Volume II — Number 67 June 2014 With blinkers. M. A. Carretero. Another beach by the De- partment of Culture of our City. In one of the last days of last May called me first thing in the morning a fe- male voice identified as "Culture" to inform me that they could not authorize the concert the next day 20 be- cause a conference held at the MAVA. I drew a lot of attention that called for two reasons. The first, which we had not asked the Department of Culture of our City Audito- rium granting MAVA, if not to the Department of Arts and Museums, as was the MAVA competence of Cul- ture, but now it was the De- partment of Arts and Mu- seums, as already announ- ced in our Newsletter Edito- rial last April. Therefore, I should have called this new Department 's refusal to communicate to our request, which bears the date of entry in the Re- gister of the City last May 6. The second, which the Congress program Blown Glass Art and Science, the sessions ended in the mor- ning of the 20th, as it is sta- ted in the program that we included on page 11 of this Newsletter, so perfectly could be performed concert at seven in the evening of that same day. It exposed these reasons to my correspondent, merely repeating that they could not authorize the concert for Congress theme. As I have enough experien- ce in similar previous cases, and since logical reasoning does not seem to have a pla- ce in certain parts of the civil service establishment of our City, I suggested the possibi- lity of changing the date as reflected in the application by next Friday, is say , to the 27th of the same month. The answer, as was suspected immediately that I had to re- apply. A no-brainer as the top of a pine pleasure given by the bureaucracy that prevails in some areas of our City. Recall , on that pleasure by bureaucracy, the express prohibition of an official of the Department of Culture of the practice of making an ap- plication for authorization of the use of the auditorium MAVA for several dates, having to do it individually for each a concert and a month before the completion of each of them. And this, not by administrati- ve procedural requirements, but because they were "overwhelmed" with work and could not accept a docu- ment that would cause them to greater efforts. Kafkaesque but true. So last May 30 to submit a letter requesting Logging rectifying the date of the day 20 of 27. Expect not to have major difficulties with this new application. With this concert will finish the school year 2013/2014, having made over this period a total of nine concerts at the Auditorium of MAVA monthly and one cycle of piano com- posed of six concerts in the Auditorium of the Conserva- tory of Music "Manuel de Fa- lla" of our city, on a weekly basis. Our "MAVA Concert" pro- gram we consider it very im- portant for two main reasons: 1. We work to support the culture of our city by the type of educational con- certs we program and free. 2. We bring large crowds to our museum, so visitors to your permanent collection and, where appropriate, the temporary increase. On our last concert last May 16, conducted by the School of Music and Dance Dagan- zo, make a tour of the MAVA to the families of the stu- dents of this school visit, whi- le they performed prior to their performance tests. Satisfaction shown by these people for the tour and for the realization of the concert was more than evident. Nuestra sede: Nuestra sede: Castillo Grande de Castillo Grande de S.J. de Valderas S.J. de Valderas Avda. Los Castillos, s/n Avda. Los Castillos, s/n 28925 ALCORCÓN. 28925 ALCORCÓN. (MADRID) (MADRID) [email protected][email protected]Monthly Newsletter Newsletters Barbara Idzikowska
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He had an artistic encounter with a drawing by Raphael Santi lately.
His works are exhibited in the Glassmusem frauenau, Ger-many, the Glass Museum Sars- Poteries, France, the Museum für Modernes Glas Europäis-ches Orangerie Schloß Rose-nau, of Germany, the National Institution Ossolinski in Wro-claw, Poland, Muzeum Narodo-we, Wroclaw, Poland, Muzeum Architektury, Wroclaw, Poland and the Muzeum Karkonoskie, Jelenia Góra, Poland.
Driven by the desire to hone their talent and skills, seeks a fundamental understan-ding of the characteristics and behavior of the glass, on the basis of experience and knowledge.
The driving force of his art-work and design is his ambi-tion to convey their unders-tanding of the glass by the public. This affinity with the material is always present in his work.
His work is a combination of their professional knowled-ge, explicit sense of form and his great interest in the relationship between body and space.
www.amigosmava.org
Barbara was born in 1962 in the Polish city of Rozan.
He studied at the Academy of Fine Arts in Wroclaw.
Glass has fascinated him for over 20 years.
He has experimented with va-rious techniques and has made its own technological discove-ries.
Its main focus, however, has been to define and develop a personal expressive language, ideas to give material form.
A very important aspect of his work is drawing.
Clarity and simplicity have al-ways been their main con-cerns.
Continually explores the sym-bolic, formal, technological re-lationship between drawing and glass, space, architectu-re ...
Occasionally, is inspired by ot-her artists.
For example, he realized a mo-numental glass drawing inspi-red by a painting by Dürer that installs like a window screen in Ossoliński National Institute in Wroclaw.
Established artists. Barbara Idzikowska.
Young artists. Mariken Dumon.
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Mariken Dumon is a glass blower Belgian artist and de-signer with a focus on glass-blowing interest.
He studied, worked and taught throughout Europe, in
Belgium, England, Germany, Sweden, Italy, Slovakia, ... - for a unique experience in glass blowing. His work has been exhibited both nationa-lly and internationally.
In fact , so the titles of their presentations are so ... so ... in short, we will.
This was called yesterday "glass and steel". Let's see ... What are the sculptures , for that : I'll call you friday ...
And Friday has been called , has called back, come on. To-day is inaugurated as "Glass, dialectic and spelling" ...
Again the language, showing how something so alive, so changing that to the more substantive, more appropriate names, are familiarly alien ...
He his, his name is very close. Is Pablo Pizarro, PP, well, of course.
Presents and our choices as an artist just as the election campaign begins in Europe.
The Greek roots of the old continent, the cradle of Hercu-les, today these caves shelte-ring the expression of art in friendship that has brought us here ...
Son of Zeus and Alcmene, Hercules is the greatest hero of classical mythology.
Displaying the adjectives that are associated with it the choi-ce of these, its caves, is meant to locate the last exhibition of Pablo Pizarro.
Hercules says no further than the wikipedia this: "His extraor-dinary strength is the main at-tributes, but so are courage, pride, some sexual candor and a formidable force" Well, that, because sex ...
Force certainly need to have to fight and twist steel to get the juice glass .
Front Matter spirituality. Ying and yang. Body and soul that comes with what makes this guadalajareño Toledo (which stopped in our shared Madrid).
Child of sculpture (pun inten-ded) known as Siguenza tea-chers Veiga, Canfrán Lucena or Antonio Santos Viana ...
Then he knows himself (it re-cognizes) and begins to me-diate between the metal and glass to create their own "Synergies" (another expo) , " Inhospitable suitcase" (yet another) "Ferrum the specu-lum" (and another) or "Emotional Primitivo", and give the moniker ...
Because his is the right words ...
Talking with trellises cubes that grasp and release both a glass while we were out of our hands to put it directly in yours ...
In good hands. The Paul Piza-rro. Glass Fingers smile trans-parency and steel fingers
firmly to give some artistic con-victions as honest as they do in Mexico is much think of you ...
In Mexico, Portugal and the King of Madrid Ra ... And at the Farm of San Ildefonso and the School of Arts, in whose gar-den sculptures shadows give future artists.
This sample provides the posi-tive voltage between another artist with this name Conqueror and his findings in some mate-rials, glass and steel, which are already so his sons Albert and Silvia ...
Oh, the language ... That won-derful trap that sometimes got stuck .
It is the title of one of the pie-ces ...
The need to reflect on the hands of its author. These honest hands Firming glass and melt steel.
Good dialectical hands coun-ting what others are silent.
It's time for him to speak and I will count from the most elo-quent silence.
This swamp is inaugurated . Oh, and live San Fermin.
(Words spoken by a friend of the ar-tist at the opening of his exhibition at the Caves of Hercules, in Toledo, on the 9th of the month of May)
Roll Park Pedro Bernardo hosted this Saturday to kick off the events planned to mark the 'Blossom Valley' sponsored by the Association of Rural Tourism Gredos Tie-tar Valley.
Attendees at these events contemplated the outdoor ex-hibition of works of glass sculptor Javier Gomez, a na-tive of this beautiful town of Avila, who was responsible for clearing any doubts emer-ged about his technique of handling this material.
Mayor Pedro Bernardo, Al-berto Sánchez, did the honors to quickly give way to the president of the associa-tion and Deputy Mayor, Mar-ía González Coca.
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Javier Gómez outdoors.
titiveness Gredos Iruelas, Pedro Carrasco.
Praising a plan in the sense that "every day the council, the state and the Junta de Castilla y León strive to give a little more air to these be-autiful areas and that these dates are so full of colorful and flower".
Then attendees could taste the oil produced in the Coo-perative San Isidro Labrador Field, figs and honey lady neck of Jesús González de la Cruz.
Did not miss a tour of Pedro Bernardo portals guided by Margarita San Juan, who praised the typical architectu-re of the area.
This time was chosen to Pe-dro Bernardo for the first ce-lebration for being in the line of Upper and Lower Tiétar but mostly for their extraordi-nary nature: a beautiful envi-ronment full of forests, with a variety of species, called the Tietar balcony from anyw-here because the people can admire its unique nature and beauty as in the 24 villages that make up the Valley Tié-tar.
The president of the council of Ávila, Agustín González, did not hesitate to be part of the party and thanked the at-tendees for their presence: "We are in a place of nature contrasts” claimed to various mayors of the area and the manager of the Plan Compe-
Each year, the winning artist and composer at the Festival of the Eurovision Song Con-test receive a trophy to com-memorate their achieve-ment.
Since 2008, the EBU has had a permamente official trophy for the winners.
A piece of handmade art glass in the shape of a clas-sic microphone.
This year has been awarded for the seventh time.
The trophy 2014
The trophy was designed by Kjell Engman, Kosta Boda, who has worked in the glass art for over thirty years.
It has recently been focused on the artistic glass creations can be found in exhibitions worldwide.
The Trophy Song Contest is clear glass with sandblasted and painted, focused on the
design of a classic microp-hone, giving a wonderful fee-ling of nostalgia.
There is a slight variation on the trophy each year, as is done every time the name of the host city and the national flag of the host country, the size of the part of traditional heart -shaped logo is diffe-rent.
The trophy is housed in its own special box.
The current design of the trophy was first presented in the 2008 contest in Belgra-de.
There is also a copy on hand (made in methacrylate) for use in photo shoots, becau-se the original has proved very fragile in recent years.
In 2009 Alexander Rybak broke his trophy after recei-ving a few minutes when I got on stage.
Last year, the Forest
Emmelie trophy was loaned to the National Museum of Denmark, and must have be-en awful when they opened the box to find the trophy and glass was broken in two pla-ces.
Fortunately there was a bet-ter place so she could be re-paired by conservation ex-perts from the Museum and, expertly, he beat back the fragments.
Last week Eurovision.tv were the custodians of the original trophy, and took the opportu-nity to take some close-up photos.
It can ensure that good care of the trophy and the cash re-turned to its still in one piece.
Just in case , also took pictu-res with the trophy methacry-late , although in some res-pects it is more unique ... and you will never see on stage.
Among the families of students and regular at-tendees to our shows the Museum Auditorium was filled and everyone left very satisfied with the de-velopment of the event.
the museum experience and found it very interes-ting that our Association thanked visit.
As in the rest of the con-certs of this program, we inform viewers of the va-rious aspects of the lives of the composers of the works that were later in-terpreted.
The components of the three major groups that played at the concert are students of the school who have started learning musical instruments in an advanced stage of their lives, which is very admi-rable. Some of them hardly take more than a year learning the musical
On May 16 we had the pleasure of hosting in the Auditorium of Mava and within our "Concert MA-VA" program to students in the School of Music and Dance Daganzo, a town in the Community of Madrid that in the Hena-res Corridor.
Participated in this event four clusters of this Scho-ol: Youth Band, the "A Setback" the Group and the Group Saxos Clarinet Group.
Taking advantage of the young students who parti-cipated in the concert we-re accompanied by their families, gathered them and made them a tour of
The Costa Rican Association of Visual Artists (ACAV) inau-gurated its First Annual Hall on Wednesday April 23, 2014 at the Mint House.
The exhibition brought toget-her 76 works by 54 artists in a variety of two and three di-mensional techniques, cura-ted by Dinorah Carballo tea-chers and Rafa Fernández and were awarded 12 works.
Dinorah Carballo Awards for three-dimensional work.
I Prize. Projection Infinity Sil-via Monge. Made of glass.
II Prize. Silence of Li Brice-ño.
III Prize. Patricia Caress Ru-cavado .
Rafa Fernández Awards for three-dimensional work .
I Prize. Patience Arturo San-tana.
II Prize. Patricia Caress Ru-cavado .
III . Award. La Virgen de Ma-ricel Alvarado. Made of glass.
Dinorah Carballo Awards for two-dimensional work.
I Prize. Marcia Marble Halls.
II Prize. Magda 1987-2 Córdoba.
III Prize. The Year of the Horse Rudy Espinoza.
Rafa Fernández Award for two-dimensional work.
I Prize. Unforgettable Sunset Ileana Cubero.
II Prize. The window Tita Lo-rena Villalobos.
III Prize. Eco Carlos Vargas.
This important project was coordinated by Jeannina White with persevering sup-port of committee members Rudin Fernando Valdés and Rafael Perez.
Museology was conducted by Li and Patricia Rucavado Briceño.
The installation of the exhibi-tion was provided by Fer-nando Goldoni, Fernando Rudin, Iris hate, Jeannina
Blanco, Rafael Pérez Valdés, with the collaboration of Don Guillermo Calvo MAC
The ACAV thanks the partici-pating artists , without whose cooperation and participation would not be possible to ca-rry out this exhibition shows.
Also thanks the Commission project I Annual Hall, Com-missioners Dinorah Carballo and Rafa Fernández and all those present for their conti-nued support.
The National Glass Centre Foundation inaugurated the "dream of you" Patricia Azcárate in Chambers of Lights Glass Museum of Technology last May 16.
The exhibition will be open until July 6.
Patricia Azcárate presents his latest creations choo-sing glass as a support for painting, giving tondo sha-pe, the circle, as a metap-hor for perfection and full-ness.
For the author, the glass perfectly expresses the dialogue between matter and spirit, between the visi-ble and the invisible, bet-ween fragility and strength.
A support lacking visual weight and thus promote flotation of pictorial signs where color flows and re-leased.
For Patricia Azcárate, artis-tic expression, the need to create, arises from the ne-ed to dream.
As a result of a creative sense, the art of a dream, a desire, a few concerns that go beyond rational ap-pears.
It is a preconscious state, imagine the release of sha-pes, colors, and lights that give no response to that thought, to a state.
In creativity builds self, identity, therefore recons-truction is subjective.
The experience of artistic activity, constructs a bio-graphy of being.
Hence arises the decision to use the format of TON-DO (" Rotondo " in Italian), as a disc, circular painting, whose shape refers to the perfection, the fullness that reveals the creative dream.
No visual support weight, and yet promotes flotation pictorial signs, gestural pulse, color flow, and is re-leased.
The transparency of glass is added to the immateriali-ty of the dream, the drive
and let the spirit speak what unstable, uncertain, fluid and uncertain what the true essence of being.
Is the fragility of the mate-rial, and hardness, which embodies the spirit of the work.
Hands of innocence, serve as support for that future, that future, that uncertainty which is art.
Moreover these glass discs sit as a desk, daily landsca-pe of our intimacy, support our communication, dialo-gue and conflict, world of color in the solitude of a coffee.
The flat surface of the ton-do, respects the two-dimensionality of the pain-ting, and avoid any effects of eye strain, so that the pictorial material is deposi-ted in its objectivity, and its finitude.
These "tondi" dreamers are a "whole" unconscious full awareness of his being.
Whenever the clouds take a break and let the sun ta-ke center stage, the monu-mental hall of Old Town Hall becomes a light bath in which the rays are stai-ned red, blue and yellow.
It is the result of intensive rehabilitation which has go-ne to the old monumental stained glass, made by the Maumejean house in 1896, under local custom after conditioning in 1892 the hall to host a reception for Hispanic mayors to mark the fourth centenary of the discovery of America.
For three and a half months, a team of specia-lists has worked with the set, a piece of 14x14 me-ters forty years without wearing restored and evil stand the test of time: dirt, broken parts, decayed caulks, leaks, humidity and
structure lead had been deformed by the weight of colored glass.
The recovery , which cost 400,000 euros, began with the removal of the window following the codes of 'Corpus Vitrea-rum' (international code of monumental stained glass treatment).
The thousand glassy pla-tes, some with up to twenty different crystals, were packaged and siglaron.
They were then taken to a workshop where they were treated one by one hand.
The missing pieces were created with glass art, ba-sed on the plans of the ori-ginal window.
The remaining plates were cleaned, treated grisaille and color of each piece was recovered, with spe-cial emphasis on the most
difficult to recover tones : red, green and yellow.
In parallel, as explained the architect of the rehabilita-tion of the Casa de la Villa, Cleto Barreiro, another part of the team solved the humidity, regained the mo-numental stained glass overlay, regained access to the roof rails and turned his being the geometry of the leads that supported the structure.
In addition, the pieces are set with silicones which do not react to chemical or cli-matic agents, which repla-ce the old organic fillers that fixed parts by gravity.
Municipal sources explai-ned that it is studying the possibility of opening to the public some of the monu-mental areas of the Casa de la Villa when completed HVAC works and services that are underway, and are reviewed by the auditor.
magically, fun and educatio-nal with the help of charac-ters that gave life to this ma-nu-facturing in the eighteenth
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The Tech Museum of Glass presents a new way to dis-cover the history of the Ro-yal Glass Factory,
century through Dramatised visits.
These representations will be developed by the Tech Mu-seum of Glass, the first dome and furnaces ship, will take place every Sunday during June and July from 11am to 12:15 hr, prior booking essen-tial.
The weekend of the 7th and 8th of June in which also hosts the Baroque Market, an extraordinary visit will take place on Saturday, June 7, 17:15 hr 16hr.
The architects Massimiliano and Doriana Fuksas recently won the international competition to de-sign the Beijing Cultural Center, located in the business district of Chaoyang, the most important in terms of economic, industrial and
stainless steel, separated by an atrium of glass transparent and permeable, released a press re-lease by Studio Fuksas.
"Our building is a mirror, a screen or a canvas on which life in this area will play. 's Life and culture. Culture and life", said Massimilia-no Fuksas through the statement.
The Park, the surrounding buil-dings, people and bustle of mo-dern urban life is constantly re-flected in the mirror of the buil-ding facades, which highlights the context and tells the story of this urban neighborhood from its "skin" .
The start of construction is sche-duled for late June, near the Chengdu Tianfu Performance and Cultural Center, building also designed by Fuksas, whose com-petition won in 2012.
urban development.
The building is characterized by its 'skin' glass.
The project idea was developed under the concept of two simple volumes with mirror polished
On May 21 we visited the exhibition Silvia Levenson was installed at the Teatro Goya Multiespacio, Madrid, for the Congress, " Univer-sal Jurisdiction in the XXI Century".
The exhibition was titled "Missing Identity". An ex-hibition of sculptures, pho-tographs and installations in glass that could be visi-ted between 20 and May 23.
In "Missing Identity", Le-venson presents a series of works that allude to the absence of the bodies that exist only through objects, baby clothes, toys that we-re frozen in the memories.
Silvia Levenson says on this exhibition: "I was born in Buenos Aires in 1957 I was part of a generation that fought to change an unjust society in which mili-tary dictatorships and civi-lian governments alterna-ted short .
In 1976, the military staged the latest and bloodiest mi-litary coup. I was 19 and in August of that same year my daughter Natalia was born. She is the same age of young people who have stolen military identity.
With unprecedented cruel-ty, pregnant prisoners were killed after giving birth to their children and babies were given up for adoption.
What happened in those years has changed my life like most Argentine of my generation and has influen-ced my artwork.
An important part of my work is about "revealing" or make visible what is usually hidden or can not see and use glass as a material that represents that metaphor.
In Missing Identity on I in-vestigate space left these children, now adults, fami-lies of origin and in society.
The glass dresses, speak of an identity that still has not recovered; metal chairs show the empty spaces waiting to be filled.
Although the children of the disappeared are now adults, in my work speak for children and infants, be-cause during that period were appropriate and that the moment you try to heal.
Western society offers us a unique model of happiness.
Usually it is an allergic mo-del of old age and pain. In this society the Grandmot-hers of Plaza de Mayo in-troduced an innovative fac-tor to establish the identity of the grandchildren and through their work trying to restore the truth.
I love that in a society that does not value older people are just the Grandmothers who try to heal wounds by recovering the stolen identi-ty to the young children of the disappeared.
Some of these works will be exhibited in a solo show which opens on January 24, 2015 at the American University Museum in Was-hington DC".
He has also enjoyed a restful restoration a few years ago.
The beautiful church of Our La-dy of the Assumption of Saúca, which has another peculiarity worthy of our visit: the best al-carreña rural church portico preserved.
West and very close to Siguen-za are great Carabias porch.
The church of San Salvador is a building of the thirteenth cen-tury. Currently, the gallery re-tains the southern and western sections. Is beautifully restored and all its colonnade perfectly appreciated.
The gallery blinded Baides , a simple sequence of semicircu-lar arches supported on paired capitals which in turn rest on columns of very short and stubby stem, still resting on a foundation of stones that run, being broken and occupied by coarse rubble in two central ar-ches, allows us to assume that it was for them where the step is performed from the outside to the arcaded courtyard of this humble and beautiful temple.
And more to the west, near the mountains, the beautiful copy of Pinilla Jadraque.
On Saturday, the 7th, we will make a visit to the Romanes-que monuments that are loca-ted in the northwest of the pro-vince of Guadalajara, particu-larly in the area of Siguenza.
Siguenza and territory envi-ronment is possibly the most concentration of Romanesque churches and chapels can vi-sit in the province of Guadala-jara.
The first main stop on this trip will be in the town of Siguen-za.
Siguenza Cathedral is a com-bination of Romanesque ele-ments with others that can be classified as early Gothic.
But not only visit the cathedral church, but other churches that have preserved Roman re-mains interesting as those of San Vicente and Santiago.
The church of San Juan Bau-tista de Pinar Jodra is interes-ted in being a prototype rural Romanesque churches of Guadalajara.
Everything in it has the charm of the simple and harmonious.
www.amigosmava.org
the glassmakers I Recon-
quistarte Fair, held at the
Our activities.
In this section we detail the activities which take place this month, corresponding to the cultural visits related to the glass and outputs that we as provided in the program CULTURE 2014.
The Alhambra is, since last May, more accessi-ble.
The Palacio de Carlos V has opened a glass ele-vator, as a lookout, which facilitate visits to the disa-bled in this part of the monument area.
It is one of the first ac-tions has launched the PAG to improve accessi-bility.
The elevator, which con-nects the courtyard of the Palace of Charles V with the Museum of Fine Arts upstairs, responds well to the needs highlighted a report commissioned by the Board and the Obra Social La Caixa to the Study of Architecture - Rovira Beletta.
According to the study, 70 percent of the monu-ment could improve ac-cessibility, 20 percent of people with disabilities need the help of others and the remaining 10 can not be reached by ground conditions. Only they can make use of this elevator.
The architect Antonio Jiménez Turrets has be-en commissioned to meet the challenge of interve-ning Heritage Site monu-ment to eliminate its ar-chitectural barriers.
Not easy considering that the intervention should be consistent with the ar-chitectural features of the Palace.
According to the project report signed by the
architect, "the primary purpose" was "not modify any of the parts that make up the typology of the Pa-lace", so the elevator is located on the northwest corner of the courtyard and the west bay, "and has been studied so as to have minimal impact on the original structure".
The result is a cabin ma-de of glass "structure free from large due to a hy-draulic piston to drive said car via direct push" .
The Minister of Education, Culture and Sport of the Junta de Andalucía, Lu-ciano Alonso, director of the Council of the Alham-bra and the Generalife, María del Mar Villafranca and territorial director of Caixa in eastern Andalu-sia, Victorino Lluch, visi-ted the monument to check the operation of the elevator, which has recei-ved an investment of 461,967.51 euros.
Budget for 2014
On the other hand, has al-so been approved at the annual plenary meeting of the Board the action pro-gram and budget for 2014 provided for 26,917,353 euros, 5.05 percent more than in 2013.
Among the main actions undertaken Alhambra we-re academic career at the School of the Alhambra, the drafting of implemen-tation of Court of the Al-hambra and the proposed design of the houses of the Calle Real to the futu-re location of a service cafeteria.
After six years of work, a new building designed by architect Frank Gehry en-ters its last phase of construction.
It is the seat of the Louis Vuitton Foundation, to be located in the Park of Bo-logna, Paris.
Is as spectacular as ex-travagant and a new sample of why Gehry is still considered by many the worst living architect in the world.
According to Gehry, the building symbolizes a huge set of "candles re-presenting the cultural power of France".
It is primarily constructed of glass, with a new tech-nique for bending the ma-terial to incorporate more than 3,600 panels lining the structure.
The result is a building in the abstract on the Louis Vuitton Foundation will pay no more and no less
than 143 million dollars. Will open next fall.
143 million? That's one of the main criticisms that makes Gehry: becoming the favorite architect of a multibillion based elite creations, technically and aesthetically, leave so-mething to be desired.
The exchange came to volta-ge glamor ArteBA sample.
A former coach of IDB surpri-sed with a facility that reflec-ted through glass spheres fi-lled with crushed dollars and the dollar on the parallel market weights. Your goal is to draw attention to econo-mic problems such as infla-tion and the jumps in the ex-change rate , and to the li-mits of the monetary system.
The Venezuelan Alberto Echegaray Guevara lived for 10 years in Argentina, and spent a decade in the United States.
He worked in biotechnology and international banking, multi ventures include being coordinated social media campaign of the last anti-Chavez Hernán Capriles in Venezuela.
Now, in an area of twenty square meters in La Rural I ordered a scoop of Murano glass, produced in Venice, with ten kilos of hundred mi-lled dollars, equivalent to one million dollars, and ele-ven areas of glass also with a million dollars in hundred papers shredded, weighing
about 9.6 kilos each.
A sphere with dollar and ele-ven spheres with weights, a similar contribution rate was blue or illegal craneaba force for the installation, before the last run that took him past 12 hours relationship.
"Inflation is a critical issue and it is challenging to ex-press in art".
Echegaray Guevara asked two years ago to the Bureau of Engraving and Printing in the Treasury of the airplane leave the government out of circulation, destroys and then thrown away.
Requested authorization from the Federal Reserve and two bags of shredded a million dollars each were brought to the country.
The Central Bank of Argenti-na, however, he was told that the amounts of money that is destroyed and denied access to the discarded sil-ver are not reported.
Echegaray Guevara went to landfills where the Ceamse bags full of banknotes of all denominations were thrown weekly .
The hundred, which are most frequently being printed and replace Evita abound.
With bags of dollars and crushed pesos, began to stu-dy sacred symbols and reali-zed that there was something in the areas related to the perfection that was contras-ted with all that means mo-ney showing inside: imper-fection, dirt, energy con-sumption materiality.
A friend opened the gallery doors ArteBA, traditional ex-hibition just opened, and de-buted with a facility that not only reflects the obsession with Argentine dollar.
It also plays in the history of coins with a prophecy of the author: the brand with a S crossed by a nail to them tat-tooed slaves and ended the dollar sign symbolizing today, the world of electronic pay-ments you may end up evol-ving biochips grafted in bo-dies like today are being ap-plied in the health system of the United States. After Arte-BA, this businessman-artist aims to bring similar facilities around the world.