Jun16gb

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Good sensations. M. A. Carretero.

and we proposed to extend the participation in our program "Know Your Museum" at two schools Adults that exist in our town, invitation that will take place immediately.

He also showed his support towards the revival of our "Concerts in the MAVA" program that has as its goals the promotion of classical music in our town and attracting people to our museum, and whose realization is, as we have reported on other occasions, totally free.

In this sense, we are still waiting for written confirmation of our City on the prohibition of using the auditorium of the Museum for the realization of this program we announced last month by telephone in January.

In another vein, was for us a source of profound joy performing in last May the three glassmakers meetings in L'Olleria, National Glass Centre Foundation in La Granja, and Sitges.

We were able to be present at the last of these meetings and feel a great sadness of not being able to go to the other two scheduled events, as had been our desire.

On page 5 of this Bulletin we refer to these events and the gratitude we should show the Associacio Catalana de les Arts del Vidre (ACAV) for

its efforts in organizing these meetings and for the warm welcome they shown to us in Sitges .

We hope and wish that this program glassmakers meetings will consolidate in the future and new locations of our country to join these events, which both help the expansion of the culture of glass, the crowd of glassmakers who otherwise it would be difficult to achieve because, at the institutional level, we support the craft and artistic glass sector in the difficult defense of their existence.

It would be desirable for our party tools such as those that already exist on Facebook, as FEAVI. Federación Española de Asociaciones de Vidrieros, AVANCE, AVIPA, de la Asociación de Vidrieros Andalucía, or other implement, to serve as a platform of knowledge of the activities carried out by different glass artistesanos our country.

Our Association to your requests often come from people who need information performing different jobs with glass and glass workshops who do not know who can help them in their claims.

Pages such as the above, or the like, could be tribunes of information that generate business activity for glass workshops.

Newsletter

Nuestra sede:Nuestra sede:

Castillo Grande deCastillo Grande de

S.J. de ValderasS.J. de Valderas

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

28925 ALCORCÓN.28925 ALCORCÓN.

(MADRID)(MADRID)

[email protected]@amigosmava.org

Monthly Newsletter

In connection with our interest that all residents of Alcorcón know the characteristics of its Museum of Art Glass, as stated in the editorial of our Bulletin last May, we call upon the various political groups within the City of our City to request their cooperation in order to design a strategy to enable all our citizens aware of the existence of MAVA, this heritage is its exclusive property, that the visit, both the permanent collection and temporary exhibitions, it is free, along with the Tech Museum of glass in La Granja are the only exhibition spaces that exist in our country where sculptures in glass and also proud of the existence of MAVA shown.

So far, the only political group that has responded to our request has been to win Alcorcón, with whose representative, Henry Ferris, we held a meeting late last May.

Enrique told us the full support of his group to make the inhabitants of Alcorcón aware of the existence of the museum

SUE PARRY

Page 2

C O N T E N I D O :

Piece of the month 3

Established artists 4

Young artists 4

Meetings glassmakers 5

Javier Gomez in Marbella 6

Cultural heritage 7

Activities Museums 8

Activities on the MAVA 11

Glasses Castril 12

Historical glass pieces 13

Pablo Pizarro in Toledo 14

By Pedro Ampudia 15

Roman glass in Museums 16

News 17

Culture 2016 17

Mexican art 18

Music with beakers 18

The glass in museums 19

Recycling 20

Cultural visits 21

Culture 2016 program 21

Exhibition Flyppy 22

Other trends 23

Radiation pilots 24

With glass berciano 25

Screen printing on glass 26

A suit for each wine 27

Campana brothers 28

How do 29

Exhibition at Cadalso 30

No glare glass 31

Blowing art in Cuba 32

China launches viewpoint 33

Celebration in Corning 34

Anniversary Museum 35

Glass industrys 36

Acristalia grows 37

Collection VIKTIGT 38

Board Of Directors 39

Important issue: INTELLECTUAL PROPERTY LAW (LV) MAC. Important issue: INTELLECTUAL PROPERTY LAW (LV) MAC. Important issue: INTELLECTUAL PROPERTY LAW (LV) MAC.

Intellectual

Property Law

Additional provisions.

Third. Revision of the amounts of Article 25.5

Ministers of Culture, Industry and Energy and Commerce and Tourism is empowered to adapt, every two years the amounts set out in Article 25.5 to the market reality, technological developments and the official index of consumer prices.

Quarter. Frequency of remuneration Article 90.3 and Delegalization

The provision of the authors of the

amounts collected by way of compensation proportional to income, set out in Article 90.3, shall be made weekly.

The Government may amend the said period.

Fifth. Notifications in the process of safeguarding intellectual property rights

1. The Ministry of Education, Culture and Sport, within the scope of its powers, ensure the safeguarding of intellectual property rights against infringement by the services responsible for the information society in the terms set out in Articles 8

and related provisions of Law 34/2002 of 11 July, services of information society and electronic commerce.

2. In procedures for safeguarding intellectual property rights against their violation, whose jurisdiction has been assigned to the Ministry of Education, Culture and Sport, when presenting the cases provided for in Article 59.5 of Law 30/1992, or address you known the person concerned for notification purposes is outside the territory of the EU practice of notification will be made exclusively by a notice published in the Official Gazette, in the terms set out in that Article.

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

Spectrum announces closing.

www.amigosmava.org

One of the leading American manufacturers of artistic glass in northwest Pacific coast has announced on May 11 that it will close its doors.

Spectrum Glass, based in Woodinville, Washington, is one of the top three producers of art glass in the region.

It is a competitor of Portland's Bullseye Glass, and

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No response from the Department of Culture.No response from the Department of Culture.No response from the Department of Culture.

17-01-13. Requesting inventory of the components of the

permanent collection of MAVA.

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

glass offered by the President of the Spanish Association of

Science.

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

Community of Madrid to install social services in the MAVA.

sometime collaborator with another firm Portland, Uroboros.

In a written statement, the company said a combination of weak sales after the recession and a new EPA regulations on emissions have made it economically feasible to continue operations.

The company plans to continue manufacturing glass for a period of 60-75 days. After that, it will continue selling its inventory before closing its doors.

Glassmakers of Portland are in the midst of a partial strike for the manufacture of certain colors, before new pollution controls are installed.

See article UrbanGlass.

SPECIAL INTEREST:

Part of the month

Meetings glassmakers

Javier Gomez in Marbella

Cultural heritage

Activities on the MAVA

News

Our activities

Glass recycling

How does

Page 3

Piece of the month. Gary Beecham.

Much of the work of Gary

has been heavily

influenced by the old

glass, both in form and in

the art.

The ancients sought

glass as a jewel of plastic

material, a substance that

could be colored,

stretched, melted and

was carved by the

manufacturer.

Gary has experimented

with many ways to

manipulate involving

blown glass melting and

cutting.

During his career thirty

four years it has become

a well known glasses,

thick-walled, heavy artist.

To get the images in

these parts, the first thing

it does is a wide range of

colors of the bars

overlap.

Some pieces contain

textile patterns that are

then introduced into the

glass piece as it is being

blown, creating the

illusion of glass "fabric"

floating in the bowl of the

boat, often with a second

or third pattern that

appears in one of glasses

reflection surface.

Others, incorporating

complex millefiori, are

formed in brightly colored

mosaics.

The images of these

pieces have been

suggested by influences

as divergent as

astronomical forms,

underwater creatures and

figures of a Persian

carpet.

Gary's work is

appreciated

internationally.

It is represented in

museum collections and

corporate entities

worldwide.

Through the years, he

has maintained a strong

presence in Germany,

where he had a solo

exhibition in 1984.

It has a gallery in

southern France, where

he is an outstanding

artist.

In 1998 he received the

Silver Award at the

International Exhibition of

Glass Kanazawa in

Japan, where he has

exhibited regularly since

1985.

In this series, Gary says,

"Since I was a child, I

have been fascinated with

the concepts of space

and time avid reader of

science fiction.

Hubbell Space Telescope

photos showing ancient

galaxies at the edge of

our present visible

universe planted the seed

of my series in glass and

metal. "

The work outlined in the

MAVA is entitled "Infinite

crack".

www.amigosmava.org

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Page 4

Established artists. Sue Parry.

glass and shaping the

piece while hot.

Adding polished facets

when the glass has cooled

reveals the contrast

between rough and smooth

surfaces and creates a

window into the fascinating

inside the glass.

Emerging artists. Magdalena Paukner.

www.amigosmava.org

Sue Parry established his

studio in Ruskin Glass

Centre in Stourbridge (UK)

in 2005.

Sue has a reputation for

high quality glass

imaginative study.

Known for his abstract

sculptures cast in sand, his

work is strongly influenced

by a past in the west of the

country and his love for

geology and sea childhood.

Through a continuous

process of experimentation

and refinement, Sue has

brought a new dimension to

sand casting.

His technique involves the

capture of oxides within the

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Zwiesel, he began to make a

name for itself early in his career

by participating in exhibitions and

competitions.

So it came to be selected from

150 candidates to participate in

the international project "Gärten

von Frauenau Gläserne" (The

Garden of Glass Frauenau),

dominated by glass artists and

other prominent mode.

In 2008 he became assistant

Cornelius ReeR in Nuremberg,

later obtaining his master

craftsman certificate in 2011.

In September 2013 he took the

step to independence as an

independent glass artist.

The glass artist Magdalena

Paukner was born in 1985 in the

small Bavarian village of

Lindberg and is a representative

of the young generation of artists

in the scene glass of Bavarian

Forest.

After completing his training at

the renowned Glasfachschule

Our web

Our web

Page 5

www.amigosmava.org

Meetings glassmakers.

In last May 3 glassmakers meetings

around the figures of Martin

Janecký and Ondrej Novotny were

made.

The tour of these two outstanding

figures of art glass was organized

by the Catalan Association of les

Arts del Vidre (ACAV), whose

representatives, headed by its

President Jordi Vidal, have traveled

around 1800 km in a van.

The first of these meetings was

held in the Valencian town of

L'Ollería on 7 and 8.

As we have reported, this meeting

was a complete success, both

organizational and public

attendance.

Two exhibitions, one at 18pm were

made. and another at 24 h., and

Martin each made a creation

Janecký live under the watchful eye

of hundreds of people who were

impressed with his work.

As Martin explained the same

"mine is a figurative work, when I

create my pieces inspired by the

people around me, and I can say

that also has some

autobiographical".

In the morning, Martin Janecký

visited the Town Hall where he

signed the book of honor. The

mayor of l'Olleria wanted to

highlight the glassmaking tradition

of this people, "the mid-twentieth

century, virtually all families there

were people who were devoted to

glass, so for us it is an honor that a

person of international prestige as

Martin come to teach his art. "

The meeting was held in the

Mediterranean, one of the glass

companies have resurfaced in

recent times in l'Olleria hand of

Abdon family.

Councilman of Culture wanted to

thank the involvement of

businesses in this initiative "thank

Martin for l'Olleria because it is very

important that a teacher like you

come to promote the manufacture

of glass, again in our people '.

Martin showed Janecký delighted

to be in l'Olleria, and offered to lend

their support to l'Olleria again

become leader in the manufacture

of glass.

9 and 10 a second meeting in the

Royal Glass Factory of La Granja

(Segovia) was performed.

At this meeting Martin made

several blown glass figures among

which highlighted a skull, a human

head and hand.

On day 14 the last meeting was

held in the courtyard of the

Museums of Sitges, in a tent facing

the sea.

A beautiful place attended by many

visitors to this mythical Barcelona

town, but caused some difficulties

in making the figures with blown

glass, as gusts of wind did not

allow adequately controlled

temperature glass handling.

However, Martin Janecký could

fascinate audiences with his refined

technique in the use of the

blowpipe.

In this third meeting they were

attended by our President and our

Secretary, taking advantage of his

stay in the Tarragona town of Salou.

Such a stay is not allowed, as had

been his desire to attend the

previous two games.

Our representatives were invited by

members to share food ACAV

fraternization held in one of the

restaurants on the beach in Sitges,

thank invitation, they and all

members of our Association.

The Friends of MAVA we have long

been insisting on the need to

strengthen such meetings to

promote the friendship of the

components Glazier world of our

country, providing the public with

knowledge of stained glass

techniques and glass culture as a

whole, of which it is much needed

Spanish society in general and to try

to open my eyes to the institutions

and entities invigorate culture to

show you are receptive to the

extraordinary qualities that are

integrated into the art made with

glass.

Apparently, for next year it is to try

not only redo the meetings this year,

but also incorporate some other, as

in the case of the Basque Country.

From these pages appreciate and

value the effort dramatically that

have demonstrated the organizers

of these events so that all of them

have obtained a great success and

are the seeds of other future similar

events.

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View photos

Page 6

Javier Gómez in Marbella.

www.amigosmava.org

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Timeless Gallery, Marbella. Puerto Banús.

Page 7

Cultural Heritage of Humanity.

The new direction of the Real Fábrica de Cristales de La Granja preparing his candidacy for Cultural Heritage for its value as industrial heritage of a complex "since its inception until now has maintained its initial function. There are only three similar factory complexes across Europe ", explained in the Royal Factory.

No official date for the submission of the application but an important step are the works started in the furnace ship the first dome.

The aim is to change the current floor, and adapt the network of pipes, passageways, stairs and underground passages in this resort area.

"In some pipes we assume that served to access and drain cleaning ovens, connecting corridors, stairways interconnecting various parts. Really we do not know, and hence the importance of the works, which will allow us to advance our knowledge of how the plant was originally. We assume that there are

passages that connect perhaps with old homes of employees, but until we can access and clean not know "they explain.

Currently, this whole area, about 600 square meters under the first furnace, are inaccessible.

There are blinded spaces and shoring everywhere. "With the works get enable it, at least, so they can access researchers. Later it would be nice to incorporate as visitable area, but will require more investment. "

A key to endorse the merits of the Royal Factory and access the exclusive club of "world heritage" of a complex that except for a couple of decades, between 60 and 80, documentary work has remained glassworks, beginning the activity Real Site in 1727.

1770 is the current construction of over 16,000 square meters, after a devastating fire and where the activity continued until 1911, when it passed into the hands of Hope cooperative, which gave way

to the French window of Saint Gobain.

In 1963 the activity starts in the new factory, leaving the old unused and have been abandoned to the constitution, in 1982, the National Glass Centre Foundation, led by the Ministry of Education and Culture.

In 2014 the Foundation initiated a complete restructuring passing through successive rehabilitations and improvements in different parts of the complex facing a redefinition of museum space and work areas visitable.

Thus, in December 2015 the renovation of the roof and rehabilitation raspamiento room, to what is now added the work solada change and adaptation of basements in the area of the first furnace is concluded.

In parallel, the new address, which holds Blanca Garcia Agulló since January 2016, looking for a management model via visits, events and parts sales, improve levels of self-financing resource.

www.amigosmava.org

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Page 8

Activities Museums I.

www.amigosmava.org

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Page 9

Activities Museums II.

www.amigosmava.org

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Page 10

Activities Museums III.

www.amigosmava.org

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Page 11

Activities on the MAVA. Conference.

www.amigosmava.org

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Painting into the third

dimension in glass.

Barry Wolfryd's

experience in Murano

In September 2014, the

visual artist Barry Wolfryd

(Los Angeles, 1952)

faced the challenge of

turning the iconographic

and symbolic elements of

his painting, glass

sculptures.

The project came

suddenly, and enlisted the

help of teachers

workshop Adriano

Berengo in Murano.

The American artist -

Resident in Mexico for

over 35 years, will share

with the audience the

emotional and aesthetic

effects experienced in

that his first contact with

the glass: how she

learned in a few days to

shape their concepts in

glass; how glass molded

it to him, forcing him to

look at his own work from

another perspective, and

how the material was

captivated forever.

At the conference,

images of the process

and the resulting pieces

are also displayed, which

formed part of an

exhibition entitled

"Objects dangerous"

(2015, Black Hall Gallery,

Puebla, Mexico).

Thursday, June 9 at 19

am in the Hall of MAVA.

Free access until full

capacity.

Page 12

www.amigosmava.org

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Study glass Castril de la Peña (I).

its originality was under the

corporate seal of the Castril

industry.

Are handmade pieces, many

of them related to the

Esparto: carboys, cans,

bottles, jars, bottles, cow

tongues, etc. He highlights

the famous "jarrita Castril"

with characteristic decoration

based filaments, pinching,

bumps, rings, lanyards,

bumps etc.

Today, as the centers of the

Houses of Pinar de la

Vidriera and Puebla de Don

Fadrique (Granada) and

Maria (Almería), the center

of glass production Castril is

in total abandonment.

It has recently been trying to

recover this centenary office

in Castril by creating the

Andalusian Glass Centre, a

workshop created by the

Centre José Saramago and

support of the Municipality of

Castril, and the Andalusian.

However, after several

months of activity, the

workshop closed in 2011.

The geological study of the

site has allowed us to locate

and sample the quarry Cave

Arena, where silica sand

was mined for the

manufacture of glass in

Castril.

In this quarry, dug at the

base of bioclastic

limestones, marks observe

the work of sand mining.

At present the quarry is

inactive and has been

boarded up entry and the

different existing operational

fronts inside.

the Castril also

manufactured in caramelized

tone.

glass furnaces were installed

in Castril and Puebla de Don

Fadrique in the province of

Granada, where glasses

were made clear oriental

style, without any

manifestation yet of the

Venetian influence.

They are characterized by

their dark green color, the

thickness of its walls and the

presence in the vases

tapered neck or spherical

(typically made from the XVI

century) with several

handles with plenty of bends,

related with the Syrians

glasses XIV century ,

especially those known as

mosque lamps

(Frothingham, 1963).

Pinar de la Vidriera

(Huéscar), Puebla de Don

Fadrique and María

(Almería) centers were

manufactured glass pieces

whose technique was similar

function and aesthetics, and

INTRODUCTION

Castril ovens glassmakers

appear in ancient documents

as some of the production

sites of major glass of

eastern Andalusia from the

Middle Ages to the

nineteenth century.

It was Hernando de Zafra,

secretary of the Catholic

Monarchs, the successor

after the Reconquista, the

most important glazier center

that was in Andalusia.

This is reflected in the

reports of the provincial

archaeological museums

(Excerpts 1948-49) 1950,

which also can be read: "The

glass melting tanks Castril,

Puebla de D. Fadrique, Pinar

de la Vidriera, in the province

of Granada , and Mary, in

Almeria, very famous

especially in the Muslim era,

continued its work until the

nineteenth century, when

they disappeared to

industrialize these articles ".

In these glasses highlights

the different shades of green,

Page 13

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Historical pieces of glass.

The Royal Glass Factory of La Granja and Glass Factory New Baztán had in common some aspects of the history of glass dating back to the first half of the eighteenth century.

Both manufacturing born thanks to the reformist ideas that the new dynasty implanted in the Peninsula aimed at supporting and promoting the industry.

Families glassmakers of both places shared their traditions and knowledge, as was the case of the master Ventura Sit, originally from Catalonia, who, after working in New Baztán and closing of the glassworks founded there by Goyeneche occur, he moved to La Granja de San Ildefonso to establish a new Glass Factory in 1727.

The exhibition illustrates the close ties that existed

between the two factories and various stylistic stages of production of the Royal Glass Factory, with special emphasis on technical advances and the types of production.

The exhibition includes works of historical glass, tools, work tools and molds, in order to publicize the main techniques of flat and hollow glass that took place in the eighteenth and nineteenth century in this manufacturing, Diderot and d'Alembert and they explained in his famous Encyclopedia.

Interpretation Center of New Baztán, opened in 2003 and housed in an old warehouse linked to the Palace of Juan de Goyeneche, aims to inform the public the figure of the promoter of the project that gave rise to -John of Nuevo Baztán Goyeneche-

, architectural site planning conducted by José de Churriguera with industries that were generated in this population and its surrounding territory, and the historical context in which they developed.

The Interpretation Centre provides an annual program of activities aimed at all audiences, with the organization of temporary exhibitions in collaboration with other cultural institutions, with the aim of bringing the visitor the draft Goyeneche and promote cultural tourism in New Baztán.

Hall of the Juan de Goyeneche Palace.

Plaza de la Iglesia, s / n. New Baztán.

Until 17 July.

Free and free assistance.

Limited capacity.

www.amigosmava.org

Page 14

www.amigosmava.org

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Exposition of Pablo Pizarro.

Artists Pablo Pizarro and Javier Ugarte inaugurated in The Caves of Hercules, of Toledo, the exhibition "Between Smoke", an exhibition of sculpture and painting with which aim to "stir consciences" about the situation in which forests are "in Spain and the world. "

To this end, exhibited in The Caves of Hercules 42 pieces of sculpture and painting made from recycled materials, which are integrated "in the life cycle itself," as explained to Efe the artist Pablo Pizarro, a member of our Association.

Furthermore, Pizarro has advanced to the exhibition will be traveling and tour several regions, including Extremadura, Asturias, Madrid and the Balearic Islands, as well as European countries like Austria or Germany.

Its goal is to raise public awareness of "the

deterioration suffered by forests and culture linked to them" because these natural spaces are "generators of life, art, customs and respectful habits" that should not be places "conquered, abused or vilified, "he pointed Pizarro.

In this regard, he said that with his works launch "a cry of warning, but also of hope" in this situation, but both believe that the human being "is always capable of the best" to reverse the current situation of lack of protection forests, "plagued by fires and overexploitation".

"Not only the forest is lost but also the cultural and natural heritage linked to it," said Pizarro, who added that they want to be a "synergy" so that "all people who are struggling around this issue ends joining ".

Pizarro has also commented that the opening of the exhibition coincided with others related to the meaning of his work, as the premiere of the film "El Olivo" by Iciar Bollaín creations.

"We have put all somewhat agree without knowing each independently, to try to remove a little conscience," said the artist, who has expressed his "surprise" by the great interest shown in the exhibition in different spaces promote roaming.

Although it is open to the public since last May 3, the exhibition was officially inaugurated on 13 in The Caves of Hercules, a room located in the historic center of Toledo, which has be open until the 28th of may.

Page 15

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www.amigosmava.org

Become one of the most

recognized today Spanish

video artists, the work of

Eugenio Ampudia (Valladolid,

1958) delves under a critical

attitude with the established

system of art, the very idea

of artistic process, both the

meaning of the work itself as

traditional mechanisms of

promotion, contemplation

and interpretation.

Ampudia is based on an

intelligent combination of

formal and conceptual

soundness risk,

transgressing the boundaries

between audiovisual areas

and practices associated

facilities and sculptural.

The facility with which

reaches Burgos contains the

key ideas of his creative

impulse: his critical attitude,

analysis of the mechanisms

of production, promotion and

consumption of art and the

leading role of the viewer as

beholder, completer and

interpreter of it.

The sample of CAB brings

together some of the

emblematic works of its

production. Thus they could

meet their "encapsulated

Exposition of Eugenio Ampudia.

vallisoletano artist, a state of

redefinition also applies to

their own artistic practices

that serve as trigger

mechanism of thought

structures and the system we

inhabit moves.

Trained at the School of Arts

and Crafts in Zaragoza,

Eugenio Ampudia has

participated in the biennial

Singapore and Caracas, and

his work is in the collections

of the MUSAC in León, the

Artium of Vitoria, the La

Caixa Foundation, the

National Museum Centro de

Arte Reina Sofía and IVAM,

among other centers.

From 10 June to 18

September.

drawings" balls handmade

blowing glass with black ink

inside together is attached to

a manual for collectors take

home and pull hard on a

wall ; the action is completed

by sending a photo gallery of

the result, the artist certifies

as his drawing, in an act of

democratization and

expansion of the role of the

artist.

videos and Museum and

Space, which addresses a

critical way the expansive

and reproductive vocation

towards brand-museum in

the dynamics of international

cultural industry, and other

pieces that reveal that space

in constant reinterpretation in

will also be shown the

Page 16

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The Roman glass in museums in Madrid (XVII).

Eduardo Alonso Cereza

We have a clear example of

the close relationship

between the workshop

Malqata and El Amarna.

The chemical analysis

performed on selected

samples of glass from

Malqata make it impossible

to differentiate which are a

workshop and those who are

of another from a chemical

standpoint; the only

difference is the existence of

a greater variety of raw

materials in the glass from

Malqata respect to those of

El Amarna.

In Egypt the crafts were

passed from parents to

children. This form of

acquisition of the knowledge

necessary part of the

common made repeated

throughout antiquity.

In the production of glass

Egyptian Alexandria highlight

its importance in the

Hellenistic period is

manifest; the attempt to

reconstruct this important

role due to investigations

Donald Harden collected by

Tommaso De. In Alexandria

you are always attributed a

key role in the production of

glass of great value, whether

is it the only production

center, and therefore the

origin of a trade wide

expanse, as if viewed place

from which They spread

westwards models and

techniques. The Roman

craftsman glazier would be

the result of an extraordinary

mobility of workers from the

east to the west, a fact

corroborated in part by

epigraphy. To them the birth

of glass workshops in the

West is due along with

Syrian craftsmen. The

Alexandrian glassmakers

transmitted to Rome

techniques for the

production of high value

tableware, cameo glass, glass

with gold ribbons, the millefiori

glass notch, incision and

colorless glass.

The Egyptian craftsman rarely

express the authorship of the

piece, and the number of

them to Pharaoh rises

category gratitude for his work

is scarce.

The tomb will merge features

that tell us how to be the

Egyptian man. The houses

have less material and written

information, but they give us

to know details of its

occupants and society to

which they belong. In the Old

Kingdom artisans usually they

make move his tomb utensils

that distinguish them socially.

Individuality communicate

more concretely in the tomb is

a prerogative of which enjoy

high officials and a few

craftsmen, the most

appreciated in his time

because of his abilities.

Page 17

N E W S (I).

Culture 2016.

Presentation of Saint-Gobain.

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its son Philip, first king of the

Bourbon Spanish branch, who

reigned under the name of

Felipe V.

The big dolphin was, in turn,

son of Louis XIV, a collector of

similar objects that have died

before his son, would have

gathered a collection of

unprecedented magnitude.

Last May we attended the

lecture he gave Elena Arias

Riera, curator at the Museo

del Prado, about the collection

of "Treasure of the Dolphin"

collection is preserved and is

visitable in the basement of

that Prado Museum in Madrid.

The conference was held in

the Spanish Gemological

Institute within the cycle of

conferences that are being

taught in the Institute.

Popularly called "Treasure of

the Dolphin", or, as the old

inventories, "Alhajas Dolphin"

is a set of precious vessels,

from the very rich collection of

Luis, great Dauphin of France,

came to Spain as a legacy of

HOME DECOR was

inaugurated on May 18 and

will be open daily from 11am

to 21pm for five weeks, until

26 June.

In this new edition Saint-

Gobain Building Glass has

collaborated with different

projects using driveshaft as

the concept of "reflection".

That's why we have tried to

take this opportunity to

present to the public its latest

innovation, the SGG

MIRALITE® PURE new

generation mirror made of a

water-based paint. Saint-Gobain Glass Building

presents its range of glass for

interior decoration in the 51 edition

of CASA DECOR held in Madrid;

HOME DECOR, with 3,955 m2 and

60 spaces in which more than 100

professionals, interior designers,

architects and artists involved.

Page 18

N E W S (II).

Mexican craftsman.

www.amigosmava.org

Music with glass cups.

different sizes and

textures, plus he himself

performs for the public to

see how these products

are made.

"Consumption is given in

proportions depending on

how you work, see the

torch and people come and

buy a detail work because

if you do not appreciate it,"

The artisan Jose Luis

Rodriguez de la Fuente,

originally from Puebla

(Mexico), has traveled for

five years for different

municipalities of Michoacan

showing his figures drawn

glass.

From May 15, this artisan

exhibits in the garden of La

Purisima their works of

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he said.

Rodriguez de la Fuente

says it has more than 30

years doing this work, with

which it has known

different parts of the

country. He has also

participated in various fairs

in various states of Mexico

and the United States.

Petr Spatina runs a "Glass Harp" or "glass harp".

This Czech musician 41, a native of the city of Šumperk,

impress an audience marveling observing the execution of an instrument made up of glasses of ordinary glass.

Before becoming a harpist,

Spatina was a plumber, but the music attracted him since childhood and decided to leave the job to pursue what he now loves.

"When I make music, sometimes I feel like the world around me disappears."

Petr's musical career began at the age of 7 years old when he learned to play the piano itself. His mother taught him the accordion. He was playing these instruments until he found the instrument of his soul: a harp unique glass, he dominates like no other and played exclusively by a few people in the world.

(View vídeo)

Page 19

The glass in Museums: Kuchler Haus.

In Weigelsdorf in Lower

Austria, District of Baden, the

Haus Kuchler has long been a

focal point for lovers of art

glass.

Now there is an associated

museum, where you can

admire not only the fascinating

art, some may learn about

working in a glass factory.

The glass castle Kuchler Haus

is a museum with hands that

appeals to all the senses.

Opened in late 2012, it is still a

secret. In the design "art glass

redoubt" of love and detailed

the visitor to experience the

world of creative production

and glass processing in an

exciting way.

The glass castle is interesting

for both children and adults.

At various stages, the history

and art of the production of

special glass is explained in an

interesting way.

A short film also gives an idea

of the work of glass artists.

By ingenious lighting effects

fascinating color moods are

created, and artwork appear

more vivid and impressive.

"We have always thought that

revive the tradition of

glassmaking and we want to

preserve it for future

generations," said Hilde

Kuchler, initiator and heart

glass castle.

After 40 years in business, the

family knows how to keep love

alive the finest glass art and to

teach with enthusiasm.

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Our web

Page 20

Recycling. The return of packaging.

The Valencian Government has

sparked public debate after

announcing the establishment by

2018 of a new packaging recovery

model that will work in parallel to

the present, based solely on the

selective collection through green

points. The return system, known

by its acronym DRS aims to end a

common sight on the streets, parks

and beaches cans and abandoned

bottles that pollute the marine and

terrestrial environment. The

solution advocated by the

Environment and that support

organizations like Greenpeace and

Ecologists in Action, introduced a

tax of ten cents on drinks usually

consumed in the street and that the

consumer can recover if you return

the waste to any establishment

feeding.

The model resembles that was

already in place for years for glass.

But with nuances. In the 80s, the

industry Reusing returnable

helmets. The new system, in fact,

will not achieve much. The

destination for most of the

recovered waste will be the same

recycling plants in the GIS, the

current model.

Detractors and supporters SDDR

exhibit many conflicting reports to

defend or discredit their opponents.

But the collection system influences

the rate of recovered packaging?

The figures indicate that at least not

decisively. The key to success lies

mainly on awareness and citizen

collaboration. The proof is that

Eurostat, the statistical service of

the European Union, puts Belgium

at the head (rescues 97% of the

total), with a similar Spanish model,

but provides fines for those who do

not separate properly.

Spain is still far -in around 75%,

although it should be noted that its

trajectory is much more cutter,

although each year improving their

collection rates to above 3% rate,

require from Ecoembes and

Ecovidrio, the entities that manage

these wastes, and which directly

involved the packaging industries.

At the opposite pole, returns,

composed of environmentalists,

unions and consumer associations,

questioned these figures.

Studies suggest that handles the

deposit system will generate

employment (about 1,300 in the

Community), reduce treatment

costs and improve the quality of

recycling and therefore their selling

price. The University of Alicante

questions, however, these findings

in its latest analysis on the

management of household

packaging. According to the report,

the introduction of the DRS in the

region will cost 44.8 million

(multiplied by eight), which have to

add to those already generated by

the GIS, since both must operate in

parallel. And the deposit system

occupies only a portion of the

waste now going to the yellow and

green containers, the rest remains

in the same circuit.

Specifically, it focuses on

packaging and helmets cleaner

(with less organic waste) and best

commercial output, which may end

up causing certain imbalances.

Today it is the most valuable waste

that end up making the best rest.

With the combination of both the

average value of the yellow

container will collapse. "The DRS is

the best friend of incineration,"

warns Antonio Martinez, head of a

recycling factory in Chiva, where all

plastic products are utilized. There

is nothing to landfill. "In Germany, a

high percentage goes to energy

recovery," he recalls.

If the recovery tank weight incentive

is presumed to boost the recovery

of packaging, critics warn otherwise.

According Ecovidrio, coexistence of

both systems may end up further

confusing the citizen, it has to

separate from the rest returnable

waste, without crushing -as required

by the machines to be installed in

the comercios-.

This is, moreover, one of the spots.

According to the study by the

University of Alicante -a initiative

Ecoembes- Ecovidrio and large

retailers will have to invest more

than six million euros in these

devices to automatically manage

the receipt of packaging. Although

the system will compensate traders

with two cents per unit recovered,

the sector has welcomed the

proposal of the Consell coldly and

distrust. They argue that force them

to divert human and economic

resources which until now destined

to sell. Also subtract surface space

to the commercial, as the DRS

requires extra storage area.

For the current managers of GIS the

campaign for the deposit is not

more than a "disguised commercial

operation 'Tomra, a Norwegian

multinational company plans to sell

about 18,000 machines in Spain

from 2018, as contained in its plan

expansion. Miquel Roset

categorically denies. The acquisition

of this product is not a necessary

condition. "In Germany, 80% of

trade do not have them," explains

the director returns. Most of the

steps are carried out manually by

employees. In the Catalan town of

Cadaqués, they allude, a pilot test

was conducted.

Will this reduce the SDDR the

pollution? Environmentalists are

convinced that yes, since less waste

is buried and decrease the raw

material needs through efficiency

and quality of recycling. His

detractors warn, however, that the

duplication of systems cause more

carbon dioxide emissions.

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Page 21

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 2016.

Cultural visits.

CULTURE 2016 program.

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In this June we will visit

the exhibition Art Vetraria

Muranese offered by the

Tech Museum of Glass in

La Granja (Segovia).

Art Glass Factory Vetraria

Muranese, better known

as A.Ve.M. It was founded

in 1932 in Murano by

Galliano Ferro, Emilio and

Antonio Luigi Naso-Ferro,

along with their children,

Ottone and Egidio.

The factory worked with

the most exquisite

Venetian glass techniques

between 30 and 70.

A variety of colors was the

best known production

designer who worked for

Fuga Ansolo A.Ve.M. as a

freelancer, from 1955 to

1969, using lattimo

murrine glass and bright

colors for your large

pieces of glass,

characterized by having

asymmetrical shapes and

abstract decorations.

Currently A.Ve.M. is no

activity.

In this June we will visit the

Prado Museum to enjoy the

exhibition devoted to El Bosco.

To commemorate the V

centenary of the death of

Bosch held in the museum a

monographic shows that

thanks to the important group

of works that preserve the

Prado and Spanish collections,

has major triptychs created by

Bosch, including outstanding

loan triptych of the Temptations

of San Antonio Museum of

Ancient Art Lisbon, and others

from important institutions

such as the Albertina and the

Kunsthistorisches Museum in

Vienna, the Museum of Fine

Arts in Boston, the

Metropolitan Museum of Art in

New York, the National Gallery

in Washington, the Musée du

Louvre in Paris or the Polo

Museale Veneto Venice,

among others.

The exhibition is divided into

five thematic sections to which

a sixth section is added to the

drawings.

Page 22

Exposition of “Flyppy”.

and public and private

installations universe.

Sculptor masterfully

combines iron and glass

to create forms and bugs

that our imagination can

hardly accept or conceive.

Think most utopian to

make it the most original

reality.

This is not a contradiction,

but the essence

spreading their

escultolumínicos

elements or, let us say

otherwise cast aside their

pieces of iron and

informal glass sculptures

transformed into curds

elegance and creativity.

Last Thursday May 5 at

20:30 at the Craft Centre

Murcia, took place the

opening of the exhibition

"Creatures" artisan

Ismael Cerezo, better

known as "Flyppy"

inscribed in the artisan

record in the Glazer's

office since 1997 as

individual craftsman and

since 2016 as an artisan

company.

On this occasion he

presents various newly

created sculptural works,

made of metal and glass

blowing, with a high

cultural value creative

and innovative process

both of the technique

used, such as the burden

of artistic design; also

expose lamps and

furniture.

Flyppy is Ismael Cerezo

Ramirez (Murcia, 1967).

Ismael glass met through

the Majorcan Pere Ignasi,

when already had a long

experience with iron.

In Palma de Mallorca

happen to this two years -

1992 and 1993- where

they began mixing iron

and glass in joint

creations.

On his return to Murcia,

Ismael workshop opened

and continued to work

with glass.

Master in the domain of

iron and glass, has

created a riddled with

bugs, lamps, furniture

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Page 23

Other trends. White Paper Culture.

Culture in Spain living in a constant

déjà vu. On the one hand, most of

the statistics are somewhat less

ahead, the industry feels slighted

by the Government and sounds the

alarm about the increasingly next

apocalypse, as the winter in Game

of Thrones.

Moreover, the creators organized

dozens of events where they repeat

the same mantra: the drama of

piracy and cultural VAT at 21%, the

need for a Pact of State for Culture

and fiscal reform or the importance

of the industry to GDP and society

itself. But these five years of battles

and claims is embodied in a single

document: the White Paper of

Culture, presented at the Ateneo de

Madrid.

"The result of what we have asked

has been zero," said Luis Cobos,

President of AIE (Society

Performers of Spain), in the act.

So, after many partial and sectorial

meetings, this time the document

comes from a deeper and

associative work, with months of

meetings between about 70

between academics, experts,

artists, citizens and heritage

protection associations. Because

"the authors have been too

individualistic" as recalled Sastrón

Jose Miguel Fernandez, president

of the SGAE.

Over 203 pages, the text addresses

the major challenges of the sector

and offers its medicines. Patxi

Lopez, exponent of the PSOE and

president of Congress in the

shortest term of democracy: to

summarize the latter, in any case,

the most applauded speech in the

act was commissioned.

"The approval of a Status of the

Artist, update the law of copyright,

a law Patronage, a tax reform that

lowers the cultural VAT and

recognize intermittently with

receiving income creators" were

some of the needs that political put

on the table.

"The most urgent thing is to open a

public debate on the importance of

culture," said Lopez. Then create

the following sources of analysis

should be the responsibility of

public administration and

consumers themselves, as well as

private participation in the creation

and support.

"Culture must have special

protection by the administration but

that does not mean it takes a

strong private sector," he recalled

the Socialist politician who believes

that the arts suffer "the perfect

storm".

Debated on it for five months

between late 2014 and early 2015,

all experts convened to save the

culture of the cliff.

Their work resulted in a conference

just a year ago, which left concrete

conclusions and proposals to

rescue the sector: the culmination

of this process is the so-called

White Paper, published by the

Platform in Defense of Culture, a

born organization in 2013 with the

aim precisely to unite the efforts of

hundreds of artists and

associations.

The text addresses the major

challenges of the sector and offers

its medicines. There is talk of

rickety percentage of profits

generated music streaming for the

author, of the need to copy part of

the model of French cinema or risks

suffering archeology and heritage.

There are figures, but mostly

reflections and explanations of why

culture is key. And also highlights

several concrete steps, which are

repeated between the desires of

each of the arts.

Both Lopez and other speakers

emphasized one of the dreams that

the sector has for too long in the

box: a Pact of State for Culture. And

the socialist said before that we still

need the arts more respected and

considered as a genuine issue of

State.

Obviously, a national agreement on

culture would require first and

foremost a government and also a

pact between several parties,

precisely the rarest commodities in

the recent Spanish politics, unable

to even understand how to reduce

election expenses.

However, the White Paper

underlines professes optimism and

as all parties have joined the recent

struggle of creators receivable

pension and continue producing.

The Platform in Defense of Culture

seeks to join forces, also between

citizens and the other colleagues.

In fact, in another leaflet that was

distributed at the meeting, they

asked for "international solidarity

and support from artists around the

world."

The slip of paper encouraging

ended participate "in a Great

Cultural Event on Sunday, March 9,

2014". You notice a mistake or

recycled paper? Namely. Of course,

déjà vu a whole.

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Researchers in the Department

of Dermatology Medina and

Dermatology at the University of

Malaga have been made based

on the potential risk to skin sun

exposure to high levels of -case

altitude pilots lines aéreas- study

determines these professionals

are subject to an excessively

high level of solar radiation, with

particular attention to the UV

radiation received through the

glazing of the airplane.

The research group, composed

of Maria Victoria de Galvez and

Jose Aguilera, the Department of

Dermatology, Department of

Medicine and Dermatology and

directed by Professor and Head

of Service of the University

Hospital Virgen de la Victoria

Enrique Herrera Ceballos,

obtained with this work the prize

for best scientific paper

presented at the annual meeting

of the Andalusian Section of the

Academy of Dermatology and

Venereology, recently held in

Marbella.

Its research laboratories are

located in the Center for Medical

and Health Research at the

University of Malaga (CIMES)

and co-direct this project in

collaboration with dermatologists

Hospital Gomez Ulla de Madrid

and the group 45 of the Air Force,

Drivers with very high level of radiation.

were able to make their

measurements on one of the

Airbus 310 which has the Air

Force and that is usually used by

both the Spanish Government

and the Royal House. Ultraviolet

radiation in the cabin, with

measurements with high

resolution equipment showed

values ultraviolet A very

significant both in position close

to the windows as in the normal

position of the pilot throughout

the flight period.

Estimates of the total dose of

UVA that the pilots were exposed

for three hours flight carried

assumed a similar dose to a user

of artificial tanning booths for two

consecutive sessions would be

exposed.

While glazing ensures no

exposure to UVB radiation, the

most damaging to the skin, much

of UVA radiation penetrates

through glasses and participation

in the generation of diseases

related to oxidative stress

generation -type aging elastosis

skin or dérmica- is evident,

leaving aside their involvement

demonstrated in the generation of

malignant melanoma.

The second phase of the project

will take new measures in actual

flight conditions in summer.

with military base in Torrejon de

Ardoz.

The project is based on the

potential risk to skin exposure to

the sun at high altitude levels.

Here are the airline pilots,

exceeding for many hours

throughout their altitudes life

above 10,000 meters, a

circumstance that should force

them to use measures

photoresist even they should be

potentiated when to avoid long

term pathologies.

However, according to the

results of work of the UMA, these

doses of ultraviolet should be

well evaluated, because the

drivers are not directly exposed

to ultraviolet radiation, but which

reaches them is transmitted

through the windowpanes. In

fact, a priori, by the composition

of the laminated glass, the

penetration of ultraviolet

radiation should be limited, which

really does not happen,

especially with the spectral band

of UVA radiation, to avoid such

harmful long-term effects.

The measures that have been

made in this research have been

carried out both in real flight

conditions and flight Delta,

outside the airspace and at an

altitude of 10,500 meters.

Thanks to the contacts with the

Gómez Ulla, the researchers

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Cities with berciano glass.

From Paris to New York or Rio

de Janeiro to Saudi Arabia, many

cities, with its skyscrapers and

cloudy skies are reflected in the

glass that has left the hands of

the workers of a company

located in Cubillos del Sil: Tvitec.

Architectural glass that is made

in the Bierzo is already sold

throughout the world and, facing

paralysis Spanish property

market is finding export the

oxygen necessary not only to

maintain its production but to

boost their balance results,

which has enabled the company

to exceed last year's 75 million

turnover after experiencing an

increase in sales of 30%.

In this new year, Tvitec continues

to produce at its headquarters in

the polygon the Bayo huge

blocks of high performance glass

destined for different markets,

but with an eye particularly in the

high demand that is coming from

the US market.

"Both the US and Canada are

now the markets in which it is

occurring further expansion, to

the point that they are the main

US façade designers, such as

the One World Trade Center,

which are going directly to Tvitec

to sue architectural glass

"explained from the factory.

And to prove it, there is

participation in some unique

buildings in those countries, like

skyscrapers 50 West Street, a

huge glass building in Manhattan

with a cost of about $ 600 million

and provides for completion this

year. The skyscraper, which is

now part of the famous skyline of

the city that never sleeps, is 237

meters high and 64 floors, and

has involved much orders

berciana company. Completion is

scheduled this year and will

house 191 apartments, and

commercial offices.

In the US market, another

project that is expected to launch

this year is the construction of

the new Washington-based

Fannie Mae bank, which will

occupy the land of legendary

Washington Post newspaper. the

buildings so far harbored the

newspaper to build a new

building for Fannie Mae, which

has already made a remarkable

order of architectural glass to

Tvitec to be produced in the

coming years, as work

progresses on the new

headquarters will be demolished.

Tvitec architectural glass is also

wearing right now the Dollar Bay

building in London, on the cover

glass reflected glare from nearby

mobile and always murky

Thames. Britain is also,

therefore, a country from being

made large orders to the factory

Cubillos del Sil. "There the

housing boom, for now, seems to

have no end", say from Tvitec.

The exponential increase in

recent years exports Tvitec do

provide those responsible that

this year 70% of its production

will go to other countries.

Berciana factory hopes to reach

this 2016 sales of about 90

million euros which, if met, would

mean an increase in turnover of

20%.

Some other buildings in which the

berciana factory has made its

mark are translucent imaginative

construction, and several stepped

terraces, located in La Garenne-

Colombes, built on the outskirts

of Paris and created by Foster &

Partners. Also the Hilton Hotel in

Riyadh, Saudi Arabia, more

conservative in its design, but of

enormous size.

The rupturista Museum of

Tomorrow in Rio de Janeiro,

Santiago Calatrava and

inaugurated last year 2015, is

also coated with glass berciano.

It is interesting museum

dedicated to science in which the

glass Tvitec alternating with white

'ribs' of one of the air and intricate

designs of Valencia.

Also the Italian pavilion at the

exhibition in Milan last year, with

glass cover, was an increase in

sales. In that country, the factory

also has orders already for airport

expansion works in Rome and

the tallest tower in Turin.

Tvitec ends this summer's work in

Bayo, expanding its facilities.

Page 26

Glass screen printing course.

In the Real Fábrica de

Cristales de La Granja.

Teacher: Katya Izabel

Filmus.

Celebration date:

From Tuesday, June 7 to

Thursday, June 16.

Duration: 70 hours.

Places: 10.

Price: 800 €.

Technique: Silkscreen

APPLIED TO GLASS.

Encompassed in the

Glass for All project.

the art of screen printing

on glass will be

investigated using glazes

while different methods of

image transfer surface

are explored.

The course will focus on

the study of the

techniques of basic,

intermediate and

advanced in order to

develop a lexicon of

different compositions

and image styles

silkscreen.

Goals:

- Investigate the art of

screen printing on glass

using enamel.

- Explore methods of

image transfer surface.

- Study the techniques

basic, intermediate and

advanced in order to

develop a lexicon of

different compositions

and image styles

silkscreen.

Audience: students of fine

arts, graphic arts, artists

and craftsmen.

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A suit for each wine.

important also to keep my temperature. Regretfully, the call is ruled Pompadour glass, it escapes my gas, my temperature rises and all my spice escape. I prefer a long and slender in which everything does not happen. The flute design is not bad but will have difficulty nose. I prefer the current design trend called lampshade. The base is wider and can evolve without losing temperature and being close his mouth does not let lose my scent and my effervescence escape. You can fill it without fear almost entirely. "

"I'm a sherry and I'm on my land: Fino, Amontillado, Oloroso, palo cortado, Pedro Ximenez or chamomile. I can breathe easy, here know what they do. All life I have served in the typical wineskin and even today it served me well. I have to say that, organolécticamente speaking, is not the most suitable container that you can no longer perceive throughout our fullness. Our aromas should be concentrated but it is true that sometimes we may feel suffocated. we are here pampers and seek our comfort and that is why the glass of white wine or even the red breathe happy with our essence inundating the choicest palate ".

Shape, volume and breadth join forces and decide how the wine is placed in our mouth to break with its scale of shades.

A proper glass will enjoy wine with all the qualities with which it was created.

Drink life, live wine.

taking each variety of wine, which if improperly can cause us to lose quality, qualities and essence of it.

We must enhance and enjoy the nobility, aggression or the elegance of a fine wine, whether from the variety name or whatever.

Purity, shape and transparency of a glass goblet will be our allies.

The volume of his body, the area that allows evaporation and opening his mouth guide to the fragrance and essence of wine to our senses with all its nuances.

Let's see what they have to say about this our protagonists.

"I'm a red, I like being drunk high and wide cup, designed to enable oxigenarme rotate properly and skillfully to release my aromas. I need to enhance fruit flavors and soften the tannins. I feel comfortable taking a third of its capacity if I am crianza, reserva or gran reserva, even if I am younger I can be more generous. "

"I'm white or rose wine, I prefer to serve in a smaller and narrower than the red cup. I need to stay cold, so the stem will be more lake also to contact your hand save my temperature rises too quickly. I am light and generous, almost always young and fruity, so to enjoy these qualities Serve me half of my cup and why not until three quarters of it if you want. "

"I'm a sparkling cava and I lead. My bubbles should be contained naturally and need to watch my effervescence to promote and control the aromas that I possess ye may perceive and nose. It is

Always we look for what seems appropriate to get dressed / as flawlessly on those special occasions that we share with others such as birthday parties, inaugurations, weddings, etc.

Although sometimes the most recurring question is "what I'm going to wear?", We always give what we want, but we have tried and discarded more than one outfit.

We like to feel elegant but comfortable and the free time knowing how to enhance our appearance although we sometimes seek some help.

Not the most expensive and sophisticated is the most elegant, is more, I would say the simplicity of an appropriate model will give security and confidence in any scenario.

If we stop to think of wine as it is a living being, we realize that "he" also likes to have an appropriate "dress" depending on the variety, breeding, aromas, etc.

Does it serve any drink for any wine? Did you feel comfortable and free to express themselves and give us all their best qualities and values "inserted" in any "model"? Definitely the answer is NO.

Claus Josef Riedel, Austrian belonging to the ninth generation of the dynasty of the Riedel was the first designer cocktail glass in stating that perception, taste, aroma and harmony of the wines would be affected by the shape of the containers in which were drunk.

Each cup, by its size and shape is a detail that is decisive at the time of

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Fungo of the Campana brothers.

INSPIRING THE HAVOC

OF MOISTURE

With a career of over 30

years in industrial design,

the Brazilian brothers

Fernando and Humberto

Campana are currently

among the most

recognized Latin American

designers.

Some of his pieces are

part of the permanent

collections of the Museum

of Modern Art in New York

and the Pompidou Centre

in Paris.

In recent years they have

collaborated with

prestigious brands as

Louis Vuitton, Lacoste and

H. Stern, and have worked

on various projects of

international stature,

among which the

comprehensive redesign of

Cafe d'Horloge d'Orsay

Museum in Paris.

His recent appearance at

the Milan fair was led by

light and color in their

designs.

The Fungo chandelier was

inspired by the fascinating

forms of fungi, specifically

that grows on the surface

of the wood as a result of

moisture.

This moss, not usually

grows in the forest, he was

discovered in the basement

of the glass factory Lasvit

in an old mold blown glass.

The Campana brothers

made use of this accidental

coincidence for the design

of the chandelier, together

with traditional techniques

and materials used by

Lasvit.

The result was a true work

of art, a contrast between

the rigid structure of wood

and blown glass elements

that seem to sprout

spontaneously from her.

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How does it.

This month we include some pictures of the technique practiced by Sue Parry.

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Page 30

Exposition in Cadalso de los Vidrios.

www.amigosmava.org

EXPOSURE GLASS: 500

YEARS OF GLASSES

CADALSO.

They say scaffold means

"place high walled" and the

city of Avila would be a

Gallows.

In some places it is

changed walled by

"fortified".

The second part of the

name of this town comes

from the quality of glasses

for more than 400 years

were made in the six glass

factories which eventually

grew to the town.

Many glasses Cadalso are

now preserved in

museums around the

world, but still remain in the

town many of those pieces

that were manufactured in

the aforementioned

glassworks Gallows own.

The humble character of

most of the families of

Gallows suggests that

much of the conserved

parts must be dated

between the eighteenth

and twentieth centuries,

and many of them may not

have great economic value.

Instead, it is undeniable

that pieces that have

belonged to families of

owners or workers from the

former glassworks, and

have passed from

generation to generation,

have great sentimental

value.

Trying to raise awareness

of the heritage of the town

and enjoy again the

contemplation of some of

these pieces, the

Association of Friends of

the Camino de Santiago,

along with Alba Santos

Gutiérrez, is organizing an

exhibition on glass

Gallows.

The exhibition will be

installed in the House of

Savages and have five

windows equipped with

lock and can be seen for

much of June.

(Published by Association of Friends

Camino de Santiago in the Glass

Gallows)

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In the conception of the new museology, technological development experienced by modern architecture joins the aesthetic ingredients of the artistic avant-garde and would not have been possible without one of the star architecture materials XXI century: the glass.

Glass which had the architect Mies van der Rohe as one of its major allies ultimate goal is to remove barriers between art and society, bringing concepts such as flexibility and neutrality and embracing aesthetic movements related to minimalism and reductionism.

So, against the historicism of the nineteenth century museums, develops, in the twentieth century and continues into the twenty-first century, an aseptic serving the work space.

The contemplation of the exhibits without visual barriers is an aspiration of modern museology that has found a perfect ally in the current state of the art glass technology.

years ago, the dream of the avant-garde architects to create ethereal and "empty" space was complicated with glare and reflections that resent the glass.

And it is that our ability to clearly see through the glass can be altered by obstacles such as glare and reflections.

And these are multiplied in those museums or exhibition spaces that have chosen to leave the entry of natural light as an example of this philosophy of openness of culture.

In this way a cabinet placed so that light is reflected on the surface prevents a clear view of the object behind the glass.

The most advanced technology has been achieved with the use of glass sputtering which represents the current state of the art catódica- spray technology which allows a light transmission of 97% and a lower reflection than 1% compared to architectural glass float, which provides a light transmission of 90% and has a reflection of 8%.

Their benefits are able to provide the best visual performance anti-reflective available in the market and allow maximum transparency, while eliminating glare and unwanted glare.

The artwork almost within reach

Born, so the concept of "non-glass effect". as described Kristine Kavelaars, senior project coordinator at the Centraal Museum in Utrecht, referring to the exhibition devoted to the painter Joachim Wtewael (1566-1638) called "Pleasure & Piety", in which the glass was used Guardian

clarity: "Many of our visitors they were unaware of the glass layer until it prevented them from touching the paintings. "

Moreover, beyond the organization of the exhibition space, the role of museology has today more than ever, a triple task in relation to the exhibits: highlight, protect and preserve.

The glass is used to create a barrier that protects works in a closed environment and allows international standards on the protection and exhibition of historical collections.

But if the wrong glass is chosen, the effect will not only be unsightly due to glare and reflections that can occur; but the content of the exhibition can be damaged and affect the original colors of the works because of the light and reception of unwanted ultraviolet rays.

"We had to find a balance between providing the highest levels of security for these works, often small and delicate, and satisfy the desire of our visitors as close as possible.

Moreover, as custodians of our cultural heritage, we must ensure that future generations can also enjoy these masterpieces, "noted Kristine Kavelaars.

Dull glass or reflections.

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Blowing art in Cuba.

The audience surrounds the artist appears to play with glass under 1,500 degree heat, to dazzle them with a figure of unexpected glass. Many remember the "eat candela" circus while Eduardo Izquierdo blows to liven transparent cylinder, and yanked demystifies the idea that, as its name, can be handed in these matters.

Moreover, Izquierdo has two right hands, skill and mastery with getting a pair of swans, a coconut tree, a lamp or the object you want to ask and even as he told a A lady in his own image, if he wants it.

Do not believe that this santiaguero that now has become a revelation in Holguin is showing off. Eduardo is a simple man who brings 46 years blowing glass to shape it.

"I started at the University of the East at the Faculty of Chemical Sciences. There I was part of a group of technicians who were enabling for laboratory instruments and sent to Havana with the mission of master glass-blower me then jump-start the laboratory. At that stage while I was preparing myself, I was very daring !, and I proposed holding a trophy for the X Festival of Youth and Students. it was like a competition where they would choose the best creation and turned out the winner. there I think which began all art. "

Later that would be lying if summarize its start that way, it certainly would not have been the same without that day when he

saw his teacher making a miniature baseball player.

"I thought it would never get there because it was really very complex and well, I think that was also a push. Then I had the pleasure of making a spaceship and give it to Arnaldo Tamayo".

When Eduardo seen so many spectators in the Plaza de la Marqueta, while handling the glass with a burning cigarette lighter, anyone thinks that was born to be master glass blower.

"Great perseverance is needed, it is not a matter of two days, but do not think so complex. The most important thing is to enjoy it. I delight myself doing the same a condenser, a specimen that a figure is contact with the glass that makes me feel different. Many stakeholders approach, but want to learn without effort, nothing looks good at first, skills will win. "

"Yes, it's dangerous if you're not careful. Once I dropped the hot glass on one foot and I handed the boot and soaked to the flesh, took longer to heal, but I kept pa'lante. I always do an occasional blister because I forget it's on and I catch barehanded, but nothing serious, things of the trade "

Everyone wonders anxious that will draw this time of the wand, suddenly blows and Granny thinks it's a giraffe as it is on display, a child says no, that it is an elephant and Eduardo smiles, have them guessing . Then take a swan, no, actually they are two ...

"There are already many years and almost hands make themselves the figures, but all in my head. I have never painted anything, I will not do it, just get scribbling. Sometimes I start to do one thing and the way I get another. I allowed myself to always carry so commanded my head and so still. "

Although he wants to make it look simple it is not. Before the eminent heat of the flame the glass becomes taffy candy and perform juggling hands to shape the piece. No one believes that that effect is glass. Then she confesses: "Glass has a unique beauty, transparency and also the colors is achieved when one manipulates, seduces much, it's almost perfect."

For this santiaguero teach what he knows has always been its purpose, because there is no master without disciples.

"I was 10 years at the Academy of Fine Santiago Arts and had very good students, but not decided. Other good painters did, but not glassblowers. Then I was teaching a group in which almost all were women. I even had a circle of interest with children, it was nice what they did and how they prepared, but then lost Now I have two followers that promise, my grandchildren in Santiago that, for the moment have essentially not afraid to fire. and they are daring. "

Eduardo does not leave Santiago, has a studio there and a lot of memories, but this city will do his other residence, here are family, friends. You will now be given the possibility of a fixed space in the Plaza de Marqueta, which has a stand to sell what he does and where, also makes presentations to the public once or twice a month, happy says, "so I'll be here there constantly. "

Holguin said he found a cult, responsive audience, pretty women, and perhaps think of them as molded glass while rejoicing at the sight of all, and one imagines that gets nervous.

"No nerves, on the contrary, enjoy watching the public while work whenever manipulate figure I follow them sideways and see their faces in astonishment as if he can not believe, is the best of rewards."

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China launches glass gazebo.

China is an expert in

making large glass

viewpoints, but the

amazing structure

opened in Beijing a few

weeks ago exceeded the

limits hitherto known.

This is the Jingdong

Stone Forest Gorge, a

circular glass is a

challenge for lovers of

heights who want to test

the limits of vertigo

platform.

Visitors have the feeling

of being suspended in the

void when walking

through the corridors of

glass.

The structure, which

promises to become a

major tourist landmark

worldwide exceeds 11

meters which are already

in the Grand Canyon,

which was considered

one of the largest in the

world.

Its measurements are

record: has a platform

that occupies 415 square

meters and protruding

from a cliff by 32.8

meters.

Thanks to its circular

shape allows a view to

tourists 360 degrees.

To make the attraction

has been used as the

main material titanium.

This material, widely used

in aviation and

aerospace, has a high

resistance to corrosion

and heat.

This ensures maximum

security of tourists and

avoid frights as happened

last July in Yuntai

National Park, where a

glass bridge cracked

under the feet of the

astonished tourists

strolling by him.

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Celebration in Corning.

Last March, the Corning Museum of Glass Art (CMOG) marked the first anniversary of his Hall of Contemporary Art and Design, which has welcomed more than 460,000 visitors since its opening on March 20, 2015.

The extension of 9,290.3 square meters, fully funded by Corning Incorporated, is the largest space in the world dedicated to the exhibition and creation of works of contemporary art and design in glass and has 2415.4 square meters of gallery space and facilities 500 seats for live demonstrations of glass.

Designed by Thomas Phifer and Partners studio, the room is home to works created since 1990 by artists who have challenged the limits of the possibilities of glass.

As part of the anniversary celebration, the Museum announced major acquisitions created by the Campana Brothers, Karen LaMonte, and Geoffrey Mann, to be installed in the coming months.

These new works will serve to further diversify its contemporary collection in expansion, which currently includes more than 70 works of art from the Museum's permanent collection created by acclaimed contemporary

artists and designers such as Fred Wilson, Liza Lou, Kiki Smith, and Danny Lane.

"The opening of the Hall of Contemporary Art and Design was a crucial moment for the museum," said Dr. Karol Wight, president and CEO of CMOG.

"CMOG is home to 3,500 years of glass, which provides a rare opportunity to experience the full and complex story about the environment, appreciate your application as an artistic medium, witness and participate in its creation all in one place. Contemporary artists are taking the glass to a whole new level, and our new room allows us to display these monumental works in an atmosphere ideal observation. "

Last February, the Museum announced the appointment of Susie Silbert as its new curator of modern and contemporary glass.

Silbert took office in April and monitors future programming for the new five galleries of the room, as well as Ben W. Heineman galleries Mr. Family Gallery of Contemporary Glass and Glass Modern gallery.

She will continue to expand the collection of the Museum

glass from the period 1900 to the present.

Silbert designation followed the retirement of Tina Oldknow, who oversaw the collection in the period 2000-2015.

"Susie will provide an invaluable to our collection of modern and contemporary glass vision through its unique curatorial vision and deep understanding of glass as a medium of expression," said Wight.

"We expect future explorations of contemporary glass art that inspire her."

The Hall of Contemporary Art and Design offers a unique viewing experience through its design, the works on display, and its curatorial interpretation.

Phifer designed curved white walls that draw attention of the observer through the galleries to find dynamic visual juxtapositions, using the independent nature of most of the works on display.

Visitors will also have the rare opportunity to experience the glass in a natural lighting environment through a complex system of domes that are based on concrete beams which allow a uniform diffuse illumination through the spaces of the galleries.

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Seventh anniversary of the Museum of Glass.

The appointment comes about

an anniversary and, on these

occasions, the manual

recommends to start asking for

a balance.

Then, Gonzalo Fernandez-

Prieto smiles, he lost for a

moment his eyes and

confesses: "I'm in love to the

bone and when you're in love,

you are happy." And he notes:

"I am in love with this house,

this neighborhood, this

museum ... Because the raison

d'etre of this museum is this

neighborhood."

Gonzalo Fernandez-Prieto

speaks from the old area for

the service of the property of

the eighteenth century who

first bought and then sent

restore to install his collection

and curdle the Museum of

Glass and Malaga, now seven

years old wanting to keep

growing .

Not surprisingly, Fernandez-

Prieto announced the

acquisition of adjoining land to

expand the museum's facilities

and dedicate the new units to

display large glass doors that

for reasons of space can not

be seen in the cultural center

located opposite the church of

San Felipe Neri.

"First let's see what is and

then ... we'll see," predicts the

director of the Glass Museum

on archaeological studies

foreseen in the plot, since in

adjacent solar ovens have

found the Funtanalla, the

potter neighborhood he

occupied the urban

environment where the

museum now stands private

initiative.

With the addition of this plot,

the equipment will add 200

square meters to 1,200 meters

already offered by the

museum. "A museum district"

reiterates its director, who is

proud of the work undertaken

over seven years to publicize

the industrial past of this area

of the city, now in search of

that lost glory.

"This museum must serve to

create industry, if not, will have

failed. An artisan can provide

work for ten, fifteen people.

And this city, how well it is

doing in terms of tourism, the

industry must work, part of its

roots. Málaga have to build

from its roots, not in the air, as

sometimes happens, "argues

the director, who prefers not

detail budgets and

investments.

"I knew I had come"

Fernandez-Prieto recalled that

no ties bound him to the city

before the birth of the museum.

"He lived in London and

traveled frequently to Spain

looking for a place for

collection. Traveled around the

country and when I came to

this city, to this neighborhood

and this house, I knew I had

arrived, "recalls the author of a

proposal that combines pieces

of glass and glass furniture and

paintings.

"With these elements we can

see the glass in context. This

museum is primarily a history

lesson. And with the furniture

and paintings we know who

owned the glass, which he

used ... ", explains Fernández-

Prieto, historian and professor"

frustrated ". And yet, a visit to

the museum of the hand of his

explanations dismantles the

chagrin.

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The German glass industry.

German flat glass industry has experienced a difficult year in 2015. According to the German association Bundesverband Flachglas (BF) the volume of sales including float glass, coated, insulating panels and security- has decreased by 1.3% to 2,506 M €. And the number of employees in companies producing in Germany fell 0.8% (26,516).

This market generated more than 9,140 M € last year and ended with an increase of 0.6% over 2014, according to the result of the data analyzed by the association representing the German glass industry. Jochen Grönegräs, BF secretary, cited the increasing international competition as one of the reasons for the losses in the flat glass industry, a sector otherwise positive as a whole.

The importance of external demand for German products glass is supported by data BV Glass, since it says that the glass processing sector had a positive development in 2015.

This branch of the market increased its turnover by 2% and export, meanwhile, grew by 9.1% and domestic turnover lost 1.4%.

This glass market reached 876 M €, 4.5% more compared to 2014. The turnover in the German domestic market, meanwhile, it decreased by

6.9% to 441 M €.

The volume of glass products sold in Germany declined moderately in 2015: the coated glass decreased by 0.8% its sales, security panels were up 1.1% and 1.7% insulating glass.

Laminated glass, however, evolved positively to grow 5.4%. Energy efficiency and high performance insulation also play an important role in demand, and proof of this is the data concerning tempered glass, placed it in 72% of the sales volume of insulating glass and 59% of the panels triple glazed.

In this sense, the BF 2016 expected a slight growth in the German flat glass industry, resulted in an increase of 1% on sales. In terms of volume, Grönegräs expects a moderate increase in all product categories.

First, predicts an increase of 0.6% compared to insulating glass m2 sold. The association also mentions a positive development of the construction industry and have also into account the high demand for new homes built.

One of the largest companies in the German glass industry, Saint-Gobain Glass Deutschland, said perceive a positive development of demand associated with new buildings and the renovation of existing buildings. "Our net

income increased because the prices of glass products have increased during 2015 compared with the lowest prices of previous years," said Jürgen Peitz, CEO of Saint-Gobain Glass Deutschland.

In the business sector also Peitz said to have recorded a positive development with a trend towards high-quality products.

The sector of the window is fighting the growing import of the German market, requiring a high degree of innovation, so revenues glass windows are currently under pressure.

Glass products for indoor use, in this line, are increasing in volume, and aspects like aesthetics and color-increasingly present in demand- proposals have managed to give a boost to the sector, according Peitz.

Thus, the CEO hopes for this 2016 stable demand, driven by strong activity in the construction sector, both in new construction and renovation work.

And as trends for the current year, the manager mentioned the combination of comfort and design, translated this into new aesthetic, large glass panels for interior and rediscovering casting glass for use in facades.

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Acristalia continues to grow.

Constantly growing and always

committed to the highest

quality. This is the hallmark of

Acristalia, a malagueña

company has positioned itself

throughout his career as a

benchmark within and beyond

our borders.

Within a year of its tenth

anniversary, Acristalia expand

at nearly double the size of its

facilities and hovering around

9,000 square meters.

Not the first time the company

is forced to grow to meet the

demand of its customers.

In 2010, when barely met three

years after its birth, the

organization expanded space

and business lines with the

manufacture of tempered

glass, thus becoming their own

suppliers.

This commitment, in addition

to giving them the lead in

Andalusia, led his jump to the

outside and now present in

over 20 countries worldwide,

with a focus on France, which

have a large presence and

trade delegation.

The company also has its own

headquarters in Madrid located

in the Las Rozas.

High quality custom

enclosures

Specialized in enclosures, the

company manufactures and

markets customized products

tailored to the needs of each

client, including host known for

their high glass curtains and

roof panels.

The ceilings have exclusive

own system antiestancamiento

water panels, motor drives and

smart for opening or automatic

closing function.

This implies not only that the

user can control through your

mobile device from any

location, but can be

incorporated sensors that

automate the closed them in

case of rain, which is especially

useful for restaurants and other

public establishments.

They also have an elegant

glass railing system for decks,

ideal for creating open spaces,

windscreens and other glazing

related products.

In keeping with its policy of

excellence, the company has a

comprehensive and

professionalized service that

ensures proper installation and

product durability.

In addition, ACRinstala service

is compatible with any product

of the company, ensuring a

successful outcome of either

case.

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The VIKTIGT collection.

Every time IKEA collections include more varied styles. Without ever losing its essence, the Swedish company through collaborations with designers who have very personal styles, it delivers the most diverse and even surprising.

Some of these collections if it were not for that we see in their stores, not think or are IKEA ... For example VIKTIGT is not a collection that stands out for its stridency or the intensity of their colors, but the opposite it is a collection that shows the love of design through simplicity.

Handmade, VIKTIGT has been created in collaboration with Ingegerd Raman, one of the designers of glass and ceramics most popular in Scandinavia. In addition to the staid glassware and ceramics, much of the collection is made of bamboo and natural fibers.

In short, VIKTIGT is based on a reduction to its most essential aspect, since the essence is what remains and the truth is that makes you want to take home.

As we mentioned collection has been developed based on the artisan work, energy and

natural beauty, VIKTIGT is the result of collaboration between skilled craftsmen and designers Ingegerd Råman and Nike Karlsson and Wiebke Braasch. All of them have been involved in the whole process, both in the traditional process and the development side foot factory.

Ingegerd craft qualities, Nike and Wiebke have been very useful in full cooperation with designers and artisans in Asia and Poland.

The sensitivity of the design and the Swedish origin are present in every part and in every detail of this collection and are reflected in the images. Thanks to the quality of glass, ceramics and natural fiber piece, the entire collection shows human energy and timeless beauty.

In addition, as part of the VIKTIGT collection, IKEA has launched a book on Ingegerd Råman. The book opens the doors of their homes and their Swedish studies working in Stockholm and Österlen. He tells his story, that of a successful career as a designer of ceramics and glass, and his vision of design and creativity.

It is more than just your day, talk about Sweden, is a story about the shared style and how Ingegerd style is an excellent proof of this. He speaks life working for something timeless and survive in the future. An inheritance that is based on increasing the use and material to the taste of each person. Ingegerd Råman is one of the best in Sweden and the world to do so.

In anticipation, the home visit and shop in Österlen Råman Ingegerd, a place for creative minds with its open landscapes and quiet environment, the designer has shared reflections on his life, his work and this new collection.

Ingegerd began his career as a teenager when he entered one of the most prestigious art schools in Sweden, Konstfack. He began studying design fabrics. But the fabric was too one-dimensional for her and luckily she ended up with clay material. And this material became his first love. Thus, he described as a living being, a sensual material with their own power. His second great love was the glass that now has great prominence in this collection.

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Castillo de San José de

Valderas.

Avda. Los Castillos, s/n

28925 ALCORCÓN

MADRID

Our Newsletter is worded

in:

When glass culture

The Association of Friends of MAVA

was incorporated on June 21, 2003 in

accordance with current management.

The purpose of this Association is to

promote, encourage and support many

cultural activities, in the broadest terms,

are related to the mission and activities

of the Museum of Glass Art Alcorcon.

Our goal is to develop and collabora-

te with other public or private entities in

the promotion, protection and dissemi-

nation of art and culture.

Our members may be fees, benefac-

tors, Full and juveniles.

www.amigosmava.org

Presidente honorario

Javier Gómez Gómez

Presidente

Miguel Angel Carretero Gómez

Vicepresidente

Pablo Bravo García

Secretaria

Rosa García Montemayor

Tesorera

Mª Angeles Cañas Santos

Vocales

Evangelina del Poyo

Diego Martín García

Francisco Martín García

José María Gallardo Breña

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