Catalogue - European Glass Experience

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Catalogue - European Glass Experience
European Glass
Experience
European Glass
Experience
EXH I BI T ION
DAT ES
28 Mar 2014 – 8 Jun 2014
The Finnish Glass Museum in Riihimaki, Finland
29 Jul 2014 – 15 Nov 2014
The Fundación Centro Nacional del Vidrio –
Real Fábrica de Cristales de La Granja, Spain
13 Dec 2014 – 22 Feb 2015
Marinha Grande Museum of Glass, Portugal
18 Apr 2015 – 7 Jun 2015
The Murano Glass Museum, Italy
CONT ENTS
Foreword
City of Venice
Consorzio Promovetro
Musei Civici di Venezia
6
8
10
Notes
12
Participants
16
Essays
Museo del Vetro
The Finnish Glass Museum
The Fundación Centro Nacional del Vidrio
The Glass Factory
The International Festival of Glass
Krakow Stained Glass Museum
Marinha Grande Museum of Glass
The Museum of Decorative Arts in Prague
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26
30
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38
42
46
50
Process
Checklist
Venues
Biographies
Partners & Associated Partners
Colophon
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73
147
153
178
182
CI T Y OF VENICE
Foreword
PAOLA RAVENNA
GI USEP P E MELLA
LADA VET RI NI
6
Dedicated to contemporary glass practice, European Glass Experience
opens a highly specialized tradition to a wider and youthful audience,
by revealing the actual process between concept, design, and manufacture.
Launched as a competition in 2013, this project proposed by Consorzio
Promovetro Murano and the City of Venice is the winner of a prestigious
two-year grant under the umbrella of the Culture Program of the
European Union.
An international jury, composed of museum directors, curators, and
glass experts, and the scientific directorship of curator Cornelia Lauf,
selected nearly 80 sketches and artworks. Some of the finest sketches have
been realized in glass in Murano, by master craftsmen associated with
Promovetro.
The exhibition began at The Finnish Museum of Glass, Riihimäki,
traveled to Spain (Museo del Vidrio, La Fundación Centro Nacional
del Vidrio), Marinha Grande, Portugal, and culminated in Murano at the
Museo del Vetro, in Spring 2015.
Partner support has been lent by the Stained Glass Museum in Krakow,
Poland; the International Festival of Glass, Stourbridge, England, and The
Glass Factory in Boda Glasbruk, Sweden, and the Glass Museum of
Marinha Grande, Portugal.
European Glass Experience is a resource for current European practice in
glass, centers of production, museums, schools and festivals, as well
as a survey of techniques available for the realization of projects. It was
born in order to foster the transnational mobility of young artists, giving
them the opportunity to show their works in favorable conditions for
acknowledgment on the international artistic scene. EGE is also meant
to support the creation of a network of art glass lovers (museums,
foundations, collections, specialists, etc..) in order to give full recognition
to glass art in Europe, and thus to promote intercultural dialogue.
With origins in the Mediterranean, glass has been created in Europe
since millennia, with regional styles vying in competition, through
global trade routes, and divergent styles and techniques. Many of the
finest collections and collectors are even outside of Europe. The goal
of European Glass Experience is to link practices in this medium to
contemporary art and to foster the role of glass artisanry as an intangible
cultural heritage to be cherished and promoted.
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CONSORZIO P ROMOVET RO
LUCIANO GAMBARO
SERGIO MALARA
8
Consorzio Promovetro is an association for the promotion of artistic glass
from the island of Murano. It was founded in 1985 by a group of
craftsmen producing artistic glasswork, and during the last thirty years it
has worked to conserve, safeguard and defend Murano’s millennial art
and tradition and to spread, develop and assist, with proper promotional
activities, this world cultural heritage.
Over the years, Promovetro has become an important associative body.
It currently represents roughly fifty enterprises on the island of Murano
Always searching for new and innovative means of communication,
Promovetro is involved in the diffusion of authentic Murano glass
production through business missions, workshops and meetings and
participates with its associated companies in the most important trade
fairs, both on the national and international level. Promovetro also deals
with the world of glass art, with the organization of exhibitions and
artistic performances. The association often participates in various special
events, with the collaboration of national and international authorities
and, in the last years it has also developed promotional activities, above all
through social media.
In 2001, Regione del Veneto entrusted Consorzio Promovetro with the
national and international promotion of the Vetro Artistico® Murano,
trademark, introduced and governed by Veneto Region Law no. 70 of 23
December 1994.
Since its foundation, Promovetro has worked to protect and promote
the image of Murano glass and its correct commercialization, a significant
task carried on to safeguard an important, but definitely fragile mean of
artistic expression.
Promovetro may rightfully be considered one of the principal guardians
of original Murano glass production.
EGE – European Glass Experience, was originally conceived upon an
idea by Consorzio Promovetro, which was searching for an innovative
way to promote and spread the artistic heritage belonging to the world of
glass and to share it with future generations of artists and designers.
EGE is meant as a reflection on glass as a versatile material, with actual
use in contemporary art, and as a way to confront Murano glass with
other European glass realities, which have survived, and still do, by means
of this material.
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MUSEI CIVICI
DI VENEZIA
The Fondazione Musei Civici di Venezia is proud to reaffirm its interest
in the contemporary by the realization of this European project.
EGE involves Finland, Spain and Portugal, and has reached many more
nations. It has succeeded in focusing on innovations in glass production
which not only affect the Murano glass tradition but also in Europe, find
glass living a difficult moment.
To be sure, the opportunity to contrast and compare with other historical
realities connected to the glass world and its new creative horizons have
allowed us to write a new chapter about the global reach of glass.
Specifically, the Fondazione Musei Civici and the Municipality of Venice
have been the conveyor of a new awareness of Murano, which embraced
an opportunity such as this in order to reaffirm its production value.
A special thanks goes to Cornelia Lauf, Scientific Director of the
project, who with intellectual generosity has been able to build an original
and interesting exhibition itinerary, which we can regard as a model for
innovation and quality. From this perspective we can build a bridge
between places that are geographically far from each other, but culturally
close, joined by glass as a material palette from which we can form
new shapes and meanings.
GABRI ELLA
BELLI
10
11
SCI ENT I FIC
DI RECTOR
Notes
CORNELIA
LAUF
12
European Glass Experience is an extraordinary initiative: an example
of Italian ingenuity in its blend of diplomacy, commerce, and aesthetic
innovation. Now a consortium of many nations, EGE is a successful story
of European collaboration, and as our social media attest — watched
by the world.
From the mullioned windows of Venice to the forests of Riihimaki,
Finland, from the wind-swept coastline of Portugal to a royal village near
Segovia, from the cobbled streets of Krakow to industrial Birmingham,
a venture sanctioned under the Gothic spires of Brussels, European glass
is an experience that links regions with millennial traditions. EGE spans
methods often practiced in ways quite similar to those of even more
distant forebears – we remember the Art Deco frieze depicting Ancient
Egyptian glassblowers in the Marinha Grande museum complex. Today,
glass not only finds its locution in artisanal grottos, but in science
laboratories, fashion showrooms, hospitals, design centers, jewelry studios,
product development offices, and an infinite range of new theaters for
its application.
EGE is a platform for a politics of art to discover a real field of practice
rather than a pristine exhibition space. How to keep an industry and
artisanal skills that are at risk alive? Via an international consortium of
people who are passionate about the knowledge of the hand, and
committed to savoir faire.
This is an exhibition about ancient traditions of glass and their
contemporary manifestation. It is about the development of glass from
a past realm of useful objects to a future world of possible forms.
It is about collaboration between the small single artisan and the huge
multi-national bottling plant. European glass today goes far beyond
its material culture past: drinking glasses, tableware, mirrors, windows,
beads, or optical instruments, to name a few historic applications.
The origins of glass are in the Mediterranean, and it is this region
that holds the key to its future with an exhibition such as EGE. By
embracing trade, and the exchange of ideas, by allowing young designers
and artists the chance to work with craftsman who harbor secrets belong
only to the island of Murano, experimentation and innovation have
taken place. Many of Venice’s craftsman eschew technology and modern
studio spaces, for an age-old relation between maestro, blow-pipe,
liquid glass, and fire. But the mental and aesthetic agility to conceive
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a project such as EGE shows the acuity of the Venetians today,
committed to fighting for their historic medium, right through the
twenty-first century.
European Glass Experience combines so many different tendencies.
The biological: artists who make models of avian flu, bacteria, or plant life.
Those that study the physics of light or matter: bubbles which model the
gaseous substance of stars, or vibrating frequency in the color spectrum.
Chemistry and the materiality of glass are explored in EGE: the nature
of frozen sound. Materials that are opaque and can be used for building
or conducting electricity. Volcanic dust mixed into glass to push it to
the limit of translucency. Glass that emulates the ever-shifting materiality
of clouds, as it passes from liquid to solid drops and back again.
Then the biological impulse: leaves of glass, models of the brain and
its matter, models of a shell inserted into the Venetian lagoon until
it becomes, by function, a shell itself. Images of flora rapidly becoming
extinct in the Venetian lagoon, sandblasted onto glass. Molecules that
welcome pictorialization.
The ecological. Glass made out of recycled glass. Out of waste materials,
repurposed.
Then there are the designers of EGE. Lanterns and lamps —
experiments in technical possibilities that can be applied to design: vases
for tulips, windows with melting or mullioned surfaces, or that function
as vases. Design objects with a twist, and overt attention to aesthetics.
This seems superfluous, but is essential in a global economy. Miniature
ice cream dishes for sorbet. Lights made out of neon tubes that hover on
the edge of being sculpture.
And the many designers who try their hand at non-functional works.
These “sculptural” and often abstract pieces are an interesting and even
vexing part of the EGE project. They show the problematic of the glass
artist who speaks through material, possesses technical bravura, yet strains
against merely executing an applied use of glass. In this section, we may
find the experiments of designers who hold prestigious positions as art
directors or industrial designers at glass factories, and who, for EGE, have
let their fantasy run free, creating works they would not be able to locate
in their daily workplaces.
Finally, the graphic artists, the artists coming out of music, the young
people experimenting in jewelry, or those looking at glass as textile. All
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these tendencies are mapped in EGE, in projects that show that there
are regional “schools” of glass-making, and technical predilections
common to them, but an international language of progressive ideas.
Pushing boundaries in the opacity of glass, in its application by
technology and the virtual realm, in its capacity to model and represent,
to be both the thing-in-itself and yet also a perfect limpid substitute
for other forms and ideas.
Our exhibition closes in Venice, the European city with a highly
developed glass tradition, fruit of its earliest origins as a strategic trading
point with the Middle East.
It is the pacifistic union of countries, ethnicities, and equal distribution
of male and female that is perhaps the most profound denotation of
what constitutes a European glass experience. We are the heirs of Syrian
glass, of Phoenician perfume bottles, of Egyptian beads. It is our
necklaces which have looked to Africa and traded with North American
wampum, in centuries past. Our dishes which copied China, and then
watched China imitate us. It is Europe which is now poised, with the
deeply civilized tool of a liberal culture, to serve at the crossroads of world
diplomacy, via innovation, aesthetic excellence, industrial progress,
and effective tools of social and political praxis. This is the true look of
contemporary European glass.
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PART ICI PANTS
Ulrike Acker-Thomsen
Iiro A. Ahokas
Josè Angelino
Agnieszka Bar
Stine Bidstrup
Stefano Bullo and Ester Marano
Giorgio Andreotta Calò
Gaia Carboni
Jorge Nicolás Cuevas and
Antonella Perrone
Sabine Delafon
Marion Delarue
Karen Donnellan
Nicholas Ferrara - Aaron Inker
Simone Fezer
Katya Izabel Filmus
Damien François
Birnur Derya Geylani
Valentina Girbino
Manuel Gorkiewicz
Arabella Guidotto
Sandrine Isambert
Mari Isopahkala
Lukáš Jabůrek
Barbara Jagadics
Martin Jakobsen
Renáta Jakowleff
Luke Jerram
Jessamy Kelly
Toni Kokkila
Martijn Koomen
Susanne Koskimäki
Joonas Laakso
Kaappo Lähdesmäki
Germany
Finland
Italy
Poland
Denmark
Italy
Italy
Italy
Argentina
France
France
Germany
Italy
Germany
Israel
France
Turkey
Italy
Austria
Italy
France
Finland
Czech Republic
Hungary
Slovakia
Hungary
UK
UK
Finland
The Netherlands
Finland
Finland
Finland
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Armand Lecouturier
Giulia Maculan
David Magán Moreno
Rostislav Materka
Elena Mazzi
Michal Motyčka
Kamila Mróz
Lisa L. Naas
Imre Nagy
Federica Nonnato
Katriina Nuutinen
Tets Ohnari
Martin Opl
Anne Petters
Julija Pociute
Kimmo Reinikka
Helmi Remes
Torsten Rötzsch
Verena Schatz
Josja Caecilia Schepman
Michal Šilhán
Jitka K. Skuhravá
Davide Spillari
Iveta Táborová
Kirsti Taiviola
Galla Theodosis Capsambelis
Soňa Třeštíková
Elena Trevisan
Justyna Turek
Ales Vacek
Pavel Vajsejtl
Ella Varvio
Valerio Veneruso
Heikki Viinikainen
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France
Italy
Spain
Czech Republic
Italy
Czech Republic
Poland
US
Hungary
Italy
Finland
Japan
Czech Republic
Germany
Lithuania
Finland
Finland
Germany
Austria
The Netherlands
Czech Republic
Czech Republic
Italy
Czech Republic
Finland
France
Czech Republic
Italy
Poland
Czech Republic
Czech Republic
Finland
Italy
Finland
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Petra Viňanská
Terese William Waenerlund
Stijn Wuyts
İlker Yaman
Paweł Żelichowski
Anna Magdalena Zima
Slovakia
Sweden
Belgium
Turkey
Poland
Poland
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ESSAYS
MUSEO DEL VET RO
Viewpoints
from Murano
CH IARA
SQ UARCI NA
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1
The Fondazione Musei Civici di Venezia, through the Murano
Glass Museum, supports and promotes the lagoon’s glass art, activating
combined actions that involve the territory, but also international
partnerships at all levels.
It is from this perspective that the Foundation has decided to take part
in the EGE Project.
It is an important occasion not only because it bravely contextualizes
itself in one of the most difficult moments for the glass production in
Murano, but also because it actualizes the dialogue between the glass
masters and the young artists, promoting a contemporary productive
activity that a priori denies the gloomy epitaph more and more impending
on the Island of Murano.
The most important goal and the deepest meaning of this European
project could be summarized by the attempt to reactivate and reanimate
an articulated and constructive dialogue which does not dread
contradictions and, above all, puts into the foreground the glass and its
main role as suitable and ideal material in order to create artworks, that
today, as never before, need the ability and the knowledge of the glass
Masters of Murano.
Only they are able to put into effect an artistic intuition translating the
innate and subliminal creativity that we can observe in the sketches,
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where often the glass’ limits and potentialities are not really considered.
Already in the past, some international artists had the chance to see their
idea realized thanks to the contribution of a glass master. Today, we
must merely memorize and remember this fact.
From this perspective, the Murano Glass Museum officiates as
promoter reflecting coherently the will of its founder, the Abbot
Vincenzo Zanetti, who identified as the main purpose of the Museum
the diffusion of the historical heritage, and thanks to whom can be
attested the virtuous value of a unique and extraordinary production,
but also the development of the unknown.
The the Glass Museum pursues its mission fully conscious of the extent
to which the future of glass depends on a general awareness towards the
theme of contemporary art connected to a material which cannot express
itself without the help and the technical and virtuous capability of the
glass masters.
Today, as in the past, the Museum must create plausible intellectual
connections becoming with full right part of the cultural debate
developed around the topic of contemporary art.
This is an operation that can start from a clear consciousness rising
about the potentialities that the Island of Murano has, and from the will
of getting back to the meaning and the role of the glass master.
1
2
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2
Murano Glass Museum, Palazzo Giustinan’s facade
Cup in smoked glass on rigadin stem with zigzag handles,
with morisia. Venice, Compagnia Venezia Murano 1878,
Museum of Glass, Murano
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T H E FI NNISH
GLASS MUSEUM
A History
and Future
of Finnish Glass
The Finnish Glass Museum was established at Riihimäki in 1961. The
museum collection was based on a collection of 500 objects and artefacts
collected by the students of Hämäläis-Osakunta, the Häme Province
Student Corporation or Nation. Opened to the public in 1965, the
museum first operated in a villa known as Allinna in the centre of
Riihimäki. An example of the Danish manorial style Allinna was built by
estate-owner Rudolf Gestrin for his wife Alli in 1919. The house was
designed by the architect Oiva Kallio.
The Finnish Glass Museum operated in Allinna until 1980 when it was
moved into its present building. The facility was originally built in 1914 as
a ground turf factory for the Paloheimo Oy Company. In 1921, the
Riihimäki Glassworks Company converted the building into a glassworks.
The building has also housed a plastics factory and silkscreen-printing
plant, and most recently the crystal polishing department of the
Riihimäki Glassworks. The present museum café is the old horse stables
of the glassworks. The alterations of the building and the museum’s
permanent exhibition were planned and designed by Tapio Wirkkala, a
legendary name in Finnish design and a member of the Academy of
Finland. The permanent exhibition was opened to the public in 1981, in
the tricentennial year of the Finnish glass industry. The museum has 1,700
1
U TA
LAURÉN
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square metres of exhibition space. The larger room for temporary
exhibitions was previously the glasshouse, or glassblowing section, of the
Riihimäki Glassworks.
To make glass art more accessible to the general public all across
Europe is one major goal of the project European Glass Experience,
sponsored by the Culture program of the European Union. At the same
time this project is meant to offer young European artists and glass artists
the opportunity to present their works–possible for the first time on an
international level–within the framework of four exhibitions. For a few of
the lucky ones the project culminates in a first collaboration with the
glassmakers of Murano, who will be carrying out their designs.
Among the selected works, Czech Republic and Finland stand out,
represented by eight realized pieces. This underscores the high artistic and
technical levels of young glass art in these two countries.
Particularly gratifying is that artists who are not glass artists in the
narrower sense have discovered the use of glass. For these, glass is one
material amongst many with which they express themselves. This too is one
of the aims of the project: to establish the material glass in the visual arts.
The forty executed objects were displayed into two groups by the
Finnish and the Spanish glass museums, since twenty objects together
with all selected thirty-eight sketches were to be shown in each of
Finland and Spain, in the selection the curators considered, aside from
the exhibition space, also the different techniques of the realized objects,
so that both museums could show a collection as diverse as possible.
The very successful exhibition in Finland was on view from late March
to early June 2014. The project offers the young artists also the
opportunity to get to know each other, to network and to meet
glassmakers from different countries. Beyond that, the project aims to
support a dialog between the individual artists and the visitors of the
exhibition. In Finland three participating artists from abroad were invited
to a two-day international workshop open to the general public. In
Finland Sandrine Isambert from France, Pavel Vajsejtl from the Czech
Republic, and Stine Bidstrup from Denmark worked together with the
young Finnish glass artists from the cooperative Lasismi in Riihimäki.
They invited viewers to a guided artist tour through the exhibition at the
Finnish Glass Museum, thus entering into a direct dialog with the
exhibition visitors.
28
Even now, the project makes clear that many young European artists
have discovered the material glass. They are full of interesting new ideas,
most of which they carry out very professionally and with an extremely
high quality. And the wealth of the techniques used lets us anticipate
many other interesting art works in the future.
2
1
2
The Finnish Glass Museum was opened in the old building of the former
Riihimaki glass factory in 1981
Riikka Latva-Somppi, Content Spilling
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T H E F UNDACIÓN
CENT RO NACIONAL DEL VI DRIO
The Royal Glass
Factory in
Modern Times
The Fundación Centro Nacional del Vidrio (FCNV) is located in
the Royal Glass Factory in San Ildefonso (La Granja), province of
Segovia, a singular building, founded in 1770 by order of Carlos III. This
public foundation was created in 1982 for the heritage of the old Royal
Factory of Glass and Crystal of La Granja, internationally renowned for
its art technique, technological innovation and good work, in order to
recover not only a glass tradition, but also a branch of decorative arts,
that is often forgotten. The present-day foundation integrates different
activities related to glass, like a museum, workshops and a school.
The Royal Glass Factory has had, since its origin, close links with the
history of European glass-making and factories, both in terms of
technical processes and specialist design glassmakers from different
countries, (France, Bohemia, England, Portugal, Norway, Ireland, Sweden,
Germany, Italy...). These masters were employed during the eighteenth
and nineteenth century in strict secrecy and brought their technical
processes, socio-cultural traditions, designs and styles and adapted them
to the Spanish fashion of that moment in this small location of San
Ildefonso (La Granja), which became a pioneer in glass technology
during the eighteenth century.
Today, the aims of the FCNV are the promotion, research and
dissemination of glass craftwork and history of its manufacturing and of
other cultural and scientific activities related to glass art and techniques.
In this way the glassmaking tradition of La Granja was restored and
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PALOMA
PASTOR
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protected, and continues to raise public awareness to the rich legacy of
its past. The Foundation nowadays maintains international relations with
museums, teachers, glass artists, professional technicians, artisans
and glass specialists. The Glass Museum organizes temporary exhibitions
based on glass collections from different European museums, conferences
in different disciplines and other activities in order to discuss research,
exchange views and deepen knowledge among specialists. The Higher
Education Institution of Glass (HEIG) began in October 2006 as
recognition of the need to offer higher education that did not exist until
then in Spain. In 2010, following the implementation of the reforms
promoted by the Bologna Process, the HEIG consists of four academic
years and a senior project.
The FCNV keeps the historical tradition of La Granja glass alive,
through craft production workshops, currently consisting of two furnaces
and several workshops for the production of various forms of decoration
(enamels, gold, carving and engraving). The production aims to preserve
and pass on the various glass working techniques inspired by original
examples made in the Royal Glass Manufactory during the eighteenth
and nineteenth centuries.
At the present-day, with a global economic recession, which has caused
the closure of factories and glass studios, we believe it is really necessary
to support projects that improve the quality and mobility of young artists
and designers to share experiences and show their works to the public of
our museums. In an attempt to promote intercultural dialogues between
them, this project intends to provide opportunities for sharing knowledge
and techniques. Thanks to workshops organized in Riihimaki (Finland)
and La Granja (Spain), three artists were invited in each country to share
their knowledge with local artists and designers including training in
modern and innovative techniques as well as in traditional forms. The goal
is to promote intercultural dialogues.
One of the most interesting and creative activities of the project has
been carried out by Murano master blowers. Thanks to their technical
skills and experience, selected sketches have been adapted and interpreted
in glass. The last activity of the project is a large exhibition in Venice,
with all selected artworks, including these artworks made in the furnaces
of Murano.
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In conclusion, we are sure that this project has been a positive and
rewarding experience, not only for museums and institutions involved, but
also for the participating artists and designers. We hope this European
project will have a continuity in near future, in order to further foster
strategic alliances among the museums, glass artists, designers or factories,
to share knowledge about innovative, traditional and creative work
procedures and techniques, and to promote artistic collaboration.
2
Main facade of the Royal Glass Factory of La Granja. South side
Glass Technology Museum. Technological exhibition
33
T H E GLASS
FACTORY
Swedish
Paradigm
for a
Changing
Industry
MAJA
H EUER
34
1
At the turn of the twenty-first century, developments within the glass
industry and in the artistic creation and manufacture of glass have led to a
paradigm shift for Swedish glass. A state of crisis had characterized the
Swedish and Finnish industries. The reasons behind this are varied:
marketing and production was globalized, consumption patterns changed
and new materials were introduced into the market. Other factors include
the international energy crisis and increasing production and labor costs.
Similar developments occurred in Eastern Europe, in Poland, Czech
Republic, Slovakia and Hungary, and following the financial crisis of
2008, many large and small Nordic glass works were closed. Sweden was
especially hard hit by this development and several of the glass works
belonging to Orrefors Kosta Boda trademark were closed, including those
at Orrefors, Boda and Åfors. The glass industry was on the brink of
transformation.
The changing conditions of the glass industry demanded a new way of
thinking on all fronts: in education, production, aesthetics and research,
and in the Nordic Countries, new institutions and forums rose to meet
these demands. In 2011, The Glass Factory, a centre and museum for glass
in the Swedish “Kingdom of Crystal,” opened with one of the Nordic
Countries´ biggest collections of art glass. The Glass Factory promotes
35
new creative developments in the medium of glass through exhibitions,
residencies, production, seminars, EU and international projects,
workshops, and other programmed activity together with national
and international cooperative partners.
Swedish glass now finds itself in a transformational period that is
characterized by a strong vitality in its multitude of new creative
expressions. With a shrinking glass industry as its point of departure,
there is a shift of focus to new areas. Today´s output of Nordic glass
is no longer based on the production of the old largescale establishments,
rather it is the result of artistic experimentation within conceptual
art, artistic research, and the new perspectives and redefinitions of the
material properties of glass.
As a creative meeting place for collaboration, participation and
experimental processes, The Glass Factory is actively engaged in bringing
together various participants from different disciplines, such as
handicrafts, theatre and cinema. External collaborators will be invited
to actively participate in producing exhibitions and to work with
the collections.
A pivotal part of the museum’s activities is the hot shop. The hot
shop has a core production of high artistic quality as a basis for
operations. In addition glass shows, happenings, demonstrations and
other events take place there. Contemporary national and international
artists and designers are invited to experiment with glass as a material and
to discover new means of expression.
The Glass Factory is a forum for artistic renewal and quality that
promotes the development of Swedish glass, broadens the concept of glass
and strengthens glass as an art form in Sweden.
The future and conditions for the development of glass appear to
lie beyond large-scale industry, primarily with the individual artists
themselves who at this moment are paving the way for glass´ profound
change and renewal.
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2
3
Kosta Glassworks, ca 1910
The Glass Factory neon
Erik Höglund, Boda Glassworks, 1972.
Exhibited in “Glas Heute” Zürich
37
T H E I NT ERNAT IONAL
FEST IVAL OF GLASS
A Common
Goal for Glass
NATASHA
GEORGE
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1
Glassmaking is both intensely local, rooted in the geography and heritage
of an area, and at the same time global, migratory and borderless.
Traditionally, the social and geographical conditions needed to be right
(presence of a workforce and market, coal, sand, limestone, refractory clay,
transport links, etc.) but in general, glassmaking has flourished where
there has been a cross-fertilization of skilled glassmakers, designers and
artists to teach, challenge and inspire.
This was true of the glassmaking industry in Stourbridge, West
Midlands up to the middle of the twentieth century - a flourishing
industry for over 350 years, sparked by the influx of migratory Huguenot
glassworkers who catalyzed the natural resources of the area. Then the
gradual decline of the industrial side and the emergence of the studio
glass scene, seeded by the influx of students from the UK and overseas
to Stourbridge College, the International Glass Centre (Dudley College)
and the University of Wolverhampton. Now, as funding for glass
education has declined, the future for keeping these skills alive seems to
lie in the hands of an emergence of different models of support for artists
and glassmakers. Both the International Festival of Glass and the EGE
Project are part of that emerging model.
Although the origins of the International Festival of Glass can be said
to stretch back many decades, it started its present phase in 2004, after
39
The Ruskin Mill Trust, an educational charity, bought and started to
redevelop the former Webb Corbett glass factory into a college and artists’
studios. The impetus was both to celebrate the considerable glassmaking
heritage of the area, while at the same time showcase talents and develop
opportunities for contemporary glassmakers, wherever they are from.
The focus of the Festival was to bring international talent to Stourbridge
and create the conditions where networks, opportunities and inspiration
could emerge.
The Festival has had the enormous privilege of welcoming great
teachers and glass masters from around the world including Australia,
China, the USA, Egypt, India, Norway, France, The Netherlands, Italy,
Germany, Ghana, Canada, the Czech Republic, Denmark, Israel and
Poland. They have given generously of their time and talent in a desire
to pass on their skills and to inspire. In just one decade, the British
Glass Biennale exhibition has established an international reputation
for excellence.
The interests of the International Festival of Glass and the EGE project
are aligned - a commitment to supporting artists alongside the
encouragement of dialogue between artists, glassmakers, connoisseurs,
the general public and organizations that support the glassmaking
community, such as curators, collectors, galleries and educators.
There is no one model of a glassmaker - there are glassblowers,
engravers, fusers, casters, neon artists, performers, lampworkers, some
that embrace all of the above and others who defy categorization. Some
consider themselves artists, some craftspeople, and others both. There
is no one ‘solution’ - some artists are solitary and just want a space to
exhibit their work, others want to learn skills, others need to be inspired
by others. There is no one model for keeping the skills, traditions
and artistry of glassmaking alive - we need to support it by every means
available.
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2
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2
Julia Malle, Rhizome, British Glass Biennale 2012. Photo: John Plant
Torcher Tailor, performance, Torcher Chamber Arkestra, International
Festival of Glass. Photo: John Plan
41
KRAKOW
STAI NED GLASS MUSEUM
A Space for
Dialogue
P IOT R
OST ROWSKI
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1
The Stained Glass Museum functions in the historical workshop,
established in 1902 by the Żeleński family of Krakow. The founder,
a friend of architects and painters, created an atelier, for unrestricted
artistic experiments in stained glass.
The building where the Museum is located was designed especially
for the needs of this workshop - the cradle of Polish stained glass art. Its
structure has remained unchanged since 1902: every room has its own
function in the stained glass production process.
Throughout the century, the workshop has executed renowned stained
glass windows for thousands of churches and secular buildings in the
area spanning from Poland to North and South America. The stained
glassed windows were awarded prizes in many international exhibitions:
Paris (1907, 1925), Anvers (1907), Buczacz (1907), Vienna (1907), Warsaw
(1926), Lviv (1926), Katowice (1928), Kielce (2013), Poznan (2013), Lublin
(2014), and others.
From the very beginning the workshop was an artistic and commercial
success. Artistic, as Żeleński invited artists such as Wyspiański, Mehoffer,
Frycz, Uziębło, Matejko, Bukowski, to cooperate with the workshop.
43
Commercial, because it was a perfectly managed enterprise that employed
over 60 people, from craftsmen, apprentices, stained glass masters,
designers, artists, colorists and painters. Żeleński achieved his target: he
created a location where art, business and craft could meet. It was a typical phenomenon for the cultural landscape of the Art
Nouveau epoch (in Poland called “Young Poland”): the willingness
to raise crafts unto the level of art, the negation of industrialization and
the development of “applied arts”. Creating the workshop was strongly in
line with the poetics of the early twentieth century. Stained glass was an
important part of the buildings of architects such as Héctor Gumard,
Victor Horta, Antonio Gaudi or Frank Lloyd Wright. At the Bauhaus,
the stained glass workshop gathered artists working with glass together
with those in modern architecture. The authors of such projects were
significant artists of the twentieth century, including George Braque,
Henri Matisse, Marc Chagall and Fernand Léger, among others.
In stained glass art, one is dealing with two separate objects of art: the
first is the design; the second is the ready made stained glass window,
which does not necessarily have to be equally good. So the main idea
behind the building of the Żeleński workshop was creating the space
where artists, craftsmen, glass makers, etc.. could come into dialogue. This
reflects probably the most important relation in the technique of not only
stained glass but glass in a wider context: a designer (an artist) - an
executor (a master). Nowadays the historical workshop and the Museum are united. The
Stained Glass Museum functions as a “life museum” - visitors observe
masters at work and learn all stages of stained glass creation. The
workshop executes monumental stained glass windows with traditional
technology: antique, mouth-blown glass, manually cut and framed in lead
profiles, restoring historical pieces and experimenting with various glass
techniques for architectural glass art, as well as modern gallery objects.
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2
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2
Stained Glass Museum, Krakow
Stained glass at work
45
MARI NHA GRANDE
MUSEUM OF GLASS
Portuguese Glass
An Era of Exploration
CATARI NA
CARVALHO
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1
The first glass factory in Marinha Grande was established in 1747
by the Irishman, John Beare, with Portuguese and European glass masters
and glassworkers, and it was taken over in 1769 by the Englishman
William Stephens, who turned it into one of the most important
Portuguese factories: the Royal Glass Factory of Marinha Grande.
Along with technological and artistic development, the twentieth
century was marked by the development of several national glassware
centers, notably in Marinha Grande. In fact, in the first decades, about
thirty factories were created at the initiative of expert glass workers
and technicians, and also of several entrepreneurs’ initiatives.
Today, Marinha Grande continues to be the most important glass
center in Portugal, producing glass containers, scientific, decorative
and utilitarian glass, and exporting to the entire world.
It was in this context that the Marinha Grande Museum of Glass
was created and opened in 1998. Its mission is to study, preserve and
disseminate the material and immaterial testimonies of mankind and
its environment, regarding glass as material and artistic matter of aesthetic
and industrial expression, as well as a factor of identity and cultural and
social meaning. The glass museum is the only one in Portugal specifically
dedicated to the study of the art, craftwork and glass industry, offering
a diverse cultural program, representing one of the most important
educational centers for individual and collective culture on the subject
of glass.
47
A major objective is to disseminate Portuguese glass history in Europe
and globally, and to promote the international affirmation of the
Portuguese glass art and its artists, by promoting partnerships with other
museums and cultural institutions, such as European Glass Experience. This
platform for exchange of experiences and contacts strengthens
cooperation between museums and European glass studios.
The museum works in two different areas. The first is dedicated to
traditional artistic glass, as well as to the technology of glass production
for different purposes such as decorative, utilitarian and scientific, in an
exhibition area that reflects the evolution of the glass industry in Portugal
since the mid-seventeenth/eighteenth century until the present time.
A second area is the promotion of contemporary glass art created in
Portugal but also in Europe, North and South America, Asia and
Oceania. Regarding this specific area, the museum intends to represent
the various aesthetic sensibilities and artists from Portugal, but also from
around the world, and assume an important role as a platform of
recognition and disclosure for artists and their work. It also aims to
promote exchanges with other national and international cultural
institutions, which may allow the circulation of works of art and the
presentation and representation of national and international recognized
or new and promising artists.
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2
3
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2
3
Nova Fábrica de Vidros, Marinha Grande. Established between
1864 and 1894.
Glass painter, Nacional Fábrica de Vidros, Marinha Grande,
late 1930s.
Vase, lead crystal, Fábrica-Escola Irmãos Stephens, designed by
Maria Helena Matos, 1970.
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T H E MUSEUM OF
DECORAT IVE ARTS I N P RAGUE
European
Glass Today
MI LAN H LAVEŠ
50
The current situation in the glass industry, namely the production of
functional and decorative objects, has taken a decisive turn. In some
countries, for example, in northern Europe, this sphere of consumer
industry is on the brink of extinction and all we can do is to hope for at
least some improvement. Elsewhere, things are looking up again (for
instance, in the Czech Republic), despite the closure of many glassworks
in the past years and the recent crisis in hand-made glass. Besides the
still-operating glass factories with large numbers of employees, the
numbers of small glass workshops have been growing in the recent past,
which is true not only of the former Soviet bloc countries. All these
developments have been changing the professional opportunities of glass
makers and designers, and therefore also the general picture of glass
production today.
In numerous countries, several generations of artists are active in the
field of art glass, or so-called studio glass. They include such worldfamous legends. Through their work in glass, they seem to be infused with
a special kind of vitality. Then there are hundreds of other prominent
artists, who represent the middle-age generation. Given the subject of our
present gathering, however, let me focus on the youngest generation of
glass artists. While many are devoted to the traditional treatment of glass,
including glass sculpture, decorative objects, industrial and art design, and
glass in architectural settings, there are also those who specialize in glass
installations, the discovery and re-interpretations of artworks from the
past, as well as the innovative use of ancient techniques, and those who
venture into other media, those who imbue glass with a playful air, and so
on. Much is also happening in both state-run and private institutions.
New permanent collections of historical and contemporary glass (for
example Museo del Vetro di Murano) and even new museums and space
for glass exhibitions are being established (Le Stanze del Vetro in Venice
in 2012). Last year saw the opening of the Centre of Glass Art in the
town of Sázava near Prague that houses collections of international art
glass, and artists‘ workshops equipped with modern facilities. In the
recent past, historical glass has been provided with new displays, such as
the Lalique pressed glass in the new museum in Wingen-sur-Moder, the
Art Nouveau glass manufactured in the Lötz glassworks in the western
Bohemian town of Klatovy, the Baccarat glass shown in new installations
in Paris, Moser glass in Karlovy Vary, and so forth. Well worth seeing last
51
year were several exhibitions held within the framework of the
International Triennial of Glass and Costume Jewellery 2014 in Jablonec
nad Nisou. For a several number of years, the Glazen Huis in Lommel,
Belgium, has been offering refreshing, unorthodox and inspiring
programmes. The Glasmuseet Ebeltoft in Denmark has organized various
projects, with the provocative exhibition “Bodytalk” receiving welldeserved attention.
Among the current, most stimulating exhibition projects is the
“Glasstress”, whose organizers (Berengo Studio) readily combine creative
approaches and even artists from different fields, which encourages and
enriches creativity in the glass medium. Sweden’s famous Boda
Glassworks, closed down several years ago, has recently been revived
owing to the “Glass Factory Boda” project. Glass not only continues to be
produced at Boda, but it is also exhibited and discussed there, and shows
and dances are even organized on the former glass factory’s premises.
Other facilities function in a similar way, such as Site Verrier in
Meisenthal, France, where Emile Gallé’s glassware had been formerly
produced. The North Lands Creative Glass centre in Scotland not only
rents out its facilities and organizes courses, but also embarks on unusual
projects. The most astounding of all was the “landing” of four young glass
makers in the wilderness at the very northern tip of Europe. The project
called “A Forest of Glass 2013” explored the challenges of working in the
glass medium (namely engraved glass) in a remote place and the
inspiration received from its unspoiled nature. The so-called “Weiberwalz”
project of two young glass artists from Germany was another noteworthy
undertaking. The two young ladies decided to travel through more than
twenty countries within two years (2012–2014), visit as many places
associated with glass as possible, work a little in the glass medium, and
regularly write a blog post with information about their journey.
Meeting opportunities help to forge mutual relations, with international
glass symposia being perhaps the most significant such encounters. Their
numbers are truly impressive, the working conditions they provide vary,
they are held on a small scale or can be large events. Last year, a
symposium was organized in the RONA glassworks in Lednické Rovne
in Slovakia and a symposium of engraved glass took place in the Czech
town of Kamenický Šenov. This year, symposia will be held in Nikolsk,
nicknamed “the heart of Russian glass-making”, and in Haapsalu,
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Estonia. The Czech town of Nový Bor will host the Twelfth International
Glass Symposium, the world’s largest event of its kind, where more than
seventy artists from all over the planet will arrive
in early October to realize their creations in glass. Throughout the year,
one may choose from a great many different places, where one may
work in glass in premier facilities; all one needs is the necessary
information, time and money.
The largest and most reputed glass art competition, the “Coburger
Glaspreis” 2014, and smaller events such as last year’s “International
Triennial of Silicate Arts” held in the Hungarian town of Kecskeméth are
followed again this year by “International Glass Prize 2015” in Lommel,
with a prevalent attendance of young artists, the “ESGAA Biennale du
Verre 2015” and the “International Strasbourg Glass Prize 2015”. We are
also looking forward to the results of the “Videoglass” competition held in
Venice. Nor will we omit the traditional event entitled “European Glass
Context” to take place on the Danish island of Bornholm 2016. Many
contests are intended only for young artists. Despite serious competition,
the “Juta Cuny-Franz Memorial Award”, held in Düsseldorf, Germany,
continues to enjoy perhaps the greatest prestige. This year, Prague will
host the Seventh Annual “Stanislav Libenský Award”. This event is
exceptional in that it only accepts graduation student projects. The
western Bohemian spa resort of Karlovy Vary has been the venue of the
“Eighth Sanssouci Junior Glass Match”. The Eighth Annual
“Glaskunstpreis der Stadt Rheinbach 2015” awaits the meeting of the
jury and the announcement of the competition’s results. There are a great
many international activities for young artists, coupled by contests
on national levels. One only regrets that there seems to be no specialized
prize strictly for seasoned artists, and that these “old” artists, in the best
sense of the word, receive awards only within prize-awarding ceremonies
at major competitions.
This year and in 2016, a number of glass festivals will be organized that
have won enthusiasts during the previous annual gatherings, who gladly
return time and again. Both the “International Festival of Glass 2015” in
Stourbridge, England, and the “European Glass Festival 2015”
in Wroclaw, Poland, offer rich programmes. The outdoor exhibition and
competition entitled “Glasplastik und Garten 2016” to take place in
Munster, Germany, is an event worth looking forward to. Shortly, new
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permanent collections will open, such as those in the “Ajeto Art Glass
Museum” in Nový Bor and particularly in the grand exhibition building
of the “Musée-Atelier du Verre” in Sars-Poteries next year and,
subsequently, the long-term exhibition at the “ZIBA Glass Experience
Museum” in Prague, with a total surface of more than 8,000 square
metres. Hopefully in 2018, generous space will be given to modern glass
in the exhibition halls of the Museum of Decorative Arts in Prague,
which is currently undergoing renovation.
One can spend months and years travelling in search of European glass,
and these journeys are never-ending. European glass has been undergoing
rapid change; much of it is disappearing while new glass is being created
at such speed that even through the latest technologies, such as the
Internet and social networks, it is difficult to keep account of all that is
happening in the field. In order to preserve the information and to keep
European glass “alive and well”, so to speak, the European Union has
been greatly instrumental in introducing various programmes, including
the current, so-called Creative Europe. These activities help to preserve
and further enhance the craft of glassmaking, with the extra bonus of
expanding the range of cultural projects, encouraging tourism and, last
but not least, providing employment opportunities. Glass is an
international phenomenon shared by people from different countries.
Wherever across the world a group of glass artists meets, they have
plenty to discuss, even without knowing each other’s language. Simply
speaking, glass connects. Contemporary Europe is in need of connecting,
listening and understanding. In this respect, glass can indeed play an
important role. The “European Glass Experience” project is one such
beautiful example.
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Process
Mattia Mian
58
Consorzio Promovetro, Murano
Make these sketches real!
These were the general, and
intentionally ambiguous, indications given
to our glass masters, when they first
saw the sketches we received from all
over Europe.
The realization of EGE participants’
drawings into glass, art pieces to be
exhibited during the EGE final exhibition,
the core of the project itself, has been a
fascinating process and a stimulating
experience for our glass masters,
although it has also represented a
complicated mediation process between
concept and realization.
Cooperation and exchange of ideas
have been important in this phase of the
project, however the experimental nature
itself of EGE wanted to see how glass
artisans reacted to unexpected drawings,
and how these could be interpreted, in
order to underline also the artistic
contribution of the executor.
Artists are often fascinated by glass;
considered as a raw material it can give
life to all sort of shapes and colours.
They are fascinated by it, they see its
potential, but they are not fully aware of
its limits and behaviours. Murano glass is
versatile, but it accepts no mistakes and
needs to be tamed by hands that know
how to do it.
And this is why many of EGE sketches
have been rejected since the very
beginning for the realization.
Glass masters are professionals, able
to work in many different techniques, but
during this project they have been obliged
to work out of their regular world, thinking
about possible different paths to follow to
create the art pieces in the most faithful
way possible and, even more important,
according to their own experiences.
Young and old glass masters, each one
of them moved by different reasons,
trying to give reality to what was just a
drawing before.
Working with an artist or designer’s
sketch is quite a common thing here in
Murano, but each time it represents a
challenge, always different.
The same challenge that we could
recognize looking at our glass masters’
faces during that preliminary meeting;
they were puzzled, amused, intrigued,
fascinated, scared, excited!
The expressions on the glass masters’
faces gave rise to a whole series of
questions: “How far can the glass masters
go in interpreting”? “How rigid will be the
artist when seeing the first attempts”?
Which led to more questions: “How high
did you say it was supposed to be?” “I
love it, but shouldn’t we change
it completely?” “Do you have some more
pictures about that?” “When is the
deadline”?
And the main fundamental question:
what to expect?
A few months, hundreds of phone calls,
thousand of emails of “what do you think
about it?”, further phone calls, dozens of
cups of coffee, and a couple of sleepless
nights later, these are the results.
The art works created in those months
are what remains of EGE, a magnificent
effort to join art and craftsmanship
together. But a further, and maybe even
more important, heritage remains: the
desire to experiment with new things, that
came out from this initiative, once again.
As an old glass master said once: “What
is the best piece I have ever done? The
one I’m doing tomorrow”.
It is definitely the best way to sum up the
Murano role in European Glass
Experience, as Murano is alive and ready
to accept new challenges.
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69
70
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CH ECKLIST
Ulrike Acker-Thomsen
Floating Possibilities, 2015
Mouth-blown free-formed glass
100 x 100 cm x 150 x 150 cm x 160 cm
Realized by Matteo Tagliapietra
Iiro A. Ahokas
Time Trap, sketch.
Clear glass and colored glass canes
15 x 45 x 45 cm
Time Trap, 2015
Mouth-blown free-formed glass, 55 cm
Realized by Matteo Tagliapietra - Ongaro & Fuga
74
75
José Angelino
76
Untitled, 2012
Glass, steel, gas argon
100 x 150 x 100 cm
Agnieszka Bar
Motion Blur, 2015
Mouth-blown free-formed glass, 30 x 30 cm
Realized by Silvano Signoretto
77
Stine Bidstrup
78
Bifurcations, 2013
Circular glass bangles, fused, slumped, hotworked, stretched, cold-worked, sand-blasted
40 x 75 x 35 cm
Stefano Bullo
and Ester Marano
Pornography in Time of Facebook, 2015
Fused glass and audiovisual media,
65 x 3, 5 x 90 cm
Realized by Nicola Moretti
79
Giorgio Andreotta Calò
80
Shell, 2015
Mouth-blown free-formed glass, 20 x 15 cm
Realized by Nicola Moretti
Gaia Carboni
Silice, sketch.
Opalescent glass, clear frosted glass,
reticella filigree, ice glass, clear crystal glass
140 x 18 x 32 cm
81
Jorge Nicolás Cuevas
and Antonella Perrone
82
Permulation, 2015
Mouth-blown free-formed glass, 57x24cm x
40x20 cm x 33x20cm
Realized by Silvano Signoretto
Sabine Delafon
Once Upon a Time, sketch.
Stacked blown glasses and light bulbs
180 x 60 cm
83
Marion Delarue
84
Green Agate Bracelet, 2013
Glass, porcelain, chamotte, glaze
12 x 8 x 0.5 cm
Karen Donnellan
Solfeggio Excerpt I and II, 2012
Cast glass (pâte de verre)
18 x 8 x 4 cm, and 14 x 8 x 4 cm
85
Nicholas Ferrara Aaron Inker
86
The Void, sketch.
Dark glass plates
100 x 100 x 100 cm
Simone Fezer
Veiled, 2015
Mouth-blown free-formed glass, ca. 120 cm
Realized by Simone Cenedese
87
Katya Izabel Filmus
88
Millefiori in my Head, 2015
Glass canes fused into mold, 24 x15 x 4 cm
Realized by Nicola Moretti
Damien François
Foam Glass, 2012
pâte de verre, cut polished, aluminum frame
51 x 48 x 3 cm
89
Birnur Derya Geylani
90
Expl’ore’ation, 2013
Mold blown and mirrored glass, found object
21 x 21 x 19.5 cm, and 21 x 21 x 9 cm
Valentina Girbino
Egg, 2012
Volcanic ash, vetroterra, glass fusing
28 x 20 x 1 cm
91
Manuel Gorkiewicz
92
Untitled, sketch.
Handmade glass in the traditional
Murano technique
60 x 60 x 110 cm
Arabella Guidotto
Autopoiesis meets Handmade, sketch.
Blown glass and chalcedony glass
Variable dimensions.
93
Sandrine Isambert
94
Microvies, 2013
Blown transparent glass,
opaque and colored glass
15.5 x 11.1 cm
Mari Isopahkala
Individual Family, 2015
Handmade Murano glass, sommerso technique,
variable dimensions.
Realized by New Murano Gallery
95
Lukáš Jabůrek
96
The project of glass FOUNTAIN, sketch
Glass, metal, water, stone,
crystal glass on blowpipe, cut 300 x 150 cm
Barbara Jagadics
Mistakes are Eternal II, 2015
Fused and cut glass, 60 x 60 x 4 cm
Realized by Andrea De Biasi
97
Martin Jakobsen
98
Kkis, 2012
Technical glass
ca. 25 cm
Renáta Jakowleff
Colors II, 2013
Cast and cold-worked glass, metal stand
25 x 20.8 x 5.5 cm
99
Luke Jerram
100
Avian Flu (H5N1), 2012
Glass, lampwork
25 x 17 cm
Jessamy Kelly
Spliced, 2011
Kiln cast in turquoise glass,
mix of glass frit, bone china
60 x 20 x 18 x 2 cm
101
Toni Kokkila
102
Cloud Bottle, 2015
Free-formed glass, 50 cm
Realized by Sergio Tiozzo
Martijn Koomen
Window Vase, 2013
Glass
Variable dimensions.
103
Susanne Koskimäki
104
Dead Animals Choir Practice
in the Attic (Detail), 2014
Lamp-worked glass beads, recycled wooden
boxes, wire, oil paint, acrylic paint, cardboard
6 x 19 x 6 cm
Joonas Laakso
Sketch
105
Kaappo Lähdesmäki
106
Pyroleum pini - pax liquida, 2015
Mouth-blown free-formed glass, 65 x 35 cm
Realized by Simone Cenedese
Armand Lecouturier
Window, sketch.
Wood and glass
Variable dimensions.
107
Giulia Maculan
108
Primum Mobile, sketch.
Glass
Variable dimensions.
David Magán Moreno
Multipositional III, Position 7, 2012
Stained glass (spectrum glass), and stainless
steel cable
48 x 70 x 36 cm
109
Rostislav Materka
110
She the Fresh, 2013
Glass, free hand-blown, hand-cut,
sand-blasted, enamelled
42 x 22 x 12 cm
Elena Mazzi
Reflecting Venice, sketch.
Glass
60 x 70 cm
111
Michal Motyčka
112
Space Inside, 2013
Mirror
71 x 71 x 71 cm
Kamila Mróz
Caterpillar, 2013
Neon tube segments
80 x 40 x 40 cm
113
Lisa L. Naas
114
Mourning Lace, 2013
Black opal bullseye glass
35.5 x 27 x 5 cm
Imre Nagy
Untitled, 2013
Glass, neon
Variable dimensions
115
Federica Nonnato
116
A Chair from Nature, sketch.
Glass
100 x 80 x 40 cm
Katriina Nuutinen
Weight Composition, sketch.
Glass, steel
185 x 110 cm
117
Tets Ohnari
118
Manebi, 2013
Glass, mirror, epoxy
100 x 30 x 5 cm
Martin Opl
Blowpipe, 2013
Glass-blowing, metal, wood-cutting
190 x 50 x 50 cm
119
Anne Petters
120
Disegno (Freezing Thoughts), 2012
Kristallica glass, hot/free-formed,
pâte de verre, hot printing
90 x 65 x 35 cm
Julija Pociute
Stability, 2013
Digital print on glass, polished and glued glass
34 x 8 x 32 cm
121
Kimmo Reinikka
122
Huh, 2013
Free blown glass
27 x 21 cm
Helmi Remes
Birth Control, 2015
Murano handmade and blown glass,
20 x 15 cm each
Realized by Gianni Seguso
123
Torsten Rötzsch
Venetian Blinds, sketch.
Brown glass and found objects (window frame)
100 x 130 x 10 cm
Verena Schatz
Presence, 2013
Glass, wood, projector, video camera
63 x 55 x 10 cm
Venetian Blinds, 2015
Fused glass, 84 x 158cm
Realized by Sergio Tiozzo
124
125
Josja Caecilia Schepman
126
Tulip Vase, 2013
Handblown glass
75 x 30 cm
Michal Šilhán
Jewelry, sketch.
Cast glass and copper pipe
30 x 20 x 18 cm
127
Jitka Kamencova Skuhravá
128
Fiore Cosmico, 2015
Glass sticks, amber, opal, stainless steel wire,
100 x 60cm
Realized by Franco e Mauro Panizzi
Davide Spillari
Theory of Colours, 2015
Fused glass, 42 x 30cm
Realized by Andrea De Biasi
129
Iveta Táborová
130
Optical, 2013
Glass, silver 925, steel wire,
glass object, jewel brooch
5 x 8 cm
Kirsti Taiviola
Lantern, 2012
Glass, sand, led, MDF
75 x 40 x 40 cm
131
Galla Theodosis Capsambelis
132
Acqua Alta, 2015
Pâte de verre, 54x 68 cm
Realized by Nicola Moretti
Soňa Třeštíková
Mixing, 2013
Melted glass
38 x 38 x 10 cm
133
Elena Trevisan
Ellipse, sketch.
Iridescent glass, veiled glass
40 x 9 cm
Justyna Turek
Cloud Keeper, sketch.
Crystal and colored glass 45 x 25 cm
Cloud Keeper, 2015
Free-formed glass, ca. 55 cm
Realized by Sergio Tiozzo
134
135
Ales Vacek
136
Vainglory in Gold, 2013
Amber and red glass
45 x 40 x 40 cm
Pavel Vajsejtl
Untitled, 2013
Glass, grinding, sanding
26 x 17 cm
137
Ella Varvio
138
Two Faces of a Drowned Man, 2012
Mouth-blown, freely formed
13 x 13.5 cm
Valerio Veneruso
Good Luck, sketch.
Opaque red and black glass
23 x 85 x 2 cm
139
Heikki Viinikainen
140
Comet, 2014
Blown and polished glass, steel
30 x 13 x 13 cm
Petra Viňanská
Murano Glass Heart, 2015
Free-formed glass, 20 x 20 cm, 10 cm x 40 cm
Realized by Silvano Signoretto Muffato Fratelli Srl
141
Terese William Waenerlund
142
Window 2/4, 2013
Glass, supported by metal frame
and burnt textile
70 x 100 cm
Stijn Wuyts
Uroboros II, 2012
Glass bottles, rubber bands, assemblage
20 x 20 x 7 cm
143
İlker Yaman
144
If, Tesla, 2014
Glass, stainless steel, mould blowing,
glass casting, found object
25 x 16 cm
Paweł
Żelichowski
Bio_1, sketch.
Blown glass
60 x 42 x 24 cm
145
Anna Magdalena Zima
146
The Process of Change, sketch.
Glass and wood
Variable dimensions.
VENUES
The Finnish Glass Museum
in Riihimaki
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Finland
The Fundación Centro Nacional
del Vidrio – Real Fábrica de
Cristales de La Granja
Spain
149
Marinha Grande Museum of Glass
150
Portugal
The Murano Glass Museum
Italy
151
152
BIO GRAP H I ES
Ulrike Acker-Thomsen
(b. 1975; Erlangen, Germany)
www.bomb-design.com
Ulrike Acker-Thomsen is an interior architect
and designer who has worked in Switzerland
and Germany. She has exhibited at Destination:
Berlin, MoMA Store, New York (2007), and
kidsroomzoom, Milan and Vienna (2011), among
others.
Ulrike plays with clear cut shapes, contrasting
colours and hand-drawn elements. Within
her work a poetic moment meets a clear
handwriting. As an artist with a background
in interior architecture and design she is
interested in objects in space – the impact on
and the reactions of a spectator who will be
captured and drawn in with simple means.
Iiro A. Ahokas
(b. 1976; Nurmijärvi, Finland)
www.iiroaahokas.com
Iiro A. Ahokas lives and works in Helsinki,
Finland. In 1998 he was granted the Bachelor in
Arts and in 2001 the Master of Arts with
specialization in Ceramics and Glass
programme, both at University of Art and Design
Helsinki UIAH, School of Design. He has
attended many international group and solo
exhibitions. His works have been featured in
Ceramic Art in Finland – A Contemporary
Tradition, ed. Åsa Hellman, Thames & Hudson
(2004), Design Now! eds. Charlotte & Peter Fiell,
Taschen GmbH (2007), and European Ceramic
Context Exhibition Catalogue, ed. Susanne
Jøker Johnsen, published by Bornholms
Kunstmuseum (2010).
Soft and organic, yet mechanical-looking. A
steel shiny capsule that carries the heritage of
traditions and wisdom, the virtuoso
craftsmanship of the past millennia. Tiny
sparkling bubbles trapped inside the net of
reticello ready to travel as a memory into the
distant future.
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José Angelino
(b. 1977; Ragusa, Italy)
[email protected]
José Angelino has a degree in Physics from
“La Sapienza” University of Rome, where he
currently lives and works. His thesis essay
focused on how a neural network encodes and
processes visual stimuli. He has participated in
Como Contemporary Contest, Como (2012), The
Weight of My Light and Unisono, Rome (2013).
I construct closed environments, where I
enforce a vacuum and where an electric
discharge occurs. I modify the space inside
this environment by building obstacles and
barriers. The natural behavior of the electric
discharge is modified as a consequence of
these obstacles, inducing the system to find
new configurations and articulated
trajectories compatible with the new
structure. Those new trajectories establish a
tool for investigating the thin and indefinite
border between space and light.
Agnieszka Bar
(b. 1982; Kamienna Góra, Poland)
www.agnieszkabar.pl
Agnieszka Bar lives and works in Wrocław,
Poland. She specialized in glass design at the
Academies of Fine Arts in Wrocław and
Bratislava (Slovakia) and at the Technical
University in Liberec (Czech Republic). In 2009
she created a design group “Wzorowo”
specializing in glass and ceramics, often
re-using and re-contextualizing porcelain waste
or broken glass. She has designed glassware
and unique pieces that have been presented in
numerous exhibitions in Poland and abroad.
On the one hand, my work is a criticism of
cruelty to animals and, on the other, an
intention to create a bond between user and
the object - to stimulate reflection about the
roles of humans and animals.
Stine Bidstrup
(b. 1982; Copenhagen, Denmark)
www.stinebidstrup.dk
Stine Bidstrup lives and works in
Copenhagen, Denmark. She studied at the Royal
Danish Academy of Fine Art and at the School of
Design Bornholm in Denmark. She has
participated in solo exhibitions since 2008. Her
works have been selected for international art
events such as the International Exhibition of
Glass Kanazawa 2013 in Ishikawa (Japan), and
Nordic Contemporary Glass in Istanbul (Turkey)
in 2013.
This work is based on an interest in patterns
of people, infrastructure, architecture, and
systems that have grown so large and out of
proportion to their original purpose that they
have lost touch with human reason and
understanding. Innate disturbances and
potential for chaos in all systems of seeming
order are revealed along with the idea that all
systems of a closed order are bound to fail
and the illusion of order and security in the
grid is destroyed.
Stefano Bullo
and Ester Marano
(b. 1985; Venice, Italy)
(b. 1988; Sant’Agata De Goti, Italy)
www.stefanobullo.it
www.b-rain
Stefano Bullo, lives and works in Murano,
Italy. He studied Painting at the School of Fine
Arts in Venice; since 2007, he has taken part in
several group exhibitions, and has been
selected for relevant prizes including 94ma
Collettiva Giovani Artisti, Bevilacqua La Masa
Foundation, Venice, and the Celeste Prize 2013.
Ester Marano currently lives in Venice, Italy.
She is attending the Master of New Technology
of Arts and Graphic Design, at the School of
Fine Art of Venice. From 2010 she has taken part
in international collective exhibitions,
internships, and workshops.
Pornography means “to draw prostitutes” or
rather give a positive image of ourselves.
Nowadays it is especially visible on the web.
We will try to prove this thesis by giving life
to a virtual Narcissus whose Facebook profile
will be faultless. Credible information will be
added and later, by sending as many
friendship requests as possible; the figure will
have many unknown friends. They will be
asked to make a video interview. The
information will be projected on a mask of
glass, so that the interviewees verbally
interact. The mask will come to life, bringing
us back to the ancient etymology of the word
“person,” which means “mask” or “character”
in Latin.
Giorgio Andreotta Calò
(b. 1979; Venice, Italy)
[email protected]
Giorgio Andreotta Calò lives and works in
Venice, Italy, and New York City. He studied
sculpture at the School of Fine Arts in Venice,
and at the KHB Kunsthochschule in Berlin. In
2011 his work was presented at the 54. Biennale
of Venice, curated by Bice Curiger, and in 2012
he won the Premio Italia for Contemporary Art
organized by the MAXXI in Rome. In 2013, he
also won the Premio New York supported by the
Italian Ministry for Foreign Affairs.
Giorgio Andreotta Calò’s research revolves
around an intense crossover dimension as a
way of approaching his work, developed
though a process of withdrawing fragments
from reality and the reappropriation of
architecture, landscape and his own history.
Calò comes to create works that cross
boundaries between sculpture, actions and
direct architectural intervention. Therefore,
the artwork presented to the public is never a
specially-made object or simply the result of a
project, but rather a time process immersed in
a physical matter and space, given its shape by
the environment with which it interacts and
the energies unleashed from within it. He
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seeks out and pursues his visions with
extreme lucidity, revealing how real and
essential they are before tracing them back to
everyday situations. His artworks may be
interpreted as “active residues” of processes
and actions that have taken place in a specific
time and space. (Mara Ambrožič)
Gaia Carboni
(b. 1980; Turin, Italy)
www.gaiacarboni.tumblr.com
Gaia Carboni lives between Faenza, Italy
and Berlin, Germany. She studied at the School
of Fine Arts in Bologna and exhibited her works
in solo and group shows in Italy since 2005.
The Silice project is to represent the structural
metamorphosis that the glass undergoes
through the fusion process: the
transformation from the solid structure of the
silicone, imagined as an architecture, through
the fluid stage into an almost ethereal state of
matter. The sculpture will be composed by
connecting five different shapes, each
corresponding to a particular technique of
Murano glass manufacturing, and will use
colorless and transparent glass, to underline
the feeling of lightness and fluidity.
Jorge Nicolás Cuevas
and Antonella Perrone
(b. 1989; La Plata, Argentina)
(b. 1987; Buenos Aires, Argentina)
www.ignium.com.ar
Jorge Nicolás Cuevas lives and works in
Pavia, Italy. He started working with glass at the
age of thirteen, experimenting with lamp-work
glass, stained glass, and fusing. In 2013, he won
the first prize at the National Craft Contest in
Argentina, and at the Berazategui Glass Contest.
Antonella Perrone lives and works in Pavia,
Italy. She won the second prize at the
Berazategui Glass Contest in 2013. She was
selected for the Coburg Glass Prize 2014.
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Words are a metaphor of reality, they do not
express real things just our relations with
them. Relations over which the structure of
our lives is built. Words are at the same time
ephemeral and concrete, as glass. Permulation.
Permulación. Permular. Spanish archaicism:
change, mutate, alter. Permulation is the
incompleteness of human nature, balance in
unbalance. Permulation is the duality that
rules the world and human beings, the
ephemeral and the eternal, the external and
the internal, movement and stillness, order
and disorder. The piece recalls the circular
character of cosmos, of man that traverses the
world in search for spiritual integrity, of the
body-soul phases that transfigure themselves
until they conceive sublimation in a unique
homogeneous element.
Sabine Delafon
(b. 1978; Grenoble, France)
www.sabinedelafon.com
www.sabinedelafoncorporation.
blogspot.com
Sabine Delafon currently lives and works in
Milan, Italy. Her work spans from photography to
glass installation, from writing to painting to
performance. She has held solo exhibitions in
international art spaces in cities as Milan,
Istanbul, New York, and Paris.
Sabine Delafon’s main areas of research are
identity, love and spirituality. The intersection
of these central themes, their repetition and
the course of time is where her work takes
shape. A great book with open chapters of a
human history.
Marion Delarue
(b. 1986; Bois-Guillame, France)
www.mariondelarue.com
Marion Delarue currently lives in CarbonBlanc, France. She studied at the Nam-Seoul
and Pai-Chai Universities in South Korea, where
she graduated in 2010, and at the Ecole
Supérieure des Arts Décoratifs de Strasbourg in
2011. Her works have been selected for
international art exhibitions such as Slanting
Objects, Bangkok (2010), the Internationale
Handwerksmesse Fair, Munich (2013), and A Bit
of Clay on the Skin in Seoul (2014).
By creating false agates, I can design
geometrical shapes that cannot be found in
nature and that can be worn directly without
requiring any particular set or structure. The
association of porcelain and glass seem to me
perfectly suited to my project since it allows
me to recreate agates by imitating the natural
process. The abrasion of the crust that
encapsulates it gradually reveals the pattern of
the fake stone.
Karen Donnellan
(b. 1986; Dublin, Ireland)
www.karendonnellan.com
Karen Donnellan lives in County Cavan,
Ireland. She studied at the Glass Department at
the Southern Illinois University and at the
National College of Art and Design in Dublin. Her
works have been selected for many international
exhibitions and prizes such as the World Craft
Council: European Prize for Applied Arts in
Belgium, and the Stanislav Libenskjy Award
2012 in Prague.
Solfeggio Excerpt I & II explores the
undiscovered potential for healing in these
potent sounds. A key point of departure for
these pieces was the Zen ensō, where the
circle symbolizes infinity and balance. Taken
as a whole, my practice is concerned with
illustrating the invisible: from the human
energy field to sound vibrations and the
intangible essence of things.
Simone Fezer
(b. 1976; Waiblingen, Germany)
www.fezer.de
Simone Fezer lives and works in Villingen,
Germany. Since 1999, she works as a
professional freelance artist and since 2005 she
teaches at the European Glass Institute of Arts
and Crafts (IKA) in Mechelen (Belgium). Her
works have been selected for private and public
collections such as the Museum of American
Glass in USA, the Museum Ajeto in Czech
Republic and the Glasmuseet Ebeltoft in
Denmark.
In the center of the installation is a clear
sphere, in which sits a light, radiating
outwards at 360°.
Attached to the sphere, or surrounded by it,
are single elements, reminiscent of typical
Venetian candelabras as they have been made
for centuries: twisted stems, leaf-and
flower-shaped attachments in transparent
colors onto which are attached kiln-formed
translucent discs of clear glass.
This piece talks about the contrast of the
shiny and the rough (outer shell), asks
questions about the hidden, about beauty,
truth and understanding, using various
elements of glass-making techniques and
incorporating traditional shapes in a new
context.
Katya Izabel Filmus
(b. 1976; Israel)
www.katyafilmus.com
Katya Izabel Filmus currently lives and works
in Sunderland, UK. She studied at the Tel Aviv
Art Centre, Bezalel Academy of Art and Design,
Pilchuck Glass School, The Glass Furnace in
Istanbul and the University of Sunderland. Her
works are in many collections, such as the
157
University of Sunderland and the Stanley Picker
Trust in London.
Katya Filmus’ work explores the human
condition through themes such as memory,
identity, the correlation between them and
their registration on the human body. Her
work demonstrates the connection between
the body and mind, and perceives the body as
a territory and place.
The work Millefiori in my Head was
conceived after a recent visit to Venice. It
incorporates old Venetian glass techniques
such as millefiori with new kiln-forming
processes, and juxtaposes traditional and
decorative elements with contemporary
concepts. The use of canes enables maximum
precision in this process and allows an
intricate description of internal organs, in
this case a pictorial representation of the
lateral section of a human head and
synaptic memory.
Damien François
(b. 1979; Reims, France)
www.damienfrancois.com
Damien François lives and works in Reims,
France. He studied at the Department of Glass
and Ceramic at the Engelshom Højskole of
Bredsten in Denmark, and at the Danish Design
School for Glass and Ceramics in Bornholm,
Denmark. He participated in many international
exhibitions including Creative Glass Center
Alumni Biennal (USA) and the Coburg Glass
Prize 2014, (Germany), among others.
If we consider glass in its primary form,
before it gets fused at high temperatures and
becomes molten, we are in the presence of
several chemical components mixed together,
ready to be melted. This process aims to
achieve a temperature high enough to activate
the chemical components present in the glass
batch, but at the same time it doesn’t release
all the gases.
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Birnur Derya Geylani
(b. 1990; Istanbul, Turkey)
www.bderyaglass.blogspot.it
Birnur Derya Geylani lives and works in
Istanbul, Turkey. He attended the Anadolu
University Fine Arts Faculty in
Turkey),
the E. Geppert Academy of Art and Design in
Wroclaw (Poland) and he is currently studying at
the Mimar Sinan Fine Arts University in Istanbul.
He participated in many exhibitions in Turkey
and Poland.
To me the undiscovered potential hides
behind the silver, gold and mirrors. I think
the beholder must face his or her potential
while looking at the three-dimensional
mirrors, by the angled reflections as a picture
of their parallel universe possibilities.
Valentina Girbino
(b. 1980; Catania, Italy)
www.valentinagirbino.com
Since the age of 18, Valentina Girbino has
worked in glass at her father’s artist studio
where she learnt techniques such as paper and
clay processing, ancient bronze fabrication, and
engraving and embossing. She focuses on
learning techniques such as painting in grisaille,
Tiffany processing, and mosaic. She worked for
various public and private agencies and devotes
most of her time to research and finding new
technical processes for glass.
The egg shape encloses a hidden meaning
that evokes in me the sense of the infinite and
female. Egg, archetype of meaning, denotes
my experience and turns into an explosion of
lava and light conjuring up my Sicilian land.
My goal is to take advantage of recycling. An
egg from which a new idea was born to
interpret the glass and its many functions.
Manuel Gorkiewicz
(b. 1976; Graz, Austria)
www.gorkiewicz.net
Manuel Gorkiewicz lives and works in
Vienna, Austria, where he graduated at the
Academy of Fine Art in 2004. He participated
in many exhibitions and his works have been
selected also for important art events such
as Der Schein, Kestnergesellschaft in Hannover,
and Chat Jet, Painting ‹Beyond› The Medium,
Künstlerhaus Halle für Kunst & Medien,
Graz (2013).
Manuel Gorkiewicz’ conceptual multi-media
oeuvre circles around the interfaces and
interplay between the art world and the
consumer and everyday world. His sculptural,
painterly and large-format works address
product design and advertising practices of
appropriating and making use of striking
ideas from art history, especially modernistic
and functional formal languages. The classical
ready-made opened up art and museum space
for everyday objects, but Gorkiewicz’ work
reveals that osmotic permeability between the
everyday world and art runs in both
directions. It should also be noted in this
context that the question of originality,
creativity and authorship is becoming
increasingly difficult to answer, but is not yet
unduly frail. ( Julia Brennacher )
Arabella Guidotto
(b. 1975; Camposampiero, Italy )
www.locchiomuto.blogspot.it
Arabella Guidotto lives and works in Venice,
Italy. She received a degree in Architecture at
the Iuav University of Venice, with a thesis titled
“Fractal Labyrinths. Algorithmic Landscape for
Cavallino’s Coast.” Her research focused on a
design method based on mathematics and
fractal geometry. She participated in many
artistic experiences: she won the first prize at
the Contest OltreLaMateria organized by
CottoVeneto for the design of a coating surface
(2011), and the Contest for Young Critics III
Edition, Venice (2010).
Her study wants to explore the potential of
complex geometries in architecture, design,
art, with different media, including also
Euclidean geometry, in order to find possible
composite variations. This research is
connected to the study of perception and
psychology of form, in order to develop a
personal composite method able to connect
the theory with the formal experiments.
Her research compares theoretical ideas
with real projects, ranging from architecture
and restoration projects, video, and design to
architectural criticism, and has been the
recipient of awards at national and
international competitions.
Aaron Inker
(b. 1984; Biella, Italy)
www.inkerwarehouse.blogspot.com
Aaron Inker lives and works in Masserano,
Italy. After studying Visual Communication and
Multimedia at the ACME Fine Art Academy in
Novara, he attended the Iuav University in
Venice. His works have been selected for group
exhibitions like Kaleidoscope, Prato, 2007, Non
è Francesco, end course exhibition, curated by
Francesco Vezzoli, Venice (2010), and Il Museo
Immaginario, end course exhibition, curated by
Antoni Muntadas, Venice (2011).
Aaron Inker works with a variety of media,
most frequently installation, audio and video.
Medium is always selected by looking for the
best interaction between the concept - the
main idea of the work - and the expressive
potential of the medium itself. Material, feel
and look are chosen for their match with the
basic ideas of the project, in order to create an
effective unicum with the best possible ability
to show the work complex and establish a
connection with the audience. The use of this
variety of media, intended as an instrument to
communicate the inner value of the artworks,
159
provides huge range of experimentation and
research on the themes treated and the best
possible way for the work to be intriguing for
the audience.
Sandrine Isambert
(b. 1979; Annecy, France)
www.sandrineisambert.fr
Sandrine Isambert specialized in graphic
design and attended the Glass Master Class in
Barcelona. Since 2012, she has been professor
of glass art at the High School of Decorative
Arts, Strasbourg. Isambert won international and
national prizes such as the Strasbourg Glass
Prize in 2011, and the first prize of Arts and
Crafts in Lorraine in 2009. She exhibited her
works in collective exhibitions including the
Coburg Glass Prize for Contemporary Glass,
Kunstsammlungen der Veste Coburg (Germany)
(2014), among others.
I chose the shape of the egg to represent the
primordial cell that contains the multiplicity
of beings. In this piece, layers of glass were
carved to discover designs of microorganisms.
Known as a formidable infectious weapon,
they are also working for our good.
Mari Isopahkala
(b. 1978; Kalajoki, Finland)
www.mariisopahkala.fi
Mari Isopahkala studied art and design at
the University of Helsinki. Her works are
exhibited in international shows at the Gallery
Täky in Lappeenranta, Salone Internazionale del
Mobile in Milan, and the Meatpacking District
Design ’11 in New York. Isopahkala has won
Nova Nordic Designer (2012) and the Young
Designer (2013).
This work is my tribute to the glass material
itself. In the object are hidden visually
delicious optical reflections, which will be
160
revealed in reality. Through the object, the
world looks different. Solid, thick glass plays
with the surroundings but it also shapes the
viewer itself.
(b. 1983; Chomutov, Czech Republic)
www.moser-glass.com/en/pages/
jaburek-lukas
is a glass artist and designer,
head of Studio Moser and art director at Moser
Karlovy Vary in Czech Republic. His works have
been selected for the public collections of
Museum of Applied Arts in Prague (Czech
Republic), the Art Glass Gallery in Chomutov
(Czech Republic) and the Forest Museum
Zwiesel (Germany).
Crystal Fountain is the connection of
traditional glass, glass artwork, crafts and
contemporary architecture. Inspiration in
nature, realized in glass. This method inspires
other potential uses, shapes, forms.
The twisted bars shaped in the work
symbolize a gushing spring with crystal
clear water. An additional, strong feature
of the fountain consists of the circular mirrors
that reflect the blue sky and world around
them, evoking glittering drops of water
on a sunny day.
Barbara Jagadics
(b. 1981; Kapuvar, Hungary)
www.jagabara.wordpress.com
Barbara Jagadics lives and works in Prague,
Czech Republic. She studied at the Academy of
Arts, Architecture and Design in Prague (Czech
Republic). Recently, she has been teaching art
courses for children at HaF Studio, Prague. In
2010 she won the second Prize at the Re-glass,
competition for recycling glass, organized by
WAMP (The Hungarian Design Market) and
Ökopannon Nonprofit Kft, Hungary.
In my work Mistakes are Eternal II I wanted
to show the mistaken and the perfect glass in
one object. Therefore each glass is made of a
piece of pâte de verre glass - symbolizing the
mistakes - and hot glass, symbolizing the
perfection. This contrast has a visual similarity
to the “life cycle” of glass – such as from the
sand to glass and the final return to where it
came. The 36 cubes all together create a
mosaic, some kind of modular “landscape of
the mistakes.”
Martin Jakobsen
(b. 1987; Ilava, Slovakia)
www.jakobsendesign.com
Martin Jakobsen graduated in 2013 at the
Academy of Fine Art in Lodz and today works as
a designer. His works have been exhibited at the
Moravian Gallery (Brna), Museum of Decorative
Art (Prague), and Museum of North Bohemia
(Liberec). Jakobsen participated also in
international fairs, including: Tokyo International
(Tokyo), Hong Kong Housware (Hong Kong), and
Tendence (Frankfurt).
Kkis - sweet like a kiss. Kkis is the first
ice-cream canapé. You will love it! Chocolate,
lemon or strawberry flavor? Use it for dessert
or for sorbet to clear your senses in between
meals. Also good for starters.
Renáta Jakowleff
(b. 1974; Budapest, Hungary)
www.renatajakowleff.com
Renáta Jakowleff lives and works in Helsinki,
Finland. She studied at the University of Helsinki
and exhibited her works in solo and group
shows. Since 2000 she has been participating in
international competitions such as International
Art Glass (Japan), Carlo Moretti Ltd (Italy), and
the Glass Sellers Prize (England).
These sculptures speak for the beauty of color
in glass. The idea for the series is to use color
glass masses as paint is used in watercolors: to
create hues and intensity by the density and
overlapping of cast colors.
Luke Jerram
(b. 1974; Stroud, UK)
www.lukejerram.com/glass/
Luke Jerram currently lives and works in
Bristol, UK. He worked as a Researcher Fellow
at the University of Southampton EPSRC from
2008 to 2011, and he now is Senior Researcher
Fellow at the University of the West of England
(UWE), until 2015. His works have been
exhibited at the Metropolitan Museum of Art,
New York, Shanghai Museum of Glass, and
National Glass Centre, UK. In 2013 Jerram had
international exhibitions like Kinetic Chandelier
at MAD - Museum of Art and Design NYC and
Sky Orchestra, Derry, Northern Ireland. He has
contributed on art, science, and medicine for
specialized magazines including British Medical
Journal, The Scientist, and Science Magazine.
Made to contemplate the global impact of
each disease, this series of artworks has been
created as alternative representations of
viruses to the artificially colored imagery
received through the media. By extracting
color from the imagery and creating jewels
like sculptures in glass, a complex tension has
arisen between the artworks’ beauty and what
they represent.
Jessamy Kelly
(b. 1978; North Shields, UK)
www.jessamywkellyglass.com
Jessamy Kelly lives and works in Edinburgh,
Scotland. She is interested in the ability of glass
to imitate other materials, and in the way light
passes through the surface to reveal an inner
luminosity.
Through trial and error, I managed to
combine glass and ceramics in a hot state realizing the undiscovered potential of glass
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to combine with another material. I am
interested in the ability of glass to imitate
other materials and the way light passes
through the surface to reveal an inner
luminosity. As an artistic medium glass
intrigues and inspires me; in my work I strive
to create new approaches that realize the true
potential of this material.
Toni Kokkila
(b. 1987; Seinäjoki, Finland)
www.lasismi.fi
Toni Kokkila studied glassblowing from 2009
to 2011, and has been an artisan at the Tavastia
Vocational College in Hämeenlinna and worked
at Osuuskunta Lasismi. His works have been
exhibited at the Design Forum (2012), Aistit Senses, Finnish Glass Museum (2012), and at
the Industriemuseum (2013-2014).
Martijn Koomen
(b. 1978; Heerlen, Holland)
www.martijnkoomen.com
Martijn Koomen studied at the Design
Academy in Eindhoven, Holland. His research is
focused on architectural, industrial and ceramic
models. He recently participated in Design Day,
Maastricht (2013), Good Design, Milan (2013)
and Hand Made, Rotterdam (2013).
Nature waters the plants, but thanks to the
glass funnel, no water enters the house.
Scents, colors, wind, sounds, even little
insects enhance the home environment.
Susanne Koskimäki
(b. 1974; Espoo, Finland)
www.facebook.com/pages/SusanneKoskimäki-GlassJewellery/172173379464166
Susanne Koskimäki lives and works in
Helsinki, Finland. She studied at the University
of Art and Design and has participated in public
and private exhibitions. She won the Gaia Ray’s
Prize Artist of the Year, (2008), and grants for
University courses such as the Art and Design
University in Sweden. Her works are exhibited in
the collection of the Finnish Glass Museum, and
in the Kiasma Museum.
The piece shows a scene from a house where
two residents in the lower floor are listening
to a weird sound, not knowing that The Dead
Animals Choir is practicing in the attic. It also
shows the other side of glass beads and bead
art - it doesn’t always have to be jewellery. The
undiscovered potential of beads as a material
for something bigger.
Joonas Laakso
(b. 1980; Kauhajoki, Finland)
www.lasismi.fi
Joonas Laakso lives and works in Lasismi,
Finland. He studied at the Tavastia Vocational
College in Hämeenlinna. His works have been
exhibited at the International Glass Symposium,
Slovakia (2012), at the Musée du Verre in France
(2013), and at the Finnish Glass Art in Germany
(2014). Many of his collections can be viewed in
the Finnish Glass Museum in Riihimäki.
I like to mix different techniques and I also
like to do technical things. Yellow bowl is
blown and a figure is sculpted by solid glass.
But still, keep it real, keep it simple.
162
Kaappo Lähdesmäki
(b. 1982; Turku, Finland)
www.lasismi. fi
Kaappo Lähdesmäki lives and works in
Lasismi, Finland. He worked for Osuuskunta
Lasismi, Lahti University of Applied Sciences
(Institute of Crafts and Design, specialist,
glassblowing) and Littala Group Oyj as a
glassblower. His works are exhibited at Design
Forum, Finland (2012), The Finnish Glass
Museum (2012), and Industriemuseum, Germany
(2013).
I see it like a design of complex and delicate
mixture of dreams from a reality that did not
happen. There is no turning back of time, but
if we mirror our present actuality through
alternative consequences, we can offer some
thrill to our minds if we try.
Armand Lecouturier
(b. 1986; Paris, France)
[email protected]
Armand Lecouturier lives and works in
Leipzig, Germany. In 2011 he achieved the
Diploma at School of Fine Art in Nice and
between 2011 and 2012 he attended a course in
School of Fine Art in Leipzig. Since 2011 he has
started to show his works in many exhibitions,
especially in Germany.
From a story, a notion, a word comes my
inspiration, then I connect them with an
element from the reality, from my workshop
or my daily routine. When fiction meets the
object, they influence each other, and this
friction creates a shape. I invite, in this
improbable deformity the spectator to believe
and imagine the degradation process, to sense
the transformation of the material.
Giulia Maculan
(b. 1985; Schio, Italy)
[email protected]
Giulia Maculan lives and works in Vicenza
and Milan, Italy. She started her career in 2007
with an exhibition for Fuori Salone, during the
Salone del Mobile in Milan. In the last years her
works have been exhibited at Villa de Vita
Interior, Abitare, Made Expo in Milan, Studio
Hamers in Amsterdam.
Reasoning, mechanisms, tracks, charts are
manifested in the form of space, these are
numerical and geometrical devices, connected
to literature and sky. It seeks to represent
what escapes three-dimensionality by
definition.
David Magán Moreno
(b. 1979; Madrid, Spain)
www.davidmagan.es
David Magán Moreno lives and works in
Guadalajara, Spain. In 2008, he attended a
course in Glass Sculpture at the Royal Glass
Factory in Segovia, Spain. His last solo
exhibition, in 2014, was held at the Fundación
Centro Nacional del Vidrio (FCNV) in Segovia.
His works are in the permanent collections of
MAVA (Museum of Glass Art of Alcorcón Town
Council) in Madrid, Davis Museum of Barcelona,
and FEVE Collection (The European Container
Glass Federation).
Geometry providing the framework. The
piece consists of several planes of colored
glass superimposed over one another, fusing
as in a painter’s palette. The glass is suspended
in space, held by steel cables: each material is
mutually dependent on the other as the roles
of supporter and supported are constantly
exchanged.
163
Rostislav Materka
(b. 1982;
www.materka.cz
, Czech Republic)
Rostislav Materka lives and works in eská
Lípa, Czech Republic. He attended the Higher
and Secondary Glass School in Nový Bor, Czech
Republic. In 2013 he has exhibited at the
International Exhibition of Glass in Kanazawa,
the Wroclov Design in Poland, the Butik for
Borddækning in Copenhagen, and the Maison et
Objet Trade Show in Paris. In 2009, he won the
first prize in an International Contest in Germany.
The concept which had led to the creation of
these glass objects is based on craftsmanship
principles and skills used in Czech
glassworks. It is about the natural forming of
glass without molds or tools.
Elena Mazzi
(b. 1984; Reggio Emilia, Italy)
www.elenamazzi.com
Elena Mazzi lives and works in Venice. From
2008 to 2011, she attended an MA in Visual Arts
at the Iuav University of Venice. In 2013 and
2014 she has participated in several collective
exhibitions: Bevilacqua La Masa Foundation in
Venice, Art Souvenir at La Fenice Gallery in
Venice, La Materia, Stonefly Prize at Palazzetto
Tito in Venice, and Celeste Prize in Naples.
Her poetics deal with the relationship
between man and the environment in which
he lives and with which he must reckon on a
daily basis. This analysis, which often follows
an anthropological approach, investigates and
documents an identity, which is at the same
time personal and collective, relating to a
specific territory, and giving rise to forms of
exchange and transformation.
164
(b. 1974; Prague, Czech Republic)
[email protected]
Michal Moty ka is an artist and architect
who completed his studies at the Academy of
Arts, Architecture and Design in Prague and at
the Architecture Faculty of the Czech Technical
University. From 2010 to 2013 his most
important joint projects and exhibitions have
been: Light and Space in the Garden of Reason
in Tel Aviv, The Search for Order in Prague and
Here Again in Bratislava.
I am interested in dealing with exact
observation and identifying what light does
and trying to place it inside the architecture
in a way that gives space to create depth. The
cube object’s seemingly simple geometric
shape constantly changes visually. It is
distinguished by each of the events and
storylines of light, color and shape radiating
from and through its environment.
Kamila Mróz
(b. 1989; Sosnowiec, Poland)
www.behance.net/kamilamroz
Kamila Mróz lives and works in Sosnowiec,
Poland. She attended the Master of Fine Arts
(Glass Design) at The E. Geppert Academy of Art
and Design in Wrocław, Poland. In 2012 she
participated in the show Debut of European
Glass Festival in Wrocław. In 2013 she has
participated in the International Glass Exhibition
at the Royal Summer Palace in Prague Castle,
and the European Prize for Emerging Glass
Artists in Germany.
Nature is always my inspiration. In this case
my object is directly related to the shape and
structure of the caterpillar whose body is
made up of track segments. I want to show
the magic and enigmatic moment of the
transformation of caterpillar to butterfly.
Lisa L. Naas
(b. 1973; Cincinnati, US)
www.LISANAAS.tumblr.com
Lisa L. Naas is an artist and researcher in
Glass and Mixed Media. She currently lives and
works in Edinburgh, UK. She attended the
Master in Education at the Xavier University in
Ohio and the Master in Fine Art at the University
of Edinburgh. From 2010 to 2012 she was
consultant at the Diablo Glass School.
Mourning Lace explores loss; specifically the
loss or separation or end of a romantic love.
Throughout the years and in vast amounts of
literature, poetry, music and film, romantic
love is a storied concept: idyllic, idealized, and
a fairy-tale. But love, like glass, is as fragile as
it is strong. I suggest in this work, with the
play between the delicate glass and intricate
patterning and boldness of the black
mourning color, that loss can be quite
beautiful and revealing in terms of desire and
memory.
Imre Nagy
(b. 1975; Budapest, Hungary)
[email protected]
Imre Nagy studied Fine Arts with Heimo
Zobernig at the Academy of Fine Arts in Vienna.
He graduated in 2012 with Textual Sculpture as
his main focus. He lives and works between
Vienna and Greifenstein, Germany. In 2013, he
participated in several art exhibitions including
Astralschacht, Showcase – Visitor Hall for
Contemporaries in Vienna, Display Series and
Laminat Komplett, Society for Room and Form
at the Vienna’s Academy of Fine Art.
To get away from the usual presentation of
drawings (walls, paper), one can think
functionally (e.g. improving the lighting
situation, dialoguing with individual
sculptures) to create a “three-dimensional”
solution.
Federica Nonnato
(b. 1973; Cavarzere, Italy)
[email protected]
Federica Nonnato lives and works in Oriago
di Mira, Venice, Italy. In 1992 she attended the
Istituto Domus Aurea in Mestre.
Federica Nonnato decided to embark into
this challenge to prove how a piece of glass,
which traditionally gives that sense of cold
can become an item of the house, even a
centerpiece that welcomes people to feel at
home, warmed.
The idea of this project came from the
intuition to fuse together tradition and
innovation, looking at the most traditional
Venetian chandeliers, with the movement of
the leaves which is their characteristic, and
the beauty of nature, Nonnato developed this
chair to recreate a piece of home furniture
based on the leaf ’s movement.
Katriina Nuutinen
(b. 1983; Helsinki, Finland)
www.katriinanuutinen.fi
Katriina Nuutinen lives and works in
Joensuu, Finland. She attended the Master of
Applied Art and Design at the Aalto University in
Helsinki. In 2013 she participated in the Design
Forum Showroom, and Art, Design and Finnish
Handcrafts in Helsinki. She has exposed in The
Sale Exhibition of Alumns of Aalto University in
Helsinki. She has also worked as a freelance
designer in Stockholm.
Katriina’s work is an outstanding example of
modern Finnish glass design, inspired by the
captivating interplay of glass and light. She
specializes in glass and ceramics, but her work
is also characterized by explorations with
wood, metal, leather and textiles, as well as
combining different materials. Katriina’s
harmonic work mainly consists of lights,
interior accessories and tableware. However,
her attraction towards concept designing as
well as furniture design is increasing.
165
Tets Ohnari
(b. 1980; Tokyo, Japan)
http://tetsohnari.com
Anne Petters
(b. 1978; Dresden, Germany)
www.annepetters.com
Tets Ohnari attended the Faculty of Art and
Design at the Jan Evangelista
University in Usti nad Labem, Czech Republic. In
2013 he exhibited at the H’art Gallery in
Bucharest. He has participated at the UNISON
COLOR Competition The DANCE of COLOR in
Budapest and he has also exposed at the Jan
Koniarek Gallery Vystava Atelieru Design Skla in
Slovakia, and at the Italian Culture Institute
Young Artist in Italian Cultural Institute in
Prague.
Anne Petters received a Diploma in Fine
Arts/ Glass at the Institute of Ceramic and Glass
Art in Germany and in 2011 the Master of Fine
Arts in Sculpture/ Dimensional Studies at Alfred
University, New York. She worked as a teacher
for glass and three-dimensional studies at the
Institute for Ceramic and Glass Art in HoehrGrenzhausen, Germany and as studio manager
and teacher at the Berlin Glas e.V. She currently
works as visiting artist at the Edinburgh College
of Art.
The Japanese term manebi comprises
meanings of two words: manabi (learning)
and mane (imitation). However, learning is in
certain measure imitation but also limitation.
But we do not notice this many times.
Through the process of imitation, many
innovative aspects arise from what I gain.
Thus I strive to imitate and to learn from the
movements of nature.
Disegno is part of an on-going series of works
in a special pâte de verre technique. The
technique allows an immediate and expressive
way of transferring drawing and text from a
mold onto the glass.
Martin Opl
(b. 1992; Slaný, Czeck Republic)
www.martinopl.blogspot.com
Martin Opl is studying at J. E. Purkyn
University at the Faculty of Art and Design in
Glass program in Ústí nad Labem (Czech
Republic). His last group exhibitions in 2013
were New g(o)ods in Vienna, and Euroluce in
occasion of Milano design week, Milan. In 2012
he started to collaborate with Preciosa Lighting
glass company in Czech Republic.
The lamps are inspired by the glass-blowing
pipes’ shape, which are completed, with
handblown glass shapes. The whole lamp
evokes the technological process of glass
blowing.
166
Julija Pociute
(b. 1981; Kaunas, Lithuania)
www.stiklomenas.lt/pociute_e.php
Julija Pociute lives and works in Kaunas,
Lithuania. In 2007 she attended the Master of
Fine Art at the Vilnius Art Academy (KAF). In
2009, she participated in the exhibition
Boomerang Stories in collaboration with
Stephanie Leininger, at the Cultural
Communication Centre in Lithuania.
In 2013, she took part in several group
exhibitions like Myth and Art at the Barrel
Gallery in Croatia, Glass Navigation at the Minsk
History Museum in Belarus, Glass sculpture and
Garden in Germany, and Impression at the Evald
Okas Museum in Estonia.
Body parts of woman and man show us the
fragility of this merger. In my work, I explore
the body issues like a part of a connection
between two people, which make an
alliance-family. It’s like a message indicating
the fragility of the body and the
impermanence of relationships. Can we be
sure that everything obvious to us at this
moment will remain so in the future?
Kimmo Reinikka
(b. 1975; Kirkkonummi, Finland)
[email protected]
Kimmo Reinikka lives and works in Loppi,
Finland. From 2003 to 2006, he attended the
Ikaalinen School of Crafts and Design. He works
as an artisan specialized in glass-blowing. In
2012 and 2013, his works have been exhibited at
the LWL Industriemuseum in Gernheim, Design
Forum in Helsinki, and The Finnish Glass
Museum in Riihimäki.
Unique art glass piece created in the Lasismi
glass studio in Riihimäki, Finland.
Helmi Remes
(b. 1983; Tampere, Finland)
www.remesdesign.com
Veera Helmi Remes lives and works in
Vantaa, Finland. From 2008 to 2010 she
attended the Tavastia Vocational College as
artisan of glassblowing. In 2013 her works have
been exhibited at Glass Museum, Petershagen,
Design Forum Finland in Helsinki, and The
Finnish Glass Museum in Riihimäki. Her work is
also in the Kuopio Academy of Design and in
The Finnish Glass Museum collections.
I have made altogether three Painkiller
artworks. The shapes are the same but colors
and surfaces are different. Black and white
Painkillers are sandblasted, only the chamfers
are polished. The red piece is not sandblasted.
The Painkiller proportions are the same as a
real painkiller medicine named Ibusal.
Torsten Rötzsch
(b. 1982; Dresden, Germany)
www.torsten-roetzsch.de
Torsten Rötzsch is an artist who lives and
works in Dresden, Germany. His works have
been exhibited at the Crafts Museum of
Deggendorf, Redchurch Gallery in London,
Gallery Welti in Düsseldorf, Ernsting Foundation
in Coesfeld, Glass Museum in Lauscha, Museum
For Art and Cultural History in Dortmund,
Industrial Museum Glashütte in Gernheim. His
work is also in several collections, including,
among others: the Franz Müller, Osnabrück,
Ernsting Foundation, and Industrial Museum
Glashütte Gernheim.
In my works I focus on Venetian hot glass
techniques. Designs like the reticello or
murrine have been used in luxury glass mostly
since they are so difficult and time consuming
in the production. In this context I find it
very interesting to use reticello glass for a
window - something so normal that we don’t
take notice of it very often. The purpose is to
look through it or let the light in but its
transparency is the foremost quality. By using
these precious reticello panels for a window
frame, possibly from a place with glass history,
I can bring many things together to create an
object with new context – even more if there
is a relation to the place where it is shown.
Verena Schatz
(b. 1983; Innsbruck, Austria)
www.verenaschatz.com
Verena Schatz lives and works in Innsbruck,
Austria. From 2010 to 2013 she attended the
Institute for Ceramic and Glass Art. In 2014, her
works were exhibited at the Coburg Prize for
Contemporary Glass, and in 2013 she exhibited
at Fruehwerk, Glasmuseum-Alter Hof Herding in
Coesfeld, Mission Glass at Atelier Kunstbergtirol
in Innsbruck, Talente 2013 in Munich and
Interactions in Copenhagen.
167
Fiber optics and their ability to transmit light
were the main source of inspiration for this
piece. The glass screen shows an altered
version of reality and therefore makes the
observer aware of his surroundings and even
more, his own presence in it.
Josja Caecilia Schepman
(b. 1980; Gorinchem, Holland)
www.josjacaecilia.nl
Josja Caecilia Schepman lives and works in
Leerdam, Holland. She studied design at the
School of Art in Utrecht. After her graduation in
2006, she started collaborating with the glass
studio De Oude Horn and where she presently
works, dealing with artists and designers. Her
work is exhibited at The National Glassmuseum
of Leerdam.
I wanted to make a rainbow tulip tower in the
typical Venetian filigrana technique. Dutch
tradition meets Venetian tradition.
Michal Šilhán
(b. 1988; Jablonec nad Nisou, Czech
Republic)
www.vinanska-silhan.wix.com/
vinanska-silhan
Michal Šilhán lives and works in Ústí nad
Labem, Czech Republic. He attended the MA
course in Glass at Ján Evangelista
University in Ústí nad Labem – Faculty of Art and
Design. Since 2005, he participated in several
exhibitions, above all in England, Germany and
Czech Republic.
I am interested in dealing with exact
observation and identifying what light does
and trying to place it inside the architecture
in a way that gives space to create depth. The
cube object’s seemingly simple geometric
shape constantly changes visually. It is
distinguished by each of the events and
storylines of light, color and shape radiating
from and through its environment.
168
Jitka Skuhravá
(b. 1976;
, Czech Republic)
www.jitkaskuhrava.com
Jitka Skuhravá attended the Faculty of
Architecture and Design at Academy of Art in
Prague. Since 2007, she has been working as
designer of lighting sculptures for Lasvit s.r.o.
During the last years she took part in a number
of group and solo exhibitions such as Milano
Design Week (Italy), DBK - Design Super Store
(Prague) and 100% Design Shanghai (China).
Jitka Skuhravá focuses mostly on designing
light objects intended to light and enhance
interiors that are often very spacious (hotel
lobbies, etc.), but it is difficult if not
impossible to separate this activity from
the original artistic work in the conventional
sense. Typical are her organic-shaped glass
pieces, also cut and engraved monumental
structures. The rooms are enriched by a joint
effect of shape, light, and something that
is hard to define but is pleasing to the eye
and mind.
Davide Spillari
(b. 1987; Verona, Italy)
www.davidespillari.hotglue.me
Davide Spillari lives and works in Verona,
Italy. After studying philosophy, from 2010-2013
he attended Iuav University of Venice. Since
2010 he has been part of several exhibitions, in
Venice, Turin, Naples and Amsterdam. He won
residencies at the Bevilacqua La Masa
Foundation (Venice), Spinola Banna Foundation
(Turin), AWA – Artists With Attitude (Amsterdam),
and How We Dwell (Alessandria).
My work is based on a constant and
unceasing interaction between two fields:
practice and theory. The practice involves a
habit, a discipline, an incessant repetition of a
gesture which I carry out daily. With practice,
I mean what can be created with the hands
and what lives in a physical dimension. The
research about the gesture and the technique
is something related on a daily doing. Technè
has to do with something handcrafted, which
is the production of a singularity. The artifact
presumes a creative ability, which precedes the
simple serial production.
The conscience behind each artifact
connects the gesture to the theory. The theory
for me is unavoidable, but it’s also something
that I would like to abandon when I have
to exhibit an art piece. The art piece should be
self-sufficient; it should live its own life,
be unconnected to the theory, released by the
author and it shouldn’t be shown. There’s a
great part of the unsaid which remains
hidden from what is shown, what is exhibited
seems to me sometimes just like the tip of an
iceberg. I work with painting and other media.
Iveta Táborová
(b. 1990;
Czech Republic)
[email protected]
Iveta Táborová lives and works in Dob íš,
Czech Republic. After her MA in Design of Glass
and Jewellery at the Technical University of
Liberec, she is now attending the Caledonian
School of Prague. Since 2007 she has been
participating in numerous public exhibitions
such as Jewellery Glass at the Museum of
Copper, Jewellery Festival in Legnica in Poland,
and Bakalaureáty 2013 in The North Bohemian
Museum in Liberec, Czech Republic.
This Bachelor’s thesis, The Jewellery Set for
Mrs. Colombo, deals with the realization of
jewellery (objects) on the basis of optical
illusions. The jewellery is inspired by the
imaginary wife of detective Colombo.
Illusions and delusions can be found in the
thesis in which the author examines man’s
view of the world.
Kirsti Taiviola
(b. 1976; Espoo, Finland)
www.kirstitaiviola.com
Kirsti Taiviola lives and works as a glass
artist and designer in Helsinki, Finland. In 2001
she received an MA in Arts at University of Art
and Design Helsinki UIAH, Department of
Ceramics and Glass. From 2011 she is Senior
Lecturer for the Aalto University School of Art,
Design and Architecture, Department of Design
in Helsinki. She has participated in several group
exhibitions and her works are in private
collections and at the permanent collection of
The Finnish State Art Collection, The Finnish
Glass Museum in Riihimäki, Finland, and at the
Royal Scandinavia Kunstforening in
Copenhagen, Denmark.
The shape of the lantern is inspired by old
Chinese ceramic jars. The lantern was made
for the exhibition The Spirit of Material in
White Box Museum of Art, held in Beijing
in 2012, and it has been partly blown in a
Chinese glass factory.
Galla Theodosis Capsambelis
(b. 1987; Boulogne-Billancourt, France)
www.gallatheodosis.com
Galla Theodosis Capsambelis lives and
works between Paris and Strasbourg, France.
From 2011 to 2014 she attended the Haute
Ecole des Arts du Rhin, Arts Decoratifs de
Strasbourg. During the last years she
participated in many exhibitions such as
September Collective Exhibition, Ivry-sur-Seine
(Paris) in 2012 and 2013, and Biennale
Internationale du Verre at Espace HERT
(Strasbourg).
Galla Theodosis develops her artistic work
between photography and installation. She
questions physical perceptions by creating a
distance through a mirror effect. The images
of everyday life she uses as material to reach
the underlying metaphoric force within
our environment.
169
(b. 1983; Valaske Mezirici, Czech Republic)
[email protected]
lives and works in Novy Bor,
Czech Republic. From 2003 to 2009, she studied
Glass at the Academy of Arts, Architecture, and
Design in Prague. Since 2003 she has been
exhibiting her works in several group exhibition
and her works are in the permanent collection of
the Museum of Applied Arts in Prague. In 2009
she won the Stanislav Libenský Award.
I come from the Wallachia region and my
work reflects the local folklore. In this piece I
use the principle of spinning, binding, weaving,
knitting, and therefore the rhythm. It is an
object on the verge of applied arts and fine arts.
Elena Trevisan
(b. 1983; Bassano del Grappa, Italy)
[email protected]
Elena Trevisan lives and works in Venice,
Italy. Since 2012, she is attending the PhD in
Architectural Composition at the Iuav University
of Venice. Between 2012 and 2013 she was
holder of an FSE research grant at the Iuav
University of Venice, in partnership with Venini,
and focused on developing new unique
geometries for the design of glass art. In 2013,
she participated in the Jean François Niceron.
Prospettiva, catottrica e magia artificiale
exhibition at Gino Valle Gallery in Venice.
As a designer, I base my research on the
physical models proposed by pure and applied
mathematics in the early 20th century.
The main inspiration for those pieces
comes from the weather conditions. Glass,
just like the weather can evolve, change its
form. My work is an answer to the need of
catching such a beautiful moment when a
cloud is forming. The diversity of shapes and
colors is simply breathtaking. I tried to freeze
a second into three glass sculptures.
170
Justyna Turek
(b. 1990; Boleslawiec, Poland)
www.justinaturek.com
Justyna Turek lives and works in Paris,
France. In 2013 she was granted a Bachelor
Degree in Design and Art of Glass at The
Eugeniusz Geppert Academy of Art and Design
in Wrocław, Poland. In 2012, she worked as
intern at the Dan Yeffet Design Studio in Paris.
Since 2012 she has been journalist and editor
for online magazines like Ombre nel Cielo,
Sound Journey, and Glass Lovers Blog.
Inspired by air, weather conditions and their
immateriality this sculpture visualises
elements of the sky that are hard to describe
and catch. Freezing a cloud moment at the
top creates contrast between the bottom
cylinder that symbolizes stability and
perfection. Crafting the cloud in ice glass
(cracked glass) emphasizes the
unpredictability and different states of both
real and unreal worlds. “ (Henryk Stawicki)
Ales Vacek
(b. 1978; Ledec nad Sazavou, Czech
Republic)
[email protected]
Ales Vacek lives and works in Novy Bor,
Czech Republic. From 1992 to 1998, he attended
Glass School in Novy Bor. His works were
exhibited at the Prague Festival – Contemporary
Glass, (2012), the International Exhibition of
Glass in Kanazawa, Japan (2013), and When
Prague Meets Shanghai, International
Competition of Fresh Czech Glass Design in
Shanghai, China. In these years, he had several
experiences in glass studios in Czech Republic,
France, Netherlands, USA and Sweden.
I’m uxsing the basic properties of glass to
materialize my ideas.
Pavel Vajsejtl
(b. 1978; Czech Lipa, Czech Republic)
[email protected]
Pavel Vajsejtl lives and works in Czech Lipa,
Czech Republic. He attended a professional
school specialized in glass labor in Nový Bor.
Since 2009 he has been working as glass
craftsman and designer for Nomy Art Glass,
in Nový Bor.
This is Prototype, a shape that I continue to
develop by heating and welding in a hotwork. The end result will be a flame blown out
by the wind.
Ella Varvio
(b. 1987; Tampere, Finland)
www.ellavarvio.wordpress.com
Ella Varvio lives and works in Helsinki,
Finland. She graduated in Arts with a study
program focusing in Ceramic and Glass Design.
Now she is attending a Master program of
Applied Art and Design at the Aalto University
School of Art, Design and Architecture. Since
2011 she has been attending several group
exhibitions in Helsinki, and she was finalist at
Marimekko International Design Competition.
I am inspired by the grail technique’s
capability to trap images in glass. Some of the
most classic examples of grail technique are
Edward Hald’s Fish graal that were produced
in Sweden in the 1930s and 1940s. Instead of
fish motifs, I played with the thought of
looking at a drowned person through the
water. Therefore, my images have a certain
melancholy and macabre feeling.
Valerio Veneruso
(b. 1984; Naples, Italy)
www.dadavs.wordpress.com
Valerio Veneruso lives and works in Mestre,
Italy. He studied Design and Production of Visual
Arts, Faculty of Visual Arts at the Iuav University
of Venice. He is now a visual artist using
different languages, spanning from performance
to vector graphics, from video to installations, as
well as works as a freelance graphic designer.
His last solo exhibition Camera Vitrea, was
showed at La Fenice Gallery in Venice in 2013.
During the last few years he has been attending
numerous group exhibitions in Venice, Naples,
and Rome.
The main goal of my research is to use the
strength of the visual arts, hybridizing, often
in an ironic way, languages very close to
graphic design, in order to produce a common
experience. I like to imagine the work as a
time of reflection and sharing between artist
and spectator, using art to reveal itself and, at
the same time involve the observer.
Heikki Viinikainen
(b. 1978; Kuopio, Finland)
www.studioviinikainen.com
Heikki Viinikainen lives and works in Finland.
In 2010 he was granted Bachelor of Glass and
Ceramics, Design Degree program at Kuopio
Academy of Design, Savonia UAS. In 2006 he
was awarded with the second prize at the
Bombay Sapphire Glass competition, and since
2013 he has been part of the touring group
exhibition Glass is Tomorrow.
A work of art is an abstract description of
a “weeping giant.” Glass materials are used
in the forms of work that will bring the most
effective contrasts. Light and shadows, as
well as their behaviour, as creators of the
atmosphere, are also important areas of
the artwork.
171
Petra
(b. 1989; Michalovce, Slovakia)
www.vinanska-silhan.wix.com/
vinanska-silhan
Petra
lives and works in Ústí nad
Labem, Czech Republic. She studied at the
Faculty of Art and Design at the Evangelista
University in Ústí nad Labem and in
2013 she was granted MA in Glass. She
attended various group exhibitions in Czech
Republic and Slovakia. In 2013, she gained the
third place in the Agel-Gold Aeskulap
competition.
This project focuses on traditional Murano
glass combined with optical glass. I used a
typical Murano glass millefiori technique.
That’s why I focus on a central composition.
When something is in the middle, it is the
first that meets the eye. This is how I mean
the object proposed.
Terese William Waenerlund
(b. 1982; Kungsbacka, Sweden)
www.teresewilliam.com
Terese William Waenerlund lives and works
in Kungsbacka, Sweden. In 2007, she was
granted a Bachelor in Craft at The Royal Danish
Academy of Fine Arts in Denmark. From 2011 to
2013, she attended the MA in Fine Arts at
Konstfack University College, Stockholm,
Sweden, specializing in Ceramic and Glass. In
2013 her works have been shown in Sweden,
Czech Republic and Denmark. Her last
exhibition, Heritage and Structure, has been
exhibited at The Museum of Arts in Halland,
Halmstad, Sweden.
It fascinates me how we look at, and what
characteristics and status we ascribe to glass.
Especially now when the field of glass is
radically changing, I find it important to
explore the potential of the material.
The on-going movement in a weave, its
172
connection to the home, and the radical glass
surface aims to question the adored object,
the norm that strives towards perfect smooth
surfaces and the social structures that support
and maintain this order.
Stijn Wuyts
(b. 1973; Deurne, Belgium)
www.stijnwuyts.com
Stijn Wuyts currently lives and works in
Ghent, Belgium. After being granted a Bachelor
Degree in Architecture, he attended the Royal
Academy of Fine Art in Antwerp. In 2010 he
received a specialization at glass department at
IKA Mechelen, Belgium. From 2001 he has held
artistic and theatrical workshops for young
people in collaboration with museum and
associations.
The Uroboros is a snake or dragon that bites
its own tail, symbol of self-reflection, an
eternal cycle. The glass I used is recycled from
bottles, cut up and reassembled with rubber
bands. The tension from the rubber bands is a
temporary energy that creates the new form
and holds the pieces together. Because the
rubber bands wear out, the Uroboros has to
recreate itself time and time again.
Yaman
(b. 1971; Turkey)
[email protected]
lker Yaman has studied at the Anadolu
University of Fine Arts,
, Turkey. In
2010, he attended the group exhibition
Camgeran International Participle Glass
Symposium at the Anadolu University, Turkey. In
2013, he had an internship experience at the
Odunpazarı Hot Glass Festival, Eski ehir.
I made this piece as a 21st century tribute to
Nicola Tesla, the early inventor and prime
mover of many modern technologies,
including the alternative current and the
x-ray, and his underrated genius and
undiscovered potential.
(b. 1987; Sosnowiec, Poland)
www.behance.net/zelichowski
lives and works in
Poland. He studied Interior design at the
Academy of Fine Arts J. Matejko in Krakow.
Presently he is working as designer at CODE
Architekture & Design in Katowice. He has
exhibited at Stained Glass Company S.G.
.
This work presents form of glass incorporated
into the space of a shows process of change,
activities, which are expected or surprising,
they are inseparable part of our lives. All the
changes we are making in life: small actions,
big words, desires and dreams affect us
permanently. Forms have different shapes
from each other and are separated from one
another and simultaneously form a whole.
The works are placed on a wooden
construction, shaped like a ladder symbolizing
our infinite open path changes, it is made of
natural wood without a colour.
Bio_1 was created according to fractal
geometry rules. It is a composition made of
duplicated modules consisting of blue
transparent spheres made of blown glass that
come in different sizes. The spheres are
connected by cylindrical ties. The duplication
enabled the author to build the object that is
very interesting in form. Such a sculpture can
be expanded or changed into other original
and surprising compositions. Hence, bio_1 can
be treated both as a finished piece of work or
serve as a pretext for extension or
modification of the modular web.
Anna Magdalena Zima
(b. 1986;
, Poland)
www.facebook.com/zima.sculpture/
Anna Magdalena Zima lives and works in
Warsaw, Poland. From 2007 to 2012, she studied
in the Department of Sculpture Institute of Arts
at the Silesian University in Cieszyn, Poland. In
2013, she was granted the title of Master of Arts
with specialization in sculptural shaping of
space. She has recently attended to the
ceramics exhibition at the gallery Prova de
Artista Lisbon in Lisbon, Portugal (in 2012 and
2013), and took part in the final exhibition of the
competition Book Child Friendly at the Toy
Museum in Kielce, Poland, and at the ceramics
exhibition Three Stages of Life at the gallery
Klatka in Cieszyn, Poland.
173
GLASS MAST ERS
AND COMPANI ES
Simone Cenedese
Born in Murano in 1973
One of the youngest maestros, his style is
defined by fluid forms enhancing the peculiarity
of substance, using liquid and shiny colors. He
is the first maestro who created glass clothes.
His versatility enable him to create very
particular artworks, from shoes for drinking
champagne to a life-sized bed.
Andrea De Biasi
Born in Venice in 1968
Andrea De Biasi started working on glass
after business economic studies. At the age of
24, he decided to follow his father teachings and
improve in artisanasal work. Searching for the
harmony between form and color, the Maestro
has been the first who applied mixed graniglia to
golden and silver leaf to realize plates in fused
glass inspired by the colors and looks of fashion
shows.
Nicola Moretti
Born in Murano in 1964
Nicola Moretti started his career as a glass
artisan when he was seventeen, following his
father Francesco’s teachings. Through his
artworks, the Maestro reveals an open approach
to new ways of glass manufacturing, and when
he collaborates with architects, designers and
artists, he aims to create a lively and exciting
exchange between different arts, never
departing from a personal taste, in order to
make particular and polished artworks.
New Murano Gallery
www.newmuranogallery.com
The New Murano Gallery Production began
with the desire to follow the ancient tradition of
Vetro Artistico, uniting a team of artisans,
creatives, designers, and experts in glass
manufacture. The New Murano Gallery
specializes in blown glass and massello blown
glass objects, all guaranteed by Regione del
Veneto Vetro Artistico® Murano.
Ongaro & Fuga
www.ongaroefuga.com
Company founded in 1954 by Franco Fuga
and currently run by the sons Bruno, Giuliano
and Francesco. It is certainly to be considered
among those that keep alive the tradition of the
Murano fine art and in particular the Venetian
mirror, respecting the same techniques and the
same materials used in ancient times.
Franco Panizzi (Panizzi Studio)
Born in Venice in 1962
Mauro Panizzi (Panizzi Studio)
Born in Venice in 1955
As youths, Franco and Mauro Panizzi began
working at the family glass factory with their
father, Eugenio. They specialized in the
molatura, battitura, sabbiatura and fusing
techniques. Once they became partners of the
company, they developed a young and versatile
approach to new ideas. They participated in
many international exhibitions and won the
“Premio Murano” in 2012, 2013 and 2014.
175
Gianni Seguso
Born in Venice in 1951
The Seguso family, with a history dating
back six centuries, represent Murano glass
manufacturing traditions. Maestro Gianni
Seguso, assisted by his son Marco, is
recognized as one of the best exponents of the
Rezzonico chandelier tradition. The furnace is
the heart of the company, where masterpieces
are created and where everyday glass magic
meets flame and art.
Sergio Tiozzo
www.tiozzosergio.it
Sergio Tiozzo’s firm has been in the glass
business since 1952. It has developed
particularly the “Murrina” of Murano, that owes
its beauty to a very complex process of
craftmanship which requires many hours of work
to succeed. From 1990 the business has been in
the hands of his son Claudio and they work
together creating a series of vases, glass panels,
plates, mirrors, lamps, beads, varied jewelry and
many other objects all made in “Murrino” glass.
Silvano Signoretto
Born in Venice in 1951
Andrea Salvagno
Born in Venice in 1972
Silvano Signoretto and Andrea Salvagno
are glassblowers in the finest tradition of
Murano. Both have worked for decades,
specializing in particular, in glassblowing and
freehand techniques. They represent some
of the most prestigious names in contemporary
Murano glass.
Matteo Tagliapietra
(Gambaro e Poggi artistic glassmakers)
Born in Venice in 1973
When he was fifteen, Tagliapietra began as
an apprentice of Mario Gambaro. Through
several types of manufacturing and techniques,
using both massiccio and blown glass, he
created small sculptures and precious works for
bowls and bottles. A brilliant artisan, he has
renewed the artisanal language of glass. His
versatility and productive flexibility make Matteo
Tagliapietra one of the most promising of
Murano’s maestros.
176
177
PART NERS
The City of Venice
Italy
The City of Venice was founded in 421 AD
and is one of the oldest continuous
municipalities dedicated to the integrity of
culture, politics and polis, in the world. Today, an
arm of the City’s municipal services includes
planning services, activities, and procedures
that impact culture, social welfare, tourism, and
the environment, among others. For over a
decade, The City of Venice has been granted
European Union funding, of which European
Glass Experience is a prime example. EGE is an
action plan for Murano island involving local
stakeholders and glass producers, and a case
study for the power of local political action
through the lens of culture.
Consorzio Promovetro Murano
Venice, Italy
Consorzio Promovetro is a consortium for
the promotion of artistic glass of Murano, Italy.
Founded in 1985 by a group of craftsmen
producing artistic glasswork on the Murano
island, Promovetro conserves, safeguards and
defends Murano’s thousand-year tradition.
Promovetro is involved in the diffusion of
authentic Murano glass production. Since 2001,
the Veneto Region has entrusted Promovetro
with the national and international promotion of
the trademark Vetro Artistico® Murano,
introduced and governed by the Veneto Region.
The Finnish Glass Museum
Riihimäki, Finland
The Finnish Glass Museum is a specialist
museum focusing on glass design and the
history of glass. The museum has operated
since 1981 in a renovated glasswork factory in
Riihimäki. The renovation was designed by Tapio
Wirkkala. The Finnish Glass Museum presents
the history of glass dating back over 4,000 years
and the 300-year history of Finland’s glass
industry. The collections consist mostly of
Finnish household, design and art glass from the
18th-21st centuries.
Fundación Centro Nacional del Vidrio
Museo Tecnológico del Vidrio
Real Fábrica de Cristales - FCNV
Segovia, Spain
The Royal Glass Factory of La Granja,
Segovia, Spain, is one of the most important
European industrial buildings of the eighteenth
century and hosts the Fundación Centro
Nacional del Vidrio (FCNV). The target of the
National Glass Foundation (FCNV) is the
promotion, development and diffusion of the
craft and history of glass and concrete in their
teaching, at various levels the project includes a
Technology Museum of Glass, a Higher
Education Institution of Glass, and artisanal
production at the hotshop.
Murano Glass Museum
Venice, Italy
The Murano Glass Museum, located in the
Palazzo Giustinian in Murano, was founded in
1861 and since 1923 is part of MUVE Fondazione Musei Civici di Venezia. The
museum includes pieces from ancient Rome to
the 21st century, gathering together the largest
and best known collection of Murano glass
worldwide.
179
ASSO CIAT ED PART NERS
Stained Glass Museum
Krakow, Poland
The Stained Glass Museum in Krakow was
established in a historical and still working
stained glass studio. Apart from hosting a
permanent exhibition of stained glass and its
designs from the first half of the 20th century,
the Museum also demonstrates the process of
creating stained glass, which has remained
unchanged for centuries. Part of the Museum
constitutes the Gallery of Modern Glass.
Temporary exhibitions at the Gallery present
works by artists who, whilst experimenting with
glass, often go beyond the classical stained
glass projects, creating modern sculptures and
glass installations.
The International Festival of Glass
Stourbridge, United Kingdom
The International Festival of Glass is a firmly
established event for all glass enthusiasts. The
festival celebrates the unique glass-making
heritage of the area, as well as the dynamic
emergence of a whole new era of contemporary
glass drawing, large national and international
audiences into Stourbridge and the Black
Country. Featuring world class exhibitions,
including the prestigious British Glass Biennale,
Master classes and workshops, demonstrations,
open studios, bead fair, heritage walks, family
events, lectures, performances, retail
opportunities and the chance for everyone to
learn how to make glass.
The Glass Factory
Boda Glasbruk, Sweden
The Glass Factory houses Sweden’s most
comprehensive collection of glass art, which
consists of about 40,000 objects by more than
50 artists who have worked with glass. The
Glass Factory creates a distinctive, all-inclusive
identity within Sweden and beyond with its
ongoing and qualitative glass activities. These
include temporary exhibitions, hotspots, core
collection exhibitions, presentation of
exhibitions for children and young people as
well as an expanded program of activities, with
lectures, happenings, glass shows, theatre
performances and workshops.
Marinha Grande Museum of Glass
Marinha Grande, Portugal
The Marinha Grande Museum of Glass is the
only museum in Portugal specifically dedicated
to the study of the art and craft of the glass
industry. The collection shows the Portuguese
glass industry from the mid-17th/18th century to
the present time, as well as a selection of glass
works by Portuguese and international
contemporary artists. It also offers a production
and glass decoration workshop, held by artists
and craftsmen of Marinha Grande, through
which it is possible to come in contact directly
with the practice of glass work and see many
different techniques.
181
European Glass Experience wishes to thank
the many individuals and entities that have
contributed to its successful tour. These include
the following and all the many glassblowers,
photographers, municipal authorities, museum
staff, and most especially, the many artists in the
exhibition. We want to offer a special thanks to:
Angela Vettese, Paolo Garbolino, IUAV
Università di Venezia; Massimo Raja, Raja Films;
ADISIL (Asociación de discapacitados de San
Ildefonso), Asociación de Sopladores de Vidrio
Científico - SGD La Granja, Flavia Barbini,
Karzyna Maria Bazarnik, Riccardo Bon, Cecile
Bourne, Emilio Cabanes, Casa Sant’Andrea,
Pieranna Cavalchini, Alice Ciresola, Carol Cole,
Stefano Coletto, Rachele D’Osualdo, Micael
Ernstell, Roberto Fassone, Valentina Furian,
Giorgia Gallina, Ilaria Gianni, Pia Hovi-Assad,
Åsa Jungnelius, Konstfack, Stockholm, Jan Kaila,
Michelle Keeling - British Glass Biennale 2010
and 2012, Marta Kuzma, Dario Larusso, Filippo
Lorenzin, Cybele Maloney – UrbanGlass, Alba
Martín - Patrimonio National, Ministry of
Education and Culture Finland, Bella Oh, Renee
Padt, Álvaro Pereira - Mayor of Marinha Grande,
Sandy Pfahlert, Lisa Phillips, Marco Popolizio,
Giorgio Rocchetto, Norberto Ruggeri, Hinrich
Sachs, Marzia Santone - Creative Europe
Desk Italia, Victoria Scholes and Pam Reekie
- Contemporary Glass Society, Claire Staebler,
Paola Toppila, Antonia Treccagnoli, Elena Valdrè,
Serena Vestrucci, Heimo Zobernig.
EGE Venice
Giuseppe Mella, Senior Officer,
EU Policies, EGE Coordinator
Paola Ravenna, EU Policies Manager
Lada Vetrini, EGE Financial Manager
Enrico Coniglio, EGE Project Support
Luciano Gambaro, President, Consorzio
Promovetro
Sergio Malara, Director, Consorzio Promovetro
Mattia Mian, EGE Project Officer, Consorzio
Promovetro
Gabriella Belli, Director, MUVE
Chiara Squarcina, Director, Murano Glass
Museum, MUVE
Monica Piscina, Office Murano,
Glass Museum, MUVE
Cornelia Lauf, EGE Scientific Director
EGE Partners/Associated Partners
Heikki Matiskainen, Director, The Finnish
Glass Museum
Uta Laurén, Curator, The Finnish Glass Museum
Sergio Jiménez de Ochoa, Director Manager,
Fundación Centro Nacional del Vidrio
Paloma Pastor, Director, Museo Tecnológico del
Vidrio Project Management Spain, Real Fábrica
de Cristales - FCNV
Saul Alvarado, Director, Escuela Superior
del Vidrio
Catarina Carvalho, Curator, Marinha Grande
Museum of Glass
Piotr Ostrowski, Director, Krakow
Stained Glass Museum
Natasha George, International Festival of
Glass, Co-Director 2009-2014, Programme
Consultant 2015
Maja Heuer, Director, The Glass Factory
Curatorial Support: GoldenRuler; Camilla
Salvaneschi; Eleonora Tempesta; Veronica Bellei
Communication: DNA, Mestre (Venice)
Design Consultancy: Julia, London
Press Office: Maria Bonmassar, Rome
Photography: the artists, Francesco Allegretto,
Mattia Mian
Partners
A special acknowledgment to Muffato Fratelli Srl
for their help during the production phase.
Associated Partners
Support
European Glass Experience is coordinated by the City of Venice.
With the support of the Culture Program 2007 - 2013 of the
European Union
182
183
EGE team, Riihimaki (Finland), March 2014
[email protected]
www.egeglass.eu
facebook.com/egeglass
twitter.com/EGEglass
instagram.com/egeglass
184
With the support of the Culture
Programme of the European Union

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