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. Laminated glass. M. A. Carretero.

The Spanish art world re-

lated to the laminated

glass and, in particular,

that affects the citizens

of Alcorcón, you are in

luck right now.

In this May will be two ex-

hibitions in the geograp-

hical area of Castilla-

León works of two artists

closely linked to our City.

The first, as to the date of

installation, and opened

on April 30 in the gallery

of Caja de Burgos in

Aranda de Duero

(Burgos) and corresponds

to the works of artist Pe-

dro Garcia, entitled

"Essences Light ".

His sculptures reveal its

essence from a unique

artistic conception of the

universe that surrounds

you.

Your sensitivity to the

ways lets boundless idea-

tion that is reflected in his

extensive oeuvre.

The exhibition will be on

display until the 18th of

this month of May.

The second will be ope-

ned on the 6th at the Pa-

lace of Verdugo City of

Avila.

Corresponds to the works

of Javier Gomez and will

be on display until the

29th of this month.

This show is titled

"Metamorphoses 1989-

2010" and it works Javier

exposes his early work

along with a selection of

more current works.

As noted in the inside pa-

ges, we will go the ope-

ning day of the Verdugo

Palace to accompany Ja-

vier and his wife Julia in

such an important time for

them, as both were born

in the village of Pedro Ber-

nardo Avila.

In my personal concept,

Javier's work has evolved

over time in five successi-

ve stages, always within

the art work in cold rolling.

The first technique was ba-

sed on what I call as "cut

and paste". Performing

one or more templates

drawn on paper, placed

above the glass sheet dra-

wing and cutting it accor-

ding to the previously ou-

tlined design. Once pre-

pared all blades, sticking

was oriented in different

directions to form the

sculpture.

In the second stage com-

bined he combined or

technique already descri-

bed above with the "cut

and paste", ie the reverse

of the previous technique.

First hit the glass sheets to

form a volume report, and

then, using a grinding or

other similar device to cut,

was "roughing" the volume

to get the part of the

sculpture complemented

with the first technique

performed.

In the third stage is decou-

pled from the technique

used in his first time and it

only uses described as

"cut and paste", with

which only works formed

volumes.

Until now, the works were

carried out by not inclu-

ding any color in the pie-

ces.

In the fourth stage there is

an important qualitative

leap. From the year 1999

adds color to his works,

which refined his art and

earn a lot worse in the fa-

ce of their expressiveness.

And in its current stage is

replacing industrial glass

used in earlier stages of

optical glass, of much hig-

her quality than the pre-

vious one and that allows

you to work a lot more refi-

ned in terms of expressive-

ness of colors and forms.

On our visit to this new ex-

hibition certainly enjoy

their work in this retrospec-

tive.

Nuestra sede:Nuestra sede:

Castillo Grande deCastillo Grande de

S.J. de ValderasS.J. de Valderas

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

28925 ALCORCÓN.28925 ALCORCÓN.

(MADRID)(MADRID)

info@amigosmava.orginfo@amigosmava.org

Monthly Newsletter

Newsletters

Bert van Loo

Page 2

C O N T E N T S :

Part of the month 3

Established artists 4

Young artists 4

The Mediterranean shuts 5

Visit to glass in Bohemia 6

Research line 7

Activities in Museums 8

Activities in the MAVA 11

Concerts on the MAVA 12

Crafts Award 13

More on FCNV 14

Exposition Javier Gomez 15

Exposition Pedro Garcia 16

News 17

Culture 2013 17

Concerts in the MAVA 18

St 18

The glass museum 19

Courses at La Granja 20

Staiend glass in Guadalupe 21

Glass recicled 22

Pilar Aldana’ exposition 23

Cultural tours 24

Culture 2013 Programme 24

ERE in La Granja 25

Fair craft of Segovia 26

Other trends 27

Lens Glass and aluminum 28

Reuse workshop 29

Celia Ulate in the UCR 30

Sinaga in Alicante 31

Reflexarte in Vigo 32

How does 33

Pedro Ramírez Vázquez 34

Glass in China 35

New master artisan 36

CR Art World Day 37

Edgardo de Bortoli 38

Broken glass 39

Directorate 40

Intellectual Proper-

ty Law

BOOK II. TITLE I.

Rights of producers.

The right to single

equitable remunera-

tion shall be paid by

the management

entities of intellectual

property rights.

The realization of this

right through the res-

pective manage-

ment entities include

negotiation with

users, the determina-

tion, collection and

distribution of remu-

neration and any ot-

her action necessary

to ensure the effecti-

veness of the former.

The producer of pho-

nograms the exclusi-

ve right to authorize

distribution of phono-

grams and their co-

pies.

This right may be

transferred, assigned

or subject to the li-

censing contract.

When the distribution

is made by sale in the

European Union by

the holder of the right

or with his consent,

this right will expire

with the first, but only

for sales and successi-

ve transfers of ow-

nership effected wit-

hin the territory.

Rental means of ma-

king available phono-

grams thereof for use

Limited time and with

economic or com-

mercial benefit directly

or indirectly.

Lending means of ma-

king available phono-

grams for use, for a li-

mited time, no econo-

mic or commercial ad-

vantage, direct or indi-

rect, provided that the

loan is done through

establishments accessi-

ble to the public.

It is understood that

there is economic or

commercial advanta-

ge, direct or indirect,

where lending by an

establishment accessi-

ble to the public gives

rise to the payment of

an amount not excee-

ding the amount ne-

cessary to cover its

operating expenses.

U R G E N T N E W SU R G E N T N E W SU R G E N T N E W S

The glass in the Museo del Prado.

The next day, May 8, at 19 am,

the authors of "The Glass painting

in the Prado Museum", José María

Fernández Navarro and Francis-

co Capel del Aguila, this excep-

tional work presented in the Audi-

torium of the Museum of Glass Art

at Alcorcón (MAVA).

With the reading of this work goes

a way in which the protagonist is

the guide on the various physiog-

nomies glass bottles, glasses, win-

dows, mirrors, optical instruments,

SPECIAL INTEREST:

Part of the month

La Mediterranea

Visit to Bohemia

Concert in the MAVA

Activities on the MAVA

News

Our activities

Glass recycling

How does

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

laboratory items, etc. .. that is

present in the pictures.

No other means of information

better than the paint can provi-

de documentary evidence as

true of the abundant and diverse

presence of glass in the daily life

of the time.

A loyalty unites the pleasure of

artistic contemplation. So follow

the tracks left by the glass in the

painting is a fascinating task be-

comes privilege when you have

the opportunity to enter the co-

llection of the Museo Nacional

del Prado.

Along the long hundred paintings

of the Prado Museum selected

for inclusion in this book contains

a particularly representative

twenty paintings, kept in other

museums.

It also includes images of original

glass pieces, from different mu-

seums and private collections

that serve as a reference for so-

me of the ones in the pictures.

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Page 3

Part of de month. Raquel Stolarski-Assael.

In the words of Raquel Stolarski:

"A glass sculpture, is an intense

bright space filled landscapes.

Transparent layers of coated

prints, various materials and co-

lors flowing into the figure.

The interior and exterior surfaces

interact to create depth, volume

and illusory spaces within the

piece unique glass effect, which

refers to underwater worlds,

aliens or microscopic.

Each work is a mystery to unravel

through the creation, play, ima-

gination and discovery are the

key instruments of the artist.

But beyond that, glass is substan-

ce of which dreams are made

of ... "

His artistic activity private com-

missions shares of integrated lar-

ge-format work in architecture:

stained glass, murals, furniture

and other decorative pieces,

with sculpture.

A work full of sensuality, eroti-

cism, magic and baroque dre-

am very connected with the rich

Mexican esoteric imagery.

Rachel's world consists of fanciful

shapes, human figures and fan-

tastic animals that appear to

have a life.

Raquel Stolarski glass has wor-

ked over 30 years and exhibiting

his work since 1983, a year after

opening his own workshop.

The cast of solo and group ex-

hibitions of this artist spans more

than seventy appointments,

both at home-Vitro Art Center of

Monterrey (Mexico) In 1992, as in

Japan, Glass '94 in the U.S. Now,

GAS. International Conference

(1997) in Tucson, Arizona, in

Spain, of beasts, Ladies and ot-

her Characters (MAVA 2001),

etc..

This last sample is "Equus", made

with the technique that identi-

fies the work Stolarski: laminated

sand-blasted and acid someti-

mes also combined with etching

and polychrome.

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Page 4

Established artists. Bert van Loo.

Young artists. Jeremy Maxwell.

Jeremy Maxwell Wintrebert quic-

kly realized that his life was

blown glass.

Seeking technical and eager to

meet blowers, traveled in Italy,

Czech Republic, United States,

and then moved to France,

where he perfected his training.

Glassblower for many designers,

is himself an artist.

Indeed, his creations are unique,

the combination is one of its

principles.

Words, images, sounds, Jeremy

Maxwell often follow their intui-

tions.

Art and design

Jeremy Maxwell describes his

work as "intuitive science".

Mind and technique are mixed,

and this is what makes your uni-

verse is original.

His pieces are truly art within the

meaning of the word (Latin Ars,

artis: technical knowledge skill).

The addition of color (including

the application requires a very

precise technique) accentuates

the ambiguity of certain crea-

tions.

The work becomes poetic and is

in perfect harmony with what is

called the design.

Finally, the impression of a ten-

sion between the softness and

strength that emanates from

their creations, marking the suc-

cess of animated objects.

Bert van Loo was born in

Holland in 1946.

Van Loo's work is classified into

six different times.

In the first three phases, Bert van

Loo uses figurative language

and symbols as a means of ex-

pression sometimes resorting to

clear glass or color on a black

background always to provide

greater contrast.

In the subsequent phases the

author approaches a more abs-

tract language that incorpora-

tes the use of other materials, is

the case of the stone combined

with lead.

The last phase is part of a more

conceptual field and someti-

mes engaged with the outside

world in which he lives, becau-

se, according to Van Loo him-

self, "a work of art must come

from the amalgam caused bet-

ween emotion and reason» .

In addition to many works of

workshop, the sculptor has ma-

de many custom pieces of mo-

numental for different institutions

and Dutch cities.

Van Loo, who has made guest

appearances in major glass

schools, art academies and uni-

versities, is a member of several

committees and councils in the

Netherlands cultural and art

consultant in various institutions.

www.amigosmava.org

Our web

Our web

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Page 5

The Mediterranean shuts.

Business purposes, the closure of

the factory that kept the Medi-

terranean Olleria no longer an

accounting data more virulent

consequence of the financial

crisis.

But in the town of Vall, conside-

red the cradle Valencian indus-

try glassblowing-no record of its

introduction some five centuries,

the disappearance of the last

active representative blown ma-

nual process has been a major

setback, the that accounts eco-

nomist Mark sang in a recent stu-

dy of the powerful local industry.

The Mediterranean came expor-

ting to over 70 countries and 14

million euro bill per year, placing

on the market of low heat pro-

duction arising innovative and

creative designs.

Those were different times. The

company, founded in 1975, was

the epitome of the thriving and

successful business culture built

on the base of the glass and ex-

ported to all corners of the

world.

Today only keeps your marke-

ting activity, after entering 2009

into receivership.

With the shutdown of the facto-

ry, four dedicated to the glass

industry that have lowered the

blind in the last decade, as

Sang finds.

First was the dean, glasses Le-

vante, who came to have five

glass furnaces, 420 workers and

40 countries receiving their pro-

ducts.

Then the drip has been steady,

with Green Glass closures, Viart

and the Mediterranean.

Sang, subject specialist, emp-

hasizes that today there is only

one functioning industry in Vall

d'Albaida region in which the

glass was once leading activity.

This is the San Miguel Glasses

cooperative, which survives in

Aielo of Malferit despite the thro-

es of an economic situation

against, charging 15 million eu-

ros per year and 250 employees

on staff.

Economist points to the lack of

synergies and the absence of

policies that enhance the sector

tourist attraction as the main

causes of the decline.

Diving in the history of the activi-

ty, Sang is the first glassmaker

Olleria documented in 1584, an

artisan foreign imported a mol-

ding system that has its roots in

the Middle Ages.

Now, the researcher warns that

the future of this "culture of glass"

is in danger.

Although, as municipal sources

say, no record of entrepreneurs

interested in deploying new in-

dustries, the adventure is risky

and daring to take the step re-

quires a lot of courage.

However, concerned about the

disappearance of artisans who

have been shifting over the cen-

turies the technique.

Spread the legacy

The City promoted a project to

spread the legacy of glass in the

population.

The Glass House Museum ope-

ned in 2010, but is currently clo-

sed amid a rehabilitation process

is set in an old municipal buil-

ding, which never ends.

The council was interested in

opening an oven demo on it,

but backed by the high cost.

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Page 6

www.amigosmava.org

Within cultural visits policy of our

Association and referred to the

area glazier, in the month of

May we will visit different places

in the Czech Republic where the

manufacture of glass has centu-

ries of tradition and a refined

manufacturing technique.

Therefore, on 21 May this month

several members of the Board of

our Association we move to Pra-

gue, capital of Czech Republic,

for a tour during a period of

eight days by different sector

landmarks Czech glass.

Once at the airport Vaclav

Havel of the Czech capital at

noon on the 21st, we will go by

car to the Hotel Ibis Praha Mala

Strana and we plan afternoon

stroll through the city.

Day 22 visit the Museum of De-

corative Arts and the Museum

and Moser Gallery in Prague.

On day 23 we will go to Pardubi-

ce in the morning to visit the

East Bohemian Museum and in

the afternoon visit the Glass Ga-

llery in Prague.

The 24th Karlovy Vary go to visit

the Museum Moser in that city

and in the afternoon we will visit

different places in Prague.

On the 25th we will go to Nizbor

to visit the factory during Rückl

CRYSTAL morning and afternoon

visit various places in Prague.

The day shift 26 Novy Bor to see

the Museum of Glass and then

Kamenicky Senov to see the

School and the Museum of Glass.

27 and 28 we will move to Libe-

rec to see Czech School, Mu-

seum and Factory in Zelezny

Brod Lhotsky. After visiting the

Museum of Glass and Jewellery

in Jablonec and return to Pra-

gue.

And on the 29th in the morning,

return airport transfers and Alcor-

con.

Endeavor to bring a good photo

shoot and video for our friends to

be partakers of the experiences

we have enjoyed visits to these

places as traditional in the world

of art glass.

Our visit to the Bohemian glass.

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Page 7

Line of research: Inclusions (XIV).

Estefanía Sanz Lobo

In Fig 1 shows a single layer of

silver pan, yielding a yellow hue.

In Fig. 2, two layers of silver leaf,

amber tone offering.

When put a fair amount of silver

leaf between two glasses or

wrinkles occur fairly thick silver

metallic luster retaining some to

melt, as shown in Fig. 3.

The disadvantage of this mate-

rial is that you can not always

predict the effects, sometimes

yellow tone silver leaf is whitish or

greenish reflection, although

transparency is still yellow.

But the tone is quite unpleasant

reflection and opaque.

When you look through the mi-

croscope we can see a film of

crystals just above the silver, pos-

sibly a Local devitrification.

In Fig. 4 is an excerpt of a work

that shows silver leaf along with

other materials.

This silver leaf has a white hue is

yellow but when you see the

light.

Another possibility is bread mix

silver with enamel and chips, alt-

hough the results are not as inte-

resting as when working with

metal alloys breads.

In Figs 5 and 6 are two thin silver

samples with enamels.

The mixture Silver, unlike what

happened with the fake metal

breads, produces shades trans-

parent but opaque and brown

colors.

Gold leaf, unlike the fake breads

described above, they are com-

monly used in glass inclusions

and have been unable to find

information on this in the literatu-

re.

LUNDSTROM (1991) indicates

that for gold has gold looks rea-

lly should get in enough quanti-

ty.

The thicker gold layer, the better

the color.

Recommends gold put five la-

yers to achieve a good effect.

Also indicates that the firing

temperatures than gold sup-

ports ranging from 700 ° to 870 °

C.

Includes working with gold leaf

in his chapter on metallic lusters.

However, speaking only slightly

from the results that can be ob-

tained with pure gold, and even

mentioned that other types of

breads metal, gives no indica-

tion of plastic effects that can

be achieved with them.

Regarding the recommended

technique for working with gold

leaf, is similar to the traditional,

as advised to put a mordant for

gold remains stuck to the glass,

use a special brush to catch the

golden booklet (what we call "

polonesa ", etc.).

For example, consider a defect

breads wrinkles that metal can

have, instead of evaluating to

do intentionally to achieve a va-

riety of textures.

It says nothing of metal biscuit

mixes, glazes, etc..

In tests it has been found that,

indeed, a gold layer is almost in-

visible, and two barely give a

reddish tone, as shown in Figs 7

and 8, of which the first is a single

layer and the second is two.

When put more layers of gold

the results improve.

However, the thickness of the

gold foil requires great skill to pla-

ce the sheet where you want

and to do so that wrinkles are

not excessive.

Therefore the mixture of fine silver

and pure gold with other metal

breads poor results because

transparency is not achieved,

and the tones are not too attrac-

tive, as shown in Fig. 9.

It has been found very success-

ful, however, the combination of

fine silver leaf with fine gold leaf

between two glass melts.

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Page 8

Activities in Museums I.

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Page 9

Activities in Museums II.

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Activities in Museums III.

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Activities on the MAVA. Conferences.

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Page 12

Concerts on the MAVA.

On the 5th of April last third

event was developed corres-

ponding to our "Concerts in the

MAVA".

This time there were two groups

of students from the Conservato-

ry "Teresa Berganza" Madrid im-

plementers two beautiful com-

positions Rodolphe Kreutzer and

W. A. Mozart, respectably.

The first group, formed by Miriam

del Coso (flute), Paula Salazar

(fiddle) and Paul strains (guitar),

performed in an exceptional

manner the work "Trio" Kreutzer,

French author (1766-1831) born

in Versailles and was a violinist,

teacher, composer and con-

ductor.

Two peculiarities, among many

others, stand out in the life of this

artist. The first, and at thirteen he

played a concert comprising

himself and the second, who

played with a violin built by An-

tonio Stradivari.

The concert by the trio of Ma-

drid Conservatory can go

through this link.

The work consists of three move-

ments: Allegro, Adagio and Ron-

do.

The second part of the concert

consisted of the performance of

the "Quintet KV. 581 "of W. A.

Mozart.

This work was performed by Ma-

ry Martin (violin), Esther Muñoz

(violin), Laura Gomez (viola), Ai-

da Bauer (cello), Blanca Guest

(clarinet) and Susana Perez

(clarinet).

This "Quintet" consists of four mo-

vements: Allegro, Larghetto, Me-

nuetto and Allegretto con varia-

zioni.

The group of interpreters Madrid

Conservatory had not yet per-

fected the last move, so deligh-

ted us with the interpretation of

the first three.

Mozart composed this work in

1789 initially for bass clarinet and

dedicated it to his friend, the

clarinetist Anton Stadler, name

that is sometimes quoted this

composition.

It is one of the best works of the

repertoire for clarinet and is very

popular for its lyrical melodies,

especially in the second move-

ment.

One of the outstanding features

of this quintet is equality and ba-

lance of the roles attributed to

each of the instruments involved

in the question-answer game

that the author masterfully bears.

This second work can continue

through the following link.

At the end of each of the com-

positions, there was a question

and answer session where the

audience could ask questions to

the performers and also the tea-

cher of the Conservatory who

accompanied them and kindly

lent to collaborate.

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Page 13

National Crafts Award 2012.

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This foundation, based in A

Coruña, has combined its sup-

port for Galician traditional crafts

with a commitment to innova-

tion and adaptation to new mar-

kets, offering a platform for

craftsmen and training assis-

tance.

It also undertakes the important

task of developing cooperation

in the areas of research and ex-

pertise in the techniques of pre-

paring the crafts of Galicia.

The finalists in the category for

public entities Promote Award

2012 have been the General Di-

rectorate for Industrial and Trade

of the Government of Extre-

madura and Crafts Training Cen-

tre, Restoration and Rehabilita-

tion of Historical, Artistic and Cul-

tural Albaicin, Granada

(Andalusia ).

The Innovation Award 2012, with

a budget of 3,500 euros, is the

award that recognizes the prod-

ucts, prototypes or actions made

in the two years preceding the

date of publication of this an-

nouncement, involving a com-

mitment to innovation of crafts-

manship, by utilizing new tech-

nologies, new materials, or the

innovative reinterpretation of tra-

ditional and other actions of a

similar nature.

This award was granted to Juan

Pablo Martinez, Tito, for his work

"Reinterpretation of ceramics in

interior architecture" in collabo-

ration with Trinidad Interior, and

which has brought together the

expertise of two family businesses

that bind in its third generation to

reinvent ceramics and interior ar-

chitecture, in dialogue between

tradition and innovation.

The two team members Sanserif

Creatius SL are closely linked to

Sara Sorrentino, Valencian busi-

ness lately has exposed their

glass creations twice, one in Va-

lencia Craft Centre and another

Fundesarte headquarters in Ma-

drid.

We refer to the first of the exhibi-

tions in our Newsletter n ª 48 for

the month of October last year

2012.

We also visited the second of the

exhibitions cited, and what we

intend in our Bulletin No. 50 for

the month of December last.

These master craftsmen of La

Laguna, specialists in skin and

leather, were also finalists in this

contest in the 2011 call.

His work is characterized by the

uniqueness of their shoes and

handbags, unique and person-

alized pieces of great color and

originality.

In the category Product Award

2012 were also finalists boots

came Jesus Blasco SL of Castilla-

La Mancha, Valencia José

Marín jeweler, the potter Anda-

lusian Juan Pablo Martinez (Tito)

and the Madrid company

Landspot Ceramic Designs SL

The Promote Award for Private

Entities 2012, with a prize of 3,500

euros, is awarded by the dedi-

cation of the candidates for the

enhancement of the craft, con-

tributing to its activity to give

greater visibility in an environ-

ment and prestige.

This prize has been awarded to

the Professional Association of

Artisans of Aragon by the strong

impetus given to the sector to

make an application project

design techniques to craft, ARDI

Plan (Craft + Design) began in

2006, improving sustainability of

production and creating new

marketing channels and col-

laboration between companies

in the field of production.

The Promote Award category for

2012 were finalists private enti-

ties the Federation of Artisans of

Castile and Leon (FOACAL) and

the Valencian company Sanserif

Creatius SL

Promote Prize for public 2012

has been awarded to the Foun-

dation Center Handicrafts and

do Galego da Deseño.

The Minister of Industry, Energy

and Tourism Jose Manuel Soria,

delivered last April 4 National

Crafts Award 2012 at the Valen-

cia company Alcora Art Antic, a

pottery studio located in Cas-

tellón, in a ceremony at the

headquarters of the Ministry of

Industry, Energy and Tourism.

National Crafts Awards, pro-

moted by the Spanish Founda-

tion for Innovation of Crafts

(Fundesarte), are intended to

give institutional recognition at

the highest level to those activi-

ties generally recognized as ex-

cellent and exemplary in the

field of contemporary craft.

In this edition, the Valencian

company Alcora Art Antic, SL

has been awarded the 2012 Na-

tional Crafts Award, endowed

with 7,000 euros, which recog-

nizes the set of an established

track record.

This is a pottery studio located in

Castellón and was a finalist for

the same award in 2010 and

2011 calls.

Also, were finalists for the Na-

tional Crafts Award 2012 Kima

Guitart craft catalan, Charo

Iglesias and Granda Art Work-

shops, SA, Madrid company,

and the Galician company

Asteleiros Triñanes Dominguez,

SL

Winners in other categories

Product Prize 2012, awarded to

products or collections made

and sold in the two years prior to

the announcement.

This award, with a prize of 3,500

euros, went to the Pisaverde

S.L.U.

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More on FCNV.

Posted by Fatima Martin in "vozpopuli" on

28/04/2013.

The Infanta Elena lamps acquired Natio-

nal Glass Centre Foundation (FCNV) of

the Farm discount of 9,000 euros, accor-

ding to the provincial coordinator unvei-

led UI in Segovia, Jose Angel Frias. "To

me it seems that Elena of Bourbon citi-

zen has enough money to pay one hun-

dred percent of what it was worth.

Lamps I have come to the Ikea bargain

price", praised.

According to the UI, which has brought

the matter to the House of Representati-

ves through a parliamentary question

response slope, the eldest daughter of

the King of Spain paid "about $ 3,000" for

"lamps that led to his house, which

would total 12.000 ". The transaction is

reflected in a statement of account mo-

vements of Caja Segovia (now Bankia)

from March 8, 2010, when the Founda-

tion received a transfer of Elena de Bor-

bon y Grecia.

Glass Spiders "in the manner of the XVIII"

It is a glass chandeliers Royal Glass Fac-

tory of La Granja, how dieciochesca

made. They are composed of a shaft or

axle consists of several modular ele-

ments blown hollow glass, which bloom

light arms and staves or scrolls, which

offer the viewer a sense of continuity, as

if they were the suppliers of garden sup-

plies Palace of La Granja.

From there hangs a number of pendants

like tears, pendants, pandelocas, balls,

pine cones, leaves ... that make these

pieces into true historical gems. Each

pandeloca is carved. Some of which

are preserved eighteenth century, are

stamped with fleur de lis, symbol of the

Bourbons.

"You need to have a few lights. This is

another example of poor manage-

ment," says a worker at the National

Glass Centre Foundation. In the templa-

te, whose work hangs in the balance,

does not fit on the head that the Foun-

dation questionable apply such dis-

counts without even monetize through

advertising, "to give enhancement parts

they deserve." In this regard, remember

that both the Prince and the Princesses,

the National Glass Centre glassware

them gave a singular occasion of their

wedding.

The "absurdity" of the lamp Agata Ruiz

de la Prada

And speaking of lamps and mismana-

gement, the employee of the Founda-

tion remembers the moment he arrived

Agatha Ruiz de la Prada to order a fruit

of his colorful lamp Magin. The good

man has the lamp, dolled up with all

sorts of hearts and beads, "took many

hours of work and money.

And neither paid nor has come for her.

And there we have the grotesque, the

ship woodshed the factory. "

These examples is in addition to the

string of irregularities, all documented,

which beat out the UI on the subject of

Redundancy Employment (ERE) that

threatens to fire 17 people in a deflated

staff of 55. ERE according to the Bureau

of Labor Land is not appropriate, having

been presented by management and

not by the Board of Trustees.

A string of irregularities

Such irregularities include contracts with

Cardboard Juarez, SL, a family business

by the director of the Foundation, Aurea

Juarez unjustified notes above 60,000

euros amounts hash it impossible to as-

sume that the principal contractual obli-

gations over 1,803.04 euros , or myste-

rious business advisory contracts

"allegedly in the Middle East" for 1,160

euros per month, including VAT, but wit-

hout relief for income tax. What's more,

the Foundation has tried to pass off

glass crystals The Farm Badalona.

"The management is trying to dispense

as many workers as possible. Try to buy

from other companies and then sold as

glass Real Sitio de San Ildefonso.

Thus can not be killed with a cultural,

artistic and historical as the Royal Facto-

ry. Things you can not do so very badly,

"he laments the worker, it is feared that

the ultimate goal is to liquidate the Na-

tional Glass Centre Foundation.

Two million euros of debt. The largest

creditor, Bankia

For example, a button. According to

sources within the FCNV,

"mismanagement has lost more than

150,000 euros each year. Indeed, the

Foundation's debt exceeds two million.

Creditors are, in this order: Bankia, Social

Security, Finance , other financial institu-

tions and suppliers. "

'Vozpópuli' has been in contact with the

Office of the National Glass Centre Foun-

dation of Real Sitio de San Ildefonso, un-

der the command of the Juarez Aurea

Granjena to confirm all those points, and

his reply was that "does not make state-

ments ".

Employers Parade

"There has been a very bad manage-

ment with the silence of all employers"

sums Frias, the provincial coordinator of

IU, who is surprised that he was still being

patron of the Foundation individually

Carlos García Revenga, secretary of the

Princesses Elena and Cristina, accused in

the 'case Nóos'. It also continues the po-

pular MP for alleged mail Segovia and

Barcenas, Pedro Ramon Gomez de la

Serna and Villacieros, known in the city's

aqueduct as "the nursery" (because sup-

posedly fighting in the street of Segovia

but it is unknown to policy livestock be-

longs).

Surprisingly, the list of patrons of the Na-

tional Glass Centre Foundation of Real

Sitio de San Ildefonso is as extensive as

'illustrious'. Piloted by Francisco Salazar-

Simpson Bos, hold the honorary presiden-

cy Majesties The Kings of Spain. Of its

25,000 square feet of stunning eighte-

enth century industrial architecture, ow-

ned by the Treasury and the Cabinet as-

signed by the Board "in what keeps the

activity" for years have passed from the

worlds of politics, as Tomás Villanueva

(counselor Economy of the Junta de

Castilla y León), Jesus Merino (accused

in the Gürtel case), Elvira Rodriguez

(CNMV), Isabel Carrasco (president of

the council of Leon), Ildefonso de Miguel

(former manager of Canal de Isabel II) ,

journalism, like Julio Ariza

(Intereconomía), the late Antonio Vaz-

quez Cardenosa (Diario de León), San-

tiago de Ybarra y Churruca (Vocento),

the company, as the very Salazar-

Simpson (Simpson Hello Bye Cars or

Cars), Germán Lopez Madrid (Volvo Car

Spain), Arturo Fernández (CISM-CEOE),

Javier Carved (ex Avanzit), Carlos Rocha

Moreira da Silva (BA Glass and former La

Seda de Barcelona), or Acute Gomez

Ulpian (Saint Gobain Wanner, SA) , and

other areas such as Pedro Rodriguez-

Ponga and Salamanca. They have also

had representation on the Board, besi-

des those central, regional, provincial,

local and National Heritage, Spanish

companies like Glassware, SGD La Gran-

ja, Aon Gil y Carvajal, and Corpus Vitrea-

rum Medii SEGIPSA Aevi.

The month of November 2012, the presi-

dent of the Foundation, Salazar-Simpson,

approved the termination of a handful

of employers, which the Board went from

a quarantine of Representatives 'only' a

score. Among them, as already mentio-

ned, have been individually the afore-

mentioned Carlos García Revenga, Ser-

na, Ulpian Gómez, Juan Luna (curator of

the Museo del Prado) and two more that

have become vacant.

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Javier Gomez exposition.

Page 16

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Pedro García exposition.

Page 17

N E W S (I).

Culture 2013.

www.amigosmava.org

Glass funerary.

Louvre, Département des Peintu-

res, Paris) and Gainsborough (Tate,

London).

In these landscapes, gypsies hel-

ped put the note scenic but also

embodied a new harmony betwe-

en man and nature, it was neces-

sary for a life detached from the

strong bourgeois structures.

With the advent of realism, prestige

increases wandering community: "I

just initiated into the high life and

independent wandering gypsy"

wrote Courbet in 1853, while, Bau-

delaire proposed in My Heart Laid

Bare (1859-1863) , "glorify the prowl

and what could be called the

Bohémianisme [Gypsyism]".

From Courbet and Manet, the pre-

sence of the underclass in art is be-

coming increasingly common.

This question allowed realistic na-

rrow escape academic hierarchy

of genres, to find a sincere art that

show the true reality of modern life.

The gypsy and her children, Cour-

bet (Private collection) or The drin-

king water The Manet (The Art Insti-

tute of Chicago) represent this as-

piration to approach the real and

away from romantic stereotypes

about Gypsies.

Meanwhile, Vincent van Gogh

masterfully summarized in Cara-

vans (Musée d'Orsay, Paris) these

concepts.

re of the gypsy as announcing the

colorful character courtship.

In parallel, the nature was establis-

hed as favorite scenario for repre-

senting Gypsies, because topically

association made between this ra-

ce and the wandering life, as op-

posed to the sedentary life in the

city.

Bohemian camps in the landscape

will be then one of the most repre-

sented, as shown by the works pre-

sented here Teniers (The State Her-

mitage Museum, St. Petersburg),

Morland (The State Hermitage Mu-

seum, St. Petersburg / Musée du

This past April we visited the exhibi-

tion "Luces de Bohemia" in the

Mapfre Foundation in Madrid.

Since arriving in Europe around

1420, Roma had an enormous fas-

cination among artists and writers.

Many myths and legends populari-

zed topics around gypsies and, to

the Enlightenment, were often por-

trayed predicting the future or lin-

ked to the world of dance, theater

and dance.

From the eighteenth century, the

theme of "fortune" gained a new

boom gallant hand painters like

Boucher or Watteau, tried the figu-

The Local History Museum Montilla

has taken the dissemination plan of

their funds, with new conferences

focused on some of his most signifi-

cant.

On April 24 he spoke about the set-

tlements in the urban environment

during the Roman period, thanks to

a glass funerary preserved in the

museum.

Matilde Bugella was responsible for

assessing the pieces, ensuring that

it is almost a miracle that have be-

en preserved to this day.

They were discovered in the 80s

and the quality of the furnishings,

probably belonged to a farmer in

a village, whose remains have not

been located.

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Page 18

N E W S (II).

www.amigosmava.org

Cecilia" by Fanny Mendels-

sohn.

Currently teaching Choir and

Orchestra at the Conservatory

of Music "Teresa Berganza" of

Madrid.

For a better understanding of

the curriculum of this director

can click the link below.

Concerts on the MAVA.

gram that will develop these young

singers.

As we have found on internet pa-

ges, this choir is composed of

about 80 members and is led by

Pablo del Campo.

In 2006, Pablo del Campo premie-

red in Spain with the Chamber

Choir "Teresa Berganza" "Ode to St.

On Friday May 10th will have the

White Voices Choir of the Con-

servatory of Music "Teresa Ber-

ganza", Madrid, for the realiza-

tion of the fourth concert of the

program of our Association

"Concerts in the MAVA".

Through our Facebook page

and our website inform the pro-

Glowing in the dark bodies.

Jessyca Lloyd-Jones is a renowned artist who

uses lighting as a key element in many of his

works.

In collaboration with glass artists and specia-

lists in neon, Jessyca anatomical sculptures

created where the brightness of gases like ne-

on or xenon a touch "electric" and mysterious

to different human organs.

The collection consists of four organs (heart,

brain, lung and eye) blowing glass inside

which is encapsulated neon or xenon gas.

These gases glow showing different colors

when applied electrical current, producing a

fascinating and hypnotic result in these curious

sculptures.

The author wants to express with this work the

vital importance of energy in the human ana-

tomy.

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Page 19

The glass in Museums: Jablonec.

www.amigosmava.org

From as far back as the four-

teenth century Jizera mountains

in general and Jablonec and Ni-

sou, in particular, have been

closely related to the manufac-

ture of glass.

Spectacular advances in the

production of glass and jewelery

and exports in the second half

of the nineteenth century a core

made of Jablonec world famous

and jewelry center.

This success is reflected in the

development of the city.

Of all the attractions the city has

to offer, plus the Museum of

glass and high quality jewelery,

heritage monuments meets

glass manufacturing and design

in the region.

The steps followed Museum Ger-

man Museum Society, founded

in 1866 and opened its doors in

1911 in a traditional house.

In 1949 the collection was

moved to the old export house

Zimmer & Schmidt, where it re-

mains today.

The building was constructed in

1904 and was later adapted by

E. Herbinge in 1923.

It is a magnificent example of

Art Nouveau architecture,

popular at the time, and as such

is a listed building.

The museum has a wide range

of works in glass, jewelry, coins,

medals, posters and some mili-

tary objects.

New permanent exhibitions: "The

Magical World of Jewelry" and

"Enchanted Garden", "Seven

centuries of Czech glass"

opened in 2004 after three years

of intensive restoration work.

The information is provided to

visitors at various levels, and the

exhibition space is devoted to

presentations that illustrate the

manufacture of glass, jewelry

and individual works through his-

tory from its origins until today.

The Galerie Belveder in Mlýnská is

one of the oldest houses in the

city and baroque houses part of

the extensive jewelry collections

held by the Museum.

In Kristiánov a monument to glass

making is in a wooden house in

which faithfully recreated the his-

tory of what was once the most

important town glassmaking in

the Jizera Mountains.

The village comes alive each

year at Fair Marian, showing

many examples of the lives of

historical trades and crafts.

The Museum contributes signifi-

cantly to the cultural and edu-

cational activities of the general

public and professionals, and

activities for children, youth, pen-

sioners and disabled and men-

tally ill.

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Courses in La Granja.

Page 21

The Treaty of Guadalupe Monastery Windows (XII).

Fernando Cortes Pizarro.

On the drawings of stained glass

At the end of the treatise the

author includes 54 different de-

signs of stained glass, which as

we have seen are actually more

than windows themselves, indivi-

dual modular panels, of which

only 43 have survived.

Presumably 7 missing drawings

follow the style and forms of the

preserved.

These panels are all rectangular

format and types of windows

are geometric characteristics of

a period of time covering the

XVI, XVII and XVIII.

In this type of simple glass, color-

less and figuration, the spotlight

falls on the design aesthetic that

traces the network of lead,

being mostly colorless glasses,

although the author considers

the possibility of including some

colored glasses sporadically .

Some drawings -51, 53 and 54 -

are related vaguely architectu-

ral forms, while others, as noted

by Nieto Alcaide referring to the

drawings 19 and 52, are inspired

by models drawn directly from

the Third and Quarto Book of Ar-

chitecture by Sebastiano Serlio- ,

indicating a certain knowledge

of architecture by the author.

Of all the drawings preserved,

30 are composed exclusively of

straight lines, while 14 others

combine straight lines with cur-

ves, the latter being by far the

most difficult of execution, since,

as the author says: "... are more

difficult to assemble, and to tho-

se who are skilled business ... ".

While some drawings are tradi-

tional and have survived nume-

rous stained glass and other art

forms preserved at the time, ot-

hers however are clearly the re-

sult of the ingenuity of the aut-

hor and may never come to run,

or at least I do not know copies

Similar windows of the time.

Many drawings are accompa-

nied by a more or less extensive

depending on the case.

Sometimes the comment starts

with a "This window is mui ermo-

sa ...", which once again de-

monstrates the author's great

appreciation for the art of stai-

ned glass, including copies as

simple as those presented to us.

In a couple of drawings, in parti-

cular 2 to 19 - are specified

construction details as the best

location of the reinforcing rods

and their quantity recommen-

ded: "What ba marked with

dots, is the compartment jim-

mies".

In others specifically recommen-

ded a plea and that "... although

the matchlocks ADVANTAGE" or

"... take advantage of many

points of glass left over from the

two windows Background ...".

19 In the drawing, probably one

of the most popular motifs in the

windows Spanish since the sixte-

enth century, says: "This is the

most common window that ay in

all, strong and lost little glass has

to be such a good view echura

to doors and windows. "

20 In the drawing says the virtues

of his strong "trabaçon" that ma-

kes it "... mui good for sites with

high and defends his tenpesta-

des fortaleça the Air".

In the grounds 32, 33 and 34 the

author supports the use of multi-

colored glass, which "although it

is true that remove some light,

with all that is good-looking and

durable mui".

Drawing 39 is a round glass win-

dow blown individually, now

known as cibas, and tells us that

"Formerly much used these round

glass windows, because they

had good view with color diffe-

rences, which benian glasses

perfecion furnace with all ".

IF it is true that this type of glass

was very popular between the

fifteenth and sixteenth centuries,

it was not so in Spain and in the

countries of central and eastern

Europe.

About the cibas, explains that

although one of the difficulties

they present is that "... rredondos

glasses can not sever" because

"... bring the margin around the

circle and a thick border that

are unable Gueco to carve with

the saw-set ... "a simple and che-

ap imitation is to obtain" ... round

glasses which are flat and squa-

re ... ".

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Recycling. Pioneering project.

www.amigosmava.org

Jon Ander Lopez Garmendia and

Subijana Peio, graduates of the

School of Architecture of the Univer-

sity of Navarra, are the authors of

Ligh Emitting Bottle (LEB), a pionee-

ring lighting devices built from used

glass bottles.

These elements, subject to appro-

priate technology, become 'bulbs'

with which you can build from sim-

pler devices screens, all with low po-

wer consumption and with the ad-

ded value of reusing materials.

How did the project?

Initially we wanted to create a faca-

de reusing materials or objects sus-

ceptible of second applications. Par-

tiésemos hence a bottle of 33 cl. of a

famous brand of beer.

The proposal further charged sense

considering that he was considering

for a project of a cultural and multi

funded by that mark.

In this way, we were getting to meet

two objectives: first, to create a 'skin'

for the building with a contemporary

look, flashy or different, and an ad-

vertising and brand very important.

This took on added significance con-

sidering the location of the site, next

to the Teatro Arriaga in Bilbao.

What were the next steps?

From this point, we developed the

module with the intention of getting

the most technological to the bottle.

So think of it as possible pixel.

Due to their morphology and techni-

cal characteristics, we saw the possi-

bility of generating coatings with her

large multimedia applications in

fields such as architecture, epheme-

ral installations, scenery, street furni-

ture, signage, music venues, etc..

To achieve this, we use each bottle

as a small tube and apply to it the

concept and technique of lighting

devices based on electrical dischar-

ges.

Generate a light chamber at each

high voltage plasma at low pressure

and intensity.

In this way we create the LEB, which

emit a highly durable, very strong

and white, and also do not contain

mercury vapor.

How did the idea of reusing as glass

bottles to become luminous surfa-

ces?

It all started as a response to Final

Project presented by Luis Maria Uriar-

te. After delivery, we turned up and

we were selected to participate in

the National Entrepreneurs Fair held

at the Bilbao Exhibition Centre, Em-

bark 2011.

At first we start from an industrial de-

sign, but because of the good ac-

ceptance was the module, and the

various contacts we made, we saw

the opportunity to further develop

the project, why not?

Since then, thanks to the help of an

engineer friend, technically we

could develop the concepts on

which we base the LEB. In this way

we have an industrial design, a utility

model.

What prospects do you have for

your marketing?

Currently the project is stalled due to

various work commitments we have.

Furthermore, it should be noted that

to get to market a product is influen-

ced by many external factors: in-

vestment, market research, com-

mercial viability, customer available

… It is a long and laborious process.

The LEB are oriented to specific inter-

ventions beverage brands, which is

linked to marketing marketing strate-

gies and image that have big

brands like Coca-Cola, Heineken ...

We see great potential in him as a

publicity stunt for symbolic buildings

such as Coca-Cola factory in Fuen-

labrada, or timely interventions as

the Heineken Jazz Festival scenarios.

Recently visited Silicon Valley with

the Banesto Foundation, through its

program Yuzz. How was the expe-

rience?

The experience in the program has

been very positive Yuzz. It has given

us a different perspective than that

is instilled in the school. Do not forget

that the program is aimed at deve-

loping economic feasibility plans for

services or products. After a year,

we were selected as winners for the

trip to Silicon Valley. With this oppor-

tunity we were lucky to experience

firsthand the vitality and dynamism

that permeates the city of entrepre-

neurship, San Francisco. As always,

conclusions are drawn positive and

negative, although we realized that

the environment is critical to Silicon

Valley for ideas. Premium is much te-

amwork-something too closely asso-

ciated with the school, and at all ti-

mes are open to new initiatives,

however crazy they may seem.

How this project fits within your care-

er?

The project was a response to a sta-

tement of the final project, and with

the intention that we serve as an ex-

cuse for our first steps into working li-

fe. This goal we have met, as even a

customer came interested in crea-

ting the facade of his shop with LEB.

Also helped us to be part of the pro-

gram and follow Yuzz shaping us as

professionals. All this has been thanks

to the flexibility to work with our res-

pective parents in their studies, and

Garmendia Subijana-Merino Archi-

tects. In this way we were able to

combine our workday and LEB, devo-

ting logically, hours after work and on

weekends.

It should be borne in mind that it is

impossible to work full time, because

right now the project is in deficit. It is

more a concept than a reality.

What motivates you to persevere in

times of crisis?

The current situation is well known to

all, and now is "fashionable" innova-

tion and entrepreneurship. The truth

is, it's a good time to ask different so-

lutions. There is a willingness to listen

to ideas. Our aim has been to create

something to take but not to stay in a

drawer forgotten. The spirit of the ar-

chitect has always been aimed at

improving their projects, both in terms

of composition, construction, socially,

so somehow there is a vocation to

innovate. In fact, our goal was to get

grant Yuzz to prototype.

What difficulties have you encounte-

red?

One of the greatest difficulties, while

one of the pillars of an idea turned

into a business plan, is funding. In our

case, we have found people willing

to work in this area. But undoubtedly

the most difficult is to create a team

of faithful, where prime transparency

and trust between the parties. Peo-

ple invest in people not projects, this

is one of the most important things

we have learned. We're both restless

people, with enthusiasm and will, it

helps to not give up. We do not know

if the project will see the light, com-

mercially speaking. But what we be-

lieve is that we should not wait for

opportunities to come, but you're the

one who has to create the circums-

tances to appear.

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Page 23

Pilar Aldana exposition.

Road to Refuge includes work of

two sculptors agree creating in-

terior spaces that lead to a silent

and enigmatic world where the

eye is lost and the reason may

find rest.

Are roads, junctions, corners for

lonely souls are determined and

forceful spaces.

Pilar Aldana-Méndez draws mar-

bles spaces with precise and po-

lished forms or creating universes

with transparent glass volumes.

Buergi Carlo does so tough and

risky cuts in wood logs leaving

raw textures obscured by the

action of fire.

The sensuality of glass and stone,

and the passion of the lines in

the wood, give life to this show.

Carlo Buergi, Swiss artist Ampur-

da passionate about, I think in

2012 a new exhibition space at

Mas de Verges Massot where

permanently presents his work:

sculpture, painting and photo-

graphy.

This season invites Pilar Aldana-

Mendez, rooted in Catalonia

Colombian sculptor for 28 years.

He has chosen key works from

different eras such as buildings

to catch time, African Spaces

and recent works in glass and

ceramics series of Empty Soul -

Sanskrit.

Carlo presents his latest work

wood Inner Vision Series for the

first time we can see a selection

of previously unpublished photo-

graphs of the wild in the we-

tlands of Ampurda a masterful

touch to round this exhibition,

Road to Refuge!!

Exposure to Espai More Massot

Sculpture, Painting and Photo-

graphy

Carlo Buergi and Pilar Aldana-

Mendez

Opening 4 and May 5, 2013 from

16h to 21h.

Exhibition open until October 15,

2013.

More Massot, Road Verges to

Khafre, km 1

17142 Verges (Under Ampurda,

Gerona)

MORE INFORMATION

http://

espaimasmassotver-

ges.blogspot.com/

espaimasmassot@gmail.com

www.amigosmava.org

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Our activities.

In this section we detail the activities which take place this month, corresponding to the cultural visits related to the glass and outputs that we as provided in the program CULTURE 2013.

Cultural Tours.

Culture 2013 Programme.

www.amigosmava.org

On Monday, the 6th, we will move to Avila

to be with Javier Gomez in the opening of

his exhibition titled Metamorphosis from

1989 to 2010 and to be held in the Palace

of the Verdugo of the Castilian-Leonese Ci-

ty.

The exhibition displays works Javier his early

work along with a selection of more current

works.

In a place as interesting as the Palace of

the Executioner.

The exhibition will be open until May 29th.

Sorolla was facing his last works,

the gardens of his home, with

sincere simplicity and the extre-

me refinement of an artist full, still

mulling over the possibilities of

painting.

Parallel to the large orders rus-

hing in those years and especia-

lly the decoration for the Hispa-

nic Society of New York, in Soro-

lla matured through his paintings

of gardens, a poetics of silence

and privacy, with amazing con-

comitants with the sensitivity

symbolist / modernist time.

The next day we booked 3 par-

ticipation in a tour to mark the

closing of the exhibition

"Gardens of Light" in the Sorolla

Museum.

The theme of the garden has

been a recurring metaphor in

world culture.

Nature tamed and interior, a

sheltered and ordered from the

sensibility of man sought paradi-

se.

Sorolla captures this idea and

implements poured doing some

work where a number of ideas

that came already working on

his painting: light, truth, life ...

and this time it comes from a

more quiet and intimate pain-

ting.

The visit offers a last look at the

exhibition "Gardens of Light"

which will mature all that the

painter has given us in these

months of exposure.

His painting and ideas with us in

this journey, which elaborate on

the arguments of the artist to-

ward the subject of the gardens.

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Page 25

www.amigosmava.org

The last ERE of La Granja.

since it has been obliged to dispen-

se with half the workforce.

Speaking to Cadena SER, the Ma-

yor of the Royal Site also has men-

tioned the statements made about

him by the provincial coordinator of

IU, Jose Angel Frias, who said Vaz-

quez "not aware of anything."

So, has dismissed his words as

"irresponsible and frivolous".

"When it comes from outside and

do not know what is living in a work-

place does not deserve any consi-

deration, neighbors of my people

are the ones to say whether or not I

find out," said.

The mayor pointed out that the City

of Royal Site, Senator Felix Montes

today to the head, was the only ins-

titution in 97 voted against the

amendment of statutes and is the

only one that has been put alongsi-

de the employees and has led

them to maintain an action aimed

at the Royal Factory.

That goal, as he stressed, "should

not be making a reality show to ridi-

cule the people in all the national

territory", but "appeal to the respon-

sibility for the maintenance of jobs."

The Works Council Chairman prai-

sed and thanked the efforts of the

municipality and has claimed to

continue in the same line for the

defense of their neighbors.

The Board of Trustees National

Glass Centre will meet to address

the termination of contracts to 17

employees affected by the Redun-

dancy Employment (ERE) presen-

ted by Management and the La-

bour Inspectorate has advised to

stop by defects in the form and in

the background.

This has been assured on Thursday

as the mayor of the Real Sitio de

San Ildefonso and patron of the ins-

titution, José Luis Vázquez (PSOE),

as chairman of the Works Council,

José Luis Duque (CCOO).

At the meeting, whose date has

not yet been made public, the Bo-

ard of the Foundation based in La

Granja, the end of the Royal Site,

reconsider the need to dispense

with the 17 people, half of the staff

of the Royal Factory.

The representative of the employe-

es, who has indicated the intention

of the Company to attend the call,

he explained told Europa Press that

the ERE is still valid, because the

management has chosen to keep

it until employers conclude whet-

her to go with it or remove it, which

in his opinion is a "mistake".

In this regard, he noted that the re-

cord has great potential to be con-

sidered improper and could even

be declared void, which

"aggravate" the situation even mo-

re of an institution lacks funds to

meet the compensation of workers

and for which the Government do-

es not provide in the budgets of

2013 no provision for this purpose.

However, Duke has stressed that

there appears to be intention to

suspend the ERE despite the efforts

of some governments to maintain

employment.

The City of Royal Site has tried, as

explained by its mayor, to preserve

jobs and activity of a center that

"transcends local, is a monument

and is owned by all Spanish".

Vazquez has argued that the CNV,

regional competition and mem-

bers of the Government, the Board,

the Council of Segovia, the Consis-

tory the Royal Place and the world

of glass and museums among its

patrons, pass into the hands of the

government and that the workers

themselves assume the responsibili-

ty to rescue the project making use

for it of their ability, knowledge and

his long career.

CHANGE OF LEADERSHIP

"It is essential that in these times

there is a change of leadership,

who are authorities that the Centre

take responsibility of employees,"

he asserted the ruler, who has insis-

ted that the president of the Foun-

dation, Francisco Salazar-Simpson

should leave his post after "failing"

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Page 26

XXXIII National Crafts Fair of Segovia.

www.amigosmava.org

The City maintains its collabora-

tion with the Craft Guild sego-

viano, backing it materializes,

now, with the signing of the

agreement for the organization

of the XXXIII edition of the Natio-

nal Crafts Fair to be held from 1

to 5 May.

Institutional support is specified

in a financial contribution, 2,000

euros, to meet the costs of the

organization of the Fair, and

providing the necessary infras-

tructure, ie giving for free use of

space for holding the sample on

Avenida Fernández Ladreda.

The Craft Guild segoviano un-

dertakes to ensure that the acti-

vities are conducted in the most

favorable conditions for the en-

joyment of the public, visitors

and Segovia, as exhibitors from

different parts of the Spanish

geography involved in this show.

Given his hearth, prestige, public

response and interest of the arti-

sans by attending the National

Crafts Fair of Segovia is one of

the cultural events of the city

and is part of the annual calen-

dar.

The mayor, Pedro Arahuetes and

Crafts Guild President segoviano,

Jesus de la Cruz Leonor, have

signed this partnership agree-

ment.

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Other trends. Van Gogh in Amsterdam.

www.amigosmava.org

The 40th anniversary of the ope-

ning of the Van Gogh Museum

in Amsterdam, has clarified the

greatest misunderstandings su-

rrounding the painter: "was not

instant genius thought they wor-

ked very hard to understand the

technique and the use of color

of his art. "

He says Rik van Koetsveld, ma-

naging director of the center,

says goodbye to his office with a

sample demystifying.

Titled Van Gogh in his workshop

(Van Gogh at work) continues

the artist's evolution through 200

works and objects themselves,

as well as fabrics of his contem-

poraries, including Gauguin and

Toulouse Lautrec.

As the average age of the visi-

tor's center is 32 years, the ex-

hibition combines classical galle-

ries pictures on the wall, with

presentations ready to partici-

pate in the creative process.

There a microscope to get to

the guts of the canvas, overlap-

ping transparent molds to see

the different patterns painted on

the final painting, and scraps of

canvas in its various states of

preparation.

The beloved object, anyway, is

your box colored balls of wool.

The painter used them to guide

when mixing colors.

The problem is working tirelessly,

and lack of money led him to

use sometimes low quality pain-

tings that have not stood the

test of time.

The best example is the series of

cherry blossoms. In the original

three, the flowers were roses.

The time the white left and colli-

de with a similar work, the other

in pink, signed in 1888, as the

Dutch-Danish Christian Mourier

by Petersen.

What we now call material recy-

cling does not end there.

When Van Gogh had no linen,

dishcloths advantage.

And when I was desperate, tur-

ned around and used a canvas

and paint something else

behind.

The museum has three of these

examples in separate windows.

The result is fascinating.

The reason painting does not al-

ways correspond to the same ti-

me, so one side appear, for

example, some potatoes from his

Dutch period, dark and very fi-

lling. The other, a portrait of blue

light closer to the French stage.

Its just working feverishly pulling

at viewer smiling. Wind forgot to

paint an outdoor marina, as lear-

ned from the Impressionists, and

the sand stuck in the fabric fore-

ver.

Fabric wrapped in newspaper

for transportation, and was mar-

ked ink footprint.

Both ends have been thoroughly

analyzed for the sample with the

aid of scientific laboratory of the

multinational Shell.

The museum has made the Na-

tional Gallery, London, yield the

first version of Sunflowers.

Very satisfied, presented toget-

her with a later, from his collec-

tion.

It is the crown jewel because of

its reputation and because it illus-

trates the evolution of the same

reason.

There are five Sunflowers by Van

Gogh in the world and they are

all different.

The Bedroom at Arles, on loan

from the Art Institute of Chicago,

and the portrait of Père Tanguy,

loaned by the Musée Rodin, Pa-

ris, fulfilled the same educational

function.

However, collector gems are

sketchbooks and drawings and

watercolors by Van Gogh.

Shortly exposed given its fragility,

its thorough illustrate his artistic

approach, analyzed how much

each frame, as happens to draw

evil master painting, ending al-

most in abstraction.

As in the fabric tree roots, 1890.

The last of his life.

The exhibition runs until January

12 and can only be seen in Ams-

terdam.

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Page 28

Lens Glass and aluminum.

The Louvre-Lens Museum is con-

ceived as a delegation or sub-

site of the famous National Mu-

seum of the Louvre in Paris, it has

a collection property, so strictly

not a museum but an art exhibi-

tion center located on the outs-

kirts of the city Lens, northern

France.

This project is signed Japanese

studio SANAA, true to his white,

ethereal style, the museum tries

to dematerialize their percep-

tion from the inside, so that the

works on display are those that

charge the viewer's attention

away.

Under austere minimalist design,

simple shapes and glass and

aluminum as main materials, is

totally opposed to the pomposi-

ty that awakens the Louvre.

The glass combined in different

transparencies creates reflec-

tions and ripples.

The structure is made of white

painted steel.

The rooms are aligned and flush

with the street, are large, no

walls and hang pictures of mo-

vable panels, which are chan-

ged according to the state-

ment.

Some glass roofs also can see

the sky and make the most of

natural light.

Visiting this museum is integrated

with the display.

For a period of five years, the

Great Gallery, called the Gallery

of Time, will present chronologi-

cally with the masterpieces of

the Louvre in Paris organized in-

to three periods: 70 works for An-

tiquity to the Middle Ages 45

and 90 for the period Modern,

via Egypt and the East.

Besides boasting works by Perugi-

no, Raphael, Botticelli and Ru-

bens, which visitors can admire

boxes next to the Louvre essen-

tial others, as "Portrait of Mariana

Waldstein" of Francisco de Goya

and "Antonio de Covarrubias y

Leiva" of El Greco.

This museum not only architectu-

ral and cultural significance, but

also economic.

Lens, the city where it is built, is

experiencing a decline since the

60s, due to the decline of mining

and with a rate of 16% unem-

ployment.

This new Louvre-Lens center

allows revitalize the area and

spread and monetize Paris mu-

seum funds (mostly stored for

lack of space) and Lens makes a

prominent item in the French cul-

tural map, attracting tourists and

economically reviving the city .

www.amigosmava.org

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Page 29

www.amigosmava.org

Glass Workshop reuse.

Nearly a hundred members of

the university community-

students, teachers and PAS-

have participated in the Building

Workshop with recycled glass

that has organized the Vice Pre-

sident for Campus Sustainability

within Recapacicla program.

This program, which was laun-

ched in collaboration with the

Ministry of Agriculture, Fisheries

and Environment of the Junta

de Andalucía, is to improve the

management of waste at sour-

ce and supplemented with va-

rious activities held in the cam-

pus Teatinos.

The glass workshop was held in

the central courtyard of the Fa-

culty of Fine Arts and the School

of Architecture, on the campus

of El Ejido.

The workshop coordinator and

monitor Benito has been pain-

ted and has had a strong tur-

nout.

All workshop attendees have

brought a bottle or some old

glassware that after the applica-

tion of various techniques

(sawing, polishing, etching, bon-

ding ...) were transformed into

other useful objects (glasses,

ashtrays ...) or just art objects of

aesthetic interest.

This workshop is part of the pro-

gram Recapacicla, environ-

mental education program on

waste and recycling targets uni-

versity is organized by the Minis-

try in collaboration with the An-

dalusian Federation of Munici-

palities and Provinces, and Eco-

vidrio Ecoembes.

The program also includes va-

rious activities with playful and

participatory.

On Tuesday, the 9th, starting at

10 am was held in the Botanical

Garden of Teatinos the

"Recycling Day" which included

the Workshop Percussion

"Reciclamúsica" designed to le-

arn how to make percussion ins-

truments from items such as bot-

tles, cans and containers ....

Also able to visit the exhibition

"The waste in our society", con-

sisting of the installation of 6 pa-

nel custom expository explana-

tion to who wants it.

The day was completed with an

information point and a waste

Gymkhana and leisure corner,

where you can play with recy-

cled materials.

Activities continued from Wed-

nesday, the 10th, and Friday, the

12th, with the development of a

training course on "The waste in

our society: management and

environmental education aimed

know what steps can be taken

to reduce recycle and reuse the

waste generated in the university

and, selectively separating was-

te in their containers.

The course was held in the class-

rooms López de Peñalver and,

like the rest of the program acti-

vities planned Recapacicla was

free.

Finally, on April 14 was the dead-

line for submission of papers for

the first ReciclarArte contest was

open to all community college

campuses in Andalusia and pro-

viding prizes for the winners and

the organization of a traveling

exhibition and accompanying

catalog of selected works.

For more information on all acti-

vities of the program and for re-

gistration in courses and works-

hops you can visit the website of

the Environmental Management

System of the UMA.

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Page 30

Celia Ulate at the University of Costa Rica.

Sanchez Ulate Celite transpires

his being and essence in shapes

and colors that attest to his desi-

re to unravel all the mysteries su-

rrounding the glass.

"Not if I go or come", "Time to

play", "The path of my life", "Ties

of Friendship", "Being thrown" and

"Sea of Tears", are some of the

works that puts test the creative

possibilities offered by this mate-

rial.

Celite presented the artistic ex-

hibition Forms of transparency in

the lobby of the Social Action Vi-

ce-chancellor of the University of

Costa Rica.

It is comprised of 16 works made

in 2012 and in which he uses va-

rious techniques such as fused

glass and intervened, hot glass

and fused raked block, glass fu-

sed with textile intervention, shat-

tered glass and fused and cast

glass.

He said the artist, "a fortunate

and dazzling with glass led me to

concentrate on this material elu-

sive, enigmatic and indomitable,

mystical and everyday. For over

fifteen years I have addressed

this way to get to know it, with

the desire and intention to unra-

vel all its mysteries.

In the process I discovered that

glass can ally with other mate-

rials to create an alchemy aest-

hetic, dynamic and refreshing. "

He noted that to do its work has

had the privilege of having the

substrate enriching their profes-

sional training as a psychologist.

"That's why the personal artistic

creation explore the subject of

human experience from the

perspective of meaning, empat-

hy and overcoming" he said.

Emotional possibilities of glass

For graphic artist and curator

Juan Diego Roldan Castillo,

"Celite Ulate is a Costa Rican ar-

tist who has researched, analy-

zed and incorporated glass, as a

resource that embodies expres-

sive concerns, allowing you to

develop deep levels reflective

aesthetic complexity".

He also notes that "this condition

of complexity, not a result cir-

cumstantial but the combina-

tion of that concern and appeal

of this raw material itself, which

turns into an artistic language

that touches various art practi-

ces from two-dimensional to the

dimensional graphic of what the

textile, the entropic a minimalist".

As Roldan exposure indicates

that, "Forms of transparency is an

exhibition that seeks to transform

the perception on the glass as a

model of artistic representation.

In this sense, the works represent

the sample restricted to particu-

lar stories of the artist, whose

aesthetic criteria incorporate es-

sential emotions of his life, and

allows you to symbolize them

through language and discrete

and warm feelings in an unusual

support ".

Celite Ulate

She is a graduate of the Psycho-

logy course. He has also done art

classes and workshops at the

School of Plastic Arts of the UCR.

He has also participated in con-

ferences, workshops and semi-

nars offered by Peter Mc Grain,

Tommy Giambuso, Gil Reynolds,

Stuart Goldman, Patty Gray and

Eva Vlasáková, among others.

She is founder and professor of

the Workshop Vitrocolor of Costa

Rica, where classes are taught

various techniques in glass.

He has also done several works in

flat glass for churches and resi-

dences in the country and abro-

ad.

He has exhibited his works in ga-

lleries as Sophia Wanamaker,

Klaus Steinmetz, National and Ar-

ka in Lithuania, the Costa Rican

Art Museum, the Children's Mu-

seum and the Director `s Park in

Oregon, USA.

Celite won the regional

"Expressions of Freedom" to com-

memorate the 50th. Anniversary

of the Declaration of Human

Rights.

In addition, his work "Columbian

Ceramics" is part of the perma-

nent collection of the Museum of

Art Textile University of Nebraska,

United States.

www.amigosmava.org

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Page 31

The Museum of Contemporary

Art of Alicante (MACA) opened

on Friday 19th of last April, and

until July 7, a new exhibition of

43 works by sculptor Fernando

Gil Aragonese Sinaga, chosen

by the curator related and Glo-

ria Moure.

The panoramic entitled Ideas K

selected work path Sinaga from

1984-2011, a period covering 27

years of work that highlights its

experimental spirit and diversity.

"The most interesting part of the

exhibition is currently displaying

from an artist who has spent 40

years working" notes Commissio-

ner Gloria Moure.

This creator has defined his

sculpture as the result of

"combining many visual ele-

ments, materials, optics, chro-

matic and materia".

Sinaga visual uses unique mate-

rials such as mirrors, and mixing

photos, paintings, sculptures,

lights and metal. "Interlace ma-

ny elements that make the in-

creasingly complex work," he ex-

plains.

This retrospective is particularly

interesting in the MACA by con-

nections Sinaga's work with Eu-

sebio Sempere, artist whose

funds nourish the muso of Ali-

cante.

"I wanted to be here for the ad-

miration I have for Sempere as

an author who advances the

criteria of abstraction, painting

and sculpture an increasingly vi-

sual and kinetic, which is also in

my work, although I'm more wi-

despread" recognizes Sinaga.

Sinaga, a native of Zaragoza

(1951), is based in Salamanca,

where he teaches in the Depart-

ment of History of Art, Faculty of

Fine Arts.

After graduating in the fields of

painting and sculpture at the

Complutense University of Ma-

drid, Sinaga completed his trai-

ning in Germany and the United

States.

Ideas Alicante K reaches through

the cooperation of various agen-

cies, including the state-owned

Spanish Cultural Action, Castilla y

Leon, Catalonia, County Council,

Town Hall.

www.amigosmava.org

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Sinaga in Alicante.

Page 32

"Reflexarte" opened at the Cul-

tural Center of Vigo Novacaixa-

galicia April 19 to 29 June, a ex-

hibition tour through the infinite

possibilities of glass that will ma-

ke us reflect on its expressive po-

wer, seeing the work of renow-

ned artists and Galician Portu-

guese: Soledad Penalta, Tiago

Madeira, Manuel Patinha, Paco

Pestana, Alvaro de la Vega, Tint

Trouser, Montse Rego, Maria

Xosé Diaz, Carmen Senande,

Manzano and Julia Acisclus

Ares.

They created the collection of

sculptures that we enjoy, made

exclusively for the exhibition in

the workshops of the glass facto-

ry's Reflection, organizer of the

exhibition.

In celebrating the 75th anniver-

sary of the founding of Factory

Reflection, starts "Reflexarte",

which shows contemporary art

imaginative, surprising and qua-

lity through large works, dyna-

mic and fresh several prominent

artists of our country and the

country Portuguese, made in

their own factory workshops.

With these pieces inquire about

the artistic possibilities of this ma-

terial and its countless techni-

ques: laminate, enameled, ter-

mofusionado, etc..

Back in 1935 the factory of mi-

rrors The Reflection, for this ex-

hibition, was born in the city of A

Coruña, founded by Jesus and

Mary Bermudez Ares.

At that time was devoted exclu-

sively to mirrors and glazing of

buildings and, later, to artistic

creation with fused glass techni-

que.

Today this family business since

herculina emblematic in the city,

continues to operate at full ca-

pacity, led by the fourth genera-

tion of the same family, and re-

cording and several brands: Ar-

teviares for art glass, decorative

laminated glass Viladec and

Glass Factory for standard mo-

dels.

The old factory who knew upda-

ted and move with the times, is

heir to a great tradition which

led to owning a charm and keep

alive the care for the old, so, ma-

chinery and tools that work is

started exposed carefully preser-

ved in a small museum located

in the same factory.

It exudes authentic history in eve-

ry corner, something we are

aware the new heirs reason that

we wanted to share now with

this beautiful exhibition tells of

glass art form.

www.amigosmava.org

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“Reflexarte” in Vigo.

Page 33

How does.

This month we include some pictures of the technique practiced by Bert van Loo.

www.amigosmava.org

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Page 34

www.amigosmava.org

Pedro Ramirez Vazquez, architect and sculptor.

porary material like glass, with

his natural transparency has

allowed me to shape elements

that let in light or the stop, the

multiply, the polished or nuance.

In a way, the light has been the

raw material with which I have

worked.

By the same token I used silver,

highly malleable material which

can build volumes and shapes

with multiple colors and bright-

ness.

These parts could be interpreted

as a manifestation "futuristic" sto-

ny expression prehispanic the

ancient sculptors.

My work as a sculptor is thus a

tribute to the great masters of

ancient Mexico anonymous they

are the seed of the cultural po-

wer of our country. "

Pedro Ramirez Vazquez, archi-

tect of large Mexican national

monuments like the National Mu-

seum of Anthropology, the Basili-

ca of Guadalupe and the Esta-

dio Azteca among others, also

has a career as a sculptor of

glass and silver.

In 1969, after having spent some

years designing projects for your

personal taste, you mount a

sculpture studio.

Since then he has devoted part

of his time to this creative activi-

ty.

His sculptures are in the collec-

tions of museums around the

world as the "Olympic Museum",

Switzerland, the "Daum Museum",

in Nancy, France, the "Ski Mu-

seum" in Hollmenkollen, Norway,

the Museum collection "Jan

Staubo" in Hammar, Norway, the

"Museo Amparo" in Puebla, the

"Glass Museum" in Monterrey, the

"Museum of Death" in Aguasca-

lientes and the "Museum of the

Presidents Coahuilenses" in Salti-

llo, Coahuila.

It is noteworthy that the monu-

mental stained glass window of

the Basilica of Guadalupe is also

their responsibility.

His silver work concern arises

from the Pavilions projects in

Mexico in the Seattle World's

Fairs in 1962 and New York in

1964, where exposed to high visi-

bility sculptures by silversmiths of

Taxco.

But it was not until 1975 when it

establishes connection with the

signature "Tane" where he crea-

ted some designs.

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The fundamental meaning of

the term "originality", once said

the great Catalan architect An-

tonio Gaudi, is to return to the

origin, back to the simplicity of

the first solutions.

"This reflection of Gaudí, led me

to design sculptures inspired by

the geometries and designs of

ancient Mexico.

The Mesoamerican art has a

strong and great aesthetic for-

ce, perhaps derived from the

search copy by interpreting na-

ture and its cycles as the gene-

rating principle of every effort,

ie, are expressions that interro-

gate the essence of life.

Working with so noble contem-

Page 35

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them of their illnesses. He allies himself

with everything dissolves, penetrates

the hardest bodies and more com-

pact. As a small world, even on the

planets act as universal magnet at-

tracts purest influences to communica-

te them to the bodies with which it is

mixed. It also acts on the spirits, which

develops the powers, and he beco-

mes able to penetrate the deepest se-

crets of nature sanctuary. "

Another alchemist Thomas Vaughan,

aka Eugene Philalethes, in his treatise

on the soul hidden magic, writes on

glass, in this case, a liquid glass:

"It should not surprise you that says it is

a compound (" the soul is a fine gold

compound and simple light ") because

there is no perfect specific nature as

simple and devoid of composition, ex-

cept for Almighty God. Do not trust it

when Aristotle says that the elements

are simple bodies, it is unlike the expe-

rience manifests absolute and infalli-

ble. The spirit airline liability is a soft

substance, the only immediate robe

which envelops the soul as it descends

and is applied to the generation. The

vital radical liquor is pure celestial natu-

re and temperament responds in pro-

portion to the upper waters interstellar.

From this soul attracts passive spirit,

what happens when the first link in the

chain moves, ethereal water instantly

attracted to passive spirit, it is the first

visible receptacle in which superior na-

tures focus. The light of the soul so con-

fined, for this glass legitimate magic

liquid flows through the water, then it is

"manifest and visible light to the eye",

state that is subject to the artist. Herein

lies the mystery of the decade of the

magicians, his very secret and miracu-

lous pyramid or cone whose first unit is

always "on the horizon of eternity" but

the base of the pyramid is below "on

the horizon time "'.

In another of his treatises called The

Treaty of heaven on earth compared

to the substance of the glass with the

latest and most perfect production of

the Virgin Nature:

"This fine substance is the daughter of

the elements, is a very pure and sweet

Virgin who has not begotten nothing.

But if that were the case engendered

by fire makes for Nature, it is her hus-

band who knows how to seduce ...

and play with her get all her treasures.

She let go of her breasts one thick hea-

vy water, but as white as snow, the phi-

losophers call their virginal milk. Se-

cond, given the blood of his own

heart, living and celestial fire, called by

some the sulfur improperly. Third, finally,

gives them a glass secret that has mo-

re value and more luster than the white

rock and all its roses. Here it is, here is

his favor: if you can grab it. "

made the radical moisture of mixed

incorruptible, by the violence of fire,

separating the heterogeneous parts

and fuel. Many have imagined that

glass or matter, is what philosophers

used to make your stone, it is a very

stable material, and also that every

glass is reduced by a long and violent

action of fire. This is not, however the

idea that the term should be applied

glass, when in the works of philosop-

hers, while Ramon Llull questioned

about what was a philosopher, said

one who knows how to do glass. The

wise man understood, like other philo-

sophers, his teaching at the target,

which is a clear material, shining, shi-

ning like glass or crystal.

The Pharaoh glass or glass malleable:

The Sages often said they possessed

the secret of malleable glass back,

through his elixir. History teaches us

that a man was sentenced to death

for submitting a container to a Roman

emperor. The philosophers will present

a similar hazard. In principle that ex-

plains the white stone. Some unders-

tand it as the projection powder, be-

cause it is incorruptible as glass be-

cause it resists the action of fire more

alive, not altered or volatilize.

Glass of philosophers:

Means sometimes the vessel in which

the work is done.

Glass philosophical:

He has power over all things. Powder

screening is changing all metals in na-

ture, leave your printer on all indivi-

duals of the three kingdoms, curing

Posted in Asgravis.

Some literary sources date the first

glass manufacturing in the last dynasty

Zhu (1046-221 to. C.). During the period

of the Han (260 a. C. - 220 d. C.), the

use of glass diversified. Were made

with molded glass objects such as disks

Bi and other ritual objects.

The glass is said to be an inorganic ma-

terial, hard, brittle, transparent and

amorphous, whereas the glass, which

should not be confused, is a crystalline

solid and amorphous. One way to

achieve this is by melting silica sand

and sodium carbonate, melts at very

high temperatures.

In this state is considered a liquid when

cooled while its viscosity increases up

to look like a solid.

For its special thanks to the different

states can adopt, the glass has been

linked to the work of the alchemists

Gan. In fact, some philosophers have

called fire your mercury glass, because

glass like the radical moisture is extrac-

ted from adhered tenaciously to ashes

and only obtained by fire, mercury is

obtained from the radical moisture of

metals, if While the latter is delivered

through a much more benign fire.

The end of all things seems to ash and

ash is glass, so philosophers wonder,

what if a vile earth by fire glass is obtai-

ned, what will a land not blue?

Let us now see two examples alquími-

cos texts referred to glass. In his Dictio-

nary Mito-tight, for example, Sun Per-

nety says the following about him:

"Matter hard, dry, brittle, transparent,

The glass in old China.

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Carmen Martínez, new Master Artisan.

Eight artisans from the region of

Murcia with extensive experien-

ce in the glazier trades, baker,

traditional clay nativity scene,

baker, potter potter and artistic

metalworker have received at

the hands of the Minister of Uni-

versities, Business and Research,

José Ballesta, letters that credi-

ted as 'Master Craftsman'.

The Charter of Master Craftsman

is a professional distinction ac-

corded to those artisans who

have practiced the profession

for at least ten years and have

accredited vocational training

sufficient merit.

In Yecla, on Wednesday was

awarded the Master Artisan

Charter Carmen Martinez, ow-

ner of Glass craft workshop,

Opal.

It is not the first recognition he

has received, but this last men-

tion undoubtedly, adds more

prestige to work Carmen alrea-

dy doing for twenty years.

At the event, José Ballesta high-

lighted a very important value

these days and that "through his

work generate wealth, employ-

ment and economic activity."

"All this makes your profession,

vocation, is truly one of those

moments when we are".

This condition, besides being re-

cognized for their work, enabling

them to develop educational

activities designed to achieve

the survival of his office and in-

volves a commitment to partici-

pate in the training or promotion

to be developed from the Com-

munity of Murcia, as well as parti-

cipate in technical bodies for

those who may be appointed.

Although in this sense, Carmen

artisans clarifies that we are uni-

ted for a series of allegations to

craft the new law and will be ap-

proved shortly, to recognize tea-

ching.

Currently, Opal Glass, offers a

new and wide range of products

using the art of glass, like deco-

rative tiles, combo boxes, boxes,

ashtrays and all kinds of objects

that complement home decor,

and also now offer a wide range

of jewelery, pendants, earrings

and rings, hand designed and

unique, as no two pieces are

identical outlines.

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Art World Day in Costa Rica.

For his part, the artist Silvia Mon-

ge captured in a drawing in

charcoal and acrylic on paper

their concerns about the lack of

communication between

humans.

His works do mae! takes as its

starting point the Last Supper, Da

Vinci, to portray a modern dining

among young slaves of techno-

logy.

"The boys meet at a dinner with

friends, but spend all their time

communicating virtually with

your iPhone, without realizing the

real people around him.

Technological development has

provided us with very modern

appliances that can do everyt-

hing, but people do not commu-

nicate, "said the artist.

The exhibition is on display until

May 27 and can be visited from

Tuesday to Sunday, 9 am. m. to 4

The diversity of approaches is as

broad as the materials: iron,

glass, acrylic, watercolor, char-

coal, wood, and fiberglass resin,

among others.

"While I was learning to live, I le-

arned to die" was the phrase

that inspired Leonardo da Vinci's

work Frenzy, illusion and dreams,

the artist Oscar Carmona.

"It raises the duality of life and

death to the power of ego. The-

re is a widespread fear death,

because he is considered the

end of life, when in fact they are

two states that are complemen-

tary, "said the artist.

The work was worked in molten

glass with a technique known as

"painting with light".

"It uses powdered glass, which

spreads and working with diffe-

rent tools, and then baked at

1,475 degrees. After 24 hours,

the glass is cold and over,

"explained Carmona.

The April 15, 1452 was born in Flo-

rence, Italy, one of the greatest

artists of all time: Leonardo da

Vinci, and for this reason, UNES-

CO chose this date to celebrate

World Art.

In Costa Rica, a group of crea-

tors of the Costa Rican Associa-

tion of Visual Artists (Acav) cele-

brates his day with an exhibition

featuring his personal view on

power.

The sample Metaphors of power

is exhibited in the Museum of

Costa Rican Art and gathers 12

works of Leda Astorga, Herberth

Bolaños, Li Briceño, Roxana Bri-

zuela, Oscar Carmona, Córdoba

Magda, Alonso Duran, Rudy Es-

pinoza, Lillibeth Martinez, Silvia

Monge, Ileana Piszk and Carlos

Rodó, in which pose thoughts on

several issues, including the sco-

pe of the power and role of ar-

tists in the contemporary con-

text.

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First I found the material to me!

Second, I fell in love with him and

so we start building a relations-

hip.

The materials used were glass

threads discarding of blown glass

factory Quilmes (Glassware Pro-

gress)

The technique is simple, thread

formed glass panels of different

frames, merged panels up and if

I go back to add more material

and baked again.

Then fractionated panels with a

machine for cutting glass and a

UV glue parts.

- What are your plans for this ye-

ar?

For this year the plans are wor-

king hard in my studio with my

students, finishing works are in

progress and continue creating.

In October partake of SOFA Chi-

cago 2013 exhibition http://

www.sofaexpo.com/

For the next issue of New Glass

Review, Corning Museum of

Glass invites artists, artisans, de-

signers and architects around

the world to submit images of un-

published works in glass.

The deadline for registration is

October 1, 2013. In late Novem-

ber or early December, a jury se-

lected 100 images from the pre-

sentations.

This is the link to apply: http://

www.cmog.org/content/new-

glass-review-juried-submission

Two years ago that I'm aware of

this call and thrilled me so much

involved not only does the Cor-

ning Museum of Glass and New

Glass Review magazine, which

always shows the last thing the

world is creating in artistic glass .

Two friends, group members NO-

NOMBRE (Ana Paula Gabriela

Ferrúa and Gargiulo) last year

they gave me an entry to call.

Of course I was very flattered

and a goal for 2013.

The process was simple, the work

was done, I made some very

good pictures, assemble the

presentation folder, write to CD

and dispatched by mail my dre-

am to the world.

- Is this the first time you partici-

pate? What does it mean in your

career to be part of this selec-

tion?

Making the decision to partici-

pate was very moving. When I

received the confirmation letter

from the selection could not be-

lieve it, I felt like a mime, a hug

to the soul and spirit.

I have not clear what it can me-

an in my career, I only know that

when I got the magazine the first

thing I looked for was the work

published with tremendous awe

and the second was to see how

many countries were involved

and to ensure that all of Latin

America was only Argentina

with my name was very strong!

- How did you develop the

work? What techniques you

used and glass?

Article published in Objects with Glass.

Since 1985, the Corning Museum

of Glass edits New Glass Review,

an annual publication in which a

jury makes a careful selection of

the highlights of the year.

They are present in this selection:

contemporary art, architecture,

crafts and design created by

students, emerging artists and

consecrated worldwide.

The jury changes every year and

can be composed of curators,

artists, designers, art dealers and

critics.

This year was published the New

Glass Review # 34. The jury's job

was arduous as they received

the participation of more than

one thousand artists from 48

countries, who submitted a total

of 2973 images (could be up to 3

images per person).

The jury was composed by Tina

Oldknow, Hank Murta Adams,

Jutta-Annette Page and Jeroen

Maes.

100 were selected important

sculptures, installations and works

in glass.

As the only representative of La-

tin America, was selected as our

friend, the Argentine glass artist

Edgardo De Bortoli with his

"Empty 1", certainly a big step in

his career and a stimulus to furt-

her advance her artistic.

Interview with Edgardo De Bortoli

- What was the process of parti-

cipation in New Glass Review?

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Edgardo de Bortoli in New Glass Review.

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Broken glass in the Vall D'Albaida.

The Blog of Josep Antoni, in the Le-

vant.

The editorial in this newspaper

last Sunday, about the disap-

pearance of blown glass, a tra-

ditional industry that dates back

at least five centuries ago, in

Olleria, hit the nail on the head

and should raise alarms but not

of depression and desponden-

cy, but rather the rising, those of

scanning the horizon and, with

the cords that have on hand,

keep creating and generating

wealth. But coming ashore.

It is shocking, as happened in

Ontinyent, where nearly a deca-

de ago tried to build a textile

museum, synthesizer serve to

showcase the evolution of an

industry that was also originally

purely traditional, but paths we-

re globalization waves as atta-

ched to the Chinese economic

tsunami, and the generic crisis of

2008 have finally destroy a once

flourishing industry in the second

half of the twentieth century.

L'Olleria, emulating the very idea

of historical collection was also

in this dynamic museum.

A thought held by respective

consistory, spurred on, no doubt,

by the desire to generate ad-

ded value to their cities, as is to

serve and add a focus more

tourist attraction.

A claim that, given the current

situation, indeed resembles ca-

pricious and secondary emer-

gency battery to priority munici-

palities must attend.

The domino effect of broken

glass in Olleria is undeniable.

A look at the next census decli-

ne recorded in the city since

2009, points to other conse-

quences that are afflicting a po-

pulation that, in the past deca-

des, when he lived days of wine

and roses, with a company like

that watered Mediterranean ex-

ports all over the world map,

with a rudder driven by Luis Ferri

or the new vision for the design

names like Silvia Garcia hea-

ded.

Were years expansive, 80 and

90, in which the cooperative to

be erected in the flagship of the

traditional glass blowing indus-

try, has joined and diversified its

products market by offering in-

novative ceramic others.

But as recently splendor today

to become dark and creaks.

The glass blowing while Olleria

exist in people like Rafael arti-

sans Abdon regular contributor

albaidí glass artist, Josep Santjo-

an, in numerous works and

sculptures, performed a duet, in

which the de l'Olleria brought his

glass blowing technique

"technique for manufacturing

glass objects by creating bub-

bles in the molten glass."

Thus it should be noted that the

birthplace of glass, even under

minimal survival is assured, at le-

ast a hint of what was in that pla-

ce, as presage Abdon entrepre-

neurial projects, one of the last

blowers the Mediterranean.

The second population in popu-

lation of the Valley, as happe-

ned in Ontinyent was strongly

shaken by the collapse of its

main source of wealth, the first

city textile and glass in the se-

cond.

The two have joined the general

crisis of the economic sector it-

self. But it is regrettable that at

the institutional level, with a rui-

ned Generalitat especially by

the murky and erroneous policies

"bac i clean" which boosted

Camps Zaplana and not get any

restorative lifeline.

And while imposing the "every

man for himself" with large youth

population, adequately prepa-

red, packing in all directions of

the global village, which is must

"invent", day by day, as most of

the population Cuba under Cas-

tro, to ensure survival with not-

hing buoyant outlook.

Page 40

Castillo de San José de

Valderas.

Avda. Los Castillos, s/n

28925 ALCORCÓN

MADRID

Nuestro Boletín tiene su

redacción en:

Al vidrio por la cultura

The Association of Friends of

MAVA was incorporated on Ju-

ne 21, 2003 in accordance with

existing management.

The purpose of this Association is

to promote, encourage and

support many cultural activities

in the broadest terms, are rela-

ted to the mission and activities

of the Glass Art Museum of Al-

corcon.

Our goal is to develop and co-

llaborate with other public or pri-

vate entities to promote, protect

and promote the art and culture. www.amigosmava.org

Presidente honorario

Javier Gómez Gómez

Presidente

Miguel Angel Carretero Gómez

Vicepresidente

Pablo Bravo García

Secretaria

Teresa Fernández Romojaro

Tesorera

Mª Angeles Cañas Santos

Vocales

Rosa García Montemayor

Evangelina del Poyo

Diego Martín García

Francisco Martín García

José María Gallardo Breña

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Page 41

Line of research. Images.

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Fig. 1 Fig. 2

Fig. 3 Fig. 4

Fig. 5 Fig. 6

Fig. 7 Fig. 8

Fig. 9