Glasbilleder — Unik nutidig glaskunst fra Slovakiet

Images Captured in Glass — Glass Art from Slovakia

1 Bodil Busk Berit Palo Laursen Jakobsen Macho

Glasbilleder — Images Unik Captured nutidig in Glass — glaskunst Glass Art from fra Slovakiet Slovakia Žofia Dubová

Paulína Dávid

2 Chrenková Kurinec Glasbilleder — Unik glaskunst fra Slovakiet. Denne chance (og udfordrende) muligheder for at at gå nye veje og gestalte egne udtryk. Images Captured historian and writer Pavla Rossini, who For Hempel Glasmuseum it has been This is the eternal story that is told er opstået takket være en henvendelse kombinere deres tidligere praksis Gennem udstillingen fortælles denne comes from the Czech Republic and has of great interest to help promote throughout the exhibition. nutidig glaskunst fra glashistorikeren og skribenten med glasmediet — takket være eviggyldige historie. in Glass — Glass Art also lived in Denmark for a number of the prolific artistic milieu that has Pavla Rossini, selv fra Tjekkiet og læremesteren Palo Macho. years, and the internationally renowned developed around Palo Macho, Hempel Glasmuseum has a tradition of fra Slovakiet bosiddende også i Danmark gennem Hempel Glasmuseum har tradition from Slovakia glass artist Palo Macho, whose works a milieu that, in the most brilliant inviting each year one of our exhibiting en årrække, og den internationalt For Hempel Glasmuseum har det for at invitere en af årets udstillende have been previously displayed, way, draws parallels to the old artists to create a special site-specific anerkendte glaskunstner Palo Macho, været af stor interesse at være med til kunstnere til at skabe et særligt, among other places, in Cisternerne in master-apprenticeship relationship work in connection with the monumental Det er et vigtigt mål for Hempel hvis værker bl.a. tidligere har været at formidle det frodige kunstneriske stedsspecifikt værk i tilknytning It is an important goal for Hempel Copenhagen (2013). Now he is back, that has such strong traditions within window section of the exhibition hall. Glasmuseum at præsentere museets vist i Cisternerne i København (2013). miljø, der er opstået omkring Palo til udstillingssalens monumentale Glasmuseum to introduce our visitors to but in a completely different context at art and handicraft. Through the texts We are pleased that Palo Macho has gæster for stadig nye udviklinger på Nu vender han tilbage, men i en Macho, og som på fornem vis trækker vinduesparti. Vi er glade for, at Palo constant new developments in the field of the Hempel Glasmuseum. in the exhibition catalogue and, of accepted this challenge and has created, glassets område. Derved pointeres helt anden sammenhæng i Hempel tråde tilbage til den gamle mesterlære Macho har taget denne udfordring glass. We wish to emphasise that working course, through encounters with in association with photographer at arbejdet med kunsthåndværkets Glasmuseum. med stærke traditioner indenfor op og sammen med fotografen Jana with classical handicraft materials like Through Macho’s artistic work, and the works, one realises how complicated Jana Hojstričová, a big and complex klassiske materialer som keramik, både kunst og håndværk. Gennem Hojstričová skabt en stor og kompleks ceramic, textiles, metal and glass has thanks to his teaching position at the production of this glass art is. At installation for this demanding setting in tekstiler, metaller og glas til enhver Gennem sin egen kunstneriske udstillingskatalogets tekster og installation til denne krævende always resulted in expressing something the Academy of Fine Arts and Design the same time, one understands how a room with constantly changing natural tid er resulteret i værker, der siger virksomhed og i kraft af sin naturligvis ved mødet med værkerne placering i rummets stadigt vekslende essential about the culture and in the Slovakian capital, Bratislava, his important a contribution Macho has light from sunrise to moonlight. noget væsentligt om den kultur og undervisning af studerende på bliver man klar over, hvor kompliceret naturlys fra solopgang til måneskin. the periods that have created them. But studio has become an inspiring hub for made, and still does, as an inspirator, de perioder, hvor de er frembragt. Kunstakademiet i den slovakiske fremstillingen af denne glaskunst er. the prerequisite for achieving new results a revitalisation of painting on glass, a teacher and a mentor. This artist has It is a great pleasure for Hempel Men forudsætningen for at skabe hovedstad, Bratislava, er Macho Derigennem forstår man også, hvor Det er en stor glæde for Hempel is the preceding artistic development where the glass plays the same role as been able to keep alive his personal Glasmuseum to welcome our visitors nye resultater er det forudgående blevet et inspirerende centrum for en betydningsfuld Machos indsats har Glasmuseum at byde velkommen til work, ceaseless experimentation, the canvas does for the painter. This gradual development of the medium to the exhibition Images Captured in kunstneriske udviklingsarbejde, revitalisering af maling på glas, hvor været og er som inspirator, lærer og udstillingen Glasbilleder — unik nutidig continuous perfection of craftsmanship old technique, known from the entire towards the high level that his works Glass — Glass Art from Slovakia. In this de endeløse eksperimenter, den stadige glasset fungerer som lærredet for en vejleder. Denne kunstners egen trinvise glaskunst fra Slovakiet. Dermed tager and technique, and the courage and rich glassmaking area in the former occupy today. Therefore, he meets way, we continue where the founder of perfektionering af håndværk og teknik, billedkunster. Denne gamle teknik, som udvikling af mediet frem mod det høje museet tråden op efter museets stifter, the talent to explore new avenues. Czechoslovakia, now forms the basis of his students where they are, and the museum left off, since he in his day og dertil kommer modet og talentet til kendes fra hele det rige glasområde niveau, hans værker indtager i dag, J. C. Hempel, som i sin tid samlede an interesting, innovative glass art, where instructs each one of them during collected glass from the European area. at gå nye veje. i det tidligere Tjekkoslovakiet, danner har han formået at holde levende. Han glas fra det europæiske område. Det Through the years this focus has drawing, graphic arts and photography an individual process. It is thus important and appropriate nu baggrund for en interessant, møder derfor de studerende, dér hvor er derfor vigtigt og rigtigt at invitere et resulted in a series of exhibitions at are incorporated in transgressive works to invite a European country with rich Gennem årene har dette fokus ført nyfortolkende glaskunst, hvor tegning, de er, og vejleder klogt den enkelte i det europæisk land med rige traditioner for Hempel Glasmuseum with changing full of poetry and drama. There is another interesting aspect traditions in glass production to show til en række udstillinger i Hempel grafik og fotografi inkorporeres individuelle forløb. glasfremstilling til at vise, hvordan man presentations of contemporary glass art of the exhibition Images Captured in how one can manage one’s culture. Glasmuseum med vekslende i grænseoverskridende poetiske og forvalter sin kulturarv. from many parts of the world, and, of The exhibition: Images Captured in Glass Glass — Glass Art from Slovakia. It has præsentationer af samtidig glaskunst dramatiske værker. Endnu et interessant aspekt knytter course, especially works by Danish glass — Glass Art from Slovakia presents to do with the importance of tradition Thank you to our exhibiting artists for fra mange dele af verden og naturligvis sig til udstillingen Glasbilleder — unik Tak til de udstillende kunstnere for artists who have long been established on an impressive and varied collection of for the continuous development of the many inspiring and powerful works ikke mindst arbejder af danske På udstillingen Glasbilleder — unik nutidig glaskunst fra Slovakiet. Det har de mange inspirerende og stærke the international glass art scene. unique pieces created for this show by the handicraft and the technique related that the museum visitors can now glaskunstnere, som forlængst har slået nutidig glaskunst fra Slovakiet at gøre med traditionens betydning for værker, som nu kan opleves af museets Palo Macho and five former and current to a material, in this case, painting on experience in the months to come, and deres navne fast på den internationale præsenteres en imponerende og en fortsat udvikling af et materiales gæster i de næste måneder, og en stor Now in 2019, thanks to an exciting students from different departments of glass. One often opposes tradition and many thanks to curator Pavla Rossini glasscene. varieret samling af unikke værker håndværk og teknik, i dette tilfælde tak til kuratoren Pavla Rossini og til collaboration, the museum has been the Academy of Fine Arts and Design, renewal, but one misses the fact that and artist Palo Macho. skabt til denne udstilling af Palo maling på glas. Ofte modstiller man Palo Macho. given the opportunity to present attracted by the rich (and challenging) in the very relation to tradition resides, I 2019 har museet fået mulighed for Macho og fem tidligere og nuværende tradition og fornyelse, men overser, an exhibition of new experimental glass opportunities to combine their previous at the same time, the inspiration to i et spændende samarbejde at vise en studerende fra forskellige afdelinger at netop i forholdet til traditionen Bodil Busk Laursen art from Slovakia. This chance has activity with the medium of glass — thanks be rebellious, to explore new avenues Bodil Busk Laursen udstilling af ny eksperimenterende på Kunstakademiet tiltrukket af de rige ligger også inspirationen til oprør, til Februar 2019 arisen thanks to a appeal from the glass to their teacher and master, Palo Macho. and to create one’s own expressions. February 2019

2 3 3-dimensionelle en udfordring. De lærte det at kende Traditionerne kreative intentioner i glasmalerier, med anden brugskunst på større, Glasmaleriet og at anvende håndværkets faglighed De udstillede værker af unge kunstnere via fotos, 3-D visualiseringer og i glasmaleri ganske som de kunne i andre internationale udstillinger, herunder gik ikke tabt for at afdække glasset som et poetisk, vidner om deres succes med at billeder i glas besøg på stedet. Hver enkelt kunstner kunstgrene. Blandt alle kandidaterne verdensudstillinger. For det emotionelt ekspressivt medium for udvikle glassets materielle karakter greb opgaven an på sin egen måde udgået fra Kaplickýs atelier er kommunistiske Tjekkoslovakiet var moderne, kunstneriske udtryk. til nye ideer og en subtil sans for med sin egen kunstneriske vinkel og Grundlaget for de fleste værker på de allermest nævneværdige Stanislav det en prestigesag ikke blot at beholde I 1980’erne blev Palo Macho elev hos Det er ikke hans stil slavisk at skitsere begreber, hvad enten de studerer Pavla Rossini verdenssyn. udstillingen er en flad glasplade, Libenský 1 og Vladimír Kopecký. 2 positionen som stormagt inden disse to erfarne lærere og med stor design og male dem på hvid baggrund, maleri (Paulína Chrenková, Žofia som danner bund for malerier, for glas, men også at videreudvikle interesse tilegnede han sig efterhånden der brændes på, eller på opake glas, Dubová), fotografi og nye media (Ján En gruppe slovakiske kunstnere har fået J. C. Hempel (1894 — 1986), tegninger eller fotografiske 1 Stanislav Libenský (1921 — 2002) og hans hustru, de kunstneriske og teknologiske deres dybe og vidtfavnende viden om som ofte er blevet anvendt gennem Mýtny) eller glasfremstilling. Patrícia en enestående chance til at præsentere museets stifter, lod bygningen overføringsbilleder, som brændes Jaroslava Brychtová (f. 1924) blev pionerer inden for aspekter samt modernisere maleri på glas. Mens han stadig læste historien. Han ser transparens som et Šichmanová afrundede sin studier formstøbt skulptur. Også tegningerne af Libenskýs deres værker for et dansk publikum opføre i 1960’erne. Den ligger på en med varm-glas teknikker såsom og hustruens skulpturer er bemærkelsesværdige. produktions-udstyret. på Akademiet for kunst og design fundamentalt træk og unikke egenskab på Kunst- og Design Akademiet på Hempel Glasmuseum. Nogle af bakke med udsigt over Isefjorden. slumping og fusing. Resultaterne kan Fra hans atelier udgik mange fremragende kunstnere, i Bratislava, begyndte han at trække ved materialet. med et studieophold i Skandinavien. kunstnerne er nyuddannede, og en Udformningen kan minde om både minde om vægmalerier eller måske som også ind i mellem udførte maleri på både Dog blev de nye ideer om maleri på denne viden og lave kunstneriske Dávid Kurinec, studerende på Glas brugsglas og glasplader, som afgjort må betegnes enkelt er stadig under uddannelse. sejlende skibe og kirkearkitektur. rumlige kompositioner, et fritstående som kunst. på glas ikke accepteret i synderlig eksperimenter med den. Da han blev 4 Slovakiet blev en selvstændig stat i 1993 efter atelieret, er interesseret i virtual reality Deres fælles interesse er at inkorporere Den centrale udstillingssal har kunstværk eller en multimedia grad, og de industrielle glasværker færdiguddannet, fortsatte han med at Tjekkoslovakiets opløsning. I Tjekkoslovakiet var teknologi. tjekkerne dominerende inden for glas, selvom mange forskellige male-, tegne- og næsten femten meter til loftet installation i en metalkonstruktion. 2 Vladimír Kopecký (f. 1931) såvel som Jiřina nægtede at producere glas dekoreret eksperimentere både i sit eget arbejde Žertová kom senere til at bruge malerteknik på glasværker trivedes i Slovakiet med produktion 3 fototeknikker på glas. De lærte om og åbner sig ud mod landskabet I flere af disse arbejder er tre-dimensionelle objekter. Det var også ham, med moderne maleri. Den klart og i sin undervisning. Det lykkedes ham af brugsglas og dekorativt glas, herunder malet mulighederne under vejledning af til den ene side gennem store glaskomponenterne forbundet med, der fandt på udtrykket ”grimt glas”. På det seneste umoderne dekoration på varer i den at undgå bevidstløse repetitioner, som glas. Men Slovakiet var noget uheldigt stillet, Billeder fordi uddannelsen i glas var langt ringere på docent Palo Macho på Kunst- og Design vinduespartier, mens den modsatte, eller ligefrem elementer i, tegninger har han fokuseret på geometriske, digitale grafiske stadig populære biedermeier stil eller kan opstå gennem århundrederne, når tryk, men han skaber også stadigvæk originale alle niveauer. Atelieret for glas i arkitekturen på i glas Akademiet i Bratislava. med et markant rosettevindue, er på papir eller malerier på lærred og malerier på glas. Andre værker, som skiller sig ud den udbredte art-deco stil irriterede bestemte arbejdsformer og -metoder Akademiet for kunst og design i Bratislava blev mere lukket. To trapper, én i hver demonstrerer samtidig slægtskabet på enestående vis, kommer fra Dana Zámečníková mange af de kunstnere, der var ansat bliver videregivet fra generation til grundlagt i 1965 og var indtil 1979 under ledelse af den visionære kunstner Václav Cigler (f. 1929), side af salen, fører op til gallerierne, mellem disse medier og glassets (f. 1944, uddannet arkitekt og scenograf), som digialt som designere i glasværkerne, særligt generation. Skønt vedligeholdelse Palo Macho og Jana Hojstričová overfører fotografier på lodrette glasplader, som hvis egne værker fokuserede på slebne skulpturer Site specific som huser dele af Hempels samling særlige natur. Materialets transparens derefter bemales. dem i Nordböhmen, hvor der var af traditioner er nøglen til at holde af optisk glas. Sideløbende har han beskæftiget sig kalder deres fælles værk The Sense af historiske glas og understreger udnyttes til at udtrykke deres kreative lange traditioner for forskellige håndværk i live, kan det også føre til med tegning af høj kunstnerisk kvalitet. En anden in the End. 5 Installationen har en projekter ”tegnende” glaskunstner er Štěpán Pala (*1944). salens symmetri. Men dette er så budskab og gennemtrænger værkerne glasmalingsteknikker. Denne situation uoriginalt arbejde. Allerede i 1970erne har han projiceret sine originale rationelt konstrueret komposition afgjort ikke et enkelt, rektangulært, med en fornemmelse af dybde. Med tiden blev de begge professorer, var medvirkende til at mange af disse konstruktivistiske tilgange til glas på papir. Indtil af glaselementer, metalrammer og Palo Machos monumentale åbent rum med glatte, hvidkalkede ledere af akademiets glasatelier og kunstnere begyndte at udvikle maleri I dag er Macho en af de vigtigste i dag arbejder han med storformat tegninger. fotografiske overføringsbilleder af kunstværker spiller en central rolle vægge; museet kan ikke byde på det Brugen af maleri, tegning eller verdenskendte skikkelser i glaskunsten. på glas i deres egne værksteder eller slovakiske glaskunstnere med sin skygger, som bruges til at skabe et i udstillingen. Macho er kendt og ”neutrale interieur”, der ofte anses fotografiske teknikker på glas for at I efterkrigsårene skabte Libenský brugte deres viden som lærere på brug at maleri, tegning og fotografisk miljø, hvori tilskueren svinger mellem anerkendt internationalt, også som ideelt til udstillinger, snarere det skabe tredimensionelle værker er en figurative malerier med transparente de videregående glaserhvervsskoler teknik på overflader af glas; takket Også med disse ideer påvirker Palo et fiktivt rum og et virkeligt. i Danmark, hvor han har udstillet modsatte. Denne omstændighed har forholdsvis ny disciplin i det årtusinder emaljer og streg-ætsninger på blæst i regionen. Her skal vi nævne Karel være ham er både det grundlæggende Macho sine studerende. I et forløb i de senere år. Takket være Hempel ansporet de slovakiske kunstnere til gamle glashåndværk. I efterkrigstidens glas; senere malede han abstrakte Rybáček og Bohumil Čabla. håndværk og de professionelle over fire semestre hjælper han dem 5 Titlen på dette værk er en parafrase over en linie Glasmuseums generøsitet kunne at udforske de givne præmisser, også Tjekkoslovakiet kom den til motiver med luster-teknikker. kunstneriske principper inden for til at finde de rette teknikker og af Paul Verlaines digt, som beskriver Edgar Degas’ malerteknik: ”intet relaterer til noget som helst andet han, sammen med fotografen Jana i sammenhæng med de ydre omgivelser, verden i professor Josef Kaplickýs I 1950’erne fremstillede Kopecký tjekkisk glasmaleri blevet udbredt til kombinere dem med andre medier for før til allersidst.” 4 Hojstričová, frembringe The Sense herunder det naturlige lysindfald. (1899 — 1952) atelier på Akademiet en serie mesterligt udførte vaser 3 Udvandede dekorative varer med rød og gul Slovakiet. Palo Macho spiller en stor at virkeliggøre deres planer. Macho er in the End, en flerdelt installation, Nogle af kunstnerne har valgt en for kunst, arkitektur og design i Prag. med anvendelse af en udtryksfuld, Egermanns lasur, som blev udviklet i sin tid rolle i uddannelsen af unge kunstnere så engageret som lærer, at han lader skabt specielt til museets centrale interaktiv tilgang, som lader gæsterne Takket være Kaplickýs teorier og tachistisk malerteknik. Med støtte i Nordböhmen, samt graveret og forgyldt, farvet glas indenfor glasmaling, for han leder nogle af de studerende, selv efter deres Fotografier udgør en væsentlig del af med påmalede blomstermotiver i relief, kendt som udstillingssal. For Macho og de andre (gen)overveje deres eget forhold til undervisning fik de studerende nu fra staten blev prøvekollektioner høj-emalje glas, blev afsat til det bundløse marked dem til at respektere glasset som et afgang, bruge hans atelier og vejleder Ján Mýtnys konceptuelle værk, hvor udstillende kunstnere blev dette rum rummet og deres egen plads i det. mulighed for frit at udtrykke deres af malet glas udstillet sammen i Sovjetunionen og andre lande uden for Europa. ældgammelt, uforudsigeligt materiale, dem om deres igangværende projekter. han inkorporerer sin fotografiske

4 5 dokumentation af en rejse rundt om af en glasplade. Det originale Macho is well-known internationally, et bjerg, dvs. om et sted i naturen, til motiv fremkommer først, når man including in Denmark, where he has et rum ”opfundet i glas”. Udskårne ser det gennem et medfølgende exhibited in recent years. Thanks glasplader med overførte fotografier forstørrelsesglas. I et nyt projekt bliver to the generosity of the Hempel er samlet med overlappende ender gæsterne forsynet med en VR-maske Glasmuseum he, alongside og sammensmeltet for at skabe en ny og får lejlighed til at udforske forholdet photographer Jana Hojstričová, has horisont og fornemmelse af dybde. mellem udstillingssalens virkelige been able to bring to life The Sense rum og VR. in the End, a large installation Også Žofia Dubová og Patrícia composed of multiple parts created Šichmanová stræber efter at gengive Lad os håbe, at Hempel Glasmuseum Spatial Images especially for the museum’s central den metafysiske oplevelse af har skabt rammerne for at fostre Vase Heart exhibition hall. For Macho and the other landskaber og flygtige fænomener et miljø, hvori hver enkelt kunstner Stanislav Libenský exhibiting artists, this space, which they malet med glas luster in Glass derfra. Mens Dubová fastholder sine præsenterer sit eget, unikke painted with glass lustre came to know through photographs, indtryk med sarte, transparente farver, verdenssyn, og hvis værker inddrager h 24,5 cm 3-D visualizations, and personal skaber Šichmanová sine skulpturelle de besøgende i dette univers. Måske 1959 Pavla Rossini visits, offered a challenge. Each artist værker i pâte de verre teknik. Når vil denne udstilling også bekræfte approached the task at hand in his or hun smelter fritte, indsætter hun en de endeløse muligheder i glas som A group of Slovak artists has received her own way, applying his or her own ”forhindring”, som den flydende farve medium for moderne, kunstneriske a unique opportunity to present artistic touch and view of the world. må løbe udenom; med denne teknik udtryk. Måtte den også blive et sted, their work to the Danish public at udtrykker Šichmanová sin fascination hvor gæster kan stoppe op og mærke Interspace the Hempel Glasmuseum. Some of J. C. Hempel (1894 — 1986), founder af vand som naturelement. den kreative energi i glas. Jiřina Žertová these artists are recent graduates; of the museum, had the building malet planglas painted flat sheet glass one is even still a student. They share constructed in the 1960s. It stands Paulína Chrenkovás malerier, både 55 × 62 × 75 cm a common interest in incorporating on a rounded hill, revealing a view of på lærred og glas, skiller sig ud på 1996 various painting, drawing, and the nearby Isefjorden. Its shape may grund af hendes unikke, kunstneriske photographic techniques on glass call to mind the symbolism not only håndskrift. De er mere end bare surfaces into their work. They learned of seafaring vessels but also of sacred komiske eller naive illustrationer af about the possibilities of exploring architecture. The central exhibition folkelige ordsprog og mundheld; de er Vase them under the guidance of Assistant space, nearly fifteen metres in height, metaforiske skildringer, hvori fugle Vladimír Kopecký Professor Palo Macho at the Academy on one side opens up through large malet med sort farve og glas luster spiller en central rolle. I en af serierne painted with black enamel and glass lustre of Fine Arts and Design in Bratislava. sectional windows to the exterior; er fugle symboler på tilgivelse. I en h 30 cm the opposite side is more closed in. anden kundgør kukkeren i kukuret 1961 Here, a distinctive glass rose window tidens ubønhørlige gang. Site-specific is located above the main door. Two projects staircases, one on each side of the main Dávid Kurinec maler på LCD-skærme. space, lead to the galleries that house Han refererer til traditionelt, religiøst part of Hempel’s historical glass glasmaleri, hvor billeder af jomfru Palo Macho’s monumental artworks collection and punctuate the exhibition Maria oftest blev kopieret på bagsiden are the centrepieces of the exhibit. hall’s symmetry. But this is decidedly

6 7 no simple, rectangular open space with the artists’ creative messages and to studio, and became world-renown artists began developing painting on key to keeping crafts alive, it can Pala (b. 1944) is another “drawing” glass artist. in the End. 5 The installation is Paulina Chrenková’s paintings, both on smoothly plastered walls; the museum imbue the works with a sense of depth. figures in art glass. But in the post-war glass in their own studios or applied also lead to unoriginal work. As early as in the 1970s he projected onto paper his a rationally constructed composition canvas and on glass, are distinguished original constructivist approaches to glass. To this day does not feature a “neutral interior” Applying painting, drawing, or years Libenský created figure paintings their knowledge of the discipline as he works with large-sized drawings. of glass elements, metal frames, by her unique artistic handwriting. of the kind often considered ideal for photographic techniques to glass to using transparent enamels and line teachers at secondary professional Today, Macho is one of the most and photographic decals depicting They are more than just comical or even exhibition purposes. These facts have create three-dimensional art objects etching on blown glass; he would later glassmaking schools in the region. important Slovak glass artists using He also instils these ideas in his shadows and creating an environment naive illustrations of folk sayings; they stimulated the exhibiting Slovak artists is a relatively new discipline in the paint abstract motifs using lustre Here, let us mention Karel Rybáček painting, drawing, and photographic students. Over the course of four in which the observer oscillates are metaphorical depictions in which to discover the dimensions of this millennia-old craft of glassmaking. techniques. During the 1950s Kopecký and Bohumil Čabla. techniques on glass surfaces; thanks to semesters, he helps them seek out between a fictitious space and birds are central. In one series, birds exhibition hall and the wider context In post-war Czechoslovakia this produced a series of vases masterfully his efforts, both the fundamentals of the right glass-working techniques a real one. Photographs comprise are a symbol of forgiveness. In another of its exterior: the source of variable approach was born in the studio of executed using an expressive, tachist 3 Watered-down decorative items produced using red the craft and the professional artistic and combine them with other media to a no less important part of Ján series, the cuckoo of a cuckoo clock natural lighting conditions. Some of Professor Josef Kaplický (1899—1952) painting technique. and yellow Egermann’s glazing colours, which were principles of Czech glass painting have realize his students’ plans. Macho is Mýtny’s conceptual artwork. inexorably announces the passing developed in the past in north Bohemia, and engraving, 4 the artists have taken an interactive at the Academy of Arts, Architecture and gilded coloured glass with painted-on relief floral spread to Slovakia. Palo Macho plays such a highly committed teacher that he He transfers his photographic of time. approach to this space, allowing visitors and Design in Prague. Thanks to Painted glass collections were exhibited décor, known as high-enamel glass, were devoured a large part in forming young artists allows some of his students, even after documentation of a journey around to reconsider their relation to this space Kaplický’s theories, students were together with other applied art by the endless market of the Soviet Union and other within glass painting, leading them to they graduate, to produce their works a mountain, that is, around a natural Dávid Kurinec paints on LCD screens, countries outside of Europe. and their place in it. granted the right to freely express their pieces at major international shows, an approach that respects the ancient in his studio and provides advice to space, into a space “invented referencing traditional religious glass creative intentions in glass paintings, including World Expos, with support yet unpredictable material of glass and them about their ongoing projects. in glass.” He has cut a sheet of glass paintings, where pictures of the Virgin just as they could in other art forms. Of from the state. For Communist develops their skills to work with it as with transferred photographs and Mary were most often copied by tracing The traditions all the graduates of Kaplický’s studio, Czechoslovakia it was a matter of Glass painting a poetic, emotionally salient medium The exhibited works by young artists are overlapped the ends, joining them and them on the reverse of a sheet of of painting on glass most worthy of mention are Stanislav prestige not only to maintain its position is not lost of contemporary artistic expression. testimony to their success in carefully fusing them to create a new horizon and glass. The original motif appears only Libenský 1 and Vladimír Kopecký. 2 as a glassmaking power, but also to Slavishly sketching designs to be wedding the material nature of glass a sense of depth. when you view it through an attached further develop glassmaking’s artistic painted on a white background that with new ideas and a subtle sense magnifying glass. In a new project he The base of most of the exhibited 1 Stanislav Libenský (1921—2002) and Jaroslava and technological aspects and to In the 1980s Palo Macho became has been fired onto glass or on opaque of perception, whether they studied 5 The title of this work is a paraphrase of a line of poetry offers visitors, who are provided with works is a flat sheet of glass that Brychtová (b. 1924), his wife, became pioneers modernize production equipment. a student of these two experienced glass, a technique often used in history, painting (Paulína Chrenková, Žofia by Paul Verlaine describing Edgard Degas’s painting virtual-reality masks, the opportunity in mould-melted sculpture. Libenský’s drawings of technique: “...nothing is related to anything else, until has become a vehicle for paintings, his and his wife’s sculptures are remarkable too. His teachers and with great interest is not his style. He sees transparency as Dubová), photography and new media the very end.” to explore the relationship between drawings, or photographic decals, studio produced many exceptional artists, who, mostly New notions about painting on glass, gradually acquired their profound, a fundamental characteristic of glass, (Ján Mýtny), or glassmaking. Patrícia the real space of the exhibition hall which are fired on using warm-glass irregularly, also executed paintings on both glass however, were not widely accepted, wide-ranging knowledge about its unique feature. Šichmanová rounded out her studies and virtual reality. vessels and plate glass that can certainly be classified techniques, such as slumping and as fine art. and industrial glassmaking facilities painting on glass. While still enrolled at the Academy of Fine Arts and Metaphysically experiencing fusing. The resulting pieces may refused to produce modernly at the Academy of Fine Arts and Design by spending time studying the landscape and fleeting phenomena Let us hope that the space of resemble a wall painting or perhaps 2 Vladimír Kopecký (b. 1931), just like Jiřina conceived painted decorative glass Design in Bratislava he began to draw 4 Slovakia became an independent country in 1993 in Scandinavia. Dávid Kurinec, a student are motifs in Žofia Dubová’s and the Hempel Glasmuseum has Žertová, would later apply painting techniques to a spatial composition, a free-standing items. 3 The decidedly unmodern from this knowledge and experiment after the dissolution of Czechoslovakia. Within of the Studio of Glass, is interested Patricia Šichmanová’s works as well. created a framework in which each three-dimensional objects; he also coined the phrase Czechoslovakia, the Czechs dominated glassmaking, art object, or a multimedia installation “ugly glass”. Most recently, Kopecký’s work has ornamentation of pieces produced artistically with it. After he graduated, although there were many prosperous glassworks in the technology of virtual reality. Dubová captures her impressions using artist presents her or his unique supported by a metal construction. focused on geometric digital graphic art prints, but he in the still popular Biedermeier style he continued to experiment, even in Slovakia that produced domestic glassware and delicately hued transparent paint, while view of the world and draws visitors also still creates original paintings on glass vessels. In many of these works the glass or in the widespread Art-Deco style more so than as a student, in his decorative glass, including painted glass. Slovakia Šichmanová’s sculptural objects are into this universe. Perhaps this Uniquely distinct is the work of Dana Zámečníková did have a certain disadvantage because glassmaking components are connected to, or are (b. 1944), a trained architect and scenographer, who irritated many artists employed as own artwork and in his teaching. education was much less developed at all levels there. Pictures made using the pâte de verre technique. exhibition will also confirm the endless even parts of, paper drawings or canvas digitally transfers photographs onto vertical sheets of designers at glass factories, particularly He managed to avoid the possible The Studio of Glass in Architecture at the Academy of When the artist melts frit, she inserts possibilities of glass as a medium for glass that are completed with paintings. in glass paintings that demonstrate at the same those in north Bohemia, where various hidden traps, the automatic ways Fine Arts and Design in Bratislava was founded in 1965 an “obstacle” that the coloured modern artistic expression. May it and headed until 1979 by visionary Czech artist Václav time the kinships between these media glass-painting techniques had long and means, that had been passed Cigler (b. 1929), whose own work focused on cut-glass liquid must flow around; in using this also become a place where guests can and the specific nature of glass. Its They both eventually became traditions. This situation contributed on from generation to generation. sculpture made from optical glass. Concurrently, he Palo Macho and Jana Hojstričová technique she expresses her fascination stop and contemplate the creative transparency is explored to express professors, headed the academy’s glass to the fact that many of these factory Although maintaining traditions is produced drawings of notable artistic quality. Štěpán named their joint work The Sense with the natural element of water. power of glass.

8 9 Maling på glas som hinanden. Det er nødvendigt at føje Det har taget så lang tid for Painting on Glass process is necessary and has its own 1 “The Large Glass” was created by Marcel Duchamp sig efter den teknologiske proces, og glaskunsten at nå dertil. logic. It needs to be prepared; you in 1915—1923. In an interview he explains that he chose to work in glass because of its transparency. selvstændigt fag den rummer sin egen logik. Det kræver as a Separate have to make sketches and try them on When you make a glass painting you don’t need to forberedelse, man må lave skitser og 1 ”Le Grande Verre” skabte Marcel Duchamp the material. worry about the background, so often problematic afprøve dem på materialet. i 1915 — 1923. I et interview forklarer han, at han in traditional painting. On the same occasion, valgte at arbejde med glas pga. dets transparens. Subject of Study the artist observes that he doesn’t regret his Palo Macho Når man laver et glasbillede, behøver man ikke Technological freedom to a great extent work having been damaged during transportation Teknologisk frihed er i vidt omfang tænke på, hvordan baggrunden, ofte problematisk determines the level of freedom you — the cracks became part of the expression. / Når jeg tænker på mine studerendes bestemmende for graden af frihed ved traditionelt maleri, bliver. Ved samme lejlighed Palo Macho have in your creation. However, it is Pavla Rossini/ udtaler kunstneren, at han ikke er blevet ked af, at potentiale frem for resultatet af deres i skabelsen af et værk. Men det er glasværket blev beskadiget under transporten — imperative to be independent when maleri, så finder jeg, år efter år, at min uomgængeligt at være uafhængig, dets krakelering blev en del af udtrykket. /P. R./ When I think of my students’ potential experimenting with classical painting When dealing with glass, we above all beundring gælder dem, der griber en når der eksperimenteres med klassisk rather than of the result of their techniques as the creative approach value the craftsmanship and technique. pensel og begynder at skildre noget maleteknik, eftersom kreativiteten painting is when, year after year, I get to artistic glass evolved alongside new We can recognise the artistry of ground på glas. ”Horror vacui” er ikke kun i glaskunst er opstået sideløbende Når det drejer sig om glas, sætter vi my admiration for those who take technological methods. You need to or polished optical glass. The same skrækken for det øde, det tomme, men med nye teknologiske metoder. For at frem for alt pris på håndværk og teknik. a brush in their hand and begin to record try, to master, to negate deliberately applies to melted, blown or engraved også for det transparente. Man må mestre det må man forsøge at betvivle, Vi kan påskønne effekten af sandblæst something on glass. “Horror vacui” is if necessary, to doubt the traditional glass. We can appreciate utility glass i sandhed have mod, ”dristighed” for at om nødvendigt bevidst negere, eller slebet optisk glas. Det gælder not only fear of the blank, of the empty, procedure in favour of new ideas. That design. Painting and drawing in and tilsøle en næsten jomfruelig glasplade, den traditionelle procedure til fordel også varmeformet, blæst eller graveret but of the transparent as well. Indeed, is one of the key rules I aim to transfer on glass necessarily require mastering og man må også have en rigtig god for nye ideer. Det er en hovedregel, glas. Vi kan påskønne brugsglas to soil a nearly pristine glass pane you when teaching methodology. craftsmanship and technique, too. grund. som jeg gerne vil formidle, når jeg design. Maling og tegning i og på glas need to be brave and bold, and you need The difference is that painting, drawing underviser i metode. kræver også nødvendigvis beherskelse a very good reason as well. Another fundamental principle and photography on glass have to make Når man skal lave dekoration til design af håndværk og teknik. Forskellen er, in my lessons is to learn to choose do with themselves, and I do not mean produkter, plejer man normalt at lave Endnu et grundlæggende princip at maling, tegning og fotografi på glas To previously prepare a pattern on paper the technology that best fits “their own idea” here. No glass mass forberedende skitser på papir. Men i min undervisning er at lære at vælge må klare sig med sig selv og deres egne seems to be a requisite for the décor of the intended concept. Artists should can replace their value. Thus, they maling og tegning på glas opstår den teknologi, der passer bedst til ideer. Ingen glasmasse kan erstatte design products. Painting and drawing not succumb to the sophisticated must constantly defend their position, gradvis, langsomt som en proces, målet for arbejdet. Kunstnere bør ikke deres værdi. De må altså til stadighed on glass, however, originate gradually, beauty of glass, however appealing it just as painting, drawing, graphics der ikke kan gentages. Det fordrer tid. ligge under for glassets sofistikerede forsvare deres stilling. Ganske som slowly, as unrepeatable processes. They may be. In this kind of work with glass, and photography on canvas or paper Masser af tid. Ikke kun tid til at lave skønhed, hvor besnærende den end maleri, tegning og fotografi på lærred need time. Lots of time. Not only time for repressing its beauty is the price one need to defend and confirm their place det, men også lang tid forudgående. er. I denne slags arbejde med glas eller papir må forsvare og stadig execution, but also plenty of time prior must pay. in contemporary art. Kunstneren må uafladeligt passe nøje er undertrykkelse af dets skønhed befæste deres plads i moderne kunst. to that. The artist needs to constantly på, hvad der foregår. den nødvendige pris. Professor Kaplický sagde ofte, ”glas watch out for what is going on. Speaking of craftsmanship, the spirit Professor Kaplický used to say “glass kan ikke opstå af sig selv”. Det kan of Le Grande Verre by Duchamps 1 cannot develop by itself”. Neither can Ud fra en teknologisk synsvinkel Når vi taler om håndværk, tænker maling på glas heller ikke. Men det From a technological point of view, resounds in my mind: “It’s big, painting on glass. It can, however, må man vide, hvordan farve og jeg på ånden i Le Grande Verre af kan udvikle sig på baggrund af kreativ you need to know how colour and it’s unquestionable, it’s broken”. There evolve based on creative thinking, on det transparente medie agerer, Duchamps 1 ”Det er stort, det er tænkning, hvad vi observerer omkring the transparent carrier behave, how is so little glassmaking craftsmanship what we observe around us, on what hvordan de forskellige lag kan ubetvivleligt, det er i stykker”. I dette os, eller hvad vi tror og mener. Ganske different layers can be applied, how to in this work to be praised. So we think. Just like any other form of påføres, hvordan de forskellige arbejde er der meget lidt glashåndværk som al anden moderne kunst. combine different types of paint, and irreplaceable is the essential property contemporary art. typer maling kan kombineres, og at rose sig af. Glassets essentielle how they can react with one another. of glass, its transparency. It has taken hvordan de kan interagere med egenskab, transparens, er uerstattelig. Complying with the technological so long for art glass to get there.

10 11 Palo Macho Akademiet for kunst og design (VŠVU) glas. Efter sin afgang fortsatte han beskrives som ordløs, legemliggjort i Bratislava, red skolen på en bølge eksperimenter og udforskninger poesi: han er også fuldt ud i stand (*1965) af prismeslebne krystalskulpturer, i malet glas, brændt på slumpede eller til at udtrykke sig gennem ord som og de skulpturelle tendenser var sammensmeltede plader. Dette arbejde digter, han har udgivet to bind digte og Allerede som 15-årig rejste Palo dominerende. Det var indlysende, at blev styrket af en årelang forbindelse adskillige sangtekster. Macho fra Slovakiet for at dyrke han ikke ville få vejledning i at udvikle med Skolen for Brugskunst i Lednické glasstudier i det traditionelle center for sine malerevner. Han måtte ud på en Rovne (Slovakiet), hvor han underviste Palo Macho stræber efter at åbne nye glasproduktion i Nordböhmen. Mange ensom vej med egen udforskning. i maling på glas. veje og udtryksmåder, og ikke kun for hundrede km hjemmefra meldte han sig selv, men for kolleger fra forskellige sig ind på erhvervsskolen i Nový Bor, Det var tegning, der hjalp ham til at Udarbejdelsen af glaspanelet — hans felter indenfor de bildende kunster. hvor man uddannede en arbejdsstyrke skærpe sin overlegne malerteknik. „imaginære” lærred, karton eller Han har påtaget sig at sammensmelte i industriel glasproduktion indenfor Han skabte talrige tegninger i en papir — kan indebære påføring af forskelligartede vinkler med kunstnere forskellige områder. Han gik billeddagbog, hvis motiver blev cyklisk tredimensionelle elementer, som kan som Jozef Jankovič, den moderne i gang med at blive glasmaler i et af gentaget med variationer. Endnu i dag være skåret med water-jet, eller helt slovakiske skulpturs nestor, den yngre Tjekkoslovakiets mange glasværker. definerer det hans visuelle tænkning. modsat: indskæringer eller åbninger. maler og grafiker Svatopluk Mikyta Uddannelsen satte ham i stand til at Udover skitser på papir nedfældede På dette ”lærred” maler han så på og sidst men ikke mindst fotograf, mestre en række teknikker indenfor han også de tidlige dagbøger på begge sider med pigment, luster eller docent og vicedekan ved Akademiet maleri på glas, et område som Nový glas. Han havde behov for at afprøve ædelmetal som sølv, platin eller guld, for kunst og design i Bratislava, Jana Bor tidligere havde været berømt for. de todimensionelle malerteknikker skønt de faktiske farvetoner først Hojstričová. Deres succesrige fælles Tre år senere skiftede Palo Macho med sparsomme træk og skabte en træder frem efter flere brændinger værk omfattede fotografi, overført til Kunstindustriskolen for glas i det serie monotypier og vetreografier. i ovn. Herved smelter de tre lag til glasplade og derpå videreudviklet nærliggende Kamenický Šenov, hvor sammen: undermalingen, malingen til rumlige kompositioner, hvor han kunne udvikle sit kunstneriske I kølvandet på de sociale omvæltninger indeni glas ”sandwichen” og malingen metalkonstruktionen, som bar glasset, talent i afdelingen for malet glas. efter fløjlsrevolutionen 1989 og deraf på overfladen. blev en lige så vigtig del af den store Her var fremragende undervisere følgende udskiftninger i fakultetet multimedia installation. i et inspirerende miljø, hvor glas på akademiet, blev fokus bredere Machos tidlige malerier på glas bogstaveligt talt var hele regionens og mere rummeligt i glasstudierne. udstråler en rig farvesans såvel som en Palo Macho deler sin viden og lidenskab. Her mødte Palo Macho De traditionelle opdelinger yppig formsans. Dog, i senere værker kunnen med unge, håbefulde atmosfæren i de berømte Nový Bor i kunstgenrer og -felter blev opblødt, minimerer han sit visuelle sprog, og kunstnere ved Akademiet for kunst symposier med deltagelse af førende, og der forekom installationer hans linie nærmer sig stadig mere og design i Bratislava, først som internationale glaskunstnere. med blandede medier og lignende karakter af tegn. Han understreger undervisningsassistent og nu som discipliner. Disse nye tendenser betydningen af lys, som både trænger docent i glasatelieret. Han afholder Macho ønskede at fortsætte studiet af forøgede Machos forestillinger ind i værket og udgår fra det, og specialiserede seminarer om maling fra serien Gate fra serien Gate glasmaleri på Kunstakademiet og blev hvad angik rum og rumlighed. Efter dets symbolske betydning i tid og på glas, som har deltagere fra andre Palo Macho Palo Macho vitreografi vitreografi først optaget i andet forsøg efter to seks års studier tog han afgang med rum. Kunstneren søger ikke et enkelt afdelinger — maleri, grafisk design vitreography vitreography års militærtjeneste, som dengang var et diplomarbejde: en konceptuel narrativ i sit arbejde, men indbyder og fotografi. 96 × 57 cm 94 × 55 cm obligatorisk i Tjekkoslovakiet. Da han installation bestående af tv-skærme snarere tilskueren til at drømme og 1991 1991 kom ind på afdelingen for glaskunst på med tekster, forseglet i slumpet meditere. Palo Machos værker kan Pavla Rossini

12 13 Palo Macho of Glass Art at the Academy of Fine After graduation he continued his Macho can be defined as non-verbal Arts and Design (VŠVU) in Bratislava, experimental work and exploration of materialized poetry: he is also perfectly (*1965) the school was at the peak of a wave painted glass fired in slumped or fused capable of expressing himself through of prismatic cut-glass sculpture, and sheets. His efforts were augmented by words as a poet, having published two At the tender age of fifteen, Palo Macho sculptural tendencies predominated. It a years-long association with the School volumes of poetry and various song lyrics. left Slovakia to pursue glassmaking was evident that he would not receive of Applied Arts in Lednické Rovne in North Bohemia, a traditional center tutelage to develop his painting skills (Slovakia), where he taught painting Palo Macho strives to open new means of glass production. Hundreds of miles and would have to set out on a solitary on glass. of expression not only for himself, but from home, he enrolled in the vocational path of self-driven exploration. also for colleagues from different fields glass school in Nový Bor, a facility which The preparation of the glass panel, of the visual arts. He has undertaken trained a workforce in a variety of fields It was drawing that helped him to hone his imaginary canvas (or cardboard collaborations fusing diverse approaches of industrial glass production. He set his prowess in painting techniques. and paper), may entail the application with artists such as the doyen of out to become a a glass painter at one of He produced numerous picture diary of three-dimensional relief features, modern Slovak sculpture, Jozef Jankovič; the many glassworks in Czechoslovakia; drawings, the motifs of which were cut by water-jet for example, or on the younger painter Svatopluk Mikyta; his training enabled him to master reiterated cyclically in a number of the contrary, the making of incisions or and last but not least, the photographer, a number of techniques of painting variations, something that has come apertures. Upon this “canvas” he then associate professor and vice-chancellor on glass, for which the Nový Bor area to define his visual thinking to this paints by applying pigments, lustres or of the Academy of Fine Arts and Design had been celebrated in the past. Three day. Apart from sketches on paper, he precious metals such as silver, platinum in Bratislava, Jana Hojstričová. Their years later Palo Macho transferred to also rendered his early sketchbooks or gold on both sides, although their successful joint work incorporates the Secondary School of Applied Arts for in the medium of glass; his need to test actual hues become apparent only photography, transferred onto a glass Glassmaking in nearby Kamenický Šenov, the two-dimensional painting technique after multiple periods of firing in a kiln, pane, and then developed into spatial where he was able to develop his artistic with a sparse gesture produced a series which fuses together the underpainting, compositions, where the metal talent in the department of painted glass of monotypes and vitreographs. the painting within the glass “sandwich”, construction bearing the glass piece under the supervision of several eminent and the painting on the surface. becomes an equally important component tutors, in an inspiring environment, Following the social changes after of a large-format multimedia installation. where glass was literally the passion the Velvet Revolution in 1989 and The artist’s early paintings on glass of the entire region. It was here that the resulting faculty turnover at radiate an opulent sense of colour as Palo Macho also shares his knowledge he was exposed to the atmosphere of the academy, the focus of the Studio of well as an exuberance of shape. In later with young aspiring artists at Ex Tabula Rasa the famous Nový Bor symposia, attended Glass expanded. The traditional divisions works, however, he minimizes his visual the Academy of Fine Arts and Design Palo Macho by top international glass artists. of genres and fields of art became less language, and his line increasingly attains in Bratislava — first as an assistant malet varmbehandlet glas med fotografi, fixed, and mixed-media installations the nature of a sign. He accentuates lecturer and now as associate professor poleret glasblok, metal Macho wished to continue studying and related disciplines began to the significance of light, both penetrating at the Studio of Glass. His specialized paiting and photography painting on glass at an art academy, appear. These approaches augmented inside and emanating from the object, seminars in painting on glass are on thermoformed glass, polished glass block, metal gaining admission only on his Macho’s conception in terms of space; and its symbolic meanings in time also attended by students of other 165 × 90 × 80 cm second attempt after completing his he graduated after six years of study and space. The artist does not pursue departments — painting, graphic 2019 two-year long military service, then with a diploma work — a conceptual a straightforward narrative in his work, design, and photography. mandatory in Czechoslovakia. When installation featuring television screens but instead invites the viewer to dream he was accepted to the Department with texts sealed in slumped glass. and contemplate. The work of Palo Pavla Rossini

14 15 Palo Macho

”Kombinationen af tegning, maling, “The combination of drawing, painting, fotografi og glas er i sit inderste væsen photography and glass essentially en udforskning af mulighederne for at explores the possibilities of endowing give disse former en tredje dimension. these forms with a third dimension. We Filosofisk opfatter vi cirklen som det understand the circle philosophically øverste i formel orden og harmoni og both as the pinnacle of formal order and som symbolet på verdens enhed. Idé, harmony and as the symbol of the unity farve og tegning er lige så væsentlige of the world. Idea, colour and drawing som transparensen i mediet. Glassets are as important as the transparency of transparens sætter mig i stand til at the medium. The transparency of glass lade ting være usagte, at bevare en enables me to leave things unsaid, to vis mystik i værket. At male på glas retain a certain mystery in the work. giver mig plads til at finde min tankes Painting on glass gives me the space frihed.” where I find freedom for my thinking.”

Pink Isn’t Diffused Red Great Vessels Palo Macho Palo Macho malet varmbehandlet glas malet med glas luster og painting on thermoformed glass platin på varmbehandlet glas Ø 70 cm painted with glass lustre and 2019 platinum on thermoformed glass 240 × 350 cm 2011 — 2018

16 17 …og du, ...and you, blæst, hvad wind, what med dig? about you?

II II I Jeg er en have I I’m a garden Syng Som du slentrer i III Sing where you stroll III Lær en sang af mig Og du lader lågen stå åben Og der er ingen blade learn a song from me and you leave the gate open and there are no leaves Og syng Når mine blade falder Der er intet dig IV and sing when my leaves fall there’s no you IV For jeg er her ikke evigt Lemper du dem til side Der er intet jeg Du løfter en hånd because I won’t be here forever you toe them aside there’s no I you’ll raise a hand Der er flygtige øjeblikke Så kan jeg skimte Kun luften omkring os Ingen grund til at danse there are fleeting moments then I distinguish only the surrounding air no need to dance Hvor du tror Hvad sandhed er Er stadig væsentlig Vi ser hinanden i øjnene when you think what is truth has remained important we look each other in the eye Der er én, som tilhører dig Du elsker mine træer Kun luften Og vi behøver end ikke le someone belongs to you you love my trees only the air and we needn’t even laugh Der er skrøbelige øjeblikke Min frihed Og meget Og dog, kun to skridt bag os there are fragile moments my freedom and much and yet two steps behind us Hvor du faktisk tilhører én Og jeg lader lågen stå åben til dig Mellem bladene Spiller musikken when you indeed belong to someone and I leave the gate open for you between the leaves music is playing Og du er den eneste, som ved det Til haven Mig Prægtig musik and you’re the only one who knows to the garden me glorious music Og selv nu vil du gerne Hvor du slentrer Og dig and even now you’d like to where you stroll and you Men det kan ikke være Jeg slentrer but it cannot be I stroll Man slentrer one strolls

Fra Palo Machos Selection from digtsamling: the Poetry collection: Moon in Red, Moon in Red, Bratislava 2006 Bratislava 2006

18 19 Žofia Dubová

”’Du er en rejsende’ sagde han “‘You are a traveler’, he told me once. engang til mig. Det er jeg virkelig. Indeed, I am. Both in the literal and Både bogstaveligt og i overført an abstract sense. betydning. Jeg bevæger mig langt I’m moving far away from familiar fra serien Drawings væk fra velkendte ting, mennesker, things, people, places, maybe even far Žofia Dubová blyantstegning på matteret glas, steder, måske endda langt væk fra away from myself. What am I looking transparent glasemalje mig selv. Hvad leder jeg efter? Jeg ved for? I don’t know yet. Traces in the pencil drawing on matte glass, det ikke endnu. Spor i sneen, billeder snow, pictures in the sand, forgotten transparent enamels 145 × 90 cm i sandet, forsvindende bølger, skjulte roads, disappearing waves, hidden 2014 tegn, glemte veje, ukendte dufte, signs, unknown scents, infinite sky, uendelig himmel, flydende skyer — streaming clouds — everything alt interesserer mig. Jeg vil se det, interests me. I want to see it, examine undersøge det, forstå det og huske it, understand it and remember it. And det. Og så bare fortsætte. Jeg jagter then simply continue. I hunt for new nye steder, indsamler dem, og som places, collect them and as personal private trofæer lagrer jeg dem dybt trophies, store them deep in my i hukommelsen og skaber en voksende memory, creating a growing database of database af inspiration. Dér ligger jeg inspiration. I’m hidden there, between i skjul, blandt farverne, standset i en the colors, arrested in time.” tidslomme.”

20 21 fra serien The Line Žofia Dubová maling med glas luster og emalje painting on glass by lustre and glass enamels 50 × 40 × 0.5 cm 2018

installation: The Line Žofia Dubová maling med glas luster og emalje painting on glass by lustre and glass enamels, metal modul 190 × 200 × 40 cm 2018

22 23 Paulína Chrenková

”Serierne Birds og Fluid Happiness “The series Birds and Fluid præsenterer sarte fortællinger Happiness present delicate indfattet i glas om befrielse og narratives set in glass, of liberation tilgivelse, om perspektiv og blikket, om and forgiveness, of perspective optur og nedtur, om timer og sekunder, and the gaze, of ups and downs, of om dyr og mennesker. Det metaforiske hours and seconds, of beasts and plan i mine malerier har baggrund men. The metaphorical plane of my i mundheldet om, at en ubehagelig paintings is based on an adage in which hændelse med en fugl skal forestille an unpleasant occurrence connected et varsel om held og lykke. with birds is supposed to be a harbinger of happiness. I den anden serie malerier af kukure har fuglene den symbolske rolle som The symbolic role of the birds depicted dem, der udråber og definerer tid. in the second series of paintings of Den idylliske afbildning af farverige cuckoo clocks is announcing and fugle brydes i processens sidste defining time through the “birds’” fase ved at behandle billedets blanke voices. The idyllic rendering of brightly overflade, så den fremtræder mat, coloured birds is deliberately broken ridset, hakket. Herved understreges in the final phase of the process det hårde og skarpe i udsagnet.” by treating the glossy surface of the painting so as to make it look matted, scratched, chipped off. This treatment accentuates the abrasiveness of the message.” fra serien Liquid Happiness Paulína Chrenková maling med glas luster, emalje og platin painting on glass by lustre, glass enamels and platinum hvert billede each piece 50 × 40 cm 2019

24 25 fra serien Liquid Happiness Paulína Chrenková maling med glas luster, emalje og platin painting on glass by lustre, glass enamels and platinum hvert billede each piece 50 × 40 cm 2019

26 27 Dávid Kurinec

”Malerierne på LCD-skærme, “The paintings on LCD screens from fra serien This is a painting. Not the series This Is a Painting. Not an Installation udspringer og følger an Installation are derived from and i sporet af traditionel folkekunst inden further develop traditional folk painting for maling på glas, hvor billeder blev on glass, where pictures were copied by kopieret på bagsiden af en glasplade, tracing them on the underside of a glass og sådan kombineres en traditionel plate, thus combining a traditional teknik med nutidig digital teknologi. technique with contemporary digital Det centrale motiv er jomfru Maria, technology. The central motif is of som bliver synlig gennem et vedlagt the Virgin, which becomes visible forstørrelsesglas. Motivet til højre er when looking through the attached en omvendt synder, som er tilsløret magnifying glass. The motif on the right for at genvinde sin dyd. Motivet of the Virgin is a reformed sinner, til venstre viser tegneseriefiguren veiled in order to regain her chastity. Honningbien Maya, som har tildækket The motif on the left represents en ISIS-kæmper og derved reddet the cartoon character Maya the Honey en fange fra henrettelse. Maria Bee, who has successfully covered an skærmer begge. ISIS fighter, thus rescuing a prisoner from execution. Mary protects both I mit projekt Virtual Windows bruger actions. jeg VR-teknologi og arbejder med et (virtuelt) arkitektonisk rum og In my project Virtual Windows I use (virtuelt) glas. Det, jeg prøver at VR technology working with a (virtual) opnå, er et skift i forholdet mellem architectural space and (virtual) glass. den opfattede (virtuelle) virkelighed og What I am trying to do is achieve (virkeligt) rum. Samtidig forsøger jeg a shift in the relationship between at finde ud af, om en simulation af glas perceived (virtual) reality and (real) stadig kan defineres af ordet ‘glas’.” space. At the same time, I am trying to StainedVR.apk find whether a simulation of glass can Dávid Kurinec GoogleVR still be defined by the word ‘glass’.” Google Cardboard forskellige mål various dimensions 2019

28 29 StainedVR.apk Dávid Kurinec GoogleVR Google Cardboard Self-portrait forskellige mål Dávid Kurinec various dimensions 2019 2019

30 31 Ján Mýtny jr.

”Mit arbejde er en stræben efter “My work is striving for a dialogue dialog med naturen. Derfor vælger with nature. I therefore opt for such jeg strategier, hvor det er essentielt at strategies where grounding the work fundere værket i naturen. Jeg går rundt in nature is essential. I walk around om et bjerg og fotograferer det for a mountain and photograph it every few hver få meter. Billederne er ikke bare yards. The photographs are not simply optegnelser om bjerget, men først og a record of the mountain, but above all fremmest optegnelser om den fysiske they are a record of the physical act, of handling, om rejsen. Jeg konfronterer the journey. I confront the very medium selve fotomediet med naturen. of photography with nature.

Min tilgang til glas har samme vægt It is with equal emphasis as in my som min skildring af naturen og rendering of nature and the significance mediets betydning. Glas gør indtryk på of the medium, that I approach glass. mig med sine skarpskårne kanter, sin Glass impresses me with the strictness hårdhed, sin stædige, trodsige fladhed; of its edges, its hardness, its obstinate, ved første blik er det meget langt fra unyielding flatness; it is something naturen. Bjerget er en naturlig milepæl, far from nature at first glance. et orienteringspunkt. Et glasobjekt The mountain is a natural landmark, materialiserer dette orienteringspunkt. a point of reference. A glass object Et objekt, som repræsenterer et materializes this point of reference. bjerg, skaber et fiktivt landskab, An object representing a mountain som man kan gå igennem. Det, jeg creates a fictitious landscape søger, er en fintfølende skildring af through which one may pass. What et sted i naturen transformeret til I am after is a delicate rendering of rum ”konceptualiseret i glas”. Bjerget the transformation of a natural place transformeres til et punkt og en linje, into space “conceptualized in glass.” Horizon — Mountains/ Line til orientering i tankens rum.” The mountain transforms into a point Ján Mýtny jr. fotografi på varmbehandlet glas and a line, into orientation in a space photography on thermoformed glass of thought.” 23 × 35 cm 2018

32 33 Fixed point — Mountains Nature Stone Cutting — plane as a part of the thinking Ján Mýtny jr. Ján Mýtny jr. fotografi på varmbehandlet glas fotografi indkapslet i varmbehandlet glas photography on thermoformed glass photography in melted glass 39 × 22 cm 39 × 24 × 10 cm 39 × 20 cm 2018 2018

34 35 Patrícia fra serien Waves Patrícia Šichmanová pâte de verre, glasemalje Šichmanová glass enamels 50 × 50 × 20 cm 2018 ”Alt bevæger sig, alt er i flux. Jeg “Everything moves. Everything is er fascineret af at standse denne in flux. I am fascinated by arresting proces. Spændt på næste øjeblik, this process. The thrill of the next bliver jeg tvunget til at fokusere på moment forces me to focus on nuet. At sætte farten ned. Naturen er the present. To slow down. Nature is et element, som altid inspirerer mig. an element that is ever inspiring to Storm, lyn, regn, bølge… Jeg standser me. Storm, lightning, rain, wave... øjeblikke af tid og fokuserer på dem. I am stopping moments of time and Det er næsten det samme med glas, focusing on them. Glass is similar, in its med sin transparens, formbarhed og transparency, malleability and optical optiske egenskaber — og samtidig er properties — and at the same time it is det væsentligt anderledes i sin endelige significantly different, in its final form, form, i sin bearbejdning. Farvernes in its treatment. Fluidity of color is fluiditet er et eksperiment for mig. Jeg an experiment for me. I control it while kontrollerer det, mens jeg lader det letting it lead me. Storm, lightning, rain føre mig. Storm, lyn, regn og bølge har and wave are always on my mind.” jeg altid i hovedet.”

36 37 fra serien Waves Patrícia Šichmanová pâte de verre, glasemalje glass enamels 50 × 50 × 20 cm 2018

38 39 lystryk. Først laves en let fotosensitiv børstes af fotoet. Når det er tørt, skal Glasemalje bindemiddel mat resultat. Emaljer kan nuanceres på den skårne overflade kan ændres a photographic plate or paper, under stage at the maximum temperature. Glass-enamel binding agent Liste over opløsning, som påføres en det brændes ved 760 — 8000 C. Nu Denne substans forbinder ved at tilføje en smule opak emalje. alt efter strålens hastighed. A Glossary normal indoor lighting conditions. The enamel acquires a sheen and This substance binds together modtagelig overflade, såsom kan fotoet fjernes eller males i negativ. emaljepulver og et opløsningsmiddel After the solution has dried, the surface adheres to the glass surface; powdered enamel and a solvent and fotografisk glasplade eller papir, og giver en glat, blød blanding, som Opak emalje Slumping is then exposed to a source of UV light, 4) Slow-cooling. The duration of creates a smooth mixture that can be glasmaleriets under normale indendørs lysforhold. Fritte let kan påføres glas. Når den er tør, En glasemalje som indeholder en At lade en glasplade folde sig ned i en of Art Glass generally the sun. An image is placed this stage is based on the thickness, easily applied to glass. Once dried it Når opløsningen er tør, eksponeres Det har samme komposition som klæber den til glasset og bliver så mindre mængde flus og en større form under opvarmning i en ovn. on the dried surface and exposed for surface area, and type of glass being sticks to the glass surface and is then den for UV-lys, normalt solen. transparent emalje. Den eneste brændt. Bindemidler indbefatter mængde opakisør. Den brændes as long as necessary. Once the desired fired. This stage is crucial for avoiding fired. Binders include dammar varnish, fagtermer Et billede anbringes på den tørre forskel er, at pulveret, det er lavet dammar fernis, nødvendige olier på ved 560 °C. Stregtegning Painting Terms depth of colour has been achieved, internal stresses in glass. The kiln is essential oils, and sugar. overflade og eksponeres så længe, af, består af grovere knust glas. og sukker. Med en lille metalpen lægges it can be removed from the light. To gradually cooled to 400 °C; 5) Cooling det er nødvendigt. Når den ønskede Det brændes lige som transparent Overføringsbilleder på glas glasemalje, guld, platin eller luster develop the picture, the surface should to 50 °C. In this stage permanent glass Glass-enamel solvent Sammensat af Palo Macho farveintensitet er opnået, kan emnet glasemalje. Glasemalje opløsningsmiddel Ved overføringsbilleder bruges på glasemnet. Resultatet ligner Compiled by Palo Macho be rinsed with clean water for about stresses will no longer occur. This substance is used to dissolve fjernes fra lyset. For at fremkalde Denne substans bruges til at opløse grundprincipperne fra skabelontryk. tuschtegning på papir. thirty minutes. Overexposed places powdered enamel. Turpentine and billedet skal emnet skylles i rent vand Glas luster emaljepulver. Terpentin og vand er Et overføringsbillede består af et may gain colour after being exposed to Firing kiln water are typical solvents. Blyantstegning i ca. 30 min. Overeksponerede dele Luster er en substans, som de typiske midler. papirsubstrat med et billede trykt Syre-ætsning Acid-etching glass oxygen while still in the water bath or A device used for firing enamel onto Dekorationer kan tegnes med kan få mere farve, hvis de udsættes når den males på glas giver en på med glasemalje, som er dækket En koldglas dekoreringsteknik, hvor A cold-glass decoration technique later when exposed to air. the surface of glass. In industrial Glass lustre blyant på en matteret glasoverflade. for ilt, mens de stadig er i vandet, eller højglanseffekt, der kan være farveløs Glat, mat emalje af et beskyttende lag gelatine. Når hydrofluorid syre anvendes til at ætse in which hydrofluoric acid is used settings, continuous conveyor-belt Lustre is a substance that when painted Tegningen skal derefter dækkes med senere hvis de udsættes for luft. eller farvet. Luster er en brunlig Den har samme karakteristika som billedet sænkes ned i vand, skilles glassets overflade. Først dækkes to eat into the surface of the glass. Engraving an enamelled surface kilns are used; chamber firing kilns are on a glass surface produces a high- et lag transparent emalje. Når glasset opløsning af organiske komponenter mat emalje, men indeholder mere flus papiret fra de andre to lag, som så hele overfladen med beskyttende The entire glass surface is first covered A sharp stylus is used to scrape away used for small-scale production. gloss effect that can be colourless or brændes, bliver tegningen permanent Dækfernis og metaller (kobber, sølv, krom, og mindre opakisør. Ved brænding overføres til glasset. Kunstneren må syreresistent materiale. Derpå bruges in a protective acid-resistant material. enamel that has been applied to coloured. Lustre is a brownish solution fikseret. En fernis fortyndet med vand, som uran, mangan osv.). Farven påvirkes opnås et meget svagt, mat resultat. så omhyggeligt fjerne alt vand fra en skarp stylus til at tegne de ønskede A sharp stylus is then used to draw a surface that has not yet been fired. Glass decals of organic compounds and metals påføres områder på glasset, som ikke af indholdet i opløsningen. Farven overfladen, før emnet kan brændes dekorative elementer i dette lag, som the desired decorative elements in this After the glass is fired, the grooves Glass decals are applied using the basic (copper, silver, chromium, uranium, Brændingskurver skal males med emalje. Når fernissen fremkommer først efter brænding. Gravering på et emaljeret emne ved 5600 C. skrabes bort over dekorationerne. layer. The protective layer is scraped scratched into the enamel remain principles of screenprinting. A decal manganese, etc.). The colour of En brændingskurve er en grafisk er påført, skal man lade den lufttørre Lusterens glans kan forøges ved at Med en skarp stylus skrabes emaljen Så nedsænkes glasset i syren, som away in these places. The glass is empty. Enamel dissolved in water is consists of a paper substrate with the lustre is influenced by the contents illustration af brændingsskemaet og danne et kompakt, beskyttende påføre flere lag. Luster brændes ved af et emne, som endnu ikke er brændt. Pâte de verre æder sig ind i de åbne områder. then submerged in acid, which bites most suitable for engraving because it a design printed on it using glass enamel of this solution. The colour only appears for forskellige slags materialer lag. Når fernissen er tør, påføres et ca. 560 °C under iltning. Efter brændingen står de skrabede Glaspasta, som bruges til at forme Dekorationen er nu ætset ind i glasset. into the exposed areas. The resulting is less adhesive and thus only loosely that is covered in a protective layer of after firing. Lustre is fired on at about (emalje, luster, guld, platin). Den viser lag emalje, som ikke er vandopløseligt. riller tomme. Emalje opløst i vand er beholdere eller objekter, lavet af knust Når syrebehandlingen er færdig, decoration is cut into the surface of attached to the glass surface. Sharp gelatine. When the decal is submerged 560 °C under oxidizing conditions. forskellige ovntemperaturer under Bagefter kan fernissen skrælles af Glasbrændingsovn bedst egnet til gravering, fordi det er glas og bindemidler, lagt i en ildfast fjernes det beskyttende lag. the glass. After the etching process styluses, brushes, and pens, among in water, the paper separates from brændingsprocessen. Glas brændes som selvklæbende folie. Glasovn, som bruges til at mindre klæbende og derfor kun ligger støbeform og brændt i en ovn. is complete, the protective layer is other tools, are used. the other two layers, which are then Gold enamel i en kammer-ovn eller kontinuerlig brænde emalje på glas. I industriel løst på overfladen. Der anvendes bl.a. Transparent emalje removed. transferred to the glass. The artist must Dissolving pure gold in aqua regia and ovn. Et brændingsskema består af Fotografi i glas produktion bruges kontinuerlige skarp stylus, pensel og pen. Sandblæsning af glas En glasemalje som indeholder Frit then carefully remove all the water from further chemical processing results fem stadier:1) Langsom opvarmning Når et foto skal indsættes i glas, transportbåndsovne; til små Sandblæsning er en en større mængde flus og en mindre Covering varnish Frits have the same composition the surface of the transfer before firing in a brown-black colloidal suspension op til 3500 C. På dette stadie brændes må emnet have mindst to lag. produktioner bruges kammerovne. Guldemalje dekoreringsteknik, hvor sand drives mængde opakisør. Brændes ved This is varnish diluted with water that as transparent enamels. The only the piece at 560 °C. of gold. This viscous liquid contains opløsninger og bindinger af. 2) Hurtig Der anvendes samme principper som Når finguld opløses i kongevand og frem af lufttryk for at skære et 490 °C. is applied to areas of a glass surface difference is the powder they are made organic compounds that bind to opvarmning op til 5600 C. Farven ved foto på glas. De enkelte glaslag Glasemalje yderligere kemiske processer, fås mønster/billede i glassets overflade. that will not be painted with enamel. from consists of more coarsely ground Glass enamel gold and also create a layer between på emaljen skifter, og selve emaljen lægges oven på hinanden og smeltes Glasemalje er lavet af fint formalet en brun-sort kolloidal opslæmning Resultatet er en mat, ru overflade. Vitreografi After the varnish is applied, it must glass. They are fired on in the same way Glass enamel is made of finely the glass and the gold. Gold paint also sintrer og smelter. 3) Her fastholdes sammen til én blok. Før smeltningen let smelteligt glas, som indeholder et af guld. Denne tyktflydende væske Glasset bliver lysgennemskinneligt, Vitreografi er en art tryk på papir, be left to fully air-dry and to create as transparent glass enamel. powdered low-fire glass that contains contains essential oils and solvents. stadiet på max temperatur. Emaljen skal hvert foto brændes separat for at farvestof. Emaljen skal have en lavere indeholder organiske komponenter, men ikke transparent. Man bruger som bruger en glasmatrice og a compact protective layer. After a colourant. Enamel must have It is fired on at about 560 °C under opnår glans og hæfter på glasset. fjerne organiske elementer. smeltetemperatur end glasset, som som binder sig til guld og også et specielt udstyr, som kaldes et baserer sig på samme principper som the varnish dries, a layer of non- Firing curves a lower softening point than the glass oxidizing conditions. 4) Langsom afkøling. Varigheden af det påføres. Pulveret blandes med et danner et lag mellem glasset og sandblæsningsskab. De dele af monotypi. En glasplade behandles water soluble enamel is then applied. A firing curve is a graphic illustration to which it is applied. The powder High-gloss gold contains 12—17% dette stadie afhænger af tykkelse, Fotografi på glas opløsningsmiddel (vand, terpentin) guldet. Guldmaling indeholder også glasset, som ikke skal sandblæses, med forskellige dekorationsteknikker Afterwards the varnish can be peeled of the firing schedule for different is mixed with a solvent (water, pure gold. Depending on the thickness overfladeareal og glastype. Dette Fotos kan påføres glas på lignende og et bindemiddel (sukker, dammar nødvendige olier og opløsninger. Det skal dækkes. Normalt bruger man (gravering, sandblæsning, slibning), off like adhesive foil. kinds of materials (enamel, lustre, turpentine) and a binding agent of the gold layer applied, fired-on stadie er helt afgørende for at undgå måde som overføringsbilleder. Et fernis). brændes ved ca. 5600 C under iltning. selvklæbende folie. Hvor dybt, og derefter påføres glasemalje. gold, platinum). It depicts different (sugar, dammar varnish). gold enamel can appear pink, blue, indre spændinger i glasset. 5) Afkøling digtalt foto trykkes med glas- eller Al glasemalje indeholder et flusmiddel Højglans guld indeholder 12 — 17% rent der sandblæses afgøres af hvor lang Emaljen kan tegnes eller males på. Cyanotype kiln temperatures during the firing All glass enamels contain a flux purple, bronze, or gold when viewed til 50 °C. På dette stadie får glasset keramisk emalje på et papirsubstrat. (farveløs, let smeltelig glasblanding), guld. Alt efter tykkelsen af det påførte tid behandlingen varer. Sandblæsning Denne matrice bruges til at fremstille Cyanotype, invented in 1842, is process. Glass is fired in a chamber kiln (a colourless low-fire glass through light. ikke længere spændinger. Så lægges et beskyttende lag over et farvestof (metal oxyder) og en guldlag, kan den påbrændte guldemalje kan også bruges til at lave huller i glas. et tryk, som kaldes en vitreograf. Hver a photographic-printing process or a continuous kiln. A firing schedule compound), a colourant (metal oxides) fotoet; dette lag har betydning for opakisør, som bestemmer graden fremstå lyserød, blå, lilla, bronzefarvet enkelt vitreograf er unik. technique that takes advantage of consists of five stages: 1) Slow heating and an opacifier, which determines Line art on glass Cyanotypi overføringsprocessen. Når fotoet af transparens. eller som guld, når den ses mod lyset. Skæring med water-jet the photosensitivity of ferric salts. up to 350 °C. In this stage solvents the enamel’s transparency. A small metal pen is used to apply glass Cyanotypi er opfundet 1842 og er derpå nedsænkes i vand, skilles papiret Hvert lag af emalje skal brændes Ved water-jet skæring skydes med This technique produces striking blue and binders are burned off; 2) Rapid Each layer of enamel must be fired enamel, gold, platinum, or lustre to en fotografisk aftryksteknik, som fra fotoet og den beskyttende hinde. på; efter brændingen kan et nyt lag Mat emalje højtryk en hård vandstråle ud, blandet prints. First, a mildly photosensitive heating up to 560 °C. The colour of on; after firing, a new layer can then a glass surface. The resulting images udnytter jernsaltets fotosensitivitet. Billedet bliver så omhyggeligt overført påføres. Visse værker er brændt op Et emaljelag, som påføres glas og med slibemidler, som kan bruges til at solution is made and then applied the enamel changes, and the enamel be applied. Some pieces are fired up resemble ink-and-pen line drawings Denne teknik giver ret enestående til glasset. Vandet skal langsomt til seks gange. derpå brændes for at opnå et opak, skære i hårde materialer. Strukturen to a receptive surface, such as itself sinters and melts; 3) Hold to six times. on paper.

40 41 Matte enamel should be slowly brushed away from Water-jet cutting Subject, Faculty of Fine Arts, 2014 Illo — Macho & Students, EDUCATION 2005 Zoologická záhrada: 2015 Estonian Academy of Arts A layer of enamel that is applied to the photograph. After drying, the piece A water-jet cutter shoots out a high- Žofia University of Arizona, USA BWA Wroclaw — Gallery 1992 — 1995 SOU Glassmaking Výstava združenia Party, (Glass Studio of Mare Saare), a glass surface and then fired to should be fired at 760—800 °C. pressure jet of water mixed with 2016 Defining the Space, of Contemporary Art, School, Lednické Rovne, SK Galéria Umelka, Bratislava, SK Tallinn, EE produce an opaque matte finish. The photograph can then be removed abrasives that can be used to cut hard Lectures on the connection Woclaw, PL 1995 — 1998 ŠUV 2005 Prievan v súčasnej Enamels can be tinted by adding a small or reverse painted. materials. The structure of the cut Dubová between architecture 2016 Beyond the Edge, School of Applied Arts, maľbe, PGU Žilina, ŠG Banská GROUP amount of opaque enamel. surface can be changed depending on and painting, The Faculty Nitra Gallery, Nitra, SK Lednické Rovne, SK Bystrica, Liptovský Mikuláš, SK EXHIBITION Sandblasting glass the speed of the jet. (*1991 Bratislava) of Architecture, Comenius 2016 The Techniques 1998 — 2004 VŠVU: Academy 2005 Get the Party 3, SVU 2013 Figurama, Bratislava, SK Opaque enamel Sandblasting is a decorative www.zofiadubova.sk University, Bratislava, SK of Recollection, Bratislava of Fine Arts and Design Bratislava, SK 2014 Hommage á Peter A glass enamel that contains a lower technique in which sand is propelled 2017 Over the Edge, City Gallery, Mirbach Palace, (Painting Department 2006 Maľba roka, Nadácia Strassner 2014, Devín, SK amount of flux and a greater amount of by air pressure to cut a design into EDUCATION International Congress on Bratislava, SK under Vladimír Popovič), VÚB, Klarisky Church, 2015 Hommage á Peter opacifier. It is fired on at 560 °C. the surface of the glass. The result 2010 — 2014 BcA Academy Contemporary European 2016 Diploma Fest 2016, Bratislava, SK Bratislava, SK Strassner 2015, Devín, SK is a matted, rough surface. Such of Fine Arts and Design, Painting, Faculty of Fine Arts Orava Gallery, Dolný Kubín, SK 2006 Bienále SVU, Galéria 2015 Interpretations, Tallinn, EE Pâte de verre glass is translucent but not Painting Department, of the University of Porto, 2016 6th Biennial of Visual Arts, Umelka, Bratislava, SK 2017 Junior Glass Ways 2017, Glass paste used to form vessels or transparent. A special device known Studio +-XXI of Daniel Fischer, Porto, PT Turiec Gallery, Martin, SK 2006 Out-Portrait-Picasso tu Sázava, CZ objects, made from crushed glass as a sandblasting cabinet is used to Bratislava, SK 2017 Drawing on Glass: 2016 VIII. Ogólnopolską nevystavuje…, Galéria Umelka, 2017 A to my — Trienále skla and binding agents laid in a refractory achieve this effect. The surface of 2012 — 2013 Faculdade Thoughts Caught by Wystawę Najlepsze Dyplomy Bratislava, SK a bižutérie, Jablonec nad mould and formed in a kiln. the glass that should not be abraded de Belas Artes da Universidade the Material, GLASSAC, FCT Akademii Sztuk Pięknych, 2008 Zlínský salon, Dúm Nisou, CZ must be covered, usually with adhesive do Porto, Porto, PT Universidade Nova de Lisboa, Zbrojownia Sztuki oraz Aula umění, Zlín, CZ Pencil drawing foil. Blast depth depends on the length 2014 VŠVU Internship Lisboa, PT Akademii Sztuk Pięknych, 2010 Maľba po maľbe, Decoration can be drawn with pencil of time that the glass is treated with at Department of Applied Arts, 2017 Painting on Glass, Gdansk, PL contemporary Slovak painting, on a matted glass surface. The drawing the sand. Sandblasting can also be Studio of Glass, Bratislava, SK workshop by Palo Macho, 2017 2 × 3 Awards, Limes SNG Bratislava, SK Palo must then be covered in a layer of used to make holes in glass. 2014 — 2016 MgA studies, MusVerre, Sars-Poteries, FR Gallery, Komárno, SK SOLO 2010 Maľba roka, Nadácia transparent enamel. Firing the glass Academy of Fine Arts and 2017 Another Nature of EXHIBITIONS VÚB, SNG Bratislava, SK afterwards will permanently affix Slumping Design (Painting Department, SOLO EXHIBITIONS Materials, FBAUL Gallery, 2003 Marat Art Gallery Macho the image. Allowing sheet glass to slump into Studio +-XXI of Daniel 2012 Split Time, Theatre Malá Lisbon, PT (with Silvia Krivošíková a mould when heated in a kiln. Fischer), Bratislava, SK Scéna STU, Bratislava, SK 2017 Knowing, Seeing, and Denisa Rakosky) (*1965, Streženice) Photography in glass 2014 — 2017 additional 2013 Peepholes, Culture Painting, Medium Gallery, Bratislava, SK Dávid www.palomacho.com In order for a photograph to be inserted Smooth matte enamel pedagogical degree studies House, Šaľa, SK Bratislava, SK 2006 Artforum, Trnava, SK inside a glass piece, the object must It has the same characteristics as at VŠVU, Bratislava, SK 2014 Observation, Freshmen’s 2018 Line, Gallery Nova, 2007 Oravská galéria, Dolný EDUCATION have at least two layers. The same matte enamel but contains more flux 2015 University of Arizona Gallery, Bratislava, SK Bratislava, SK Kubín, SK Kurinec 1980 — 1983 Glassmaking principles used in transferring and less opacifier. Firing produces (The School of Art), 2015 Hunted Spaces, Lionel 2007 Bonjour, Bratislava, SK School at Nový Bor, photographs to a glass surface are a very fine matte finish. exchange programme, Rombach Gallery, Tucson, AWARDS 2009 Galéria M++ LoĎ, (*1990 Bratislava) Nový Bor, CZ applied. The individual layers of glass Arizona, USA Arizona, USA 2016 Rector’s prize AFAD, SK Bratislava, SK [email protected] 1983 — 1986 Secondary should be piled on top of each other and Transparent enamel 2017 Postgraduate internship 2017 Aspect/Prospect, Jan 2016 Award of Slovak Union 2010 Turčianska galéria, Glassmaking School, then fused into a single block. Before A glass enamel that contains a higher at the Faculty of Fine Arts, Koniarek Gallery, Trnava, SK of Visual Arts, SK Martin, SK EDUCATION Kamenický Šenov, CZ fusing, each photograph must be fired amount of flux and a lower amount of University of Porto, Porto, PT 2018 Waiting for the Distance, 2017 1st place, Maľba (Painting) 2012 SND, Bratislava 2001 — 2009 St. Uršula High 1989 — 1995 VŠVU: Academy separately to remove organic elements. opacifier. It is fired on at 490 °C. Gallery DOT, Bratislava, SK — The VUB Foundation (with Zuzana Benková), SK School of Fine Arts and Design (Glass 2019 Everyone is an Island, Award for Paintings by Young 2014 Malá scéna, 2012 — VŠVU: Academy Art Department under Juraj Photography on glass Vitreography Gallery Čin Čin, Bratislava, SK Artists, SK Bratislava, SK of Fine Arts and Design Gavula), Bratislava, SK Photographs can be applied to glass Vitreography is a type of printmaking 2018 The Novum Foundation 2016 Kabinet, Bratislava (Glass Department under 1993 École des Beaux-Arts in a similar manner to decals. A digital on paper that uses a glass SELECTED GROUP Award, SK (with Mária Čorejová), SK Patrik Illo and Palo Macho), (student exchange), photograph is printed with glass or matrix and is based on the same EXHIBITIONS 2017 Kabinet, Bratislava, SK Bratislava, SK St. Etienne, FR ceramics enamel on a paper substrate. principles as monotyping. A sheet 2011 The Phenomenon Book, Then a protective layer is applied to of glass is modified using various The Mendel Museum, Brno, CZ GROUP the photograph; this layer is also glass-decorating techniques 2013 Move Up, Galeria Paulína EXHIBITIONS instrumental in the transfer process. (engraving, sandblasting, grinding) dos Leões da Reitoria da 2001 Prieskum VŠVU, PGU When the prepared photograph is and then glass enamel is applied. LECTURES, Universidade do Porto, Žilina, SK immersed in water, the paper separates This enamel can be drawn or painted CONFERENCES, Porto, PT Chrenková 2002 Trienále emajlu, Galerie from the photograph and its protective on. This matrix is used to produce WORKSHOPS 2014 Biennale of Young Artists, Beskyd, Ostrava, CZ film. The decal is then carefully a print known as a vitreograph. Each 2015 Hunted Spaces, Museum of Contemporary (*1976, Považská Bystrica) 2003 Trienále emajlu, Kysucká applied to the glass surface. Water vitreograph is an original. Interdisciplinary Critique Russian History, Moscow, RU [email protected] galéria, Čadca, SK

42 43 WORKING 2010 From Silence to the Light, 2017 Timing the Line, Galéria 2002 Hadeland Glassverk, 2016 Dr. Jekyll and Mrs. Hyde, Wuxi Greenwave Gallery, 2015 — 2017 Photography 2015 finalist of Stanislav 2016 Slovak Contemporary EXPERIENCE Slovak East Gallery, Košice, SK Nedbalka, Bratislava, SK Jevnaker, NO European Glass Festival, Ningbo, CHN Workshop (by Silvia Saparová), Patrícia Libenský Award, Prague, CZ Glass Design, Gallery of 1994 — 1998 Teacher at 2011 Scanning: Galéria NOVA, 2017 Pohled na neviditelnou 2005 Steninge World Exhibition Wroclaw, PL Zoya Gallery, Bratislava, SK Bratislava, SK 2016 finalist of Glass Award the Artists’ Union of Latvia, School of Applied Arts, Bratislava, SK kůži/ View of Invisible Skin: of Art Glass 2005, Steninge 2017 Greenwave Gallery, Viva, Zlín, CZ 2012 — 2018 VŠVU: Academy Gallery Nova, SK Riga, LT Lednické Rovne, SK 2012 Jankovič + Macho, Galéria Hojstričová — Macho, Slott, Märsta, SE Ningbo, CHN of Fine Arts and Design Šichmanová 2017 MgA. Summa cum laude 2017 Glass Award Gallery Nova, 2011 — 2018 Assistant Z, Galéria Nova, Bratislava, SK Muzeum Bruntál, Sovinec, CZ 2006 The Coburg Glass Prize 2017 Knowing, Seeing, AWARDS (Department of Photography (rector’s prize), SK Gallery Medium, Bratislava, SK Professor at VŠVU Glass Art 2013 Crossing Points: Art 2017 Concurrence, Zoya 2006 for Contemporary Paiting, Medium Gallery, 2016 Tatra Banka Foundation and New Media)/ Kunst- og (*1992 Bratislava) 2017 3rd Prize in Stanislav 2017 Glass from Bratislava, Department, Bratislava, SK from Slovakia — Palo Macho, Museum Elesko, Modra, SK Glass in Europe, Bratislava, SK Art Award (nomination) Design Akademiet, Bratislava, www.sichmanova.sk Libenský Award, Prague, CZ Glass Pavilion, Klatovy, CZ 2018 — Associate Professor at Patrik Illo, Zuzana Graus 2017 …How are you, Wind? Kunstsammlungen der Veste 2018 Version originale, Centre 2017 Crystal Wing Award SVK 2017 New Glass Folder. 2017 Knowing, Seeing, Painting VŠVU Glass Art Department, Rudavská, Cisternerne: Museet Danubiana: Meulensteen Coburg, Coburg, DE d’art contemporaire Tignous, (laureate) EDUCATION The Orava Gallery, Dolný / Glass as Canvas, Gallery Bratislava, SK for Moderne Glaskunst, Art Museum, Bratislava 2010 Lasitaidetta Montreuil, Paris, FR Palo Macho’s work has been EXHIBITIONS 2003 — 2011 High School Kubín, SK Medium, Bratislava, SK 2017 Workshop: Painting and København, Frederiksberg, DK Čunovo, SK Slovakiasta: Glass Art 2018 Toyama International the subject of a number of 2013 Ľubo Stacho & 2011 — 2017 VŠVU: Academy 2017 Stanislav Libenský Award, Drawing on Glass, Musverre, 2013 Jana Hojstričová: Human 2018 Summer Sale, Nova from Slovakia, Suomen Glass Exhibition 2018, films, the most prominent of Laboratórium, Galéria P. M. of Fine Arts and Design (Glass SOLO EXHIBITIONS Centre of Contemporary Art Sars Poteries, FR Scan & Palo Macho: Glass Gallery, Bratislava, SK Lasimuseo, Riihimäki, Toyama, JP which are Sklenené obrazy/ Bohúňa, Liptovský Mikuláš, SK Department under Patrik Illo 2017 Between the End and DOX, Prague, CZ Objects, Gallery Zahorie, 2018 Between Walls: FIN, Eesti Tarbekunsti, Glass Pictures by Meir Lubor 2014 Snacks, CC-centrum, and Palo Macho), Bratislava, SK the Beginning, Gallery 19, 2018 Sklo: Možnosti a limity, GLASS Senica, SK Hojstričová-Macho, Ja Disainimuuseum, Tallin, REPRESENTED Dohnal (2008) and Bratislava, SK Bratislava, SK GMB Mirbachov palác, SYMPOSIA, 2013 Patrik Illo, Palo Macho, Central European House of EE, Dekoratīvās mākslas un Cisternerne — Museet Portrét umelca / Portrait of 2014 SLOVACIA SLOVENSKO, Fluidity, Gallery Nova, Bratislava, SK CONFERENCES Petr Stanický, Art Glass Photography, Bratislava, SK Dizaina muzejs, Riga, LV, for Moderne Glaskunst, the Artist / Palo Macho by Galéria Médium, Bratislava, SK Bratislava, SK 1995 3th International Glass Museum, Yelagin island, Muzej chudožestvennogo København, Frederiksberg, DK Anton Faraonov (2016). 2014 Renesancia fotografie Symposium, Lviv, UA St. Petersburg, RUS SELECTED stekla, Jelaginoostrovskij, Danubiana, Meulensteen Art The artist also writes poetry 19. storočia, Galéria Médium, SELECTED 1998, 2002,2012, 2014 2013 Drawing — glass — GROUP St. Peterburg, RUS, Museum, Bratislava, SK and has published a few Bratislava, SK GROUP International Glass Symposium glass — drawing, NOVA EXHIBITIONS Glasmuseum Frauenau, European Museum of Modern collections of verses. 2015 Silvia Saparová a študenti, EXHIBITIONS RONA, Lednické Rovne, SK Gallery, Bratislava, SK 1995 Glass Now: 17th World Frauenau, DE Glass, Rödental, Coburg, DE Synagóga, Levice, SK 2013 Visual Inspiration and 2012 XI. Interational Glass 2014 Illo — Macho & Studio Glass Exhibition, 2012 SOFA Chicago, PISMO The Finnish Glass Museum, 2016 OFF Festival, Pisztoryho Personal Quests, Slovak Symposium, Nový Bor, CZ students, Gallereja Tonneľ, Shizuoka, JP Gallery, Chicago, USA Riihimäki, FIN Palác, Bratislava, SK INTERNSHIPS Institute, Moscow, RUS; 2014 International Glass Moskovskaja gosudarstvennaja 1996 Via lucis — Le verre 2013 Blood, Slovak National Gallery of Levoča, Levoča, SK Ján 2016 Výstava Katedry AND EXCHANGES Riga, LT; Tallinn, ES; Tampere, Art Symposium Glass Jazz, chudožestvenno-promyšlennaja contemporain slovaque, Gallery, Bratislava, SK Glasmuseum Hentrich, fotografie a nových médií VŠVU 2014 Telemark University Helsinki, FIN Panevėžys, LT akademija im. Château Musée, Boulogne- 2013 Ocean, A Look at Marine Stiftung Museum Kunstpalast, 2011 — 2016, Galerie 4, Cheb, CZ College (Metal Studio of Arne 2013 Illo, Macho, Stanický 2017 International Art Glass S. G. Stroganova, -sur-Mer, FR Life through Glass, Glasmuseet Düsseldorf, DE Mýtny, jr. 2017 FOTOGRAM, Magnus Johnsrød), Rauland, and Students, Muzej Conference, Ningbo, CHN Moscow, RUS 1998 7 verriers contemporains Ebeltoft, Ebeltoft, DK Glasmuseet Ebeltoft, Ebeltoft, Stredoeurópsky dom NO chudožestvennogo stekla, 2014 Invisible Skin, BWA de Slovaquie. Verrerie d’Art 2013 VIP, Glass sympozium IGS DK (*1991, Bratislava) fotografie, Bratislava, SK 2016 Häme University of St. Petersburg, RUS SELECTED Wroclaw, Gallery of de Claret, Claret, FR 2012, Museum of Decorative Glass Remis, Panevėžys, LT [email protected] 2017 Vedieť, vidieť, malovať Applied Sciences (Glass and 2014 Finalists.sk., Gallery SOLO Contemporary Art, Wroclaw, 1999 Steninge World Exhibition Art, Prague, CZ Glass museum Nový Bor, (sklo ako plátno), Galéria Ceramics Design under Auli Nova, Bratislava, SK EXHIBITIONS PL of Art Glass, Steninge Palace 2013 Slovak Contemporary Nový Bor, CZ EDUCATION, Médium, Bratislava, SK Rautiainen and Jari Vesterinen), 2014 Illo — Macho & 2000 Triptych, DIVYD Gallery, 2015 Outside The Body: Cultural Centre, Steninge Glass, Levant Gallery, Latvian National Museum of COURSES 2017 Issues of Reality, Galéria Hämeenlinna, FIN students, Gallereja Tonneľ, Bratislava, SK Hojstričová — Macho, SiC!, Gallery, Märsta, SE Shanghai, CHN Decorative Art and Design, 2013 Entry Photography Promocyjna ASP, Cracow, PL 2016 — 2017 S12 Open Access S. G. Stroganova, Moscow, 2001 Flames of My Memory, Gallery BWA, Wroclaw, PL 2000 L’art slovaque à la 2014 The Coburg Prize for Riga, LV Course (by J. Hojstričová), 2018 Diplom 2018, výstava Studio and Gallery (assistant RUS, Galeria BB, Cracow, PL Etienne & Van den Doel 2016... and what about you, Cité International des Arts, Contemporary Glass 2014, The Museum of Glass Bratislava, SK diplomových prác VŠVU, Dom to Æsa Björk), Bergen, NO 2015 1200 °C — Space on Gallery, Den Haag, NL Wind?, The Finnish Glass Cité International des Arts, Kunstsammlungen der Veste Art on Yelagin Island, 2013 — 2014 Photography Umenia, Bratislava, SK 2018 9-month scholarship the Edge, Gallery Médium, 2005 Palo Macho in Concept Museum, Riihimäki, FIN Paris, FR Coburg & Europäisches St. Petersburg, RUS Laboratory Workshop (by 2018 Stanislav Libenský from Slovak Art Council, Bratislava, SK Laco Teren, Tranzit Workshops, 2016 Invisible Skin, 2000 Vessels: The International Museum für Modernes Glass, The Novohrad Museum and L´ubo Stacho), Bratislava, SK Award, DOX — Center for Bratislava, SK 2015 Stanislav Libenský Award, Bratislava, SK Glasmuseum Hentrich, Exhibition of Glass, Koganezaki Rödental, DE Gallery, Lučenec, SK Contemporary Art, Prague, CZ Gallery Ziba, Prague, CZ 2007 In extenso, Orava Gallery, Stiftung Museum Kunstpalast, Glass Museum Kanazawa, 2014 BODYTALK, Glasmuseet The Orava Gallery, Dolný 2018 OFF Festival — Obchodný SYMPOSIUMS 2016 Young & Loving, S12 Dolný Kubín, SK Düsseldorf, DE Shizuoka, JP Ebeltoft, Ebeltoft, DK, Kubín, SK dom Dunaj, Bratislava, SK 2013 9th International Blown Open Access Studio and 2007 Lasitaidetta Slovakiasta, 2016 Concurrence, GJK Trnava, 2001 Dialogo con la luce: Glazenhuis, Lommel, BE Toyama Glass Art Museum, 2018 Čiara, Galéria Nova, Glass Symposium, Lviv, UA Gallery, Bergen, NO Glass Art from Slovakia, SK Cristallo slovaco 2015 Glass Sculpture: Toyama, JP Bratislava, SK 2015 Glass Lab Session, 2016 FUNN, S12 Open Suomen Lasimuseo/ 2016 Med Glasset som Lerret, contemporaneo, Galleria Via Object, Painting, Drawing Slovak Glass Museum, Sázava, CZ Access Studio and Gallery, The Finnish Glass Museum, S12 Galleri, Bergen, NO Larga, Firenze, IT & Photography, Galéria Lednické Rovne, SK AWARDS Bergen, NO Riihimäki, FIN 2016 Blick auf eine unsichtbare 2002 Steninge World Exhibition Nedbalka, Bratislava, SK The Turiec Gallery, Martin, SK 2018 Special Jury Mention: AWARDS 2016 Decades of Slovak Glass 2009 Vessels and Lights, Art Haut, Slovak Institute, Wien, of Art Glass 2002. Steninge 2016 European Glass Context UPM: Museum of Decorative Stanislav Libenský Award 2018, 2013 finalist of Glass Award /Contemporary Slovak Glass House, Bratislava, SK AT Slott, Märsta, SE 2016, Bornholm, DK Arts, Prague, CZ Prague, CZ Gallery Nova, SK Design/, Brussels, BE

44 45 Jana fokuserer Hojstričová på at skabe Jana Hojstričová graduated from Pavla Pavla Rossini har i mange år arbejdet Pavla Rossini, PhD in aesthetics, visuelle, sociologiske fortolkninger the Academy of Fine Arts and inden for cultural management, studied at Charles University in Prague Hojstričová af nutidens familie. Design in Bratislava. She works Rossini marketing og reklame for FMCG, er at the Institute of Art History and as a photographer and teaches at rådgivende medlem af kunstfonde Aesthetics and at the Royal Danish Som en del af et projekt om både the Department of Photography and i Italien og Schweiz. Hun holder Academy of Fine Arts (Schools (*1972 Myjava) kunst og forskning kombinerer Jana New Media of the Academy of Fine Arts (*1952 Praha) også gæsteforelæsninger på flere of Architecture, Design and www.hojstricova.sk Hojstričová også historiske fotos fra and Design in Bratislava, where she is [email protected] europæiske universiteter, heriblandt Conservation). She works as a freelance 1800-tallet med nutidige billeder. an assistant professor. She has also Gerrit Rietveld Academie, Aalto curator and cultural writer, specialized Jana Hojstričová er kandidat fra Siden 2010 har hun arbejdet sammen served as the academy’s deputy rector Pavla Rossini, PhD i æstetik, er universitet, Det Kongelige Danske in glass design and design history. Over Akademiet for kunst og design med Palo Macho om projekter hvori since 2015. uddannet på Karls universitetet i Prag Kunstakademi, VŠVU i Bratislava, the years Rossini has been involved i Bratislava. Arbejder som fotograf og kunst-fotografi inkorporeres i glas. (Instituttet for kunsthistorie og T. Baťa universitetet i Zlín, J. E. Purkyně in organizing international exhibitions underviser i afdelingen for fotografi og She has exhibited her work at many æstetik) og på Det Kongelige Danske universitetet i Ústí nad Labem. in Denmark, the Czech and Slovak nye medier på Akademiet for kunst og shows and important photography Kunstakademi (Skolen for Arkitektur, Republics, Germany, the Netherlands, design i Bratislava, hvor hun er docent. festivals in Slovakia and abroad. In 2013 Design og Konservering). Hun arbejder and Italy, and has also authored many Hojstričová har også været akademiets she was voted Photographer of the Year som freelance kurator og kulturskribent publications, studies and articles for pro-rektor siden 2015. by the Central European House of med speciale i glasdesign og international magazines and catalogues. Photography. She first came on the art designhistorie. Gennem årene har Rossini is the author of Crossing Jana Hojstričovás værker har været på scene in the 1990s. The central theme Rossini været med til at arrangere Borders, a book on Czech art glass, mange udstillinger og betydningsfulde of her photographic work is the body, internationale udstillinger i Danmark, and 2018’s A Century of Danish and foto-festivaller, både i Slovakiet og which she contextualizes in light of Tjekkiet, Slovakiet, Tyskland, Holland Czech Furniture Design (together with i udlandet. I 2013 blev hun udnævnt the increasing influence of consumer og Italien. Rossini har forfattet mange prof. J. Pelcl). til Årets Fotograf af Central European society. Her current photographic publikationer, studier og artikler til House of Photography. Hun gjorde work is focused on creating visual magasiner og kataloger i mange lande Pavla Rossini has worked in the fields sin entré på kunstscenen i 1990erne. sociological interpretations of og har blandt andet udgivet ”Crossing of cultural management, marketing and Det centrale tema i hendes fotografier the contemporary family. Borders”, en bog om tjekkisk glas advertising of FMCG for many years, er kroppen, som hun behandler i lyset og ”A Century of Danish and Czech and is an advisory council member of af den stadigt stigende indflydelse As part of a project focused on both Furniture Design”, 2018, (sammen med art foundations in Italy and Switzerland. fra forbrugersamfundet. For tiden art and research, she also combines professor J. Pelcl). She also lectures at several European historical nineteenth-century universities, among others, Gerrit photographs with current images. Since Rietveld Academie, Aalto University, 2010 she has been working with Palo The Royal Danish Academy of Fine Arts, Macho on projects in which artistic VŠVU in Bratislava, T. Baťa University photography is incorporated into glass. in Zlín, and J. E. Purkyně University The Sense in the End Palo Macho & Jana Hojstričová in Ústí nad Labem. (detalje fra multimedia installation) malet varmbehandlet glas med fotografi painting and photography on thermoformed glass 2019

46 47 Glasbilleder — Udstillingskurator Tryk Curator Print unik nutidig Pavla Rossini DEVIN printing house, s. r. o. glaskunst fra Tekster ISBN Slovakiet Texts 978-87-993064-1-1 Pavla Rossini, Pavla Bodil Busk Laursen, Palo Macho, Omslag Rossini Images Captured kunstnere/artists Cover Paulína Chrenková: in Glass — Liquid Happiness, Oversættelse malet på glas/ Glass Art from Translation painting on glass, Lene Kyster, 2019 Slovakia Nicholas Orsillo, John Minahane, Cástor Sánchez, Barbora Štefanová 27. april — og Keith Jones

20. oktober Udstillingen er organiseret Jana Grafisk design og kataloget udgivet 2019 Graphic design af Hempel Glasmuseum. Hojstričová Peter Nosál´ The exhibition is organized and the catalogue published by Hempel Glasmuseum. Fotografier Photographs Jana Hojstričová, Dávid Kurinec (29, 31), Ján Mýtny jr. (22, 23, 33, 34, 35 ), Gabriel Urbánek (6, 7) Støttet af offentlige midler gennem det slovakiske kunstråd. Prepress photo Supported by public funding via Jana Hojstričová the Slovak Arts Council. Patrícia Ján Šichmanová Mýtny 48 49 HEMPEL GLASMUSEUM Annebjerg Stræde 2 DK-4500 Nykøbing Sj. www.hempelglasmuseum.dk

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