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Letter to Santa Claus. M. A. Carretero.

Desired and expected Ma-

jesties of the East:

With an increase in my

anxiety directly proportional

to the increase of the effects

of this damn economic crisis

created some years ago by

the effect of the bursting of

the housing bubble and

maintained by the lack of

understanding of our mone-

tary authorities at European

level because they did not

suffer directly, I have you to

ask, to beg, peremptorily

granting of the following de-

sires:

To cease the demonic

quickly spiral-

unemployment crisis. And

I do not care about the

methods used for this, so if

you put me to work so ou-

trageous euros making

machine as if it adopts the

decision to wipe the slate

clean with respect to the

debts recorded in the ba-

lance sheets, and they

are only that, a note re-

corded in the accounts.

Our business leaders are

not going to easy and do

not always rest with them

the increased tax burden

and who undertake once

and for all and no matter

how difficult the fight

against tax fraud. It is not

just playing with marked

cards. We must avoid the

powerful laugh when they

see employees and unar-

med bandwagon

opportunities for tax eva-

sion.

Tell them that our bankers

allocate the huge funds

received recently the ECB

to make business easy

cleaning their balance she-

ets and / or buying sove-

reign debt. To allocate tho-

se billions of euros to in-

crease its lending accoun-

ting chapter to the private

sector, leaving aside the

actual coverage of their

risks and substituting the

projects that provide viable

entrepreneurs to create

wealth and value, alt-

hough that need to retrain

managers of office and

central services consist of

simplistic way to verify the

value of the appraisals on

real estate investments.

Iluminéis that our new politi-

cal leaders to take correcti-

ve action at least in the

short term curb rising unem-

ployment in our country. It's

just heartbreaking to hear

the plight of many families

where unemployment has

been primed and have

members in despair, wit-

hout, for its honest and res-

pectful mood, are released

to the desperate in search

of their livelihood.

That animéis young people

for that, while keeping

them eligible for a job as

an employee, engaged in

working hard to put your

brain to develop viable

projects that can create

wealth and pride in their

lives. It is unacceptable to

think that everything is al-

ready invented, and invent

things missing, you have to

get down to work now, wit-

hout leaving for tomorrow

what you can do today.

That should do our politi-

cians think that, in educa-

tion, to reach an agree-

ment to channel state defi-

nitively the organization of

the education of our chil-

dren and young people,

eliminating the dangerous

uncertainties that too many

years ago plague our edu-

cation system.

In plan a tad selfish and pu-

lled the coal to the sardine

window that animéis the

usual investors in art made

of glass and, taking chan-

ces, maintain financial re-

serves now immobilized by

fear of what will happen.

You to encourage our glass

artisans make distinctive

and unique work. That

doing repetitive parts not

going anywhere, it's a bit of

bread very hungry today

but for tomorrow.

That the artisans who enjoy

a refined technique in the

use of glass bear them a

nudge to take the leap to

the realization of quality art

pieces, so that the glass art

in our country can compe-

te with the many and good

is getting beyond our bor-

ders.

What to order llaméis rele-

vant organizations in defen-

se of the artisans to fulfill so

sharp bases Craft Fairs on

resales.

HAPPY NEW YEAR 2012!

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

Format PDF

Monthly Newsletter

Newsletters

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Page 2

C O N T E N T S :

Part of the month 3

Established artists 4

Young artists 4

Meeting with the recycling 5

Glass in the Reina Sofia 6

Research line 7

Activities in Museums 8

Roque, sculpture 11

Exposition the restingolitas 12

New World School 13

Activities on the MAVA 14

Craft Fair 15

Technical Glass 16

News 17

Culture 2011 17

Portrait in 3D 18

Cartagena cours 18

The glass museum 19

Ferrando’ sculptures 20

Glass recycling 21

Cultural tours 22

Culture 2011 Programme 22

Alejandra Gubinelli 23

Marianela Tisberger 24

Other trends 25

Investmen in de SFMOMA 26

Glass workshop in Murcia 27

Homage to Salvador de Haza 28

Badges of honor of the AEC 29

Sara Sorribes in Valencia 30

How does 31

Glass Christmas tree 32

Wishes for Granada 33

Chinese glass cliff 34

Glass for Appel 35

Bethlehem in La Granja 36

Directorate 37

Intellectual Property

Law

TITLE V. Transmission of

rights.

CHAPTER LI. Publishing

contract.

The duties of the editor:

1. Reproduce the work

as agreed.

2. Submit printer's proofs

to the author, unless ot-

herwise agreed.

3. Proceed with the distri-

bution of the work on ti-

me and conditions set

forth.

4. Ensure that the work is

exploited continuously

and commercial distribu-

tion in accordance with

usual practice in the pro-

fessional sector of publis-

hing.

5. Meet the author the

remuneration stipulated.

It shall also, annually, pro-

vide the author with a

certificate that is determi-

ned by the data concer-

ning the manufacture,

distribution and stocks of

copies.

The author is obliged:

1. Give the editor the

work to be published.

2. Reply to the publisher

for the authorship and

originality of the work and

the peaceful exercise of

the rights granted him.

3. Correct printer's proofs.

Without prejudice to any

compensation due to

him, the author may ter-

minate the contract:

1. If the editor does not

make the publication of

the work on time and

conditions agreed.

2. If the publisher fails to

comply with any of the

obligations referred to in

paragraphs 2, 4 and 5 of

Article 64, notwithstanding

the author's express requi-

rement demanding com-

pliance.

3. If the editor sale proce-

eds to remainder or destroy

the copies that detract

from the edition without

meeting the requirements

of Article 67 of this Act

4. If the publisher assigns his

rights to another party.

5. When, under various edi-

tions and exhausted the

last made, the editor does

not make the next edition

within a year of having be-

en required to do so by the

author.

6. In the event of liquida-

tion or change of owners-

hip of the publisher.

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

2012 in Thimes Square.

The iconic New York's Ti-

mes Square Plaza, where

each year more than a

million people are con-

centrated to welcome

the New Year in New

York, has had the illumi-

nated glass sphere who-

se descent last Saturday

marked the transition to

2012 in the city of skys-

crapers.

The sphere is composed

of 2688 triangles of glass

designed by the compa-

ny Waterford Crystal,

which this year has inclu-

ded a new design for

288 of these glasses un-

der the name of "Let

There Be

Friendship" (Let there be

friendship, in Spanish),

with an engraving of

people holding hands

around the world, as de-

tailed in the Times Squa-

re Alliance website, in

charge of the festivities.

The huge multicolored

sphere, which weighs

more than five tons and

is illuminated by 32,256

LED lamps (LED) fell 24

meters at the last minute

of 2011 to welcome the

New Year, as it has done

since 1907, when he star-

ted this tradition.

Since then, the famous

ball drop has done this

every year except 1942

and 1943, when the ce-

remony was suspended

due to World War II, so

that in those years the

ceremony was replaced

by a minute of silence

followed by a chimes.

The popularity of New

Year's Eve in Times Squa-

re each year bears to

the square is filled hours

before midnight, a wait

that embellish music

stars.

This year has been Justin

Bieber, Lady Gaga and

Cuba Pitbull, among ot-

hers, in charge of enter-

taining the crowd of

people coming from all

over the world throug-

hout the day is concen-

trated there.

Also, like last year, mo-

ved into the square a

"platform for Kisses", whe-

re couples who have

long been found to se-

parate thousands, while

cocoa bars Nivea distri-

buted to prepare peo-

ple for the traditional kiss

that should receive the

new year.

SPECIAL INTEREST:

Part of the month

Meeting with the recycling

Glass in the Reina Sofia

New World School

Activities on the MAVA

News

Our activities

Glass recycling

How does

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

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Page 3

Part of de month. Gerry King.

Gerry King's figure can not be ana-

lyzed only from the perspective of

being an artist who uses glass.

His work in fields such as teaching,

dissemination and study of con-

temporary glass in Australia since

the 80's, make it the main referen-

ce of this movement in his country.

Since the mid-seventies teaches at

the University obtained in 1993, the

title of Doctor of Creative Arts at

the University of Wollongong.

He has been invited to give nume-

rous lectures and workshops, while

he has published many articles on

education, history and crafts Glass

Studio in Australia and New Zea-

land, as well as critical texts on lea-

ding glass artists.

Since its foundation has been a ve-

ry active member of the

Australian Contemporary Glass So-

ciety, today Ausglass-occupying

the positions of President (1981) and

Vice (1987).

Like many other artists who began

their training in the sixties, Gerry King

came from pottery to glass.

When you view the glass is immer-

sed in the intense from a dual pers-

pective, technical and intellectual.

In general his work is the result of

multiple reflections and research

especially on the subjective per-

ception and metaphor of observa-

tion.

In 1996, after twenty years of tea-

ching, left the university to devote

himself exclusively to his work.

At this time corresponds significantly

Beginnings series.

Immediately before it had develo-

ped the series trepein, which owns

the work that King donated the

MAVA going to call his friend Javier

Gomez.

The series revolves around trepein

architectural flat glass constructed

with support acting fusing plate-

forms of boats or canoes, made up

of a wealth of color.

The decoration of the surfaces of

both plates and in general of the

vessels is based on geometric abs-

traction and iterative design, inspi-

red by fabrics and traditional costu-

mes of the Australian aborigines.

One of the first exhibitions held by

the MAVA after opening in October

1997, was devoted to the work of

this great Australian artist (MAVA

1999b).

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Page 4

Established artists. Jeremy Lepisto.

Jeremy Lepisto was born in 1974 in

Virginia and is a leading voice in

today's kiln-formed glass move-

ment.

Lepisto has a BFA with Honors from

Alfred University (NY).

He has worked for a number of

glass and glass related companies,

including Bullseye Glass where he

was the Lead Technician for Rese-

arch and Education as well as lead

furnace builder.

He has taught worldwide and has

held Visiting Instructor posts in both

the Rochester Institute of

Technology (NY) and the Canberra

School of Art (Australia).

His work is available from several of

the finer glass art galleries, including

the Bullseye Connection Gallery

and the William Traver Gallery. He is

a featured artist in the current issue

of American Craft magazine.

Much of his work, including his cu-

rrent Tower Series, sets the delicacy

of fine, pen-like illustrations against

both the weight and elegance of

glass. The result is work that is simul-

taneously familliar and captivating.

He is currently President and Mem-

ber of Board of Directors of the

Glass Art Society, USA

Participate in the 41 st Annual Con-

ference of the Glass Art Society, Se-

attle, WA.

It's like living in the glass factory in

Canberra, Australia.

Professor Glass is made in a mold in

the Australia National University in

Canberra.

Your web

Young artists. Devin Burgess.

Devin was born in Montpelier

(France) on July 26, 1979.

He graduated from B.F.A. at Alfred

University, College of Art and De-

sign. Alfred, NewYork in 2001.

He learned the techniques with

glass artists Greg Fidler, as an

assistant in Bakersville, North Caroli-

na, Kenny Pieper, assistant in Burns-

ville, North Carolina in 2002-04, with

Brent Cole, an assistant also in

Burnsville, North Carolina . 2002-04,

with Mark Weiner as a glassblower

in West Tisbury, in 2002, Neon Neo-

lux

as glassblower in Providence, RI, in

2001-02. with Elin Christopherson,

assistant in the Glass Arts Society,

Corning, NY, in 2001, Dante Mario-

ni, as an assistant in the Glass Arts

Society, Corning, NY, in 2001, Pratt

Institute of Fine Arts. Shop Glass

technology. Seattle, WA, in 2000

and Benjamin Moore Inc. IMC. Se-

attle, WA, in 2000.

It has been an assistant with the fo-

llowing artists: Dale Chihuly, Paul

Cunningham, Dan Daily, Nadege

Desgenetez, Dante Marioni, Robbie

Miller, Benjamin Moore, Richard Ro-

yal,

Preston Singletary, and Lino Taglia-

pietra.

In the last edition of Sofa Chicago

presented some of their work with

the Next Step Studio and Gallery.

In the past year 2010 has won the

Excellence Award in glass at the

Smithsonian Craft Show.

In the following video can be seen

Devin Burgess explaining their work.

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Your web

Page 5

Meeting with the recycling.

What for some is trash is another

man's treasure. And in many cases,

even a work of art.

More than a decade after its birth

as a laboratory where some (few)

artists were experimenting with the

reuse of waste materials, the Inter-

national Recycling Festival of Cata-

lonia, the Drap-Art, has returned to

Barcelona as the appointment of

recycling each year attracts thou-

sands of environmentalists, gallery

owners, artists, families and young

audiences interested in creating

more sustainable.

This year the festival has spread first

art exhibition and the fair so far

used to hold together.

Until Sunday, December 18, the

CCCB has hosted round tables,

concerts of Madame Humtata,

Electric Junkyard Gamelan New

Yorkers and Pierre Bastien (who

plays with machines built by him-

self), the Drap-Boutique and works-

hops in which the little ones can

make for Christmas gifts with old

computer parts.

And from 21 to 30 December the

Drap-Art exhibition and traditional

fair of Art and Design first moved

across the square of the Angels, in

the FAD.

One of the most anticipated guests

this year was Stephanie Senge,

who built a giant mandala with

consumer products.

"Stephanie came to Barcelona for

eight days," says the director of

Drap-Art, Tanja Grass, "and has be-

en investigating what objects are

consuming more in the city. With

them build a mandala as is done in

India. There the purpose of this

sculpture is to give thanks for the

good harvest. here is intended to

do a little reflection before eating

Christmas is coming, "says Grass,

which this year has detected a

slump as far as fashion accessories

concerns and a slight rise in deco-

rative objects such as lamps made

from waste.

Despite the popularity of recycling

has become applied in the design

since 1996, Drap-Art which opened

for business, the meeting still remai-

ning true to its humble origins,

alien to the boom of ecodesign

now invading many art galleries

and shops expensive furniture.

"We may miss some marketing, but

we support Drap-Art artists treat

everyone equally and now live out-

side of institutional or galerístico

world. In my opinion, that mazes

made Richard Serra at the Gug-

genheim (Torque elliptical, 1998)

have much to do in concept with

the work of many artists gathered in

Drap-Art, though less known and

not so famous have, "says Grass.

"What is special about our artists,"

said the director of Drap-Art, "is that

they are artisans. No charge to third

parties who manufacture its parts

are involved throughout the pro-

cess from beginning to end."

The visitor will find all kinds of propo-

sals. And of materials that have be-

en given a new life.

It Comglas the case study, which

have been professionalized in recy-

cling glass and sculptures suggest

bottles made from glass.

The Crehuet, name hiding after Pau

Gargallo, reinvents chairs, stools,

coffee cups and a lifetime with re-

cycled wool.

Albert Carvajal recreates accumu-

lating pieces as unexpected can-

vases as automobile engine cylin-

der heads trocedadas aluminum.

The Pan Weijuan Taiwan has built a

sculpture based human aspect of

VHS tapes handwoven which is en-

titled 'I miss you'.

Although the piece that will surely

raise more controversial is Fecal

Gioia Beauty Maini, who proposes a

corset made of "plastic bags of fo-

od and cat litter, toilet paper, feces

and cat hair, latex and glitter."

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Page 6

Project exhibition at the Reina Sofia.

The Museo Nacional Centro de Ar-

te Reina Sofia (MNCARS) will under-

take a total of 12 exhibition pro-

jects throughout the year 2012.

A number, in principle, significantly

lower than the exhibits offered only

in the main museum building, in the

last 4 years, where they have come

to realize up to 18 to 20 exhibitions

per year.

To them, must be added those in

the buildings managed Crystal Pa-

lace, Palace and Abbey Veláz-

quez Santo Domingo de Silos. For

the latter exposures have not been

announced in the coming year.

Among the samples scheduled for

2012, are the individual artists dedi-

cated to Hans Haacke (Cologne,

Germany, 1936), James Coleman

(Ballaghaderreen, Ireland, 1941),

Nacho Criado (Mengíbar, Jaén,

1943 - Madrid, 2010), Rosemarie

Trockel (Schwerte - Germany, 1952)

and Mary Blanchard (Santander,

1881 - Paris, 1932).

Also you will see a more dedicated

to show the influence on the poet's

art, French playwright and actor

Antonin Artaud (Marseille, 1896 -

Paris, 1948) and, finally, a group ex-

hibition entitled "Meet the thirties."

In addition to these exhibitions, the

Museum's program will include a

draft Paloma Polo Carreño

(Madrid, 1983)-an artist-

Maisterravalbuena Gallery Pro-

gram Cracks, two singles by Sharon

Hayes (1970 - lives and works in

New York) and Heimo Zobernig

(Mauthenj, Austria, 1958), and two

specific interventions Rodney Gra-

ham (Vancouver, Canada, 1949)

and Roman Ondak (Zilina, Slova-

kia, 1966) in the Crystal Palace.

But the one that has filled us with

enthusiasm, so unprecedented,

that is detailed below, which shows

the glass as the main element of

the composition of the figures.

Exhibition: "One Cosmos"

Venue: National Art Museum Reina

Sofia (MNCARS)

* Artist / s: Rosemarie Trockel

(Schwerte, Germany, 1952)

* Commissioner of: Lynne Cooke

* Date of Event: 22/05/2012 -

24/09/2012

* Note: The exhibition includes a se-

ries of pieces that will realize the

ideals and aesthetic affinities Troc-

kel, in dialogue with a selection of

his own work done at various times.

This particular association is compo-

sed of pieces of work from a more

conventional fall within the scope

of science, but because of its sop-

histication and refinement venture

into the field of art, like the delicate

glass replicas of sea creatures and

flowers created in the nineteenth

century by the Blaschka for the stu-

dy of academic and naturalistic

watercolors of the seventeenth

century artist Maria Sybilla Merian,

whose depictions of the flora and

fauna, as beautiful as impeccably

precise, have proved invaluable to

the scientific study which will be

shown together with an assembly of

the sixties of the twentieth century

radical feminist Ruth Francken, sha-

ring space with sculptures of wool

Judith Scott, outsider artist affected

by Down syndrome.

The exhibition will also see pieces of

pottery created by the very Trockel

and recently produced works ma-

de of glass.

This outstanding collection will pro-

vide the basis to investigate from a

novel perspective unique and in-

fluential practice developed by

Trockel over nearly three decades.

It was time that "the Queen" take

an interest in works of art in glass.

Congratulations!

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Page 7

Line of research: Test (IV).

Estefanía Sanz Lobo.

Test of total merger and relief.

Homogeneity of temperature in the

range 750 ° -850 ° C.

To make glass blocks, either by joi-

ning flat glass (float or Bullseye type

compatible), or in carrying out

works of molten glass, it is necessa-

ry to raise the temperature to the

point of fluency.

Failure to reach that point, the va-

rious parts are not properly merge.

But if surpassed, the glass can be

boiled, spread through the oven

and break it (in these conditions is

very corrosive).

For this reason it is important that

we determine what is the best tem-

perature to develop these proces-

ses.

At a high temperature around 820

° -850 ° depending on the type of

glass and pyrometric equipment,

producing what has been called

glass fusion or total fusion, also

known by its English name, full fu-

sing.

At this temperature, the glass is suf-

ficiently fluid to different flat glass

sheets join together without being

edges and, as the temperature ri-

ses, the surface tends to be the sa-

me level, even when placed seve-

ral overlays.

With a temperature not so high

(between 750 ° and 800 °, also de-

pending on the type of oven and

glass), fusion occurs in relief, in

which several plates of flat glass

are fused together, but respecting

the forms of these, especially if pla-

ced on other fragments forming

a relief.

By increasing temperature, the ed-

ges and artists of the flat glass frag-

ments are rounded increasingly fa-

ding away to nothing volumes to

reach the melting point total.

Purpose of test

The aim is, firstly, to map thermal

melting furnace, and secondly, de-

termine the temperature range for

float glass.

It is important to know what are the

characteristics of the furnace at

that temperature, because of a

work will depend whether or not

the relief desired, or seamlessly in-

tegrate the various elements or vi-

treous want to include in it.

If we know which areas are hot

and cold, we can take to load se-

veral books simultaneously that re-

quire different temperatures.

Test Development

To perform this test, based on ob-

servations of the two previous tests

on the softening point of the float

glass in the oven (590 º), and the

time at which the glass begins to

be quite fluid (714 °).

In the literature on fusing, we have

an approximate range of tempera-

tures that will serve to set the curve

for this cooking.

There are small discrepancies in

the sources and, furthermore, not

all refer to the float glass, but the

bullseye.

Test Preparation

To develop the test are prepared

"pyramids" of float glass sheets that

are coated with plates of the fur-

nace.

The following figure shows how they

prepared oven trays for testing.

The aim was to cover the largest

area possible with the glass pyra-

mids in order to have a more com-

plete picture of the thermal cha-

racteristics of the furnace.

The trays are coated with a com-

mercial separator, Shelf First Hot Li-

ne.

In Fig. 1 shows an oven tray with

glass pyramids to the test. It tries to

cover as much surface as possible.

In Figure II is a detail of the glass py-

ramids.

The test consists in raising the

temperature above 750 º C and,

after reaching this temperature,

slightly open the door for a few se-

conds while continuing to provide

heat to observe the melting pro-

cess.

When a pyramid is completely

rounded, record the temperature

reached and begins to lower the

oven temperature. In our case, the

temperature needed to achieve a

full merger was of 838 ° C.

To avoid desvitrificaciones, betwe-

en 800 ° C and 600 ° C keeping the

oven door open, trying to cool as

quickly as possible.

Once cold glass parts are removed

from the oven and check the ex-

tent to which fusion has occurred in

different parts of the oven.

The piece is more rounded, more

heat will be received.

Thus we can complete the thermal

map of the oven.

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Page 8

Activities in Museums I.

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Page 9

Activities in Museums II.

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Page 10

Activities in Museums III.

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Page 11

Roque, the essence of sculpture in the abstract.

Austria seems to have adopted

one of the most international Cata-

lan sculptors: Agustí Roque

(Barcelona, 1942).

In Salzburg, now exposes an ant-

hology with a selection of 10 of his

most representative works of his

most famous, that of passable

sculptures made with steel and alu-

minum.

And in the same city, in 2013, first

shown her latest pieces, a radically

different work done to date but

maintains the unmistakable stamp

of the artist.

These are works that incorporate

color and glass (photo silhouetted),

two developments in the career of

a sculptor, but still maintaining the

openings Roque identify all parts of

Barcelona.

The presentation will be accompa-

nied by a retrospective covering

from early figurative works in clay

and plaster, to the current abstrac-

tion, "pure identity and pure essen-

ce of the sculpture," according to

its author, represented in different

materials: stone, marble, concrete,

aluminum, steel and glass.

Be carefull to end the current job.

The title refers to the materials

used: glass and steel, the first is the

fragility and the second hardness.

And all, the name and works are

an allegory of human nature.

"Man is strong, but in turn is not-

hing," argues Roque.

The color, so far absent from work,

humanizes a work which by defini-

tion is hard and tight.

Although beautiful. "Beauty is essen-

tial," he says.

Despite the interest in aesthetics

and the assertion that "the sculpture

is very difficult to express many

things," Roque Agustí not waive the

social component of their work.

Whether speaking of human natu-

re, as now, from the corruption of

power or force of arms, as in the ex-

hibition held at Galeria Senda in

Barcelona in 2000, or the current

economic speculation and power

banking, issue addressed in the in-

tervention plan being prepared for

a German museum in 2014.

But with so many international

shows, the sculptor does not have

time to exhibit at home.

The last presentation of his work in

Barcelona was in the room Joan

Prats, in 2006.

Although it has been offered: "In

two important galleries in the city."

But you can not think of anything,

for lack of time, until 2015.

The paradox is that despite the cu-

rrent interest Roqué galleries were

those to blame for the artist to

abandon his original vocation, pho-

tography. "In the 60's photography

still not considered art galleries and

not exposed".

Although to enjoy the sculpture in

Barcelona Roqué just go to the

avenue of Rio de Janeiro where he

wears the largest public sculpture in

Spain and possibly Europe, 306 me-

ters of concrete painted black and

Roque projected that in 1989 , re-

ceived the award FAD.

But perhaps, before visiting, be bet-

ter to wait until the City Council re-

move all traffic signals has discre-

tion in the middle of the artwork. On

it goes.

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Page 12

Restigolitas Exhibition.

The president of the Autonomous

Museums and Centers Cabildo de

Tenerife, Amaya Conde, and the

director of the Museum of Natural

Sciences of Tenerife, Lázaro

Sánchez-Pinto, presented an ex-

hibition on El Hierro restingolitas on

display in several copies of this new

volcanic material, unknown so far.

They are caused by underwater

volcanic eruption that began on

October 10 off the coast of La Res-

tinga.

Analyses indicate that volcanic

product is unknown so far.

For this reason, the Association vol-

canological de Canarias (AVCAN)

has proposed restingolitas name

for this material, that is, 'La Restinga

stones', and so have become po-

pular through the media.

The restingolitas are dark on the

outside and white inside and float

because they weigh less than the

seawater.

They look like volcanic bombs, sha-

ped more or less globose, mostly

between 10 and 30 centimeters in

diameter.

Contain large amounts of trapped

gases at high pressure, which are

released when they reach the sea

surface, hence the appearance of

floating stones that give off smoke.

His dark outer crust has a glassy

texture.

Basanite is a volcanic glass formed

by rapid cooling of basaltic pyro-

clastic first expelled by the under-

water volcano.

The thickness of the crust varies

from a few millimeters to several

centimeters.

When you move up to the surface

are adhering fragments of the sa-

me material, forming lumps of var-

ying size and appearance.

The interior is a snowy white mate-

rial to grayish, porous texture.

The solid part is composed of silica

(SiO2) in a 65-70% or more, forming

a lattice structure.

This network includes numerous tiny

vesicles, which give the appearan-

ce of rigid foam.

The volume occupied by the vesi-

cles is 90%, indicating a high con-

tent of gases that are expanded

during the ascent.

In most samples are also seen

black and deformed bands by

way of folds, whose chemical

composition is similar to that of the

outer crust.

However, the origin of the white

stuff is not yet clear.

Some geologists believe that it is

rhyolite, a type of silica-rich trachy-

tic magma, which produces highly

explosive eruptions.

In this case, however, would only

manifest in the early stages of the

eruption and also in insignificant

amounts compared to the rest of

basalt expelled so far.

According to another hypothesis,

the white mass does not originate in

the current submarine eruption, but

in ancient sediments deposited on

the seabed.

In both cases, the white material

would have been ripped from the

seabed by the violence of the

eruption and its fragments surroun-

ded by the juvenile basaltic mag-

ma, forming restingolitas that rose

to the surface of the sea by its high

content of water vapor and other

gases .

The floating pyroclastics that have

been appearing later are larger

and are hollow.

Lacking the internal target material

can not be considered restingolitas,

since its structure and chemical

composition are different.

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Page 13

New World School of the Arts.

Armando Guerra and his wife

Maria Cata Guerra, Executive

Board member of New World

School of the Arts (NWSA), hosted

an elegant evening at their beauti-

ful home in Coral Gables, Florida,

where more than fifty friends of the

Conservatory of Arts gathered to

celebrate the 25 th anniversary of

the school and honor their gener-

ous benefactors.

It was also a perfect time to an-

nounce another important mile-

stone in the history of the school,

the NWSA Legacy Society, a newly

created generous initiative that

promises to support a New World

School of the Arts in the coming

decades.

The NWSA Legacy Society, de-

signed by Lydia Harrison, former

member of the board of NWSA

Foundation, and her husband Burt

Harrison along with Dennis Ed-

wards, president of the NWSA

Foundation Board, allows those

who offer their support to include

New World School of the Arts in

your estate planning to increase

the coffers of the institution in terms

of scholarships.

With over two million dollars al-

ready committed, the program has

a stellar start.

"New World School of the Arts is a

powerful force in our community

and around the planet," said Lydia

Harrison to present the program.

"Our students not only are advanc-

ing in all aspects of art, but many

join the ranks of doctors, lawyers

and engineers, while others leave

their mark in academia, govern-

ment and nonprofit organizations.

We must ensure that the grants

funded in perpetuity to remain in

this wonderful institution, not only

for the benefit of the next genera-

tion of artists, but also for the good

of our community. "

Dennis Edwards, co-founder of the

initiative, added: "Creating the

Legacy Society allows us to iden-

tify, recognize and thank the com-

munity members who are ensuring

the future of NWSA."

Jeffrey Hodgson, Acting Rector of

New World School of the Arts, led

the program and acknowledged

the valuable support it has re-

ceived NWSA key members of its

board and patrons of the school

since its inception.

"Tonight we have to thank our

close friends and those who sup-

port us in this beautiful and inti-

mate reception. After 25 years of

love and support for students at

our school, these generous friends

have once again demonstrated its

strong commitment to NWSA

through the newly founded Leg-

acy Society. They have made the

silver anniversary of NWSA shine

brightly lit the way to go. "

The founding members of the

NWSA Legacy Society were

awarded and praised for his vision

and dedication with a unique glass

sculpture crafted by Susan Banks, a

professor of sculpture at New World

School of the Arts who teaches at

the renowned art institution for

twenty years.

Susan, with great dedication, a

unique gift made and "pebble" of

multicolored glass, presented in its

own mold, each member of the

new initiative.

"The glass stones are a beautiful

and meaningful detail thanks to the

Legacy Society members. As each

donor, each is unique, but together

they form the solid foundation of

our schools," said Edwards.

"Will keep mine as a treasure, and

when my friends see it in my home

and comment on its beauty, can

explain its purpose and meaning."

Inspired by the bed of a river, the

artwork illustrates the importance of

having a group of advocates for

strong and united Legacy Society.

Celebrating its 25th anniversary,

New World School of the Arts is a

center for performing arts and inter-

national level of excellence that

provides a comprehensive program

of artistic, creative and academic.

With programs accredited by the

National Association of Schools of

Dance, Music, Theater, and Art and

Design, awarded by the NWSA high

school diploma and AA degree,

and the BFA and BM after four

years of college.

Through a rigorous conservatory-

style program that reflects the multi-

cultural richness of Florida, NWSA

provides the tools for students to

become great artists.

Since 1988, more than 3,700 stu-

dents from all economic and ethnic

group have graduated from NWSA,

many joining the ranks of prestigious

arts organizations.

NWSA graduates are an integral

part of national and international

art world, which broadens the

scope of our community.

Recognized artists, playwrights and

actors and actresses honored with

Tony and Grammy awards.

Acting in the Jazz at Lincoln Center

and in major opera houses.

The exhibition of visual artists at Art

Basel and the Whitney Biennial and

its important top choreographers

and dance companies Alvin Ailey

American Dance Theater and

danced with the Martha Graham

Dance Company, among others.

New World School of the Arts was

created by the Florida Legislature

as a center of excellence in visual

and performing arts.

It is an educational partnership of

Miami-Dade County Public Schools,

Miami Dade College and the Uni-

versity of Florida.

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Page 14

Activities on the MAVA.

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Page 15

Craft Fair of the CAM 2011.

As in previous years we have been

visiting the XXIV edition of the Craft

Fair of the Community of Madrid.

We had the pleasure to greet our

friends from the glass in each of

their booths.

In order stand, we talked with

Mariana Grande, Arantxa Garcia

Sotillo (Art Glass), Xana, Miguel An-

gel and Reinaldo (Fulkolor), María

de la O Collado, Pineda de

Luelmo, Mario Sergio Ramos and

Susana Aparicio.

The Fair is being consolidated each

year as a major craft fairs, if not

most, of our national territory.

More than 190 booths this year of-

fer the public a careful and varied

selection of high quality handi-

crafts.

So far, according to statements

from various artisans present at the

fair, the organization has been very

careful in the selection of exhibitors

and exhibits that were conducting

the exclusive handcrafted by the

owners of the stands.

An artisan Alcorcón, with products

made in their loom, and one of the

previous editions of the Fair, had to

remove a sample of buttons used

for his clothes because they were

not self-realization. The stakes are

very high, it should be.

However, this year we have felt

some concern about the exhibits by

the owners of Il Vetro stand on be-

half of Nereus Casagrande.

This concern is reasonable taking

into account, besides the subjec-

tive opinion one may form the view

of the exhibition of their products,

which is manifested in his blog

when referring to the origin of their

handmade masks ("... Venetian arti-

sans experts ...) and glassware ("...

unique and original creations made

with care by artisans in Murano

wise ...").

Without in any way accuse us that

we could be in breach of the norm)

of the Base "tenth" of participation

in the Fair this year, we estimate

that any suspicion of resale could

cause damage difficult to repair as

the most exquisite respect for the

rules that govern this great event.

And since this issue concerns the

Fair glass sector in particular, we

call attention to the Chamber of

Commerce of Madrid to enforce

the rules published.

We believe that all the artisans at

the show to play with the same

cards and none should have the

slightest advantage in terms of per-

sonal effort in their work, without the

respect it deserves the large audi-

ence that is going to the Fair .

View photos

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Page 16

Glass techniques. Color palette (VIII).

Estefanía Sanz Lobo

• The colors of the enamels and

glazes.

Following Matthes, there are three

ways of coloring the glaze:

1. By dissolution or ions.

The dye compounds dissolve com-

pletely in the mass of glass with

transparent effect even in colors.

Among them: green copper, iron

yellow, green, iron, manganese

violet.

2. Coloring pigments.

Finely dispersed dyes in the glaze,

in particulate form.

The glass becomes opaque, chro-

me green, brown, iron, vanadium

yellow, Naples yellow, red, pink.

3. Colloidal or optical coloration.

The glaze takes submicroscopic

colloidal particles in suspension

(100 to 10 nm.) That only absorb

light at specific wavelengths, ac-

cording to the size of the particles,

reflecting only the red light

(metallic copper and gold), blue

(copper metal, glass droplets bo-

ron, titanium compound) or yellow

(silver or metallic bismuth).

If the oxides are not dissolved in the

vitreous mass, contribute their own

color as pigments.

CuO is the case in large quantities

does not green but black, opaci-

fied vitreous mass.

A lower melting temperature, the

greater range of colors and these

are more stable.

If the temperature is very high, the

colors are dissolved in molten glass

too, are destroyed by heat or disin-

tegrate into components dyes.

The reducing atmosphere also

changes the color of copper oxide,

iron, titanium, antimony, bismuth,

gold and silver.

Glazing compounds also influence

the color.

Some coloring oxides are only cer-

tain colors in certain composition

of the vitreous mass.

This would explain certain changes

of color in the third fire glazes,

when cooked between two pieces

of float glass.

Some colors do vary if second fi-

ring.

• How to set the coefficient of ther-

mal expansion of enamel or glaze.

To balance the coefficient of ex-

pansion of these products may be

more operations.

Almost all consist of different pro-

portions of added substances.

However, it is necessary to pre-test

results, because the glazes and

glazes have complex structures.

By adding another element can

be triggered mixed reactions.

For example, it is very difficult to al-

ter the eutectic mixtures.

We can do the following:

1. Mix glazes of different coefficient

of expansion and obtain a mixture

with a coefficient different from

those.

The drawback of this system is that

the new rate can not be calcula-

ted mathematically.

2. If the coefficient of expansion is

less than the base glass, you can

add some substance that will in-

crease this ratio.

SiO2 is readily available (in the

commercial form of quartz powder

and talcum powder - 3MgO. 4SiO2.

H2O) to harden, ie, lower coeffi-

cient of expansion of a glaze or

enamel.

More affordable materials to enter

the enamel or glaze sodium or po-

tassium (soften the glass) are

sodium bicarbonate, potassium

and sodium chloride.

However, they have major draw-

backs:

• Sodium chloride change colors,

can damage the ceramic coating

of the oven, and worse, releases

chlorine gas, very toxic.

• The sodium and potassium bicar-

bonates whose main component

gases: oxygen and carbon.

If not combined with other material

in the merger (by excess bicarbo-

nate in relation to the ratio of ena-

mel), these gases are released and

make big bubbles, very difficult to

control.

Baking is very dangerous. A percen-

tage above 1% can produce such

large air bubbles stop or bufado

crackle glass.

Artists such as Miriam di Fiore consi-

der adding a glaze fluxes too hard,

soften.

For this reason recommended bo-

rax to soften the enamel.

The case of borax (Na2B4O7) can

be complex, since this substance

introduced sodium, which increases

the coefficient of expansion, but

also boron, which decreases it.

In practice it has been done to

confirm the idea Miriam di Fiore.

3. Addition of different chips and

fluxes.

When you post how to adjust the

coefficient of expansion of enamels

for use on glass, Lundstrom, B.

(1991), indicates different mixing ra-

tios of "flux" (flux) and included wit-

hin the following substances:

• Glass bridge, crushed glass rich in

lead.

• Lead Monosilicato shaped fried.

• Enamel low melting point (426

Thompson, Thompson Colors Versa

2020 and 8591). They are soft gla-

zes, which melt at 600 ° C.

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Page 17

N E W S (I).

technology and communication).

And exclusive addition we could

see Daniel Garcia starring in his

debut before the cameras, so if

anyone missed this interesting

report can be viewed on the link

below.

On day 16 we visited the mono-

graphic exhibition dedicated to the

Impressionist artist Berthe Morisot at

the Thyssen Museum in

Madrid.

This is the first that appeared in

Spain and has 30 tables come Mar-

mottan Monet Museum in Paris and

the Pierre Gianadda Foundation in

Martigny in Switzerland, and the

Thyssen funds (which include The

Mirror of psyche).

The exhibition has been organized

into a theme and chronological pa-

rallel to the life of the artist and in-

cludes the following chapters:

'Corot and outdoor painting',

'Manet and intimate portrait', 'Paint

the life live painting ',' Parks and

gardens' and 'rural'.

In each room, his canvases of pain-

ters dialogue with other relevant in

your life, like Corot, Boudin, Manet,

Degas, Renoir, Monet and Pissarro.

Despite belonging to a family of

French gentry and what it entailed,

Berthe Morisot became a professio-

nal painter with the help of the

painters Camille Corot, from whom

he learned to copy nature and ma-

nage the light, and Édouard Ma-

net , who introduced him to the

world of artists and the impressionist

movement.

Morisot painted their environment

under the impressionistic approach.

Portrayed women engaged in their

daily lives, children, nudes, scenes

of everyday life in an intimate and

close that the difference in male

painters impressionists.

Culture 2011.

Unión Vidriera in La 2.

On Sunday December 4

Enterprising program of La 2, issued

a report on Union Glass.

In this chronicle will visit the factory

Teruel explaining some of the

vitreous processes performed

therein.

"Innovative Entrepreneurs" is a

program that shows how and

where innovative entrepreneurs

living working in technology-based

companies (related mainly to

renewable energy, energy

conservation and efficiency,

biotechnology and information

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Page 18

N E W S (II).

Miami-based conceptual artist NFN

Kalyan has designed this glass

sculpture with face of the NBA su-

perstar LeBron James.

Etching of sapphire crystal and steel

with a walnut base, the whole pie-

ce took nearly five months of work.

This picture of LeBron is the first of a

limited number of similar works.

To create the effect using multiple

planes of glass layers on the surface

meticulously recorded.

Viewed from the front faces are fu-

lly 3D and only when the viewer

moves to the side reveals the true

nature of illusion.

So far, Kalyan has created 3D por-

traits for Barak Obama, Chuck Clo-

se, the Dalai Lama and LeBron Ja-

mes in his series entitled The nature

of the beast.

3D portraits.

Cartagena glass Course.

The fifteen participants Glass Blo-

wing Course organized by the

Agency of Local Development and

Employment (ALDE), presented on

Saturday, December 3 at the

Museum of Santa Lucia jobs that

have developed as a result of this

training.

The Agency has managed to

rescue, preserve and promote one

of the oldest crafts in the history of

Cartagena, glaziers, through the

glass-blowing course that has been

developed at the Museum of Santa

Lucia from October 24 and came

to an end on December 1.

With this training, in which 15 stu-

dents participated, has tried to sti-

mulate the artistic production of this

material as it was found to exhibit

his works in the Museum, attended

by the Councillor for Employment

Diego Ortega.

This free course of 138 hours of tea-

ching, supported by the Regional

Employment and Training and the

European Social Fund and mana-

ged by ADLE, was aimed at unem-

ployed people, which over the sa-

me have learned such things as the

preparation the furnace, blown

glass pieces termination.

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building a glass factory ergono-

mic Ramenskoe City near Mos-

cow.

Under the deal closed today, De-

cember 6, between RUSNANO,

European Bank for Reconstruc-

tion and Development

(European Bank for Reconstruc-

tion and Development), the Ja-

panese group NSG and the Rus-

sian group STIS, have planned

the implementation of manufactu-

ring for the 2014.

The total investment volume amounts

to 300 million euros.

RUSNANO President Anatoli Chubais

noted that in many countries the rate

of use of ergonomic glass reached

90% against 5-7% in Russia.

That's why you need to apply efforts

in this area, concluded Chubais. Russian Nanotechnology Corporation

RUSNANO will invest 150 million euros in

Page 19

The glass in Museums: Charleroi museum.

The Museum of Glass in Charleroi, is

art, history and technique of glass

making.

Sample collections through a re-

trospective that begins with the

creations of the moment and is

leading to more primitive eras.

Harmony of light and materials, an

ideal time to learn all about the

glass.

Open Tuesday to Sunday, with dif-

ferential rates.

It was founded in 1973 by Ray-

mond Martin and offers an impres-

sive collection that covers the ma-

jor movements of glass, iron and

coal, both in Belgium and interna-

tionally.

Guided tours, by appointment, of-

fering a tour of the museum, finis-

hing in the workshop, a demonstra-

tion of how to work the glass.

The museum is open Tuesday to Fri-

day from 9 to 12:30 and from 13:15

to 17.

Saturday and Sunday from 10 to

12:30 and from 13:15 to 18.

Currently, the museum presents a

work of Olivier Devos, a young artist

from the region of Mons, which spe-

cializes mainly in the thermoforming

technique and its variations.

The results of their artistic approach

are a dialogue between the glass

and other materials like metal or

wood.

Claims the label "Made in Wallonia"

across Europe, where many of his

works are exhibited.

Recently this facility has been ac-

quired by the city of Charleroi, as

part of the consistency of the mu-

seum's acquisitions policy.

Complete the collection with con-

temporary glass thermoforming,

among others.

The presence of this glass curtain is

in line with the three principal axes

of the policy of the museum: art,

history and technology.

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Page 20

Six sculptures Ferrando.

Neptune, Mars, Venus, the Big

Bang, the solar system and astrono-

my as inspiration.

The self-taught sculptor Viktor Fe-

rrando, born 41 years ago in Calpe,

is the creator of the six modern

sculptures, located at significant

points in Gandia, have left no one

indifferent.

These artworks are part of the ex-

hibition 'Planet Ferrovia, sector 5.

Sculptor Constellatio 'which ope-

ned last December 14 and runs

through March 4.

According to the author reported,

the sample refers to "the texture of

the universe in an abstract way."

The creator expressed through the-

se pieces their personal interpreta-

tion of the Cosmos.

The materials used are steel rail of

Valencia obsolete and useless

glass insulators of electricity pylons.

Ferrando uses materials related to

the railroad tracks that are not

used to make works of art. And by

the way, recycle.

The Ducal Palace houses the Titan

work, 2,500 kg, which represents

one of the moons of Saturn.

"It is one of the planets that science

is investigating because it has more

atmosphere.

Find water represents life, and this is

what I have tried to reflect in the

work with human figures, "explained

the author.

In the main square was Venus, from

day 22 is moved to the Plaza del Rei

Jaume I.

The author was inspired by the color

of the planet and its relation to lo-

ve: "It is a sculpture with great gravi-

ty, that evokes tranquility, peace

and harmony."

Pious Schools is Neptune, the largest

exposure with 22,000 kilos, blue.

In a plot of the street Rausell is a fa-

cility where the artist wanted to

think about what would happen if

Mars will attempt to colonize Earth.

At the gates of the Paseo walkway

appears Plank's Wall, which repre-

sents the passage of time since the

Big Bang. It is made of railroad ma-

terial from 1813.

The councilman of Culture of the

City of Gandia, Vicent Gregori,

concluded: "It is an art exhibition on

the street. We want to bring art to

people, they can enjoy sculptures

that have a tour of streets and

alleys of Gandia, and form a sym-

biosis with the city's cultural heritage

and its history. "

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Page 21

Recycling. Pyrex glass or borosilicate glass.

Borosilicate glass must not be

mixed with glass to recycle becau-

se it melts completely at tempera-

tures of operation of recycling

plants.

The consequence is the appearan-

ce of small pieces of very hard

glass embedded in the end called

stones.

These stones present in the glass

cause structurally weakened to fa-

cilitate rupture of containers recy-

cled.

Pyrex glass or borosilicate glass has

a very good chemical resistance,

chemical resistance to water, acids

(except hydrofluoric acid and

phosphoric hot), salt solutions, or-

ganic solvents.

Another property of Pyrex glass is

resistant to high temperatures wit-

hout deformation below 550 ° C.

These advantages, together with

that of having a low thermal ex-

pansion, Pyrex glass are unrivaled

scientific papers.

This type of glass was born in 1912

as a result of an unfortunate acci-

dent eleven years ago.

On a rainy winter night in 1901, a

lineman came from inside the sta-

tion to warn the driver of a railway

freight train coming one by the sa-

me route in reverse.

To do this, began to turn his oil

lamp with signs about the danger,

but the cold rain hit the glass of the

lantern that was hot, made to be

broken and extinguished the light.

Following the unexpected, no one

could see the signs and fatal acci-

dent occurred.

To prevent further disasters of this

type, became a priority to find a

glass that resists thermal shock cau-

sed by temperature changes, im-

mediately starting the experiments

with different materials to meet this

requirement.

In fact, the solution had begun to

take shape since 1846, when the

German Carl Zeiss, Precision,

established a small workshop in Je-

na, Germany, where he produced

the laboratory equipment that de-

manded the university there.

Transform the company into the La-

boratorium Schott & Genossen

Glastechnische during 1887 was

able to announce the discovery of

the first formula of borosilicate.

Based on different experiments, re-

searchers at these laboratories

could see that if you added boron

oxide raw materials, the glass could

withstand temperature changes, it

was more difficult to melt, work,

and was virtually inert.

The discovery made by Schott &

Genossen Jena, Germany, later

moved to the United States, where

the researcher tried to perfect Cor-

ning until the outbreak of World War

I forced him to postpone his work.

But by 1915 Corning had already

begun marketing the Pyrex glass

baking dish.

Thanks to the theory of this young

researcher, demonstrated that the

glass itself was good to cook, heat

absorbing, while many of the me-

tals reflected this.

Corning acquired in most countries

patents for the manufacture of Py-

rex, and mass production in France

and England began in 1922.

Over the protests of the German

company that was originally disco-

vered borosilicate glass, in 1926 an

agreement was reached market

partitioning, whereby it was stipula-

ted that Germany, Austria and the

Scandinavian countries of the East,

would be reserved as a market for

Jena glass produced by Schott &

Genossen.

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Page 22

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.

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In this January we will visit the ex-

hibition of Deineka Alekxandr

the Juan March Foundation,

Madrid.

First introduced in Spain by So-

viet artist Aleksandr Deineka

(1899-1969) and, through him, all

the time, in the dual context to

which he belonged, the end of

the Vanguard and the advent

of socialist realism is the purpose

This exhibition, the largest dedi-

cated to Deineka outside Russia.

It comprises more than 35 oil

paintings, some in large format,

complemented by works on pa-

per, posters and magazines, pic-

ture books, photographs, docu-

ments and photographs and au-

diovisual audiovisual, for a total

of 250 pieces.

Need to devote an exhibition to

historical time elapsed between

the great Russian avant-garde

experiment, which preceded

the Stalin-era Soviet art and

decidedly postmodern that ad-

vented after his death: the art of

the era of the dictator, which is

quite unknown, has been the

subject of exhibitions in the few

former Soviet Union, Europe or

America, and has often been

classified as a derivative art and

propaganda, the service of

ideology and education of the

masses.

To reflect the art of this period is

difficult to find a better example

than that provided both

strength Deineka pictorial as the

fascinating ambiguity of his art

and his figure, formed in the es-

tablishments of avant-garde,

was a member of the last groups

constructivist avant-garde (as

Oktyabr or OST) and agitator

committed to socialist revolution

and construction in the country.

Complete exposure and a care-

ful selection of works of Russian

avant-garde artists, with particu-

lar emphasis on revolutionary

development, magazines, post-

ers, books, documents and ob-

jects that reflect the peculiar

(and unknown) logic of relations

between avant-garde and so-

cialist realism, which came to

constitute a kind of artistic and

political vanguard of the prole-

tariat.

Using our visit to the area of Jerez de la

Frontera in these first days of January, we

will make a visit to Victor Polo, artist dedica-

ted to making stained glass.

Victor has his workshop in Mercedes Street,

2 in Jerez de la Frontera. In the center of the

city, Victor is dedicated to making stained

glass with modern designs, as we have seen

on their website.

So spend some time with him in his works-

hop and probes on their accomplishments,

projects and problems of the sector in this

part of Andalusia.

Page 23

Alejandra Gubinelli stated in Corrientes.

The boarding lounge Fernando In-

ternational Airport Piragine Niveyro

of the city of Corrientes in Argenti-

na, is the ideal space for the artist

Alejandra Gubinelli expose their

work made entirely of glass.

Glass fusing is the technique that

has been used for this sample

which was formally inaugurated on

Space 5 Expressing group.

The event was attended by Dr.

Nestor Pedro Braillard Poccard, De-

puty Governor of Corrientes, archi-

tect Agnes Presman, Secretary of

Tourism of the province, Mirian

Mosna, Director of Tourism, Lita

Freeman, Cultural Advisor of the

Honorable Legislature and others

Alejandra Gubinelli guest artists

and the general public.

This exhibition, like the 20 th Conse-

cutive Plastics Group Show Corrien-

tes "Express yourself" at the "Pinin"

Palm of the Undersecretary of Tou-

rism, forms mobile cultural spaces

of the city.

For this reason, interest was decla-

red by the provincial tourism port-

folio.

The Deputy Governor of the provin-

ce said it is a source of great satis-

faction to disseminate what has

been done there and more at an

airport that has been renovated

and modernized to be one of the

best in the country.

"The Corrientes is highlighted by the

contribution to the culture through

its music and customs, is a growth

and cultural enrichment," said

Brailler Poccard then acknowledge

the presence of all.

While grateful for the invitation Pres-

man Inés this cultural scene that or-

ganizes "Express yourself", then con-

firmed that this group provides the

scope for the development of crea-

tivity from different techniques.

"From the Undersecretary of Tourism,

Ministry of Production, Labour and

Tourism, we support these initiatives

where the traveling show" Pinin

"Palma is a space for these samples

that will allow tourists to know the

cultural manifestations of the provin-

ce because he speaks of his peo-

ple, history and society, "he said.

Then the provincial officer wished

success to the organizers and artists

to give voice to Gubinelli Alejandra,

who also had words of appreciation

to the Government of Corrientes

Province and all in general.

The artist said in this space will see

various works, including works that

stand as glass sculpture, glass mo-

ving boxes mosaicism.

Before concluding his speech, said

Gubinelli glass fusing technique, also

making a brief review of some of his

works in stained glass still preserved

in the churches of Christ the King

Hospital Vidal, Pius X in the city of

Corrientes and Immaculate Con-

ception Paso de la Patria.

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Vidrio

Page 24

Marianela Tisberger: Reflejos de luz.

Is an artist, art teacher, producer of

chocolates, jewelry and book aut-

hor. He knows that his only limit is

imagination and now confesses that

he is more awake than ever.

The guards guard the entrance to a

different world. This will call their glass

sculptures that convey almost two

meters peace. A feeling similar to

that shares the artist sitting on a

couch next to an old piano, where

there are no luxuries.

"These sculptures are inspired by a

council of elders who are supposed

to be the guardians of the universe,

24 beings of light of different dimen-

sions. Beyond that, the intention that

one puts on the play, exudes

"explains and clarifies that all their

work has to do with the spiritual and

light.

The home for adoption, is also his stu-

dio and plays an important role in

your life. It came almost in passing in

an intention to move to the moun-

tains and family for recommenda-

tions. Reached 5 years of La Plata,

where he studied Fine Arts degree

with a concentration in ceramics but

also recognizes that loves painting,

sculpture and space atmospheres.

The artista

"One is opening their searches. I

have now, but what defines me is

the work of great size. I aim to work

in public spaces, murals, a group of

sculptures in squares or paintings, "he

muses as he confesses that there are

structures with which we live that

have a visual weight, dense and

harmful and can be transformed by

art.

"Whether the language that look, I'm

wishing my work is for everyone. Not

the work of museum or gallery. I love

that children can play up my sculp-

tures, for example in a square and

that art is in the street. "

Days ago participated in a perfor-

mance Plottier where several artistic

languages united in a single speech.

The intervention integrates music,

dance, art, singing.

"When you start to take ownership of

these processes, it looks" she says,

blamed the violence against works

of art to questions of resentment.

"The breaking is filled with a resent-

ment that is not with what is brea-

king. The lack of money, opportuni-

ties, given as anger that is not really

anger but fear, and fear paralyzes.

The art speaks a different story. My

work is a work of peace, elevation,

joy. "

The workshop

The arrival Plottier meant a challen-

ge for the artist, a chance to open

doors. An example is the workshop

for boys, with whom he works

"literature college leguaje adapted

to children."

The workshop is a commitment to

creativity where you fight against

stereotypes, students are few, be-

cause he prefers the more personal

work. That debunks the kids there le-

arn to draw, because the inks are

loaded on the expression.

"We work on the floor, looking wheel

and move freely. When you give a

guy a pencil, a sheet and a table,

the boy begins to close, contractu-

res, not to express themselves in their

fullness. The space in which they

paint is freedom of movement of his

arms, produces a result that is incre-

dible. " It also explains: "When the

boy at school draws a tiny Mickey

Mouse and paints with fiber to crea-

tivity is closing the door lock.

Here it is not allowed anything that

comes from television. "

The autor

Marianela recognizes that since co-

ming to Plottier, expanded their

creative potential. Thus arose the

chocolate, copyright, jewelry and

handbags online copyright, which

will lead to the expression of an artist

who was looking for.

"There comes a time when the crea-

tive spirit that the raw material is an

anecdote. To transform two popes in

a dish is a creative act.

When you have trained your eye on

the aesthetic, then no matter if you

have to work is journal paper and

string, "she says, sums up the way that

allowed get to work with this diversity

of products.

"This happened with the chocolates. I

was working in the shop, and sud-

denly drawing with a wooden spoon

trying to emulate the plant stems

from the fence and told me to do it

in fine chocolate. As my husband

was traveling and decided to make

chocolates for him, and had wanted

to visually contrast color ... and there

came the flowers, seeds, fruit thin as

a game. Like a game comes around.

"

His productions are accompanied by

chocolate glass, shaped, for some,

capricious, observes the same route

of plants seek the light.

With respect to jewelry, the road is

not very different, and the secret is in

the creative workshop. "I was working

with the glue gun and started playing

with it, I made several designs and

bring them to a jeweler friend and

left the line. Today it sells well, the ring

and back chocolate, because we

women like jewelry and chocolate. "

Since drying of the flowers with natu-

ral methods-until the chocolate is

produced by Marianela and her hus-

band. "We intend to create a sort of

multi-space where the chocolates

are the work of art, jewelry author, a

good movie, good will," is sincere.

With regard to the brand at the mo-

ment is your signature. And some-

how, summarizes the different modes

of expression which the artist.

Although it has a website, one of the

challenges will be to exploit the multi-

media portal to sell and showcase

their work through the network.

Marianela breaks any stereotypes

about the artist and admits that mo-

ney is necessary, it has boosted his

personal signature, which also runs

several pictures that target products,

individuals, corporations and upscale

hotels, where they use their products

as amenitis, packed with denim.

"We grew up with the idea that the

artist also does not care about mo-

ney. And for a long time I thought

that I did not care, but also over the

years I realized that money is one of

the materials we use in this energy

exchange. With love we can solve

many things with money, others with

other water. Matter and is good work

is appreciated. "

The artist rests, imagination remain

awake.

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Page 25

Other trends. High-level scam.

The Belgian Pierre Lagrange was,

until this fall, one of those very few

lucky ones who can sit in your living

room and enjoy the unique parts of

the Abstract Expressionists tribe,

perhaps the more pedigree in the

circus of the art auction modern.

This London-based collector

bought in 2007 Untitled, 1950, a

feature of Pollock action painting

for 17 million dollars (13 million eu-

ros) in the New York gallery Knoed-

ler & Company.

When this year's auction at Christie

wanted the work was rejected. It

was true, he said.

Lagrange then sought the opinion

of different experts and concluded

that he had been deceived.

On December 2 filed a forgery in

U.S. federal court against the vete-

ran and respected gallery. After

165 years of life, this was closed just

two days earlier.

Also sued its president until 2009,

Anne Freedman, head of the sale.

The evidence submitted was a fo-

rensic analysis showing that the ta-

ble was no trace of pigments that

supposedly did not exist when the

work was signed.

The lawsuit, with the Lagrange

claim back the 17 million but does

not include criminal charges

against Freedman, opened an ar-

tistic version of Pandora's box kept

for days in suspense scene in the

Big Apple, noting with horror how

the FBI is investigating possible for-

gery of the 18 paintings sold by the

same gallery and one of its former

employees, Julian Weissman.

Values between 10 and 20 million

(7.6 million euros to 15.2) and

signed among others by De Koo-

ning, Pollock, Motherwell and Die-

berkorn, pictures come all the sa-

me hands: Glafira Rosales, the de-

aler who sold them both the works

and defends his lawyer arguing

that the gallery wanted to make

scapegoats.

Interestingly, the name of Rosales,

a Mexican of 55 years who resides

in Long Island and that in turn had

its own gallery in Manhattan and

another in the State of New York, is

associated, according to The New

York Times, a Spanish name: Ber-

gantiños José Carlos Diaz, a Spa-

nish entrepreneur and collector

according to the website that Ar-

tinfo.com is described in the pa-

pers from the suit as someone who

has been involved in counterfeiting

cases since 1999.

All works investigated were leaked

to Freedman and Weissman by Ro-

sales, who started bringing pictures

of American writers from Mexico in

1993.

According to a letter dated in 2007

and quoted by the newspaper

New York, this dealer trading in

works of a collector who had

bought Mexican American art in

the fifties hands directly from the

artists themselves (and therefore

no papers to prove their authors-

hip) .

The collector's son, whom she des-

cribes in the letter as "a family

friend who lives in Mexico and Swit-

zerland", wanted to sell part of the

collection he inherited, including

works by Motherwell, Franz Kline,

Clyfford Still and Willem de Koo-

ning, but insisted on anonymity.

Through Freedman and Weissman

some of these works came to Fine

Art galleries and Killala, who in Fe-

bruary sued Weissman and Dedalus

Foundation for having certified the

authenticity of a motherwell then

entitled classified as false and as

part of one of the most famous se-

ries of the artist, Spanish Elegy 1953.

P.24.

In the complaint joined another of

that foundation, which manages

much of the legacy of Motherwell,

for lying about his origin.

The case was closed in October

with an agreement that required

precisely Rosales to disburse most of

the $ 600,000 paid for Killala Fine Art

picture, and Weissman, to cover

the rest over the legal costs Dedalus

Foundation.

But it was learned on 15 December

during the first court hearing,

doubts about the authenticity of

the works sold through Rosales Fre-

edman are not new.

Testified the gallery in 2003 she

agreed to return two million dollars

to Jack Levi, chief executive of

Goldman Sachs who sold the Po-

llock Untitled, 1949.

Apparently, the International Foun-

dation for Art Research refused to

authenticate the work, so I asked

Levi cancel the sale and the gallery

Knoedler accepted.

After Freedman itself, along with

David Mirvish Canadian business-

man, purchased the painting.

"Based on my experience, I believe

that Ann Freedman has never sold

a work of art that she did not consi-

der it authentic. If the Lagrange po-

llock is not, as Freedman and I have

been cheated and demanded

another," said Mirvish, who was the

former owner of pollock now in dis-

pute.

For its part, the gallery has been ad-

vocated ensuring the judge: "I have

every reason to believe that these

pictures are authentic," and among

them is that she acquired three of

the works offered Rosales, a Rothko,

a pollock and a motherwell, it still

has. "I'm not defending.'m Defen-

ding the art in which I believe."

On the mysterious collector who

works as come Rosales continues

the silence.

Meanwhile, the New York art world

in a continuous boil conjecture.

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Page 26

Investment in the SFMOMA.

The Board of Trustees of the Mu-

seum of Modern Art in San Francis-

co (SFMOMA) has decided to in-

crease to 412 million euros budget

for the expansion of its facilities.

The SFMOMA has already met 80

percent of the 356 million originally

budgeted, so it is optimistic about

the possibility of getting an additio-

nal EUR 76 million to improve the

provision of space dedicated to

educational programs, exhibitions

and permanent collection.

The ambitious expansion plan in-

creases significantly from SFMOMA

as announced in May 2011, inclu-

ding new areas on the ground floor

that will communicate with each

other through footpaths.

The project promoters expect more

imbricate and the museum in their

city environment.

The expansion work, the design has

been entrusted to the Norwegian

architectural firm Snøhetta, will be-

gin in June 2013, with completion

scheduled for early 2016.

A plan "perfectly acceptable" ac-

cording to promoters, "in view of

the success achieved during the

first phase of fundraising" between

citizens and private companies.

That shows "the commitment of the

community" to boost growth plans

that attempt to "provide an unpa-

ralleled experience in the art of our

time," said Neal Benezra, director

of SFMOMA since 2002.

"The city of San Francisco has a

great partner in the museum,

which will further enrich our citizens

and visitors," he said to turn the ci-

ty's mayor, Ed Lee, who was pre-

sent at the launch of the new

plans.

So would "stimulate the enormous

generosity" companies that are ac-

credited art lovers in general to pro-

mote "an extraordinary project that

will benefit the children of school

age, the hospitality industry, cons-

truction industry and the Yerba Bue-

na Neighborhood ".

According to Charles R. Schwab,

Chairman of the Board of Trustees of

SFMOMA, the increase of 15 percent

in the initial budget is a goal

"achievable and sustainable," so no

doubt that the citizens of the Bay

Area of San Francisco will support

with their contributions economic

"our role as an educational resour-

ce, civic and economic develop-

ment".

The SFMOMA has one of the most

remarkable collections of the world

in modern and contemporary art,

and most important of the West Co-

ast of the United States.

In February 2009, the leaders of the

museum started another campaign

fundraising has doubled the number

of works that have, currently set at

27,000. That same year, the Fisher

Foundation announced the sale of

its renowned collection for a centu-

ry.

The expansion project designed by

Snøhetta study aims to integrate the

historic building by Mario Botta in a

"seamless whole" to reach the

130,000 square meters, double the

current.

Glass walls, terraces and outdoor

sculpture garden, the future will help

to open the SFMOMA to the city.

In addition, the galleries at different

scales and levels will facilitate the

most appropriate lighting for each

artistic technique, from video art to

photography and sculpture.

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Page 27

Glass workshop in Murcia (VII).

JIMENEZ PEDRO CASTILLO

JULIO NAVARRO PALAZÓN

JACQUES THIRIOT

The elevations of the walls, just as

we found, had brick work and it is

likely that their use is associated

with the repair of the original land

tapiales apparently available in ba-

tach show.

The eastern bay is occupied by a

unit of 6.00 x 1.70 m.

I was floored with a pavement of

lime mortar and opened the patio

door with a light 90 cm, approxima-

tely.

The wall that separates the yard

has the same bill the north lounge,

with the particularity that on repairs

later was used in addition to brick,

stone blocks, sometimes alternating

with brick executioners.

It is plastered with plaster on both

sides and on to the patio, next to

the north jamb, was kept a setback

in the plaster to settle a vertical en-

fondamiento alfiz belonging to the

arch that framed his income.

The southern corridor is a narrow

unit that opened onto the court-

yard through a span of 1.50 m.

measured from the nose tongs.

The wall had a factory identical to

those above, except the stretch lo-

cated east of the gate, where the

mud mortar of the foundation is re-

placed by blocks of white sandsto-

ne, doubtless reused.

The eastern end of the bay was oc-

cupied by the staircase, which do-

cumented only some remnants of

the foundation, sufficient to esta-

blish that consisted of a platform

boot which started the first section

of roof which rested on the south

partition wall (Plate . 17).

From there seems to be bent to-

wards the west, supporting a lintel

must rest on the wall that separates

the centreline courtyard and a pi-

llar attached to the Southern share-

cropping, whose foundation we

find some remains (Fig. 7).

The western corridor consisted of

three distinct and separate depart-

ments enter each other by brick

walls:

- The southernmost was the largest

and extended by the SO angle to

the wall that enclosed the house to

the south.

This is a part open to the courtyard

through a wide span indeterminate

because only retain the north

jamb, but could not be greater

than 70 cm.

I was floored with stone slabs and

on the south side of the room, lime

mortar.

In the NE corner was a well made

ceramic rings, except the rim that

was made with bricks, surely it was

possible to access both from inside

the piece and from the patio.

The dependence was tackled by

paths and mortar masonry pilasters

that we served as reinforcement

for the slab of wood holding the

southern bay since, according to

the position of the steps above, on

this piece due to rise a algorfa or

second floor.

The presence of well water and

paving slabs allows us to identify it

as a kitchen.

- The central space of the corridor

is a narrow room 1.38 x 1.56 m,

which always ran the underground

culvert that collected rainwater fa-

lling on the patio.

The pipeline to reach the interior of

the piece, broke to the north, pas-

sing under the wall that separated

the space that lies further north, as

we shall see, corresponds to the

gate.

Such an arrangement of the cul-

vert apparently no sense, since it

would make sense that they went

to a public sewer along the shor-

test path, which is coming directly

from the hallway.

The only possible explanation is that

the room before us host the latrine

because, as already demonstrated

in other homes in the Murcia Anda-

lusian is used to take water from pa-

tios to drag more of the filth of the

latrine, but also the size of depen-

dence and

support the hypothesis exposed lo-

cation.

- Finally, the northern part was occu-

pied by the first tranche of an an-

gled hallway that turns north to

open the street for the current me-

dieval Mother of God.

The span of the hallway that opens

onto the courtyard had two nose

tongs and a light 70 cm (Fig. 7).

Reforms of the house F

Throughout its history, the house un-

derwent many reforms, some of

which affected only the pavements,

while others changed significantly

altering walls and partitions the origi-

nal plant.

The court changed little over time,

but shortly after its construction was

the subject of a major conversion:

deep space was paved with bricks

thus disappearing from the center

(Fig. 7).

The only reminder of its previous pro-

vision that had the slight enfonda-

miento soil in the area of the old

garden, which was surrounded by a

perimeter slightly higher walker.

The room on the south bay was so-

on transformed into a portico sup-

ported by two brick pillars, retaining

the ladder in this vain.

At first floor of the porch was kept to

a level similar to that of the court-

yard, and then rise, as an open plat-

form to patio11 solution, reminiscent

of oriental iwans, although shallow,

disproportionate to its width , leads

us away from those models.

At this time in the freeboard is pro-

duced, the piece and the courtyard

was paved with lime mortar.

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Page 28

Homage to Salvador de Aza (CSIC).

Salvador de Aza was appointed Vice

President for Technical and Scientific

Research of the CSIC in July 1991. He

was then 58 years old and enjoyed a

solid reputation as a result of his rese-

arch career, his successful performance

for years as director of the Institute of

Ceramics and Glass (ICV) and partici-

pation throughout the 80's programming

tasks advice directed primarily to guide

and promote research in science and

technology of materials in the field of

CSIC.

As a researcher, theoretical and experi-

mental study of phase equilibrium dia-

grams and intelligent application to the

design of ceramic materials had given

him international recognition, in the di-

rection of the ICV, which took office in

September 1983, had shown an indispu-

table authority a significant capacity for

research management and in the years

of transition, your active involvement in

efforts that ultimately led to the esta-

blishment of the area of Materials Scien-

ce and Technology, CSIC and the crea-

tion of the Institute of Materials in Ma-

drid, Barcelona , Sevilla and Zaragoza,

had shown his deep knowledge of the

area and its special sensitivity to the de-

mands and industry trends.

With this background he was able to

meet the challenge that led to accept

the Vice President of the CSIC in a stage

of conflict. A series of management pro-

blems had led staff in the summer of

1991, a presidential change. The new

president, Elias Fereres, prestigious and

executive person had, at the time of his

appointment, a very limited knowledge

of the institution.

Vice President Salvador de Aza touched

him, therefore, play a challenging role in

the early months in office the new ma-

nagement team. His knowledge of the

Agency, its prestige, its experience and

its unique personality allowed him to get

out of the test.

With the house quiet, Salvador remai-

ned in the Vice President of Scientific

and Technical Research until July 1996,

he served continuously during the presi-

dencies of Fereres Elías and José María

Mato.

In a recent publication, one of us has

written that Salvador held office with the

same dedication, the same knowledge

and the same thoroughness

with which studied the phase equili-

brium diagrams or preparing their cour-

ses in his office at the ICV. That dedica-

tion and that coupled with his detailed

knowledge in the CSIC long history and

proven scientifically sound contributed

to his vice president, and by extension

the entire management team, authority

and recognition.

The Vice President of Scientific and

Technical Research at that time was lo-

cated at Serrano 113, separated from

the President, Vice President and Institu-

tional Organization and the General Se-

cretariat who were, as now, Serrano

119, the central building. On the first flo-

or of 113 Salvador Serrano had his offi-

ce, next to that occupied Antonio Cor-

tes, who was then Deputy Director Ge-

neral for Programming,

Monitoring and Information Science,

and close to Jose Ramon Alique, then

Director of the Office of Evaluation and

Technology Transfer. On the second flo-

or were the offices of the Area Coordi-

nators on the ground floor and the De-

partment of Postgraduate and Speciali-

zation.

With the support of all of them, which

maintained a constant fluid communi-

cation, Salvador had a thorough check

of current research projects in different

areas CSIC Scientific Technical different

programs funded by the National Plan

of the Autonomous Communities pro-

grams , etc. Health Research Fund.; in-

frastructure granted by various finan-

cing agents, the transfer of research re-

sults, patents and contracts with com-

panies, and scholarships and specializa-

tion courses, paying very special atten-

tion to what program called Temporary

Contracts of doctors who came to re-

place the post-doctoral fellowships,

from within their budgets, had been ca-

lling the CSIC and the National Plan to

1991 and was the immediate predeces-

sor of the program Ramón y Cajal.

With all this information in mind, in a ca-

refully annotated notebooks laboratory

notebooks were literally where experi-

mental conditions were carefully trans-

cribed in order to ensure reproducibility

of results, Salvador crossed the court-

yard of the main building CSIC way to

attend meetings management team,

Scientific Advisory Committee or the Bo-

ard of Governors.

And relying on this information the team

made the decisions and, among other

things, established the foundation to dis-

tribute the limited funds that, in those le-

an years, provided the institution to ma-

ke its own science policy that focused

on a so-called Scientific Program Perfor-

mance depended on the Vice President

of Scientific and Technical Research.

In the early nineties, the economic situa-

tion was quite shabby and rarefied politi-

cal situation, the research did not seem

to be a government priority and concern

of successive ministers of industry by the

CSIC, from the 1993 elections, was limi-

ted bit rather than the opening of scho-

ols and president of academic events in

some resonance.

CSIC's management team had little ro-

om for maneuver and, apart from efforts

within their means to maintain the inte-

grity of the organism against the claims

of some Autonomous Communities, fo-

cused its efforts on making the best use

of scarce resources organized so that

would be of the highest quality of scienti-

fic production. It was therefore a time of

restructuring and Institutes and Centers

assessments by external committees. In a

situation like this, the knowledge, expe-

rience and common sense of Salvador

were essential to allocate scarce funds,

make decisions about infrastructure ac-

tions and convince the best researchers

to take charge of the coordination of

scientific- techniques, forms part of com-

missions or tribunals constituted to grant

the limited places available.

Salvador was instrumental in strengt-

hening the scientific and technical areas

and define the role of Coordinators and

Area Committees on the occasion of the

launch of the Rules of Organization and

Operation, after a long gestation and

without its problems, was finally publis-

hed in 1993.

His long experience was crucial in gui-

ding the restructuring of institutes and

centers, particularly those of the most

complicated and contentious, in the se-

lection of the first associated units in the

development of the Action Plan 1995-

1999, in the transfer of management IRIS

network to CSIC and many other perfor-

mances, some of them in the area of

Humanities and Social Sciences and the

recovery history file of the Philippines or

special actions to support the Institution

Musicology Mila y Fontanals, although his

career as a researcher to put him closer

to applied research than any other

member of management.

As we have also recently had occasion

to write this little review can be summari-

zed by saying that years of Salvador de

Aza as Vice President came to end with

seamless management an honest and

selflessly dedicated to Science and the

CSIC.

José María Mato, CEO of CIC and CIC

bioGUNE biomaGUNE, former Chair of

CSIC

Manuel Martín-Lomas, Scientific Director

of CIC biomaGUNE, former vice presi-

dent of CSIC

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Page 29

Badges of honor of the AEC.

The Spanish Association of Scientists

(ACS) this year celebrated its 40th

anniversary with the award cere-

mony:

Badge of Honor-ACS

that being awarded for 14 conse-

cutive years by Spanish scientists

recognized professional in the field

of science and technology, as well

as Spanish and Latin American

companies for their strong support

for R & D + i.

In the past year, the AEC has cele-

brated the delivery of the Badge of

Honor AEC-2011 during its Annual

Social Dinner, held on Friday No-

vember 25 at the restaurant Riofrío

of Madrid to the following winners:

In the section of scientists:

Professor Dr. D. José María Guile-

many Casademon, Professor of

Metallurgy of the University of Bar-

celona, for their relevance and

recognized work in developing the

Plasma Arc technology for coa-

tings and applications on all types

of materials, founder of CPT at the

University of Barcelona, as well as

for his work throughout his career

teaching and research in novel

applications of Electron Microsco-

py in Metallurgy.

Professor Dr. D. Miguel Lafarga

Coscojuela, Professor of Anatomy

and Cell Biology, for his outstan-

ding research and scientific contri-

butions on the functional organiza-

tion and dynamics of the cell nu-

cleus, especially in neurons and nu-

clear bodies, which may help treat

and cure of several neurodegene-

rative diseases. In addition, for his

pioneering studies validating the

findings of Cajal on the cell nucleus

with the modern techniques of cell

and molecular biology, revitalizing

its publications the figure of the

Spanish Nobel in science internatio-

nally.

In the area of scientific publication:

D. Alejandro Gallego Barrera, Agri-

cultural Engineer, for his contribu-

tion to the popularization of science

in the field of Biology and Agricultu-

re for the excellent videos that has

been making and spreading in re-

cent years and especially recently

conducted on soil biodesinfección.

In the section of companies:

CEMEX, to coincide this year's re-

cent celebration during the month

of July in Madrid's leading Interna-

tional Congress on the Chemistry of

Cement in its thirteenth edition, has

been awarded to this employer

Mexican multinational for its strong

support for R + D + i in recent years

in our country and especially for his

contributions to the science and

technology for environmental pro-

tection.

ProRetina Therapeutics, a young

Spanish company, now located in

Navarra and has emerged from a

group led by CSIC researcher Dr.

Enrique de la Rosa Biological Rese-

arch Center, dedicated to the de-

sign of new drugs to treat retinal

degenerative diseases such as Reti-

nitis Pigmentosa and Macular de-

generation and other diseases.

From these pages we send our war-

mest congratulations to the winners

and the award received for their

excellent work on behalf of scienti-

fic knowledge.

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Page 30

Sara Sorribes at the Fair of Valencia.

Your booth space at the event Arti-

san in Feria Valencia, presided

over by a sign with your preferred

maximum, which marks his life and

professional career: "The most im-

portant thing for me in life is to smi-

le every day, and being glass arti-

san I did it. "

Sara Sorribes glass works successfu-

lly in all possible aspects in a mo-

dern artisan workshop: "The manu-

facture in tube, rod or plate, we

blow torch and 'fusing' in oven ma-

nual carving and engraving on the

sand and acid , we cut, polish, car-

ve, burn, melt ... "

However, this woman was in the

beginning for this.

Although born and raised in a fami-

ly that already had a glassware

factory, where he grew older and

had to seek employment, Sara

always smiling, so happy, I decided

to dedicate myself to this, and I hit

it squarely, because now I smile of

truth."

The family business was founded

by the grandfather in 1920 to ma-

nufacture glass bottles.

I was in Valencia Sagunto Street

and had dozens of workers. They

were the golden age of glass con-

tainers for all kinds of liquids. Later,

when the widespread use of plas-

tic, the father had to convert to

the force and went on to speciali-

ze in the development of blisters for

laboratories.

What makes Sara now has little to

do with it, but in his daily practice

of the trade shows a highly develo-

ped that comes from old to see

him as a child, to prove from soon

and having collected knowledge

and experiences of two previous

generations.

It is dedicated to design and deve-

lop exclusive parts and is based in a

shop near where he was the origi-

nal family factory on Calle Pepita,

28, along Sagunto Street.

Work commissioned for designers,

makes lamps, tears, hourglasses

and the most diverse objects of de-

coration. Some call it a certain way,

others suggested itself to customers,

although they have the last word,

of course, "because each client is

different and has different preferen-

ces."

Central to Sara is "the quality, rigor

and speed work in the service re-

quired." Raw materials, rods, tubes

and glass plates, are from Germany

and Murano (Italy), the best manu-

facturing facilities, which provides

the best guarantee for the result.

The fact is that the quality of their

work has resulted in a unanimous

recognition, to the extent that their

works are increasingly required.

He tears many liquid-filled glass for

decorating the Expo in Zaragoza,

working for universities, was a finalist

for the National Craft Award, spe-

cial bottles made for a famous

brand of whiskey, has represented

the Valencia Craft Centre in Mexi-

co, soon go to Milan ... And when

traveling always accompany their

two children.

Believes that creativity "should go-

vern our handicrafts, otherwise the

Chinese will eat us," and that,

among many things, makes exclusi-

ve buttons for a clothing manufac-

turer, "he says in China would have

them cheaper but never as good

and original, there's our difference

and our power. "

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pulled in another di-

rection.

And it happened

after having an en-

viable and well-paid

occupation, in front

of the library section

of a shopping mall

one day, with 24 ye-

ars, resigned and re-

turned to the world

of glass, to recover

that child fans to

blow the tubes red

hot to shape, the first

things he learned

with his father, and

now they and their

children, 7 and 8.

To be wrought that

career change was

decisive figure of his

father, because, as

he confesses, "I was

Page 31

How does.

This month we include some pictures of the technique practiced by Ben Edols.

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Page 32

Christmas tree with glass bottles.

In addition, the capital of Vall d'Al-

baida will for the first time with a

skating rink in the Plaza de Santo

Domingo to be operational later

this week.

Another important aspect of this

holiday shopping is why the Asocia-

ción de Comercios y Empresas de

Benifaió (Aceb) ) has carried out a

Christmas fair during the weekend

with great success.

Local merchants have been plea-

sed by the sales achieved in this

sample.

Moreover, for the purchases made

through January 5 will be entered

into a drawing for great prizes.

Also in Algemesí, the City and the

Association of Businesses and Servi-

ces presented a new edition of the

commercial animation campaign

to circumvent the 50 baskets of

Christmas in January.

The baskets are raffled among tho-

se who have completed their tic-

kets at different stores and contain

a ham, sweet and select a variety

of products. In addition, the Schola

Cantorum of Algemesí hold its tradi-

tional Christmas concert on De-

cember 22 at the Basilica of Sant

Jaume.

Finally, the school has scheduled

Alzira Alborxí different activities as a

show of solidarity with stalls fair tra-

de to benefit Oxfam and selling

candy to raise money for Unicef.

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All municipalities are preparing for

the Christmas holidays and they

have decorated the streets with dif-

ferent motives.

In this year Canals installed an origi-

nal tree five meters high built with

recycled material, particularly with

1,400 glass bottles, as explained by

the local council.

"In order that the whole world awa-

re of the importance of caring for

the environment and because of

the Christmas decorations that the

City is taking place these days,"

commented from the Department

of Environment.

It is a tree five meters high, the

bottles are anchored to the support

of an old disused lamp and a stone

-built oak volcanic tuff located in

the park Jaume I.

In Ontinyent space is being ena-

bled in the Plaça Major Christmas

with a tree birth and reusing items

that were used to mount the live

nativity scene in the Place de la

Concepción.

"Although this is not going to Bethle-

hem to perform because there are

times to spend the money (30,000

euros), the ontinyentins not run out

of Bethlehem," explained Council-

man Municipal Services, Manuel

Cuesta.

Page 33

Granada wishes for 1000.

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The Catalan artist Xavi Muñoz has

created a pool of glass, water and

electricity included in the "1,000 wis-

hes for Granada" and whose light

and sound sculpture is exposed du-

ring the Biennial Goals of the Foun-

dation of the Kingdom of Granada

which held these days.

The work has been prepared based

on the story that for centuries it was

believed that gods lived in the sea

and therefore water could make

the wishes of the people, hence the

custom of throwing coins to the

sources , reported the Millennium of

Granada in a statement.

The sculpture, "extremely delicate

and strong enough," was launched

at the House of Kicks Granada as

part of the Biennial Goals, based on

contemporary art and heritage.

Based on the myth of water and

desires, Munoz builds a column of

glass bottles thousand and three

feet high, so that each container

filled with water, including a desire

to anonymous people, "people of

the city," precise note.

The author has stated that this work,

"fosters the relationship between art

and the word" inspired by

"anonymous calligraphy of different

active participants in the work."

The sculpture is complete with a

backlit "very particular" and produ-

ced a sound installation by the Ar-

gentine musician Axel Doss, whose

piece "speaks of" water and eco

with anonymous voices reading so-

me desires.

The Biennial Goals 2011 comes in

this way several days in which con-

temporary art is done by way of

more traditional artistic disciplines,

with sculptures such as Xavi Muñoz

and others like Sam Arregui work or

drawing of the French experimental

Bérengère de Crecy.

This cycle is a journey of over 16

contemporary art projects until 18

December, have used and been

worth the cultural heritage, tangible

or intangible, of the city of Grana-

da.

For this edition, we have received

nearly 200 projects in 30 countries,

of which a group of experts has se-

lected 13 that, along with three

guest artists, form the Biennale.

Page 34

Cliff Path in Chinese.

The typical tourist is one who tra-

vels hundreds of miles to see so-

mething special from a distant

place, something to remember

for a lifetime and can explain to

their friends and neighbors when

he returns from vacation.

And if there is a feeling "extreme"

that will remind tourists visiting

Tianmen Mountain in Zhangjiajie

(China), is the ride on the road of

glass have been installed in one

of the most spectacular cliffs.

Every day hundreds of visitors test

their courage and nerves of

steel, making the walk along the

famous trail of glass that su-

rrounds one of the cliffs of the

mountain Tianmen (translated

Heavenly Gate Mountain).

This mountain was already fa-

mous for the huge natural cave

that is half way to the climb to

the summit, but those responsible

for tourism in the area have deci-

ded to increase the attractive-

ness of your visit to this spectacu-

lar tour.

Suspended more than 4,700 feet

to more than one blood run cold

was just seeing these images.

Glass, of almost 6.5 cm thick,

allow us to contemplate the

canyon as we pray for all saints

known for sure nothing goes

wrong on this trail recently built

glass, similar to that already exis-

ted for a time in the Grand Can-

yon of the United States.

To keep clean and undamaged

glass walkers are forced to cover

their feet before entering this pe-

culiar walk in the clouds, allo-

wing them to enjoy excellent

views of the mountain.

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Page 35

Appel Glass.

Apple has delivered to the City of

Cupertino plans reviewed the pro-

posed construction of its future

headquarters, the "Spaceship"

campus.

It is a giant 4-story building shaped

like a ring or UFO, with 260 thousand

square meters and a capacity to

house 13 000 employees.

Remember that Steve Jobs was still

alive who personally presented this

project to the mayor and officials of

the City of Cupertino in June this ye-

ar.

Jobs described the project as fo-

llows:

A circular ring must also be a nod

to the expression of Infinite Loop

(infinite loop street name of the cu-

rrent headquarters of Apple).

Project under the slogan: The Mot-

hership has landed, the mothership

has landed, is an amazing building.

"It looks a bit like a ship that has lan-

ded.

Have a wonderful garden in the

middle.

Is a circle. Is curved everywhere.

If you build things, this is not the

cheapest way to build something.

No piece of glass is straight in this

building. All glasses are curved.

We have used the experience to

build our stores throughout the

world, and know how to make lar-

ger pieces of glass for architectural

applications.

And, we manufacture specifically

for the glass construction. We can

do that curved across the outside

of the building ... It's pretty cool,

"said Steve Jobs.

As can be seen in a video, Steve

Jobs made sure that no one in Cu-

pertino personally opposed to this

project, to ensure the future of Ap-

ple.

As for the Environment, Steve ex-

plained as double the number of

trees, would the current parking

area of the property in an under-

ground location, plus an additional

4 storey building for parking.

3,500 jobs would increase (from

9500 to 13,000) and all the advan-

tages for the city in general if Cu-

pertino accept this proposal.

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Page 36

Nativity Scenes in the CNV of La Granja.

The Choir of La Granja offered

Carols in the Great Hall of the

National Glass Centre Founda-

tion a concert of Christmas ca-

rols during the opening of the ex-

hibition of nativity scenes from

around the world that has until

next January 9.

The show brings together nearly

a thousand different popular

cribs that have been made from

different materials such as glass,

paper, ceramics, clay, metals,

textiles, seeds, ivory or stone.

They come from countries on

every continent, including Ger-

many, Norway, Poland, Israel,

Costa Rica, Mexico, Guatemala

and, of course, Spain.

This is a collection of nativity sce-

nes and mysteries of the Nativity

of the most important exist to-

day.

Each of them represents an inter-

pretation of the distinctive featu-

res of each country and the his-

tory of mankind.

The exhibition is installed in the

Hall of Lights Royal Glass Factory

at La Granja and is open Satur-

days from 10 to 18 hours, Sun-

days and holidays and from

Tuesday to Friday from 10 to 15

hours.

Will be closed on Epiphany.

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Page 37

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. Our members may be fees, be-

nefactors, Full and juveniles.

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 38

Area of Research. Images.

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Fig. I

Fig. II

Page 39

Glass Workshop. Images.

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Plate 17

Fig. 7

Page 40

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Craft Fair of the CAM. Images.