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. Export. M. A. Carretero.

In our country, right now,

with no sign of change for

the better but for the worse

for a period of time still un-

predictable, private con-

sumption has been reduced

by a percentage that scare.

The family incomes have de-

clined alarmingly. Many

pensioners have had to take

care of their offspring be-

cause they have become

part of the huge volume of

workers who have run within

the unemployment insuran-

ce benefit.

The wealthy do not drop a

dispensable for euro issues

that the "just in case" and

take their money to tax

havens to keep them in a

safe place, with the full con-

sent of our monetary aut-

horities.

With this bleak outlook, acti-

vities "sumptuary" received

the biggest blow to his ribs

and are increasing their

stocks and a significant re-

duction in sales.

As part of these activities is

the world artistesano glazier.

Asphyxia is part of their daily

lives and most of its compo-

nents do not know where to

shoot.

Many leave and jettisoned

all its technological back-

ground acquired with great

effort.

The proper use of glass is not

taught in universities, we must

acquire to crush and grind

base.

To our craftsmen, the stands

of the fairs are becoming mo-

re expensive. There is talk that

this year's Christmas Craft Fair

in Madrid will add a fee of

2,000 € per stand. It's crazy.

The VAT rise has given the co-

up de grace to their meager

income and many advocate

and call for support for a re-

duction in fees paid Social

Security for artisans.

Crumbs hungry for today and

tomorrow.

In domestic trade no solution.

Those who have not, because

they can, and they can, be-

cause they do not want.

What to do? The stomach oc-

casionally called preferential

attention. The need to cover

essential expenses or yes.

Given this dismal picture,

again, you have to throw to

the outside. Hard but true

and necessary.

Without hesitation. We must

seek contacts outside our

borders to increase sales.

Using the possibilities offered

by the Internet to open a por-

tal and offer attractive pro-

ducts.

But yes, with competitive pro-

ducts, especially quality and

then price. It is undeniable.

We need to innovate, design,

offering quality, differentiated

production, flee copies

(investors are smart, they can

not try to cheat, they can not

be to fake).

You have to attend the major

international fairs and which

are less so. The event is to gat-

her contacts.

We must ask our Chambers of

Commerce abroad to quit

touching the belly and help

our industry. To open doors for

our products.

But you can never argue "that

you offer and you need help."

Since this attempt is a compo-

nent of extreme hardness, go

united in our aim. Not my indi-

viduality, except in very limi-

ted and exceptional quality

products. And it is the case for

most of our artistesanos.

Take advantage of a stand to

offer the work of several if its

price can not be met by one.

Another idea would already

repanocha is the implemen-

tation of an appellation of ori-

gin. Or several, depending on

the products, their geograp-

hical location .....

Broadly speaking, without

going into specific considera-

tions: where wine, oil, cheese,

ham, furniture, etc. The works

are and why they can not

have the glass?

Utopia? Maybe, but why not?

But it is hard to try this adven-

ture without a union between

artistesanos. We took a long

time telling these pages. Not

worth the "every man for him-

self". Or all together or that no

one can stop and fix it. The

hole without remedy. A proof

we refer.

Nuestra sede:Nuestra sede:

Castillo Grande deCastillo Grande de

S.J. de ValderasS.J. de Valderas

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

28925 ALCORCÓN.28925 ALCORCÓN.

(MADRID)(MADRID)

info@amigosmava.orginfo@amigosmava.org

Monthly Newsletter

Newsletters

Format PDF

Steve Klein

Page 2

C O N T E N T S :

Part of the month 3

Established artists 4

Young artists 4

Close the ACG 5

Orgy of colors 6

Research line 7

Activities in Museums 8

Visit to Javier Velasco 11

Activities on the MAVA 12

Visit to Sara Sorribes 13

Technical Glass 15

News 16

Culture 2012 16

With Agustin Aguirre 17

Guardian strike 17

The glass museum 18

Staiend glass in Guadalupe 19

Glass recycling 20

Cultural tours 22

Culture 2012 Programme 22

Martin Walde 23

Glass in Rio 24

Glass in National Library 25

Other trends 26

In orbit above NY 27

Eighty tears Gordiola 28

Glass workshop in Murcia 29

More on The Trinity 30

The resonance of the material 31

Françoise Venneraud 32

How does 33

Temple of Johor Bahru 34

Islam in the Louvre 35

”Inmobile” in Geneve 36

Expoliation in The Trinity 37

Museum the Vimbodi 38

Directorate 39

Intellectual Proper-

ty Law

TITLE VII.

Software.

When the offender is

a natural person the

duration of the ope-

rating rights of a

computer program

shall, under different

circumstances, be

that, as provided for

in Chapter I of Title III

of this book.

When the offender is

a legal person will

last seventy years,

counted from Janua-

ry 1 of the year follo-

wing the lawful dis-

closure of the pro-

gram or that of its

creation if it was not

published.

The exclusive rights

of exploitation of a

computer program

by the person who is

the holder shall inclu-

de the right to do or

to authorize:

reproduction in

whole or part by

any means and

in any form,

whether perma-

nent or tempora-

ry.

translation,

adaptation,

arrangement or

other transforma-

tion and repro-

duction of the

results thereof.

any form of pu-

blic distribution

including rental

of the original

computer pro-

gram or of co-

pies thereof.

No need authoriza-

tion

holder reproduction or

transformation of a

computer program

when such actions are

necessary for the use

thereof by the legiti-

mate user, in accor-

dance with its inten-

ded purpose.

Performing a backup

by who has the right to

use the program may

not be prevented.

A lawful user of a copy

of a program shall be

entitled to observe, stu-

dy or test the functio-

ning.

The author may not

object to the assignee

of operating rights hol-

der making or authori-

zing the conduct of

successive versions of

your software program

or derivatives thereof.

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

Farcama 2012.

On Monday October 5 opens at the

Craft Fair Toledo Castilla La Man-

cha.

In previous years we have come to

the fair to greet a large number of

artistesanos glassmakers who parti-

cipated with their achievements in

the dissemination of the glass to the

audience.

This year we analyzed the list of ex-

hibitors and we miss most of them.

SPECIAL INTEREST:

Part of the month

Close the ACG

Orgy of colors

Visit to Javier Velasco

Activities on the MAVA

News

Our activities

Glass recycling

How does

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

The crisis, the high prices they have

to pay for taking a stand, the ad-

venture that pay a significant

amount without the assurance that

at least the investment can be reco-

vered through sales, seem sufficient

reason to the glass sector is not well

represented in this important exhibi-

tion.

Farcama has this year with the pre-

sence of 156 exhibitors, a hundred

of which are of Castilla-La Mancha,

51 from the rest of Spain and the rest

of France, Hungary and Portugal.

The price of admission is three euros

for general public, 1 euro reduced

for retirees, young families and

groups and free for children under 8

years and professionals.

Go there like in previous years to see

the excellent work performed by

craftsmen and able to meet the

possible representation of the glass

sector and, through reading the list

of exhibitors, we see that it is very

full.

In the next newsletter we will take a

detailed look at the various aspects

that certainly we have more atten-

tion.

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Page 3

Part of de month. Robert Clark Palusky.

Palusky works are made by

combining glass, using different

techniques such as casting

mold, blown glass paste, etc.,

With other materials, usually sto-

ne and ceramic.

He also works extensively with

technical parts surface as

paints, marks, mosaics, prints ...

searching the plasticity of mate-

rials.

Composes complex works that

require time and culture to be

interpreted.

Apparently this is a whimsical

overlapping elements that could

function independently, so all

being figurative and recogniza-

ble combination is precisely

what makes his work something

strange, original and suggestive.

The whole work comprises a

complex narrative for using Wes-

tern imagery and where, in a ve-

ry personal, confronts man with

the complexity of their culture.

In the work of MAVA Palusky do-

nated in 1997 and therefore wit-

hin the set of foundational works,

it is difficult to decide which is

the front and which the back of

the work, as both sides support

rich iconographic messages.

The title of one of his latest ex-

hibition at the Gallery Habatat

New York, gives us an idea of

what it intends to convey Robert

Clark Palusky with their works: et-

ting intimate: Small important

works in glass.

Palusky Rober has work in mu-

seum collections as the Cincin-

nati Art, the Corning Museum of

Glass in New York, the Boston

Museum of Fine Arts, the Mu-

seum of Modern Art in New York

and the Museum of Modern Art

in Sapporo, Hokkaido.

Robert Clark Palusky studying at

Rochester Institute of Technolo-

gy (1969).

Master of a large number of

glass techniques, has taught

many artists from the 60s, but al-

so widely dominates the use of

ceramics.

During the last thirty years has

been Professor of Art at Hamil-

ton College in New York.

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Page 4

Established artists. Steve Klein.

Young artists. Tara Woudenberg.

Woudenberg Tara was born in

1978 in Holland.

Create a job that represents the

way you perceive the move-

ments of his ever changing life.

"With a childlike wonder and the

concentration of a scientist who

curiously communicates with the

confusion and the privilege of

being ignorant. That's my inspira-

tion."

Glass and Tara are working to-

gether since 1999.

Seven years worked in the glass

factory conventional Oude Horn

in the Netherlands where he be-

came expert in the art of mo-

ving with (not against!) Hot glass.

Travel the world extensively in his

expeditions glass and collabora-

tes with many teams from diffe-

rent cultures.

Since graduating in 2011 with a

Master of Art and Glass Science

at the New University of Lisbon in

Portugal, it seems clear to her

that the universe provides

"signals" to their motion in speci-

fic directions.

"I feel the wind touches me, is to

make the trees drop their sym-

bols and collect I are talking."

Steve Klein was born in Los An-

geles (USA) in 1946 and resides

in Long Beach (California).

"The work I do is different as ins-

piration.

However, it is the result of con-

templation, considering my

desire to bring beauty to life.

The inspiration comes from my

emotional interaction with

everyday life and often is in-

fluenced by the environment

and the special moments that

experiment.

With my work I try to offer a

moment away, a tiny breath

of beauty and comfort of the

everyday.

In the development and ma-

nufacturing process, constan-

tly reminds me to look for be-

auty and the positive in every

situation.

Take me to the sensual beauty

and sensitive glass, and its rela-

tionship with light and reflec-

tions emotion it emits. '

Steve Klein has taught, studied

and displayed his art in exhibi-

tions and workshops in the U.S.,

UK, Australia and Taiwan.

In 2002 and 2005 completed

artist residencies of Pilchuck

Glass School in Stanwood, Was-

hington.

Klein has been featured in Neu-

es Glas, American Craft and

Glass Quarterly.

His work is in the collections of

the Museum of Arts and Design

in New York, North Lands Crea-

tive Glass in Lybster, Scotland,

and the Museum of Glass in La

Granja, Spain.

"My recent work seeks to explo-

re and appreciate the memo-

ries, the consequences and the

fragile state of balance."

"My work is influenced by the

chaos in our daily lives, the

struggle for self-control and in-

ner peace and an apprecia-

tion of beauty that mankind

has always managed to find in

life. I try to portray feelings insi-

de the glass, so that the mate-

rial becomes part of sensibility. "

Our web

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Page 5

Close the Andalusian Center of Glass.

Lack of support by the City of

Castril (Granada), ruled by PP, IU

and two independent groups,

has led to the closure of the

workshop of the Andalusian

Center of Glass in the town,

which was supported by Nobel

laureate Jose Saramago and

the center that bears his name

at the time, as reported by the

PSOE in the town.

The recovery of one of the most

important artistic activities Castril

in its history was made possible

with support also provided by

the Center of José Saramago,

the Junta de Andalucía and the

previous government castrileño

Hall, the PSOE, "but his continuity

has not been possible in the ab-

sence of real support and re-

peated breach of commitments

"by the current mayor, Miguel

Perez (New Castril) and quadri-

partite government.

The ancient art of glass that was

installed in Castril around 1504

and was lost for the first time in

the late nineteenth century.

Don Hernando de Zafra, lord of

Castril after the reconquest,

founded Castril a showcase in

1504, using the natural resources

available to it, becoming a thri-

ving business until it closed in

1878.

The products that were produ-

ced were mainly for industrial

use, such as jars, bottles and

jugs, but also manufactured ot-

her articles intended to adorn

and decorate houses as 'jug

castrileña'.

The manufacturing techniques

used were blowing and mol-

ding, and in color, glass Castril

had a range of green ranging

from dark to light olive green or

slightly yellowish smoke.

Once recovered this office, until

now you could buy glass pieces

in Castril generated by different

techniques, the blow, which is

what was used previously, the

torch, glass beads for use in je-

welry, and of melting obtained

with the multitude of decorative

elements.

This tradition and the glass busi-

ness was resumed a few years

ago thanks to José Saramago

Center, which created the Cen-

tro Andaluz Castril Glass, collec-

ting cultural concern to recover

the glass industry of Castril

through the creation of unique

art glass center of Andalusia .

This was launched a project ai-

med at the dissemination of cul-

ture and art glass through edu-

cation, both technical and artis-

tic.

This project resulted in the crea-

tion of a place to a direct ap-

proach to the glass, where visi-

tors not only find a glassblowing

workshop, but an open art spa-

ce.

At first it had the support of the

Government of Andalusia

through various initiatives to pro-

mote employment, and so in the

beginning, the workshop was

made up seven students and

two teachers, who used different

ways to work with glass.

One of the teachers was Gabi

Ignasi, son of the great Mallor-

can artist Pere Ignasi, with whom

we had the pleasure of talking to

the visit we made to the Center

in May 2010 and described in our

Bulletin No. 23.

The most important and why this

whole project was conceived

was the art of blown glass, which

is what was used previously.

Also present at the workshop

torch technique, which is used to

make glass beads for subse-

quent use in jewelry, and fusing

technique, consisting of flat glass

melting furnaces, getting colorful

dishes, plates, ashtrays and other

decorations.

In his final years, four of the most

advantaged students of various

training initiatives had formed a

partnership and kept the activity,

first with the support of the City in

the previous term and in the last

year, with no municipal support.

Precisely the lack of such support

has ended the initiative, for wit-

hout such help is impossible to

maintain an activity, on the other

hand, was and is one of the best

letters for the town and a real

boost for tourism, as argued in a

statement of socialist and former

mayor Jose Juan Lopez Ródenas

Castril.

We deeply regret that this pro-

duction center Andalusian glass-

ware has been a victim of this

restrictive policy merciless invest-

ment in culture, and in these pa-

ges we show our support to the

members of the association that

has kept showcase activity du-

ring time they could.

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ged shape and use. Ceased

to be only decorative, and

from the architectural point of

view, represent new functions,

"says Barovier.

Later, in 1940 reinvents the an-

cient technique of blunt murri-

ne, a kind of glass mosaic.

Scarpa rectangular creations

are a riot of color.

"This is an excuse to reflect on

the importance of design in

the work of Scarpa. Muranes

period represents an impor-

tant chapter in his vocation

and experimental craft. One

way to compare the work of

Scarpa-designer-architect

and Scapra "he continues.

It seems that Barovier loves

everything about this art, he

said, now in crisis.

"If you walk around Murano,

find many shops selling pro-

ducts made in China rigorous-

ly. There are only 60 teachers

and few young people willing

to learn the trade. "

While saying this, says a huge

picture of 1936. In the fore-

ground, a glazier in full fati-

gues, and out of focus, six wor-

kers, almost friendly, attentive

look. Joining them Scarpa.

The Scarpa sample coincides

with the opening of a new ex-

hibition, The glass rooms, so

named by Pasquale Galiardi,

director general of the Cini

Foundation.

The space has been transfor-

med into a cozy place by An-

nabelle Selldorf.

The building of 650 square me-

ters is located in the western

part of the island of San Gior-

gio Maggiore.

In this sector of the small is-

land, for centuries, the Bene-

dictine monks of the day de-

voted to farming.

"The Benedictines had a mot-

to: pray and work. The idea is

that many artists come to dis-

play, why not experiment and,

later, create an oven”, Galiar-

di ditch.

was also curator of exhibitions

Scarpa earlier, the "Wizard of

architecture, he considered

the job a poem."

Barovier met thirty techniques

employed by Scarpa.

They differ from each other in

technical execution, as well

as the "fabric" of glass obtai-

ned.

The exposed material meets

unique pieces, drawings, origi-

nal sketches, photos and two

delicious documentaries.

The first one (Carlo Scarpa

and its infinite possibilities,

1984) recounts the night in 15

minutes of work in the window

of the master Luigi Nono.

The second (Carlo Scarpa out

of Paradise, 2012) contains a

number of testimonies of his

disciples.

Worth spending ahead of the

display 60 minutes to explore

the universe of Scarpa. Is pro-

jected twice daily.

Organized chronologically,

the journey through the world

of Scarpa boots alchemist

with beautiful examples of

using the bubble technique,

which is nothing, that the use

of potassium nitrate in the

sand mass base to give life to

a glass piece.

Experiencing Scarpa won the

critical editions of the Bienna-

le, 1934 and 1936.

"It was beyond decoration.

Materials developed chan

A man of few words. Shy and

stubborn. A volcano of ideas

with great people skills.

The great Venetian architect

Carlo Scarpa (Venice, 1906 -

Japan, 1978) managed to en-

ter the world of cerradísimo

glass masters of the island of

Murano.

Of them became fellow,

knew their secrets to apply to

the design of the glass, and of

course, to the architecture.

That is what can be seen in a

former Benedictine monaste-

ry, now houses the Giorgio Ci-

ni Foundation, which sets up

the November 29, Carlo Scar-

pa, Venini 1932-1947.

For the first time have been

collected 300 pieces of glass,

all of great historical and eco-

nomic. Some cost more than

100,000 euros.

Scarpa's passion for glass be-

gan as a student of architec-

ture.

"It was a curious person, spent

whole nights in the ovens. In

whatever he did was to un-

derstand the material down

to the chemical composition.

To work with glass is necessary

to know how matter reacts,

depending on how you want

to give to the object and as

the colors used. Scarpa was a

true alchemist, "he told the

commissioner COUNTRY, Mari-

no Barovier, descendant of a

family that creates objects

from Murano 1400.It

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Orgy of colors Carlo Scarpa.

Page 7

Line of research: Inclusions (VII).

Estefanía Sanz Lobo.

The first is the use of templates,

especially those with a grid and

create textures frame, which

may overlap each other or ot-

her inclusions at different levels

in the same work.

In working with these templates

are very useful some plastic

mesh used to wrap fruits and ve-

getables.

The procedure is simple: just put

the mesh on a glass plate, and

sprinkle the glaze over it using a

sieve.

Be careful when removing the

enamel mesh above it does not

fall on the work achieved by al-

tering the structure.

Glazes and glass powders are

better perceived the dark and

opalescent.

The two works, Fig 1 and Fig 2,

were created using frames co-

llected as described above, to-

gether with other elements in in-

clusion.

The second procedure especia-

lly important to create internal

volume is overlapping in diffe-

rent levels of the work, shapes

drawn with brush.

Problems encountered in wor-

king with fries: breakage incom-

patibilities

Working with fries is, after all, the

merger of two glasses.

Therefore, the compatibility of

expansion coefficients must be

optimal if one wants to avoid

destroying stresses ending the

work.

As an example, mention quite

spectacular breakage corres-

ponding to a large glass, consis-

ting of yellow and red chips, en-

closed between two glass.

In a first cooking, which gave no

problems, the chips are melted

with the base.

In the second, fused glass sheet

3mm on the work.

When you open the oven, the

piece had some strange breaks

rounded shaped "puzzle". See

Fig 3.

It is very useful to read breaks

works to understand why they

occurred.

In this case, the edges of the

pieces were sharp.

This means that breakage occu-

rred during the cooling phase of

the work, that is, when the des-

cending temperature curve.

If it had been broken during

heating, for a rise too fast bet-

ween room temperature and

550 ° C, the edges of the brea-

kage would be rounded by the

heat and even partly welded by

effect of the expansion in the

top of the curve.

The fact that the lines are so tor-

tuous in this break may be due to

the presence of different types

of glass in the work.

The colored surface consisted of

red chips (particle size 3 and

dust), fried yellow powder granu-

lometry 3) and float glass of Spa-

nish Glassware and coarsely

ground powder.

Thus, the tear lines are created

following the placement of diffe-

rent glass composition.

A difference in coefficients of ex-

pansion of the glass, add anot-

her factor: the failure could be

due to a drop in temperature

too quickly, because when wor-

king with fries must give even

more cooling time.

In fact, the thicker are the pieces

of glass which are to melt, an-

nealing longer be accurate.

Therefore, the coarse chips re-

quire cooling slower than the sa-

me glass powder, enamels, oxi-

des, etc.

In Fig 4 shows the structure of the

play that broke. The chips are

trapped and fused between two

layers of flat glass.

The thickness of the chips atta-

ched to the glass sheets may ex-

ceed a few millimeters to other

works of that batch.

The curve was calculated to 9

mm thick.

This difference also may have

contributed to the break.

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Activities in Museums I.

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Activities in Museums II.

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Activities in Museums III.

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Visit to the exhibition by Javier Velasco.

We had a real interest in being

able to establish personal con-

tact with Javier Velasco, as the

author of the book "Glass Body"

which won first prize in the con-

test that was held on the occa-

sion of the first and only Glass

Biennale is Alcorcon held in 2006

and is part of the permanent co-

llection of MAVA.

And we have taken the exhibi-

tion installation in the Sala La

Gallera, Valencia, that would

guide us on a visit to his book

"The Seventh Circle".

La Sala La Gallera is a ninete-

enth-century industrial building

that originally, as its name sug-

gests, was dedicated as a ve-

nue for cockfighting, hence its

original form, a dodecagon with

three stories high, each of them

with balconies offering views

space as a whole.

It is important to note the origin

of the room because the impact

that the visitor receives when

the curtain opens the entrance

and penetrates inside is exciting.

Remember the blood of animals

emerging in spurts in his fights

when he sees the staging of the

work of Javier is awesome.

Also, for us to add to this enor-

mous impression that the work is

carried out in glass is even more

spectacular.

Because the installation that re-

sembles Javier presents strange

beings descending through thin

threads of glass to a final desti-

nation, a goal that only the vie-

wer can define fantasy.

And Javier speaks of Mercu-

rochrome singular element in his

works. It is the only artist to use

this component for its facilities.

You have to remember, in this

connection, that the work is also

exhibited at the MAVA rod is

made of bright red.

Even the name of the exhibition

itself may be a clue to where

the topic is its content: the mo-

numental literary work of Dante

Alighieri's "The Divine Comedy".

Alberto Fabra, President of the

Valencian Community, said in

presenting the exhibition cata-

log that "we are witnessing a re-

fined exercise in synthesis of ide-

as and signs from an emphatic

use of pictorial language. The

cross appeals and suggestions

on making the artist experimen-

ting with the senses and perso-

nal growth axis plot the universe

created by Dante, we invited as

spectators but also as an inte-

resting protagonists reading

around this original altarpiece

concepts,

experiences and symbolic ima-

ges contained within the walls of

the cockpit. "

Jose Guirao Cabrera, in another

presentation that includes the

exhibition catalog, indicates that

"originates from a Canto of Dan-

te's Divine Comedy, one that

speaks of a river of blood in

which the condemned drown.

Upon entering the springs in the

cockpit of that river surround us,

we are immersed in his blood, to

show, in his mirror, that condem-

ned us. "

Javier Velasco says it in the pre-

sentation of his work, has relied

on a team of collaborators for

their realization ".... the team,

even occupying a discreet

background relevant and in ma-

ny cases, be of paramount im-

portance as it finally artistic ex-

perience. "

And is that Javier came to the

cockpit with the figures of the

strange beings descending al-

ready made and supported by a

team of collaborators, worked

with glass threads that complete

the installation using "simple"

stretching processes.

The installation is completed with

panels placed on the walls of

the first floor of the room in which

they represent trusses supporting

the bloody destructive aspect of

souls who rush to Phlegethon, the

river of blood mentioned by

Dante in his work.

In one of the panels projecting a

movie in which paths which fo-

llow represent blood fluids

through a free path on a hypot-

hetical plane.

And all with an illumination chan-

ging, always intense reds, which

provide an environment uneasy,

almost fearful, typical of what

the facility wants to suggest.

By summarizing the feeling that

we produced the visit to this gre-

at work of this artist: shocking.

View photos

Page 12

Activities on the MAVA. 15th Anniversary.

On 23 October this month met

fifteen years since one lucky day

of 1997 opened this lovely niche

of contemporary sculpture ma-

de of glass that is the Museum of

Art Glass Alcorcon (MAVA).

Fifteen years showing the public

the excellent sculptures which

houses its permanent collection.

Realizations of diverse styles, ar-

tists more heterogeneous and

most reputable in the second

half of the twentieth century

and the most varied techniques.

All this, thanks to the desire, in-

terest, love for their host city, the

love of glass artist Javier Gomez

Gomez, whom we are proud to

have as Honorary President of

our Association and as a perso-

nal friend.

The commemoration of the fifte-

enth anniversary should be a tri-

bute to him and, with him, to the

memory of Takako Sano, a key

figure in the existence of this mu-

seum, which offered support for

Javier to begin the journey of

MAVA and, unfortunately left us

in November 2006.

Over the past fifteen years there

have been numerous exhibitions

to give the public the works of

various artists and, in most cases,

have had the courtesy to let

one of his works to the Museum's

permanent collection.

During this period there was a

Biennale of Glass in our City in

the piece that won the "Body of

Glass" by Javier Velasco, Cadiz

artist based in Valencia and we'-

ve had the pleasure of greeting

on the occasion of our trip to this

beautiful city to see his exhibition

"The Seventh Circle", visit to

which we refer in the article on

the previous page of this Bulletin.

Unfortunately, in our opinion, af-

ter these fifteen years, the MAVA

no media projection it deserves

by the importance of the works

that form its permanent collec-

tion. A prominent overcoming

this gap is addressed much of

the activity of the Friends of the

Museum, that we make every ef-

fort to make the image of MAVA

known in as many areas as possi-

ble.

And we miss the presence of

sponsors who provide financial

support for temporary exhibitions

of renowned artists and today

are unthinkable, given the lack

of support from our City.

The celebration of this 15th anni-

versary is expected to be all mo-

dest resources allow, but we're

sure you will not miss the heat

from all those feeling the MAVA

as our own and very valuable.

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Visit the exhibition of Sara Sorribes.

As the web's Craft Centre Valen-

cia referring to this exhibition,

hatching, life in glass! is the title

that the Valencia company

Glass Crafts J. Sorribes, Innova

category finalist of National

Crafts Awards 2010, set to the

sample opened last September

13 at the Craft Center of Valen-

cia, which was attended by the

Director General of Trade and

Consumer of the Community,

Silvia Ordiñaga.

This exhibition is the launch of

the new firm Crling! By Sara Sorri-

bes, born of cooperation betwe-

en this artisan company, Profes-

sor at the Polytechnic University

of Valencia, Manuel Martinez

Toran and a creative team,

along with the collaboration of

the universities of Valencia and

Mexico.

The aim of the brand was to de-

velop a first collection in three

lines: glass jewelery, clothing

and accessories, and home and

lifestyle, where the glass comes

into the picture.

This project involved designers

from Spain, Mexico and Italy,

designing not only each of the

pieces, but also his message.

Behind every story there is a rea-

lization that has an experience,

a testimony where you can see

past, present or future.

The effort made Sorribes Sara to

see his wish to show the public

these designs has been extraor-

dinary, sacrificing your holidays

and your family to carry out the

implementation of the parts.

And it is worth noting here and

now the merit Sara to keep alive

and running the estate of his fat-

her, J. Sorribes, which was once

one of the most prominent Spa-

nish artisans in glass processing

and handling.

And we found splendid collec-

tion of pieces that were hanging

on a wall aviaries paths of the

exhibition hall.

Each of these pieces has its na-

me and some of them are stored

inside the allegorical element

that seeks to highlight the messa-

ge.

In the center of the room, the

tree of life reflected in each of its

various branches creations ma-

de by Sara and her team.

A glass creations made for sup-

plements or protagonists of an

elegant woman's wardrobe.

According to Sara informed us,

the opening of the exhibition

was a resounding success, both

audiences and critics and sur-

passing their expectations put on

the event.

The whole collection will be mo-

ved to Madrid in November and

exposed in Fundesarte rooms.

From this page you repeat Sara

and her team all the congratula-

tions and we express it in our visit.

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Page 14

XVI National Exhibition of Art Glass in 2012.

On Saturday September 8 opened in

the Municipal Complex "San Francis-

co", located on Calle 23 and 149,

the XVI National Glass Lounge in Art

2012, bringing together more than 50

pieces of exhibitors from around the

country. The opening ceremony be-

gan with the opening of Blown Glass

Furnace and live demonstration by

teachers School Workshop, and con-

tinued with the presentation of

awards to the winners of the various

disciplines.

Organized by the Ministry of Culture

and Education of the City of Beraza-

tegui through the Municipal School

of Glass, the event is held every year

and invites artists from different parts

of Argentina. The exhibition will re-

main open, with free admission to

Sunday October 14, Tuesday to Sun-

day from 15 to 19 hours.

The meeting was a great call and

was attended by city officials and

artists from around the country were

also present participating exhibitors

from around the country, artists and

the general public.

"For us today really is a holiday, be-

cause we have opened this Hall and

also the opening of the furnace

blown glass, we had a project for

three years, and the opening of the

museum, with its Contemporary Art

Gallery Glass. We really prom dresses

today and is a joy that you have co-

me to join us, "said Avila, who in his

role as watchdog of the exhibition

was very happy with your level.

Then, on behalf of the Secretary of

Education and Culture Hall, Mr. Fe-

derico Lopez, and his role Berazate-

gui Cultural Advisor, former head of

the ministry left the exhibition ope-

ned with these words: "For me it is a

must be every year after opening

this Chamber for 14 years as Secre-

tary of Culture, and having spent 23

years carrying out this cultural pro-

ject which had as its central theme

the glass. "

Lopez said that "if parts of the hall

were music, at this time we would be

listening to the most wonderful melo-

dies.

So I want us to give it up for these

artists, because they allow us the joy

of being here, and make one, but

that is a long time in this, do not be

surprised in this Chamber and in tho-

se to come, because creativity has

no roof and that makes the room

always triggers curiosity to be able

to come.

Also, as I said Veronica, is a holiday

because after many years we have

been carrying out the glass furnace,

a whim we had for several years, and

is pleased that we have begun to

build classrooms that are going to

enlarge the museum and allow more

space.

It is my great pleasure and has to do

with the continuity of the cultural pro-

ject in Berazategui ".

Glass is the main protagonist of the

National Exhibition of Glass in Art, an

event that usually combine the finest

pieces made in the categories Classi-

cal Technical Stained,

Stained Glass Painted with Grisaille

Classical Technique, Small Format,

Technical Non-Traditional, Sculpture,

Student Vans in Glass.

Since its inception, the Municipal

School of Glass is responsible for pro-

moting, disseminating and consolida-

ting Berazategui condition of the

glass as a pioneer city in the country.

Also, the school is also dedicated to

the development and promotion of

glass as a material work of artists, arti-

sans, designers and producers, reco-

vering local craft techniques.

New facilities

Finally could be built in the Municipal

Complex "San Francisco" blown glass

oven, made "very important because

the glass blowing is the soul of the

glass, because through it you can

see directly the transformation of the

glass, the whole process of transfor-

mation "according to Avila, who ad-

ded that it" is a technique that will

now enter into our educational ".

Winners

Acquisition GP: Alejandro Daniel

Herrera Guiñazú (Godoy Cruz - Men-

doza)

Category "Traditional Techniques"

1st prize: Sofia Villamarín (La Plata -

Buenos Aires)

2nd prize: Claudio Alberto Allegrini

(Ituzaingó - Buenos Aires)

1 Mention: Omar Racing (Federal

Capital)

2nd Mention: Guillermo Fernandez

(Federal Capital)

Category "Non Traditional Techni-

ques"

1st prize: Claudia Golzman (Federal

Capital)

2nd prize: Ruben Fasani (Federal Ca-

pital)

1 Mention: Diana Burman (Federal

Capital)

2nd Mention: J. Silvia Holzkan (Tigre -

Buenos Aires)

3 ° Mention: Norberto Chutrau (Tandil

- Buenos Aires)

Jury Mention: Viviana Caprarulo

(Homemade - Buenos Aires)

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Page 15

Glass techniques. Color palette (XVI).

Estefanía Sanz Lobo

In Fig 1 and colloidal gold has

dissolved and spread on this

glass, having a black portion

and a white opal transparent.

On the black area is best appre-

ciated golden hue, in the white

zone, appears reddish.

Before baking, must be dry.

Moorman (1990) recommends

waiting at least an hour before

baking.

The metals may be used in sand-

wich or surface.

For use in sandwich previously

necessary to bake temperature

of 650 ° C.

Otherwise, the milieu in which

they are dissolved form a thick

black spot when burned, and

the result would look nothing ex-

pected.

To put it in a sandwich, gold lo-

ses some of its metallic luster.

The gold may be fired between

650 ° and 750 ° C, but good re-

sults are also obtained at higher

temperatures (melting tempera-

ture) and second firings.

When baking, it is essential to ke-

ep the oven with open ventila-

tion to at least 700 ° C, as the fu-

mes given off by the metals can

affect the color and brightness

achieved.

In the test is quoted in Fig 2 Co-

lloidal gold has been baked,

and then is covered with a glass

slide and become baking.

The result is a crackle gold, in

the zones where it is thicker, built

on a bubble appears.

Lost mirror shine.

The expressive possibilities offe-

red by this material is interesting,

because it can be mixed with

glaze and fried testing it is ne-

cessary to pre-cook.

Colors can be directly cooked

on gold or on a transparent

glass placed on it.

When heated to the melting

temperature, the glass sheet ex-

pands more than the gold.

No cause tensions since gold is

the minimum thickness, but it

craquelará causing an interes-

ting effect.

Crackle also arise when the

glass is thermoformed, or when

melted on gold thick glass pie-

ces that modify the horizontal

glass surface on which it rests.

The effect created by the gold

mirror is also an interesting ex-

pressive element, however, is

lost when the glass is melted

above 700 ° C to cause the gold

crackle.

The glosses. Lustre pearl.

The chandeliers are from the ce-

ramic media.

In this area, the luster technique

consists of a decorative treat-

ment is applied to a glass surfa-

ce that provides a metallic or

iridescent appearance.

This is an old technique, already

used by potters of Syria and

Egypt, which applied silver or

copper oxides on glaze and ba-

ked, then subjecting to a redu-

cing atmosphere.

Lustres marketed today and ot-

her dissolved that a glaze ap-

plied on not require reducing at-

mospheres.

Since treatments are glazing

over (Jacket or third fire), can be

applied to the glass surface to

produce metallic finishes, irides-

cent or pearly.

If we leave aside the colloidal

gold or gold sheen, which does

have a long tradition in the world

of glass, the origin of these glos-

ses is the ceramics sector and for

this reason it is difficult to get pro-

ducts specially formulated for

glass.

In tests I used a pearl luster Cera-

michrome company, formulated

for ceramic.

The luster pearl is a transparent

brown liquid, toxic by inhalation

as colloidal gold.

All the above given recommen-

dations for extending the gold

colloid (type of brush cleaning

glass and the area specific di-

luent) serve for the pearl luster,

except for the amount of subs-

tance deposited on the glass. If

the colloidal gold was necessary

to a thick layer with pearl luster

should be just the opposite: the

coat should be fine.

A thick layer form blisters and fla-

king when cooked.

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Page 16

N E W S (I).

Culture 2012.

XVI National Living Glass.

Glass is the main protagonist of

the National Exhibition of Glass

in Art, an event that usually

combine the finest pieces ma-

de in the categories Classical

Technical Stained, Stained

Glass Painted with Grisaille

Classical Technique, Small For-

mat, Technical Non-Traditional,

Sculpture, Student Vans in

Glass.

Since its inception, the Munici-

pal School of Glass is responsi-

ble for promoting, dissemina-

ting and consolidating Beraza-

tegui condition of the glass as

a pioneer city in the country.

Also, the school is also dedica-

ted to the development and

promotion of glass as a mate-

rial work of artists, artisans, de-

signers and producers, recove-

ring local craft techniques.

The exhibition will be open until

October 14.

The last September could not come

to the Hopper exhibition at the Thys-

sen Musey, Madrid, as planned but

we were visiting Carla Duval House

space Cows Retiro Park.

The exhibition, organized post-

humously by his sister Norma, ende-

d on September 26. An exhibition

reveals the artist's soul. The organi-

zation explains that looking at the

work of Carla Duval is walking his

soul.

The essence of an artist who began

painting five years and throughout

his life was a self-taught painter.

Art Lover 'as few, managed to

combine her dream as an actress

with her passion for painting' ex-

plains the media organization. `The

whims of fate that his career did gi-

ve a 180 degrees and his last mo-

ments were devoted to his other

passion, theater.

The disease is caught in one of the

most loved, the stage, surrounded

by great friends who shared with

her the poster of the play `Bruges''.

His sister Norma remembers with a

pencil or charcoal on hand. His en-

trepreneurial and fighter made that

childhood dream was slowly beco-

ming a reality and that's how he

started painting on large canvases

unleashing the innate talent he

had.

Canvases displayed in this collec-

tion and a job that has since 1997

when he made his first exhibition. A

career that was consolidated with

force and in 2002 when he joined

the workshop of the Prado Museum

by its director Don Francisco Molina

Montero. He studied four years at

the gallery, time to mature as an

artist.

Don Francisco Molina Montero, Di-

rector of the Prado Museum shop

sent a message to Carla in May

2009 that claimed that `this is not a

recognizable landscape painting,

localist, is a universal landscape, es-

sential, I would say that an interior

landscape, a landscape of the soul

'(..) `When I saw your work first

checked the interest manifestabas

for figuration. Nature, especially

landscapes and depictions of ani-

mals, were your favorite topics. A

work loose, vital, where gesture and

touch as much emphasis had re-

presented '.

The exhibit shows pictures of sub-

jects such as horses, one of the ar-

tist's favorite subjects, along with

the nudes and portraits, as he did in

Paris Norma on stage, specifically

on the 'Follies Bergere', where he

worked. In this work we have admi-

red, not only painting, if not the

being of Carla, your deeper self. It is

therefore sample a very talented

painter to which only lacked time.

On September 16 opened at the

Municipal Complex "San Francis-

co" of Berazategui, located on

Calle 23 and 149, the XVI Natio-

nal Glass Lounge in Art 2012,

bringing together more than 50

pieces of exhibitors from all over

Argentina.

The opening ceremony began

with the opening of Blown Glass

Furnace and live demonstration

by teachers School Workshop,

and continued with the presen-

tation of awards to the winners

of the various disciplines.

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Page 17

N E W S (II).

that has been created and de-

veloped by Augustine himself

Aguirre, with works performed

as striking as lamps, with glass,

are both flexible and unbreaka-

ble.

Finally, they could see some of

the paintings, from 4 to 7 Octo-

ber, the artist exhibited in Stoc-

kholm.

The process of "glass exploded"

requires several previous opera-

tions, among which the prepa-

ration of the colored tiny pieces

of this material, which will be

used in the work.

To achieve these small pieces

are crushed and screened glass

purchased on the market.

Used up to 45 shades in three

thicknesses, the largest similar to

a grain of rice and almost the

smallest dust.

In the workshop Agustín Aguirre.

all their production after the first

day of the strike called by the

works council (be three) as a

protest against the collective

agreement it intends to imple-

ment the direction.

"Many operators have offered to

report to their jobs, but has prefe-

rred to remain invite their homes

to threats (letters, painted, etc..)

That have been" added the offi-

cial note.

Guardian paralyzes its production.

events of the festival of San Fer-

min Txikito.

Thus this artist navarro peculiar

wanted to put his two cents lin-

king art, culture, tradition and

parties in a radiant morning.

Large audience visited the store

and could learn about the se-

cret that hides in the basement

of the porches of the Castle

Square, at 23: the exhibition and

workshop Agustín Aguirre.

Those who came were able to

see how the technique works Tif-

fany, performing with stained

glass windows, lamps and other

decorative details, how to recy-

cle a bottle transforming it into a

clock and how to create glass

jewelry.

Furthermore, the technique

known Explode Glass, a world

The address in Llodio Guardian

reported on 26th September that

its production of glass is totally

paralyzed, as the float furnaces

and printed, they have to remain

continuously lit, have destroyed

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Agustín Aguirre Artistic Workshop

held on Saturday September 22

its second open house, act inclu-

ded in the program of

The exhibition "Artifex, Roman Enginee-

ring in Spain" aims to bring the public

the broad technical legacy of the Ro-

man world, showing knowledge in the

various fields of technology and its ap-

plications in civil engineering.

Roads, bridges, harbors, lighthouses,

aqueducts and dams are works that are

abundant traces in Spain and a rich

heritage.

They reveal a whole network of critical

infrastructures within the organization,

and providing cultural and military ex-

pansion of the Roman Empire.

Closes the area known exposure techni-

ques and industrial arts, dedicated to

the salting industry, the manufacture of

glass, making dyes or processing of agri-

cultural products.

Artifex, Roman Engineering in Spain.

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Page 18

The glass in Museums: The Casa Pintada.

The new permanent collection

of the Museum Foundation Pain-

ted House-FCG (FCP) was pre-

sented in Mula on a guided tour

of the artist, which names the

museum, along with the Presi-

dent of the Autonomous Com-

munity, Ramón Luis Valcárcel,

the mayor Mula, José Iborra,

and friends of the institution de-

dicated to the promotion of the

arts.

The new exhibition project dedi-

cated to the figure of the artist

Mulenen FCG 'explores the artis-

tic painter and sculptor, cente-

red at the origin of all things,

bringing visitors to the artist's

landmarks from a geographical

aspect, "according a note of

the foundation, "for which the so

-called cardinal points of Ga-

barrón take a prominent place

in room 2 on the ground floor of

the FCP." The exhibition high-

lights its latest creative career,

"fostering a future approach to

the artist's inner self, the personal

creative process emerges in the

privacy of the workshop and

that starting point is any aspect

of life and personal experiences

of the creator ».

The exhibition begins by FCP in

Room 1 and the Bodega, both

spaces dedicated to temporary

exhibitions of young artists

monthly, as the seven selected

from the Call for 2012 Emerging

Artists of the FCP and that cu-

rrently hosts Sample Ars Antr-

hopoda ', the artist Diego Alber-

to Pardo.

After passing through the room

2, the new permanent collec-

tion explores the visitor in the pu-

blic work of the artist, the monu-

mental sculptures exhibited in

various cities around the world,

reaching Ward 6, where sculptu-

res and paintings never seen in

the region show research and

experimentation with materials

like canvas, clay, fiberglass, iron

and paper.

Then, in room 7 you can see a

series of sculptures in colored

glass and the colors come alive

profiles.

To end the tour, the last room of

the Painted House Foundation is

dedicated to the series icons,

personal images that obey an

imaginary self, developed over

the years and have become its

most characteristic sign, one

that allows trace his work over

several decades.

Once back downstairs, after

descending the ladder impressi-

ve palatial former residence of

S. XVIII, has enabled a visitor in-

formation point and the student

of the artist's work Mulenen

through five computers with in-

formation about the activities

and publications of the seats of

the FCG (New York, Valladolid,

Barcelona and Mule) and artist

exhibitions worldwide.

New advisory council

On the other hand, was establis-

hed the Scientific Advisory Board

of the FCP, a consultative body

whose functions will be aimed at

the proposed courses of action

consistent with the purposes of

the foundation and is composed

of the presidents of the University

of Murcia and the Polytechnic

Cartagena, José Antonio Gómez

and José Antonio Cobacho

Franco Leemhuis, the mayor of

Mula, José Iborra Ibanez, the for-

mer mayor of Mula Diego Cer-

vantes Diaz, the president of the

Association of Art Critics of Spain,

Tomás Paredes Romero, the di-

rector of the Chair Gabarrón, Mi-

guel Angel Hernandez Navarro,

the director of the Fine Arts Mu-

seum of Murcia, Juan Garcia

Sandoval, the director of the

Teatro Circo de Murcia, César

Oliva Olivares, a professor at the

University of Murcia and literary

critic José Belmonte Serrano, the

diplomat Inocencio Arias Llamas,

art expert and collector José

López Albadalejo, and editorial

director of The Truth, Alberto

Aguirre de Carcer.

Since June 2005, the Painted

House Museum hosts the FCG,

an institution dedicated to dis-

play and study the work of inter-

national artist born in Mula and

to value the cultural heritage of

this city and the region, and to

investigate and promote con-

temporary art, especially the

emerging, through an extensive

program of exhibitions, scholars-

hips, seminars, courses and con-

ferences.

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Page 19

The Treaty of Guadalupe Monastery Windows (V).

Fernando Cortes Pizarro.

- The cut is to be performed in a

single stroke or "coup" and if not,

do not happen again the dia-

mond twice the same brand or

"signal" being preferable to cut-

ting back some millimeters into

the glass ("the bulk of a pin")

and if that does not work well,

try flipping the glass, from the

diamond cut line on the other

side;

- The diamond hand grips "from

the same fate that takes a pen

to write, salbo not to be lopsi-

ded as it is the pen, but eniesta

and [per] pendicular on bi-

drio ...". This description matches

exactly the way we subject the

hopper now cut.

- Has to pay attention to the noi-

se made by the diamond tip to

scratch the glass because so we

know if the incision has been

made correctly.

- To open the cut "... lameness

bidrio with danbas the hands

and the part where the cut put-

ting perished in this way that the

two index fingers are placed on

the part Hico cutting and both

thumbs are to the contrary asi-

de.

And those finger nails thumbs

are together and united as they

are, are in front of the line and

small aciendo fuerça, will diuidi-

do. And in this aya careful not

acerlo of other lot for the dan-

ger and from a gash on any gi-

ven hand. "

Surprise again the precision and

detail in the description of this

delicate operation, for which

more than a glazier would have

helped the instructions available

in the beginning.

- The bit of the edges of the

glass, often necessary operation

to finish defining the shape the-

reof, is made using spanners to-

ols called "... the mouth quales

some have more, some less,

and applied under thick bidrio

is ... ".

Currently, this operation is still

performed on glass bitten either

using tools with a substantially

identical to that described in

the text, although generally inte-

grated into the metal tip where

the wheel is cutting, or by using

a small pliers with finished tips as

parrot beak.

- The frequent bitten ends up

spending glass or iron out

metal mouths of spanners so

they should be smoothed occa-

sionally: "These spanners were

spent her mouth and so necessa-

ry, when they in when they, des-

templarlos the lauio with that cut

and close them every time that

are filed are mui open ... ".

At present, although the type of

metal used is probably different,

with the passage of time is still

necessary to occasionally file tips

bitten tongs.

Despite the intricacy of the pro-

cesses described and as not to

discourage the reader, the aut-

hor decided to conclude this

chapter with a quote as hearte-

ning as poetic: "ay other sets that

are petty: the use and EXPERIEN-

CE and hobby is the one who

makes men get everything they

try. "

That lucky old stained glass are

ground and as leads Bacian

This chapter is for me, as a resto-

rer of stained glass, a special in-

terest.

Again, the author shows his ea-

gerness to conserve and reuse

as much as possible of a window

in disrepair ("unable to mend").

The tips offered are very interes-

ting because they provide some

clues about ways to reuse old

stained glass removed by glass-

makers.

The reuse of the glass and leads

from old windows has always be-

en, and partly still is today, a wi-

despread custom amongst the

glass, as we shall see below.

The glasses were kept to restore

other similar windows leads while

merged to become new profiles.

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Recycling. Mafias recycling.

Three years ago, Ruben, who is now 28, went with his brother to recycling cen-ters to see what they could steal and then sell. "The irons that were in the co-llection points or down the street we saw a scrap sold them on the black market. Nor stole every day, just enough to eat and we would take iron and other mate-rials of most value to avoid a higher fine. We caught several times, the truth "he admits. Today, Ruben is autonomous and works even if you are legally collec-ting scrap metal for his boss, whose company has the certificate proving that you can collect and sell waste.

Like him, more and more those who see in the theft of old equipment a try. The competition is tough. The TV, radio or computer you no longer use and leading citizens to responsibly recycling center is coveted object in the black market. Every week there are thefts from collec-tion points, which is bringing head to un-dertakings entrusted to recycle and treat waste electrical and electronic disused platforms and management of these wastes. Especially this year and 2011. However, just as managers reported the collection points, which are none other than municipalities.

Better make 'blind eye'

So much so that Ecotic Recyclia and commissioned a private detective to find out if the work were taking robberies in three points clear of Catalonia. Even more to find out was to confirm, becau-se the containers were full and clean points the next morning appeared virtua-lly empty. "The photos taken by the re-searchers show the thieves cut the fen-ce to enter the recycling center and ta-king televisions and other electrical and electronic ... And pictures do not lie, "emphasizes Jose Perez, CEO of Recy-clia. Perez said that "since 2011 the theft of equipment has increased, espe-cially by higher raw materials'.

Destination: India, China and Ghana

Well you know Leonardo Diaz Pineda, RECILEC manager, company that is part of this waste through their plants Aznalcóllar (Sevilla), in Mérida (Badajoz) and Loja (Granada). "Every week there are at least three to four rob-beries in virtually every recycling center of Andalusia, and Madrid, about three," Diaz Pineda complaint.

Obviously not all clean points is the sa-me. In the town of Parla Madrid, for example, where there is a device that makes rounds Police to ensure that the-re are no points in either robbery clean, "no more thefts are occurring.Have been counted less than one a month in 2011, "say the City Council.

Also, the Civil Guard has no record of complaints in this regard, at least not to be ignored. It would be mere isolated

incidents, they say. Some facts which gives a good account Pineda.

"The municipalities, which are the ones who should report thefts clean points, clearly are not doing. A mayor went on to say that I do not care to fix this issue because it's five or eight sausages'' the people'' do not steal the bag, the car or at home from neighbors. Hence, no complaints. "

But not only are kids who like Reuben in his day subtracted with his brother to eat, there are a mafia behind perfectly organized, which makes capturing and storing of these devices to move them outside our borders, escaping the con-trol of the authorities . "Much of the ma-terials will subtract India, China and Ghana," says Pineda.

Impact

Some acts with economic, environmen-tal and legislative dire. "Only in 2011 we lost 150,000 euros for the robberies in collection points, to 30 percent margin we have. And this year is having more "RECILEC complaint manager. In fact, according to the company, over 70 per-cent of waste from collection points that came in 2011 at the plant in the munici-pality have Aznalcóllar Seville, was "cannibalized", ie without metals, wit-hout much of pollutants that have been issued previously to the environment. Something that is taking the company to the limit. "For now we endured, he conti-nues, but if the situation continues like, do not rule out having to lay off."

"Not only do we get less electrical and electronic equipment, but that we recei-ve-continues-not integers. The refrigera-tors come without the compressor wit-hout the refrigeration cycle, the washer, without motor TVs without copper wit-hout smartcard; computers, no hard disk, no sound card and other waste, such as radios, video , electronic toys we get clean aluminum, copper and iron. " And the treatment and recycling process has to continue having, even if the product does not have practically no economic value. For example, in the ca-se of freezers, "As much as we arrive without compressors do the same treat-ment, treat foams where the gaseous CFC freezers.

But in addition, the handling of waste electrical and electronic equipment in an uncontrolled manner is dangerous and can even cause serious health damage. "The TV's broken glass powders are ge-nerated very dangerous lead contami-nating the soil and health. In other ap-pliances to canibalizarlos'' contact'' mer-cury dust. "

So, on the ground of Aznalcóllar, 35 percent of cooling equipment that arri-ved in 2011 did not have the motor-compressor. By subtracting the motor-

compressor unit is released to the at-mosphere around the refrigerant gas contained therein. The gases deteriorate the ozone layer and contribute to global warming, and compressor oil contamina-tes the soil. The refrigerators arrived cannibalized RECILEC the plant were responsible for the emission of about 3780 kg of refrigerant gas, representing an issuance of 18.9 million kg of CO2, equivalent to the emissions produced by 9,000 cars driving for a year . The crisis, the high value of some metals and the proliferation of illegal outlets where they buy, is the right combination for the emergence of hundreds of new outbreaks. The value of the "merchandise" varies. "For a ton of cop-per in the black market come to pay about 1,500 euros, by the washer motor three euro and two euros for the electro-nic card, hard disk ..." says Pineda. Whi-le Ruben explains, "now goes all by ki-los. Also, do not wear a piece, but some kilos and get paid by weight. For a kilo of engine disassembled machine you can pay between 0.20 and 0.30 cents. Before I caught the whole appliances, today not only catch you have engine parts. " This lower price is because there is more competition and because increasingly, as Ruben says, "is more difficult becau-se they ask roles, although there are still buying scrap paper products."

There are also industrial thefts. While in other cases the rogue or the ignorance of the company, instead of calling an aut-horized company hires the services of someone not authorized to collect the items. "An event that affects the industry, as the price we pay rises. Also, if someo-ne sees the copier lying in an area not authorized damages our brand image, "explains Miguel Sarwat, responsible for environmental issues Toshiba TEC. Sar-wat explains that manufacturers pay € 0.18 per kilo of material electrical and electronic equipment put on the market to meet the recycling regulations. But thefts are making the objectives are not met, as Pineda complaint. "The legisla-tion passed in 2005 is not being met. Af-ter seven years of its entry into force Spain, half Spain recycles about 3 kilos per person per year, when four would be recycled, "says Pineda.

Assault on blue containers

But do not just steal these residues. Also assail blue containers. No details, but the decline is striking collection of paper and cardboard, especially in large cities, as the fall in consumption is not as high. "In 2011, the collection of paper and paper-board fell by 25 percent in the nuclei po-pulations over 500,000 compared with the previous year: in between 200,000 and 500,000, we have seen a decline of 9 percent in the less than 100,000 in Ju-ly, so much could be due to theft, "say from Ecoembes. Something that match Aspapel. "The overall collection of paper and paperboard increased by 2 percent, but that is because the collection indus-try (such as shopping) continues to rise, however collected municipal fell by 8.5 percent in 2011 », explains Carlos Rein-oso, CEO Aspapel. A Reinoso called particular attention to be given in large cities, because when the low consump-tion is approximately equally in all. " "You can do more to avoid these thefts, but in some municipalities like Barcelona, is having tracking, it is reported that there are complaints about it ...".

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Glass greener.

The European project, LIFE CERAM-

GLASS EN/ES/560 11, aims to deve-

lop new processing techniques in ce-

ramics and glass, to more efficiently

use natural resources and improve the

environmental performance of ceramic

and glass industry.

The objectives proposed in this project

would be achieved by using a furnace

with laser technology for heat treat-

ment and changes to the design and

composition of the products used in

the process.

This will help decrease the consump-

tion of water, energy and raw mate-

rials.

This is related to several areas of prio-

rity action in the EU, which has led to

frame the project within the line of cli-

mate change adaptation in the Life En-

vironment program.

In addition to climate change, the pro-

posed alternative process, provides an

opportunity for competitive advantage

in the industries producing ceramics

and glass.

The development of new products with

high added value would allow for eco-

nomic and social development would

result in a benefit both national and

European.

A "laser oven" more respectful of

the environment

This demonstration project

encompasses the design and cons-

truction of a pilot furnace, based on

the combination of a continuous furna-

ce and a scanning laser.

This furnace would be used to process

ceramic products and glass industry.

Specifically applied to the manufacture

of ceramic floor and wall flat, glass ce-

ramic and third fire.

The latter is a type of ceramic with ad-

ded value, which is subjected to seve-

ral firings to get a range of aesthetic

effects (sheen, gold, silver, etc..).

Successive firings are necessary, sin-

ce many of the colors used in the de-

coration ceramics can be obtained on-

ly at very low temperatures (between

600 and 800 ° C), compared to the

temperatures of conventional cooking

(between 1200 and 1400 ° C) required

by ceramic supports.

It is expected that the introduction of

"laser oven" in the process, to obtain

ceramic and glass with the same finis-

hes and properties, but using signifi-

cantly lower temperatures.

This would be a significant energy and

cost savings and a significant reduc-

tion of emissions of greenhouse ga-

ses.

The results expected to be achieved

with this technique are beyond the

means of the techniques used in the

industry today.

Less harmful to health

Another objective pursued is the modi-

fication of the compositions of the pro-

ducts used in the process to be envi-

ronmentally less harmful.

Currently commercial compositions

which generate the effects on ceramic

gold and silver are based on the use of

highly toxic organic solvents, and

hazardous contaminants.

This results in a health risk to produc-

tion personnel who handle these com-

positions, as well as greenhouse gas

emissions.

In this sense, the project proposes to

replace all of these compounds by ot-

her solvents called glycol.

In addition to being a good solvent for

many organic compounds, glycols are

completely water soluble and are cha-

racterized by a low toxicity, enabling

the treatment and purification of ef-

fluents generated by industry is much

simpler.

Another innovative aspect is introduced

by the process of reducing the thick-

ness of the tile support 9mm to 4 mm.

This not only reduces by half the

amount of raw materials and water

use, but also reduce energy consump-

tion and emissions of greenhouse ga-

ses.

This will get complete the objectives

set for this project and offer the cera-

mics and glass industry a new way for

your business to be more environmen-

tally sustainable and more competitive.

The Institute of Materials Science of

Aragón (ICMA), joint center of the Uni-

versity of Zaragoza (UZ) and the CSIC,

is coordinating the project that also in-

volved another joint center of the UZ

and the CSIC, Institute of Chemical

Synthesis and Homogeneous Cataly-

sis, along with three other centers in

the National Research Council (CSIC),

the Institute of Ceramics and Glass

Madrid, Seville Materials Institute and

the Institute of Carboquímica.

The company TORRECID, one of Eu-

rope's leading companies in the cera-

mics sector, complete the list of partici-

pants in this project, which has a bud-

get of about three million euros and will

take place over the next three years.

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Our activities.

In this section we detail the activities which take place this month, corresponding to the cultural visits related to the glass and outputs that we as provided in the program CULTURE 2012.

Cultural Tours.

Culture 2012 Programme.

In this month of October we will

visit the exhibition of Gauguin's

work in the Thyssen Museum in

Madrid.

What Paul Gauguin sought

when in 1891 he decided to lea-

ve Europe and sail for the South

Seas? What did you find in the

confines of the world forever

transformed his painting?

Tourism Tahiti and the Marque-

sas Islands in search of traces of

Gauguin is the desire of all those

who have ever been interested

in the work of French artist.

Thanks to support from Tahiti

Tourisme, the Museum could re-

call his flight and chart a course

for Tahiti and Hiva Oa who was

instrumental in the development

of their research.

Paul Gauguin's flight to Tahiti,

where reconquered by the exo-

tic primitivism, is the theme of

this exhibition by a selection of

artists from the late nineteenth

and early twentieth centuries,

discover how the trip to worlds

supposedly more authentic

transformation produced a

creative language, and how this

experience shaped the transfor-

mation of modernism.

The proposed itinerary Alarcó

Paloma, Chief Curator of Mo-

dern Painting Thyssen-

Bornemisza Museum and curator

of the exhibition, we will show

the fruits of artistic explorations

of Gauguin, Matisse, Kandinsky,

Klee and Macke, among others,

as well as the imprint Gauguin in

the German Expressionists and

the Fauves French, thereby de-

monstrating how the figure of

Gauguin stands as the creator

of a new canon that served

exotic boot languages of mo-

dernity in the early decades of

the twentieth century.

the objects listed in that book.

We chose the 16th, Tuesday, open in

the morning and evening and on

the 20th, Saturday, open in the mor-

ning for anyone who is interested in

joining may have option to choose

from any of these shifts.

Our partners, paying their dues have

a bonus of € 2 in the amount of the

entrance to the Museo del Prado.

In this September we will perform

various guided tours to the Prado

to see glass objects found in the

paintings from its permanent co-

llection.

Through the texts of "The Glass

painting in the Prado Museum"

written by scientists José María

Fernández Navarro and Francisco

del Aguila Capel and Prado Mue-

so website, we have prepared an

itinerary through the different our

main gallery rooms to see "in situ"

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Martin Walde. Sculptural technology.

Martin Walde, Austrian artist

born in 1957 and internationally

recognized as a result of their

participation, twelve years ago,

in the tenth edition of Documen-

ta, has dedicated the last years

exhibition design innovative

practices that may involve pu-

blic participation in the dyna-

mics of installation process works

and has tried to use in the pre-

paration of his

sculptures, art advanced mate-

rials capable of questioning our

traditional conception of the

art.

The use of a new technology

sculptural materials began to be

explored in the sixties, but had

barely evolved since then, and

the aim of the research was to

explore Walde consequences

that the use of other elements,

more contemporary our culture

stone, bronze or plaster, would for

the future development of the

sculpture and the perception of it

by the viewer.

The ZKM in Karlsruhe, Germany,

exposed to 18 October, a new

version of the video installation

Production Limits, which Walde

exhibited last year at the Biennial

of Contemporary Art of Seville,

and his collection of Hallucigenia,

sculptures made from blown thin

glass units illuminated by high fre-

quency technologies.

The structure of these pieces is ins-

pired by the invertebrate animals

of Pre-Cambrian period, whose

remains were discovered in 1977

in Canada.

Hallucigenia is ultimately the result

of the combination of own know-

ledge of art, technology, science

and nature in the service of expe-

rimentation.

Karlsruhe, 30.07.09

ZKM. Zentrum für Kunst und MEDIE-

TECHNOLOGIE

Lorenzstraße 19

Karlsruhe

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Glass in Rio de Janeiro.

to float in the waters off the be-

ach of Botafogo.

The curiosity grew when the giant

maze Morris concluded triangular

glass mounted in Cinelandia, a

major public square in Rio de Ja-

neiro and located outside the

headquarters of the City Council.

It was also possible to see the

giant clay dome mounted Golds-

worthy at the headquarters of the

Citizen Action, a cultural center

near the port of Rio de Janeiro.

The Brazilian Oliveira, meanwhile,

opted for a giant wooden sculp-

ture was installed in the park Ma-

dureira. The work takes the form

of a road with a knot in the midd-

le to allow the passage of the pu-

blic.

On the nights of 7, 8 and 9 Sep-

tember could be audiovisual

spectacle mounted by Ikeda and

was projected onto the sands of

Arpoador Beach. The projector for

this installation was installed in a

tower 15 meters high.

Cariocas have to wait until 19 Oc-

tober to see the thousands of digi-

tal images that Eno projected on

the white columns of the Arches

of Lapa, the ancient Roman-style

aqueduct of Rio de Janeiro and is

now a major local tourist.

The Brazilian city of Rio de Janei-

ro has been transformed into a

giant outdoor museum installa-

tion at various public places in

four huge sculptures or interven-

tions known international artists,

and the projection of two audio-

visual shows.

The works have been presented

officially as Brazilians celebrate

the holiday of Diwali, but some,

like the giant head created by

Spanish artist Jaume Plensa and

"floats" in the Guanabara Bay,

attract attention from a few

days earlier.

The creations can be seen free

in high traffic public spaces as

Cinelandia Square, Madureira

Park, the beaches of Botafogo

and Arpoador, and the Arches

of Lapa.

The unprecedented public and

international art show with works

by internationally acclaimed ar-

tists hear the result of the project

(Other ideas for Rio), an acro-

nym, read backwards, also re-

fers to the name of the city.

The intention is just passing the

idea that the city can be desig-

ned differently, told Efe the or-

ganizers of the exhibition, inclu-

ding Rio Globo organization, lin-

ked to media conglomerate

Globo.

The aim of the organizers is to

mount an exhibition in public

spaces like every two years until

the Olympic Games in Rio de

Janeiro organized 2016.

The first exhibition of the works

were created especially by the

British artist Andy Goldsworthy,

music producer Brian Eno En-

glish, Spanish sculptor Jaume

Plensa, the American sculptor

Robert Morris, the Japanese de-

signer and sculptor Ryoji Ikeda

Brazilian Henrique Oliveira.

The sculptures and interventions

may be appreciated by locals

and tourists until 3 November,

while Ikeda's audiovisual show is

designed only for three days

and Eno's digital projection ex-

hibited between 19 and 21 Oc-

tober.

The outdoor exhibition began to

arouse curiosity when a crane

positioned on a special base

and in the middle of the Bay of

Guanabara human head in fi-

berglass Plensa created by Ca-

talan.

It is "Awilda", a sculpture by forty

feet high representing the face

of a Tahitian girl and that seems

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Page 25

The glass in the National Library.

Included in the celebration of

the tercentenary, the Library of-

fers an adventure in which visi-

tors can interact with the 200

pieces on display through

sounds, music, movie scenes or

voiceovers.

"Many people could not even

imagine that in the Library are

preserved these works of art,"

said Gloria Perez-Salmeron, di-

rector of the institution, for whom

it is important to raise awareness

and bring the public "the fourth

estate library in the world" .

The exhibition is sponsored by

Spanish Cultural Action (AC / E)

and is intended, according to its

president Teresa Lizeranzu,

which capture the reality and

the future of books.

The works selected by curator

Magda Polo, except for a loan

from the Museo Reina Sofia and

two private collections that we-

re important for the show, come

from the collection of the Libra-

ry.

In addition to showcasing some

of the funds of artist books and

order books from the Library,

many of whom have never par-

ticipated in any discussion, the

objective of the commissioner

has been "making a proposal

that was not to use the visitor

could interact and draw part of

their content. "

The course is made up of nine

sections which display works ran-

ging from the avant-garde to

the present and begins with an

introduction in which ten people

in ten different languages

explain what a book is for them.

The following presents the results

of the proposal made by the

network so that anonymous rea-

ders will select the 500 texts,

which in his opinion are best

described as a figure of world

literature and which are part of

the initiative.

In this section, titled "The Book as

a hunter of moments", contai-

ned a book of Martin Ruiz Azua

object that allows visitors to pho-

tograph and place your snaps-

hot into a framework that is pro-

jected on a wall.

"The book as poetic eyes" shows

works by Miró not exhibited so

far, along with other relevant ar-

tists and publishers can appre-

ciate these books have strengt-

hened.

"The book is a whole but also the

sum of its parts," according to

the curator.

Another proposal of Magda Po-

lo in "The Book as a destination"

is that visitors can "way of exqui-

site corpse", writing part of a bo-

ok that will be developed during

the days of exposure and then

edit an e-book.

In "The Book as a delicacy" me-

ans this "as food for the soul" and

to express this idea the curator

has selected books that artists

have used the theme of food as

"leitmotiv" of his work.

This section lists books Ferran

Adrià and a work that Magda

Polo considered very special.

This is done by the Joaquim Me-

ritxell Falcó Tembleque and for-

med by cast glass pieces writing

therein.

"It is a loan which we hope will

become part of the Library," said

the commissioner that "The book

as a book artist" wanted to try

establishing dialogue between

literature and art.

This important pieces selected

Rafael Alberti and Antoni Tapies,

Max Holzer and Paul Palazuelo,

Jose Angel Valente and Antoni

Tapies, Francisco de Quevedo

and Antonio Saura, Alfred Jarry

and Joan Miró, Picasso, Barceló

and Chillida.

With eroticism seen through the

eyes of artists continued the

journey in which you can see

clips from the film "Fahrenheit

451" that illustrates, among other

pieces, the section devoted to

the book as wound.

Done differential exposure is

treated as musical scores artist

books in a space that, next to

the book as a journey, the jour-

ney ends.

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Other trends. The cathedrals of Peridis.

There was a time that bishops with

one hand wielding the sword and

put other stones. Both hands wor-

king for God. Each in its own way.

Say religions were warlike times,

borders mutants, artistic move-

ments devotees traveled on foot

and running thousands of miles

behind any chimera.

The mosques were Christianized,

Romanesque burst from France

and pilgrims invested great energy

in walking to shrines.

A cathedral, with its play of natural

light and their stories in stone, not

only was the temple of God. "It was

the theater of the Middle Ages,"

says José María Pérez González Pe-

ridis, the artist and architect who

has done much to safeguard the

Romanesque as a stonemason XIII

century.

"Imagine the feeling of that time a

farmer riding his family in his wagon

and go to see the cathedral of Bur-

gos first" proposes.

It is not difficult to fantasize with the

farmer and his astonishment. The

cathedrals continue to awaken

admiration and curiosity many

centuries after its construction.

Peridis himself, who has just publis-

hed the book light and the mystery

of the cathedrals (Oxford University

Press), inspired by the television se-

ries to be broadcast on La 2 this

fall, still finding surprises at every vi-

sit. This morning, without going any

further, in the cathedral of Cuen-

ca, where he presented his work. In

the arch designed by the French-

man Etienne Jamet (Esteban Ja-

mete in Cuenca) to connect the

cathedral cloister with carvings dis-

covered two tiny bill vibrant male

nudes. "This man had to be in Ro-

me or know the work of Michelan-

gelo," he says vehemently.

Could. Jamet Caravaggio had a

life: it was violent, quarrelsome and

abusive. He went from place to

place working for the stars of his

time (Covarrubias, Vandelvira ...).

He killed his first wife and chronicles

not just dare him not to rule out al-

so with the second. Blasphemed

on scaffolding installed in the cat-

hedral while over to the Inquisition.

Time in prison several times. But, in

short, was a sculptor and an archi-

tect divine picky. The arc Jamete,

sublime example of Spanish Plate-

resque, is his masterpiece and, ac-

cording Peridis, the perfect finish

Gothic Renaissance interior.

Santa Maria Basin is one of the se-

ven cathedrals which are detailed

in the book, along with those of

Santiago, Jaca, Oviedo, Burgos,

Barcelona and Lleida. He was the

first who broke with the Roman and

started giving prominence to light

and space. Another example of

medieval artistic vanguard, techno-

logical innovation and factory em-

ployment, rosetta stone capable of

uniting the interests of the spirit and

the flesh. "And it is also an example

of a job well done, in cathedrals no

bungling" says the artist.

If you captive Peridis Jamet, Miche-

langelo Albares, senior chaplain

and art enthusiast as well as the ar-

tist, is fascinated by one of the al-

tarpieces painted for one of the

chapels of Almedina Fernando Ya-

nez (Ciudad Real), one of the two

disciples Spanish who went through

the workshop of Leonardo da Vinci.

"The Adoration of the Kings are all

the teachings of his master, colors,

hands, faces and light treatment,

all except the pigments". Albares

said that fortunately the painter

chose to use traditional pigments,

more durable than those used by

Leonardo.

Blasphemous or not, more or less

sinful, cathedrals promoters seeking

artists and craftsmen capable of

touching perfection. Hence Jamet

escandalizase but was not fired. Be-

sides, the promoters were not sin-

less: cabildo vanity is such that in

the altar placed his symbol-a vase

of lilies-over sculpture of God, as

the chaplain warns more slyly, that

struggles disseminate the secrets of

a little known-cathedral receives

70,000 to 80,000 visitors a year, and

attractive. Not only for the past. In

the nineties had the good sense to

order the windows that had been

destroyed by the action of time

and wars to contemporary artists

like Gerardo Rueda, Gustavo Tor-

ner, and Henri Dechanet Bonifacio.

The decision sparked controversy.

Purists XVI wanted stained glass. But

there were no holes in the windows

but XVI. The process respected ar-

tists of medieval glass and molten

lead, but introduced contemporary

designs and colors. Torner, for

example, has filled the cathedral of

warm tones, sandy and orange,

which warmed the chill typical of

cathedrals. The natural lighting ef-

fects, which change every half

hour, amazed. Although visitors are

no longer peasants in a cart.

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In orbit above New York.

To visit Cloud City, the last work

of Argentine artist Tomas Sara-

ceno, you have to cross the halls

of the Metropolitan Museum of

Art in New York and get direc-

tions to the terrace, on a path

that runs between a huge num-

ber of fragments and cultural ar-

tifacts classified precise catego-

ries.

Once on top, visitors celebrate

the end of the road regaling a

glass of champagne or, better,

of San Pellegrino, while admiring

the panoramic image of the city

now interrupted by the presen-

ce and effects of installing Sara-

ceno.

As happened downstairs in the

museum, Cloud City offers a

shattered reality. The structure,

built by the aggregation of 16-

polyhedra dodecahedra and

tetradecaedros-habitable, who-

se faces are lined with mirrored

glass or transparent space alters

the conditions conventional

taxonomies provides both new

and weaves relationships with

their immediate environment

and with other distant and unex-

plored .

It is "like a sundial," Saraceno

said, referring to how the sun's

rays, the impact on the piece,

and shoot stray towards random

places and faces.

"The inhabitants of nearby buil-

dings are going to find that your

window lights a few hours in the

sun not generally received.

The buildings become the mar-

quitas of clockwise, "continues

the artist.

At first glance, and to compare

it with other works (which have

become the stuff of theoretical

reflections as Sanford Kwinter or

Bruno Latour), we find that there

is less air Cloud City and more

steel.

When accompanied by the

question of whether this work is

too heavy and appropriating

the famous question that the ar-

chitect Buckminster Fuller made

to Norman Foster's Sainsbury

Centre ahead, ask: How Does

Your Building Weigh Mr. Sarace-

no? Saraceno laughs and then

answers bluntly. "I do not work

with absolute categories, but re-

lative. Screws are seen, but

when you walk inside I think the-

re may also transmit lightness.

The materials are heavier, but I

am disappointed. The weight of

things in relation to what you

compare. speculated In this

work a lot with the satellites. I

would like to put in orbit and or-

bit the weight there. This same

building in orbit would be light. "

Cloud City reflects the environ-

ment of the MET and repositions

the building. Saraceno specula-

ted to relate directly with the

cosmos, with the stars or, more

specifically, with the Internatio-

nal Space Station, as advertised

on the website of the museum,

will be visible from the terrace

on days and times indicated in

the that, perhaps, Cloud City re-

flections are received well in

space.

But this multilevel environment

can also navigate on foot.

"It is difficult to find," said Sarace-

no, "at the time when the transi-

tas, the work poses the challen-

ge of how many images you can

see simultaneously." (A challen-

ge also raises the museum, with

over two million items distributed

some 190,000 m2).

"Walking through the work expe-

rience moments of discomfort

because they are too reflexes.

Paralyzes Some people, who

would get dizzy, afraid.

It is also possible to understand in

a more philosophical and won-

der how many realities can mo-

ve comfortably, how we adapt

to new environments. "

The sun sets behind the buildings

of the Upper West Side. Inside

Cloud City the last day visitors ro-

am without being aware that

their bodies are mixed with dis-

torted images, and increasingly

dark city.

Below, while enjoying the aest-

hetic experience, some leverage

the reflective properties of the

glass to take group photos whe-

re even the photographer is pre-

sent.

"The challenge of Cloud City is

not just technology," concludes

Saraceno, "also social and politi-

cal.

Why did not we think of cities

where we live like Wikipedia, as

a communication network, dy-

namic and participatory? ". And

that Cloud City is not intended to

be a mechanism through which

to perceive the city differently

but to become a "heterarchical

network."

Saraceno is proposing to build a

city on the MET, a New York fol-

ded on his terrace, which will re-

main in our orbit until 4 Novem-

ber.

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Eighty tears Gordiola.

A farewell in style and leave its

mark in the great temple of the

Church in Mallorca Cathedral.

That seems to be the intention of

Bishop Jesus Murgui with new art

project which provides for Seu.

A large installation algaidí unk-

nown creator Jaume Falconer

operate as a tribute to all the

saints Mallorca.

Eighty tears Gordiola glass strung

on a metal base, on which Heri-

tage decide now if they are too

contemporary for a XIII century

building and declared of cultu-

ral interest.

The prelate is the alma mater of

this project, which will serve as a

farewell to his tenure on the is-

land and expected to be insta-

lled in one of the side chapels of

the temple.

Predictably in the chapel known

as Vermells dels, the first to

which the visitor accesses the

portal of The Almoina.

The creator algaidí declined any

statements claiming that the

project was still at an early sta-

ge.

However, the Consell Heritage

department on Monday recei-

ved the full report and the re-

quest for this installation, as hap-

pened with Barceló.

Again, being a listed building of

cultural interest of this commit-

tee will be responsible for giving

area or not approval.

"We must take into account se-

veral considerations. Among

them, the problem of conserva-

tion of the cathedral itself befo-

re," says a Heritage.

Technicians analyze the liturgi-

cal sense of the work aspect

that no doubt plan as Falconer's

intervention marks the Year of

Faith.

However, the artistic and aest-

hetic aspect of the work has not

convinced input, the experts,

who ensure overall consistency.

"It is a gift from the Mallorcan

Murgui" sources close to the bis-

hop sentenced. But an allegory

and a tribute to all the saints of

Mallorca.

Unlike intervention in the Blessed

Sacrament chapel that Barceló

conceived as a ceramic, the

Falconer-as it is projected on

paper-is a sculpture with a large

iron structure designed by the

Mallorcan artist. On it, like on the

wall itself, will hang eighty pie-

ces of glass made by the facto-

ry Gordiola.

For glasses-with-teardrop two

men have been needed in the

complicated process of blo-

wing.

Each piece will be about 80 in-

ches high and 20 wide, which

gives an idea of the magnitude

of the intervention.

"All are stained in a color we

have achieved after adding mi-

nerals" explained from the com-

pany.

The protagonist of this creator

initiative, James Falconer, had

collaborated several times with

the Bishop of Mallorca.

His most prominent Creu de

Creus is a monument of 54 cros-

ses-shaped tree that was placed

in Randa last year on the occa-

sion of World Youth Day.

Another dream collaboration

was mounting design prepared,

also in 2011, for the exhibition of

the Mare de Deu beds Morta in

the Diocesan Museum.

In his workshop Algaida sculpture

remains for now, but the creator

has been these days considering

its location in the Cathedral.

Although Heritage technical

analyzes and the project, sour-

ces say Consell assessment will

not be ready for the official fare-

well Murgui.

The bishop, who met with Presi-

dent insular, Maria Salom-

officiated the September 23

Mass in which he said goodbye

to his parishioners.

Falconer, outside art circles, Mi-

quel Barceló happens when in-

tervening in the Cathedral and

outperforms Joan Miró, rejected

at the time by the curia. Yes he

did Antoni Gaudi in baldachin

and altar modernist details.

Murgui, known for his discretion

and his few public appearances,

bet and establish a dialogue

with modernity in a Gothic

church as an ally taking your ar-

tist reference.

According to the website itself

from the Cathedral, the chapel

dels Vermells is currently chaired

by a painting of the Immaculate,

the work of Guillem Mesquida

and dated 1740. A piece that

served to cover sometimes the

central image of the altarpiece.

Sources close to the project say

the Cathedral of Falconer is flexi-

ble and could undergo several

modifications to suit the needs of

the temple.

Anyway, before we can cele-

brate the Year of Faith with the

tears of Falconer, the Bishop

must pass the technical heritage

and know no acts of faith.

Page 29

Glass workshop in Murcia (XV).

JIMENEZ PEDRO CASTILLO

JULIO NAVARRO PALAZÓN

JACQUES THIRIOT

Built on this floor, side walls were

subjected to a total repair in the

vicinity of the mouth of the furna-

ce, with the aid of bricks with a

north and south coarse stone.

Above south and west walls of

the pit is identified either a floor,

in contact with the furnace, due

to the presence of blown glass

fragments scattered on its surfa-

ce.

The exceptional state of preser-

vation of this oven can advance

some hypotheses about their re-

fund and use.

Just seems to lack the leadership

that closed the set, however, its

return is hypothetical, has not

been preserved for any element

that ensures us whether there

was an upper chamber annea-

ling.

This oven may be used, thanks to

its central fossa of primary furna-

ce and melting furnace crucible

with nine sidewalk due to its peri-

meter.

It appears impossible to proceed

with the extraction of primary

glass melting us towards disconti-

nuous use.

This hypothesis, also apply to fur-

naces of this type of street Pux-

marina (4 and 1 in the first pha-

se), deserves confront other

examples of those who currently

lack.

Conclusion of the workshop

It is difficult to interpret some tra-

ces that are highly degraded,

largely by successive reforms

and reconstructions that have

suffered during the period of

use.

If certain furnaces seem to res-

pond to a relatively unknown

model, other, more complex,

considerable uncertainties still

present.

The concentration in the same

workshop several examples of

apparently similar function could

indicate not only the great ca-

pacity of the workshop in terms

of finished manufactured goods,

but also a significant production

of raw materials demanded by

other artisans.

A production of raw materials

seem to have been designed

furnaces 4 and 1 (first phase)

and the Belluga Puxmarina,

which as we have seen was also

a melting furnace.

The need for pre-melting pro-

cess in these workshops is that

the technology could not achie-

ve preindustrial sufficient tempe-

rature in the melting furnace

due to the fuel used, the wood.

It was therefore necessary to

work in two phases.

In this first process, described in

medieval documents and trea-

ties of the sixteenth and sevente-

enth centuries, the raw material

(vitrification, melting and other

minor components) are available

inside an oven, and after about

six hours a temperature around

750 ° C is transformed into a vitre-

ous mass which was stripped of

the remaining impurities in the

top and is subsequently allowed

to cool until solidified.

Then, the material thus obtained

was extracted from the furnace

and the crucibles or reduced into

small pieces with the aid of a

hammer, to be subsequently in-

troduced into a crucible together

with a recycled glass fragments,

all of which was placed inside

melting furnace kicking off the

process of forming a vitreous

mass could already be finally ma-

nufactured (Fig. 21).

This way of preparing the frit was

already in use in Roman times

and is described by Pliny the El-

der, in times of Isidore fried pre-

paration in two days had fallen

into disuse, but was carried out

prior to calcination process raw

material was described by the

Spanish.

There is evidence that prove the

existence, at the end of s. XIII, a

reverberation oven Murano, ca-

lled "Calchera" which served to

prepare the frit.

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Page 30

More on "The Trinity”.

The neighbors in the environ-

ment sector of ancient glass

factory 'Trinity' of Sevilla interes-

ted in the conservation of this

factory complex has praised the

action taken earlier this summer

by the administration on the out-

side wall of the enclosure, on

which had insistently demanded

of an intervention by his poor

state of maintenance.

However, the spokesman of the

platform 'Save the Glass Factory'

and president of the Historical

Association Retiro Obrero

(AHRO), Basilio Moreno, has told

Europa Press that the neighbors

are interested in accelerating

efforts for administrations' move

tab "in relation to the integrated

conservation of the ships, the

main interest of the group.

Thus, the platform aims to pro-

mote both meetings with the

Planning Department as the de-

partment of Culture of the Go-

vernment of Andalusia, with a

view to encourage visits to the

factory set to debate face to

'spot' the points required by the

neighbors, mainly the implemen-

tation of the process of drafting

a new Special Interior Reform

Plan (PERI).

In this regard, Moreno admitted

that the group felt "fear" following

recent meetings with Urban since,

considered, "did not appreciate

the extent of what is worth preser-

ving Plenum ships", although they

have been finding that "there is

no license granted or authorized

to demolish them, and yes of the

outbuildings."

"We are very confident in their

readiness, but we want to see

them perform," summed spokes-

man 'Save the Glass Factory', on

the other hand has thanked the

draft recovery of historical memo-

ry and documentary promoted

by the Session, it is "fantastic, be-

autiful, and quite a plausible de-

tail to the glass factory."

However, this initiative, "regardless

of its rating, is not in the City's

commitment to the platform and

the city ahead of their protec-

tion."

"What we want is the full conser-

vation," he stressed, welcoming

you and the Junta de Andalucía

has secured this extreme conser-

vatism under the Industrial and

asking, in this sense, "an act of

goodwill".

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Page 31

The resonance of the material.

Trained as an architect, Stella Ma-

tutes Rahola has embarked on a

path of constant research into the

matter into its "symbolic and physi-

cal", as she explains.

A journey that takes her to assert

that "no materials are inherently

poetic, we can not prejudge the

qualities of a material, but we are

the ones we make what are the

relationships between the materials

to take poetic qualities."

If we translate those words into the

physical plane will approach quite

what she Gravitacions shown in the

exhibition last September 13 ope-

ned in Ibiza s'Alamera and Socio-

Cultural Centre in presenting his re-

cent work in porcelain and glass,

plus a first approaches to plastics,

the new field of creative research.

To Rahola Matutes, both porcelain

and glass are materials as attracti-

ve to her because "are closely lin-

ked to the craft, to the production

of household objects."

Familiarity with this matter is the ad-

vantage to "descontextualizarlos

and give them another look"

through a "non-academic appro-

ach to the usual techniques."

"Pervierto techniques and proces-

ses to new results, look for the reso-

nance of the materials' highlights.

Dualities

And in that search found the duality

of porcelain and glass from its initial

liquid state and the strength of its

completion, a concept that joined

his intention restarles gravity, ma-

king them "light, which levitate." "It is

a game of contradictions," he ex-

plains.

To achieve this effect, Matutes Ra-

hola materials used as structural

foundations that disappeared with

the high temperatures of the ba-

king process, such as cotton, wool

knitting, coffee filters or sheets.

There is something organic in the

result, although the artist is quick to

clarify that it is not something

sought deliberately, while not den-

ying some landlocked load at work,

but, yes, "in a less conscious" .

In the nearest future, Matutes Ra-

hola soon participate in a group ex-

hibition in Miami.

In 2013 his work displayed at the

Centre d'Art Santa Monica in Bar-

celona and at the national arts ini-

tiative looks of women, besides en-

joying a residency at the Chinese

European Art Center (CEAC) in

Xiamen, China.

Gravitacions s'Alamera remain on

until the 27th of October.

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Page 32

Françoise Vanneraud on ABC.

Shadow play, a specific project for

the Project Room 4 ABC Cultural

and ABC Museum, is a work that

invites the viewer to reflect on the

different layers of perceived reality

and influence of the media, the

environment, politics, own

experience and collective memory

when view.

The piece presents the form of a

submerged installation in the dark.

Upon entering the room, the viewer

encounters a glass plate

suspended large to eye level by

four wires, creating a sense of

unease and tension due to

assembly and the unusual size of

the glass.

This houses a black and white

drawing that makes up a first layer

of reality, image of a superficial

perception.

On the ground casts a shadow, but

this blend two layers, the apparent

and the underlying result of the

mixture between that projection

and a new drawing on the floor

surface.

The resulting image is disturbing,

focusing on fears and collective

memories present in our current

environment of social crises, symbol

observation beyond the

appearance and the projection of

the observed subject.

Françoise Vanneraud

(Nantes, France, 1984)

Based in Madrid, the French

Françoise Vanneraud is first and

foremost a storyteller.

Stories that feed everyday, from

the pages of the newspapers, and

exploding, black and white or

color, murals on its premises, in his

drawings and small paintings in

which tends to accumulate.

Bachelor of Fine Arts in his

hometown, Vanneraud work has

been exhibited at the Museum of

Fine Arts in Nantes (2012), in the

gallery Raquel Ponce (who

represents in Spain) and in the latest

edition of the 'Circuits "promoting

young art Madrid and in

international fairs such as ARCO or

MACO.

In fact, since September 15, is part

of the collective 'Iceberg' in

Slaughterhouse-Madrid.

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Page 33

How does.

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

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Page 34

The Glass Temple of Johor Bahru.

The light came from a work of art

in glass placed at the entrance

of a temple.

It was then decided that he

would use the same material for

his temple shining sunlight.

Currently travelers are amazed

Sri Arulmigu vision Rajakaliam-

man, almost completely cove-

red by colored glass pieces,

both indoors and outdoors. A fra-

gile beauty and captivating.

As many as 300,000 pieces of re-

d, blue, yellow, green glass, pur-

ple and white, including its floors,

pillars and walls.

There are large glass chandeliers

hanging from the ceiling that so-

metimes reflect a blinding light,

but when the eye becomes ac-

customed to it can enjoy a fabu-

lous view.

The glass sanctuary is air condi-

tioned and has a capacity for

1,500 worshipers.

Although its primary function re-

mains religious, the "Temple of

Glass" Johor Bahru is always full

of tourists and foreign visitors who

want to be dazzled by her beau-

ty.

In the city of Johor Bahru, near

the southern border of Malaysia

with Singapore, is one of the

most impressive architectural

gems in the world: Sri Arulmigu

Rajakaliamman Temple, also

known as "the Temple of Glass",

one of the visits required in every

trip to Malaysia.

Arulmigu Sri Rajakaliamman was

built in 1922, although its original

appearance was much more

modest than we can now con-

template.

His real expansion began in

1991, when the current priest de-

cided to transform the humble

log cabin in one of the most be-

autiful place of worship Hindu

Asia. And of course I got.

So, in just five years, it managed

to expand and completely re-

build the temple and turn it into

an impressive display of Malay-

sian architecture.

Responsible for the whole pro-

ject, the Sri Guru Sivasamy Sin-

nathamby says he was traveling

in a rickshaw Thai Bangkok when

he conceived the idea.

While traveling, looking around,

a bright light in the distance

caught his eye and decided to

go after her.

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Islam in the Louvre.

The Louvre Museum began a hea-

vy week of inaugural events Arts

department of Islam and their new

5,000 square meters, where expo-

sed under a blanket of glass and

corrugated metal an integrated

collection of 18,000 works created

on three continents and 1,200 ye-

ars of history.

Of these 3000 are exhibited master-

pieces of time, many for the first ti-

me, from civilizations arose betwe-

en Spain and India, between the

seventh and eighteenth.

Along with multiple pieces of incre-

dible courage, like al-pyxis Mugui-

ra, elephant ivory urn that belon-

ged to the Umayyad caliph son

Prince of Andalus Rahman III, the

stellar figures of this opening are

the architects Mario Bellini and Ru-

dy Ricciotti .

Together they were architects of

several architectural feats that

French President François Hollande,

open tomorrow and discover pu-

blic beginning Saturday.

The first was the creation of a veil,

red winged glass or tapestry and

gold and silver metal, supported by

eight pillars bent 30 centimeters in

diameter.

This "blanket", as it is also called, co-

vers only partially the Visconti

courtyard, built between the XVIII

and XIX, without hiding its walls."We

wanted to give mutual legibility" to

the historical facades and art mu-

seum.

It is the journey of the Persians to

Paris told by Montesquieu, the uni-

queness and the look exchanged

reciprocal that "forced to accept

their differences," said Efe Ricciotti.

The aim was also to "celebrate the

collections", for which they earned

5,000 square meters of exhibition

area, he said.

The second achievement was the

excavation of twelve meters in the

basement of the Visconti court-

yard, where they got "huge

amount of square meters of land,"

after injecting cement under high

pressure in the foundations of the

walls of the Louvre, thanks to a

French technique toe called "jet

groutin" said Bellini.

"We did what we already did in the

days of the Pyramid (of IM Pei,

opened in 1989): exploit the subsoil

to gain new spaces in the Louvre,"

said Bellini, particularly pleased

that the museum were moving only

"a millimeter "with this delicate and"

very, very complex "operation.

An excavation beneath the historic

facades of the Louvre "very diffi-

cult, very risky and very dange-

rous," he stressed Ricciotti.

"Our decision was not to cover the

patio" with a transparent roof to

add floors inside or build a small

building in the center "and it was a

good idea" because he won the

competition, he added.

Given an assignment of this type

"can not avoid producing an archi-

tecture that makes sense, contex-

tual, that relates, that encourages

an interactive exchange with the

context," he said Ricciotti.

In the Louvre, "arguably the monar-

chic-republican context" since the

first initiatives occur under Louis XIV

and the Republic continued, so it

was impossible to build "in indiffe-

rence, or the lightness, nor in gravi-

ty. "

Ricciotti also stressed the construc-

tion of a single block of cement in-

jected, "like a ship", the staircase

leading to the basement rooms

and that you think is a real

"sculpture variable geometry", very

sensual.

With the corrugated layer partially

metallic and translucent, added, "it

all comes down, we move into the

space," in an absolute readability

and, finally, "on a scale geometric

graph with respect to the represen-

tation of the works of Islam" where

the human figure is very little pre-

sent.

"Even when viewing the exhibits is

that the figure is present" and in-

fluenced by foreign religions, said

the architect, who along with Mario

Bellini museum signed conception

of the place.

Page 36

“Inmobile” in Geneve.

The Studio Sandra Recio Geneva

(Switzerland) presents new works

by the Brazilian artist based in Ma-

drid Marlon de Azambuja.

The exhibition, entitled "Immobile"

presents drawings and installations

that investigate the movement

and stillness, the breakup and re-

conciliation between the spaces,

buildings and the people who in-

habit them.

"Immobile" begins with a piece ti-

tled like the exhibition, where a

sculpture by Alexander Calder is on

a pedestal designed "traditional"

way.

The reference to Calder continues

in the series of drawings / collages

where images torn from a book

about the American artist face

drawings father of rationalist archi-

tecture, Le Corbusier, in an unex-

pected dialogue that evokes the

eternal struggle between the rhy-

me and reason, poetry and prose.

Finally, a fragile sculpture in which

the combination of glass plates

and flat construction elements

create a kind of absurd architectu-

ral model where the famous phra-

se adopted by Mies Van der Rohe

"less is more" seems to take radical

proportions.

The work of Marlon de Azambuja

explores the essence of objects

and structures from the possibilities

that arise from re-imagine their pre-

sence, examines some of the most

common and familiar in the urban

landscape - buildings, sidewalks,

streetlights, bus stops, bike racks,

public banks, etc.

By inserting a load everyday imagi-

native scenarios, Azambuja trans-

forms them into continuous sources

of wonder.

In his ephemeral sculptures, installa-

tions and drawings, Azambuja acti-

ve mechanisms to draw attention

to things that would otherwise re-

main invisible.

By accentuating the gap between

structural elements and everyday

objects, new situations, encoura-

ging relate differently to the places

they inhabit.

These works not only offer an alter-

native to our urban reality, but we

offer a key to the new observations

and multiple interpretations.

Source: Studio Sandra Recio

Title: "Immobile"

Venue: Studio Sandra Recio

Location: Geneva

Country: Switzerland

Dates: September 21 to November

16, 2012.

www.amigosmava.org

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Page 37

Report of spoliation in La Trinidad.

Save The Trinity platform leads

to the desmantelimiento Attor-

ney "scale" of the listed buil-

ding

Disappearance of a large

scale from the early twentieth

century, demolition of three

annealing furnaces and one

glass melting, and subtraction

of two annealing coffers and

air transport system of glass

pieces.

Is the balance of "intentional

spoliation" ensuring been suf-

fering Glass Factory Trinity sin-

ce it closed more than a de-

cade, and in recent months

has experienced "a quantum

leap".

According to Save the plat-

form denounced the glass

factory to the prosecution,

this building located in Mira-

flores Avenue and declared

Ethnological sight since 2001,

is suffering "a takedown unli-

censed" to "sloppiness" of the

authorities responsible for en-

suring for its maintenance and

upkeep.

"It has been the looting of

scrap in the street, a large-

scale dismantling of a profes-

sional nature," said a spokes-

man of the platform, Basilio

Moreno.

Further indicate that for mo-

ving parts have disappeared

these months has been neces-

sary mechanical, "as shown in

the wheel tracks of cranes

and trucks that have been

found inside the compound."

The complaint asked the Attor-

ney to act against "these se-

rious events" and locate those

responsible.

Also appeal to the responsibili-

ty of the City Council, the Bo-

ard and the Compensation

Board Special Interior Reform

Plan.

The platform calls for "greater

vigilance" and observe "the

promise of Urbanism" in con-

junction with the technical visit

the building to assess their sta-

tus.

The PSOE raised the issue in

Parliament and referred to the

PP that the obligation to care

for the building's Compensa-

tion Board but said the city go-

vernment is vigilant with it.

www.amigosmava.org

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Page 38

Museum and Vimbodí glass furnace.

The Museum of Glass and Oven

Vimbodí presents the first school

workshops on traditional crafts and

sargaire glaziers

The Museum of Glass and Oven

Vimbodí (www.museudelvidre.cat),

managed by the City of Vimbodí

and Poblet, this course will begin

the first 2012-13 school workshops

dedicated to traditional crafts and

sargaire glaziers, formerly very pre-

sent in the locality.

The details of this new initiative has

been presented to the head tea-

chers of the Conca de Barbera, in

a meeting organized by the De-

partment of Education of the Dis-

trict Council and attended by re-

presentatives of the City and the

company vimbodinenc taught

workshops: Aventurine

(www.aventurina.cat), dedicated

to the teaching of crafts and spe-

cialized in the art of glassmaking.

In the presentation, attendees we-

re able to see a sample of students

will perform pieces in these works-

hops, which will be held in the mu-

seum premises.

Glazier's workshop and the office

of sargaire, or coated bottles and

other glass containers, will have en-

terprise monitoring montblanquina

Play & Learn, Maite managed Ga-

llardo.

The aim of this new educational

initiative for schoolchildren at the

Museum of Glass and Oven Vim-

bodí is to spread two traditional

professions and crafts, show pro-

duction of glass as a symbol of

identity of the municipality and the

region and highlight the importan-

ce of sargaire and other offices in-

volved in the production of glass,

like a lumberjack or a fireman.

It also seeks to use glass as a me-

dium of artistic expression

(highlighting features that make it

unique: color, sound, texture), dis-

cover the glass as playmate, en-

courage the use of glass in the dai-

ly acts , recognize everyday ob-

jects made of wicker and other

plant fibers, and discover the pro-

duction of wicker with a playful ex-

perience.

Preparation of several pieces

With fused glass workshop students

will learn two techniques: the deve-

lopment of glass blowing, by the

master glassmaker Museum, Paco

Ramos, and fusion technique vitro.

Students will prepare a dish, a

candle or a bowl for grapes or che-

rries.

This work will be sent to participa-

ting school within 10 days.

For workshop and craft of wicker

sargaire, students develop a pro-

tector with bone for a glass, which

will be the same day.

The workshops are part of the va-

rious activities of promotion and dis-

semination of the glass holding Vim-

bodí City Council and Poblet.

Moreover, the City Council, along

with the master glassmaker and his

assistant, have started the recovery

and dissemination of traditional ob-

jects related to Catalan culture

using glass blown glass technique,

as elaborated formerly local kilns .

Earlier this year began promoting

marriage (container for oil and vi-

negar in a single package) through

a potential legend oriíens detailing

of this piece, and is currently wor-

king on promoting almorratxa, a

colorful container consisting of dif-

ferent nozzles with traditional dan-

ces perfume spread throughout

Catalonia.

Schools that are interested in the

workshops of glass and can consult

the websites sargaire

www.museudelvidre.cat or

www.aventurina.cat

www.amigosmava.org

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Page 39

Castillo de San José de

Valderas.

Avda. Los Castillos, s/n

28925 ALCORCÓN

MADRID

Nuestro Boletín tiene su

redacción en:

Al vidrio por la cultura

The Association of Friends of

MAVA was incorporated on Ju-

ne 21, 2003 in accordance with

existing management.

The purpose of this Association is

to promote, encourage and

support many cultural activities

in the broadest terms, are rela-

ted to the mission and activities

of the Glass Art Museum of Al-

corcon.

Our goal is to develop and co-

llaborate with other public or pri-

vate entities to promote, protect

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

Presidente honorario

Javier Gómez Gómez

Presidente

Miguel Angel Carretero Gómez

Vicepresidente

Pablo Bravo García

Secretaria

Teresa Fernández Romojaro

Tesorera

Mª Angeles Cañas Santos

Vocales

Rosa García Montemayor

Evangelina del Poyo

Diego Martín García

Francisco Martín García

José María Gallardo Breña

Mª Luisa Martínez García.

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Page 40

Line of research. Images.

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Fig. 1

Fig. 2

Fig. 3

Fig. 4

Page 41

Techniques. Images.

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Fig. 1

Fig. 2

Page 42

Workshop in Murcia. Images.

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Fig. 21

Page 43

Javier Velasco. Images.

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Page 44

Sara Sorribes. Images.

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