La­vo­ra­zio­ni spet­ta­co­la­ri

Spec­ta­cu­lar Wor­kings


Il de­si­gn rein­ven­ta l’an­ti­ca tra­di­zio­ne

del ve­tro sof­fia­to a Mu­ra­no co­me in Boe­mia, senza mo­di­fi­car­ne le tec­ni­che

tra­man­da­te dal Me­dioe­vo. I ca­si di Ba­ro­vier&To­so e La­svit, due vi­cen­de pa­ral­le­le dai due sto­ri­ci cen­tri pro­dut­ti­vi

in­ve­sti­ti dal­la glo­ba­liz­za­zio­ne

De­si­gn rein­ven­ts the an­cient tra­di­tion of blo­wn glass in Mu­ra­no and in Bo­he­mia, wi­thout mo­di­fy­ing the tech­ni­ques that have co­me do­wn to us from me­die­val ti­mes. He­re we look at the exam­ples of Ba­ro­vier&To­so and La­svit, two pa­ral­lel ca­ses from two le­gen­da­ry cen­tres whi­ch

are get­ting to grips wi­th glo­ba­li­sa­tion For­me flui­de, tra­spa­ren­ze, co­lo­ri can­gian­ti con la lu­ce. Il ve­tro sof­fia­to è la ma­gia di una ma­te­ria ric­ca e fan­ta­sio­sa, ot­te­nu­ta da sem­pli­ce sab­bia. Un iner­te gri­gio im­pa­sta­to con aria, fuo­co e mae­stria. Gli ar­ti­gia­ni ve­trai di Ve­ne­zia, in­fluen­za­ti dai con­tat­ti asia­ti­ci e ara­bi, pos­se­de­va­no que­st’ar­te al­che­mi­ca già dal 982 do­po Cri­sto. E ri­sa­le al 1200 la tra­di­zio­ne del ve­tro sof­fia­to e del cri­stal­lo di Boe­mia, ap­prez­za­to in epo­ca na­po­leo­ni­ca per la pu­rez­za e l’ef­fet­to sce­ni­co dei suoi ri­fles­si. Og­gi, do­po se­co­li e al­ter­ne vi­cen­de, que­ste crea­zio­ni ar­ti­sti­che non vi­vo­no un mo­men­to fe­li­ce. Col­pa di una cri­si com­ples­sa che ha vi­sto ca­la­re i con­su­mi e au­men­ta­re il prez­zo del me­ta­no, con cui ven­go­no ali­men­ta­te le for­na­ci. E poi c’è la con­traf­fa­zio­ne: il 70 per cen­to del­la mer­ce in ven­di­ta nel­le bot­te­ghe ve­ne­zia­ne, e non so­lo, pro­vie­ne dall’Orien­te. Tan­te for­na­ci mu­ra­ne­si han­no Fluid forms, trans­pa­ren­cy, co­lours that shim­mer in the light. Blo­wn glass is the ma­gic of a ri­ch, fan­ci­ful material ma­de of no­thing but sand. A grey, inert mi­ne­ral skill­ful­ly tran­sfor­med by fi­re and air. Ve­ne­tian ma­ster glass­ma­kers, in­fluen­ced by their con­tact wi­th Asia and the Arab world, have been ma­sters of this al­che­mi­stic art sin­ce as far back as the year 982 A.D. Tra­di­tio­nal Bohemian cry­stal and blo­wn glass, whi­ch da­tes back to 1200, was ap­pre­cia­ted in Na­po­leo­nic ti­mes for the pu­ri­ty and vi­sual­ly stri­king ef­fect of the light it re­flec­ted. To­day the­se ar­ti­stic crea­tions no lon­ger en­joy­ing su­ch suc­cess. The bla­me for this lies wi­th the eco­no­mic do­wn­turn that has led to a fall-off in con­sump­tion and an in­crea­se in the pri­ce of me­tha­ne, the fuel used to fi­re the kilns. And then the­re is coun­ter­fei­ting: 70% of the mer­chan­di­se sold in Ve­ni­ce’s shops (and el­sewhe­re) co­mes from the Far


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