mª Angeles Cañas Santos

Vocales

Evangelina del Poyo

Diego Martín García

Francisco Martín García

José María Gallardo Breña

Page 41

Stained glass in Miraflores. Images.

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Fig. 1

Page 42

David Magán. Images (I).

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David Magán. Images (II).

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Page 44

David Magán. Images (III).

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Glimpse. Images (I).

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Page 46

Glimpse. Images (II).

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