Fernweh

Fernweh – this term, akin to another German word that has come into common use in English, wanderlust, conveys a strong longing to leave one’s familiar surroundings and set off into the big wide world. But getting away has become complicated in these days of the coronavirus pandemic with all the travel restrictions, entry rules and quarantine regulations. Those who did travel over the past two years usually chose destinations closer to home. So the Fernweh we feel is undiminished!

Even before the term became common, people were well acquainted with the painful longing for far-off places. Goethe, for example, who was not yet familiar with the word, paraphrased it in 1822 as a “feeling of flight”, a “longing for far-off places” and “reverse homesickness”. With the concept of the “blue flower”, Romantic literature created a concrete symbol for this yearning, for the search for the unattainable and the infinite. The word Fernweh first appeared in literature around 1835, in a travel account by the famous writer and landscape architect Hermann Prince of Pückler-Muskau. He wrote that he “never suffers from homesickness (Heimweh) but rather from Fernweh”. The neologism quickly came into use in academic language as well as in poetry and art.

And then, in the twentieth century, the tourism industry seized upon the concept. Ever since then, Fernweh has been generated more or less artificially by means of targeted advertising featuring enticing images of tourist destinations around the world. It has thus become an important international economic factor. But Fernweh is not just about the urge to travel, as science has now discovered. It may simply reflect the desire for a change of scenery or some variety and colour in a more or less grey day-to-day life. Some of us may feel a diffuse restlessness, while others are unhappy and depressed. Travel promises an escape from this sense of unease, but when it is not possible, we can still immerse ourselves in fantasy worlds by way of books, the theatre or museum exhibitions. Scientists therefore also refer to Fernweh as an important “cultural technique for staying at home”.

This “cultural technique” of Fernweh has now inspired us to create a new exhibition. And the collection of the Ernsting Foundation has once again proven to be a treasure trove. We set out in search of appropriate works and ended up probing the entire spectrum of the collection. In the process, we discovered a wide range of different sculptures, objects, vessels and wall installations that each in their own way – sometimes whimsically, sometimes more thoughtfully – allude to other countries and cultures and evoke associations with the theme of Fernweh. A tour of the exhibition thus becomes an enjoyable journey to worlds both close-by and far afield.

In accordance with current regulations in the State of North-Rhine Westphalia, the 2G or 2G+ rule applies at the Glasmuseum and Glasdepot (2G: admission only with proof of vaccination against COVID-19 or recovery, 2G+: a negative PCR test is also required).

 

Photo above: Jens Gussek, Flugzeug, 1996 – Photo Ron Zijlstra

Photos (from left):

Gareth Noel Williams, Deep in my own world, 2001 – Photo Ron Zijlstra

Vittoria Parrinello, The perimeter of air, 2014 – Photo Vittoria Parrinello

Jens Gussek, Flugzeug, 1996 – Photo Ron Zijlstra

Gabriela Volna, Mensch und Wasser, 2003 – Photo Ron Zijlstra

 Michael Behrens, Seaforms 2014-116, 2014 – Photo Paul Niessen

Dale Chihuly, Cerulean Blue Macchia, 1991 – Photo Glasmuseum Lette

Jens Gussek, Blue ship, 2004 – Photo Ron Zijlstra

Ned Cantrell, Tiger in a Tropical Storm, 2016, Detail – Photo Ned Cantrell

Winnie Teschmacher, Light of the soul, 2007 – Photo Louis Sonderegger

Irene Rezzonico, Armadillo cousin from Africa, 1998 – Photo Ron Zijlstra

Kati Kerstna, Drums 1+2, 2014 – Photo Glasmuseum Lette

Ivana Houserova, Butterfly, 2006 – Photo Tomas Hilger

 

A Showcase of Excellence: Instructors at the Staatliche Glasfachschule Hadamar from the early days until today

“When the glass feels good while being cut, it starts to sing,” says Willi Pistor, a great pioneer in art glass and a former instructor at the Glasfachschule Hadamar. Like his colleagues at the school, Pistor ideally unites master craftsmanship with an artistic vision.

The heart’s desire of instructors at the school for glassmaking in Hadamar has always been to inspire young people with all the possibilities offered by this unique material. It thus comes as no surprise that many renowned glass artists studied and taught in Hadamar.

Located between Cologne and Frankfurt, the Glasfachschule Hadamar is today one of Germany’s best-known centres for glass processing and training. Always in step with the latest developments in glass technology, the school helps students to realise their potential and hone their expertise in the metier. It has succeeded in continually optimising its training programme in step with the changing requirements for professional practice in order to create an excellent setting for learning about glass.

The school was founded in 1949 on the initiative of glass workers who had been displaced from the glassmaking centres of northern Bohemia after the Second World War and settled in Hadamar and environs to set up new glass-processing businesses. Their aim was to teach young professionals their trade at a vocational school for glass, as had been customary in their homeland.

After presenting artworks by students at the Glasfachschule Hadamar in a special exhibition in 2019/20, we are now showcasing the mastery of instructors at the school. On view is a broad and exciting range of diverse pieces by 23 instructors who have worked as both educators and artists in Hadamar over the past seven decades. Some of them are currently teaching at the school and others used to hold a teaching position there or have since retired. The school’s very first pioneers who were involved in its establishment and development are no longer with us. This gives the works on display from the early years unique historical value. Reviewing the work of all of these artists allows us to trace how new techniques and processes have been continually assimilated and perfected in Hadamar.

We would like to convey our gratitude to Reiner Eul, who teaches glass painting, lead glazing and glass fusing in Hadamar and acted as an intermediary between the glass school, the artists, and the Foundation for this project. It is thanks to his commitment that we are now able to marvel at the wonderful creations by Hadamar’s instructors in the new exhibition!

 

Photo credits: Reiner Eul

 

Photo above: Andrea Hebgen, Brassolini-Caligo – Bananenfalter, 2021

 

Photos (from left):

Andreas Otto, Hommage, 1988

Thomas Kruck, Still Living On The Edge, 1995

Herbert Petters, o.T., Entwurf 1935-40, Ausführung nach 1953

Reiner  Eul, Gestörte Kommunikation, 2021

Willi Pistor, o.T., um 1970 (undatiert)

Josef Welzel, Liegende Figur,1980

Carolin Schwarz, Staatspreis I, 2010

Hans Jorda, o.T. (Meisterstück),1965

Alfred Otto, Jagdszene, um 1972

Alexander Pfohl, Kristallglasteller, ca. 1928

Kurt Eiselt, Große Vase, 1966/67

Frank Ballowitz, Namnam, 2021

 

EXHIBITIONS AND COLLECTION 2016–2020

In 2021, collector Lilly Ernsting, the founder of the foundation, will be able to look back on 25 years of exhibiting and collecting! Reason enough to kick off the new year at the Glasmuseum Lette with a special exhibition. On view is a selection of objects acquired over the past five years at exhibitions and on our travels. A catalogue offering insights into the museum’s activities during this period accompanies the show.

A series of in-house exhibitions and numerous journeys made across Europe bear witness to several busy years of collecting. During those years, 270 objects found their way into the collection. From this rich assortment, we have chosen 60 pieces that illustrate our broad-based exhibition and collection concept. The current show displays all the vibrancy and diversity of the collection itself, like a multi-coloured kaleidoscope revealing the exuberant creativity of the glass scene. These glass objects thus serve as a mirror of developments in art glass, in artistic concepts and in the applied techniques.

The catalogue tells the story of how the exhibitions and the numerous objects housed at the Glasmuseum Lette came together over the past five years, sometimes in a summary, sometimes in brief artist monographs. The value of Lilly Ernsting’s maxims is born out here: direct contact with artists, frequent visits to galleries and museums, examining objects on site, and talking with all those involved. Only in this way is it possible to maintain the continuity and quality of the exhibitions and collection. In the course of many trips during the past years, existing contacts were rekindled and new ones made, often resulting in new projects. Contemplating the outcome of the exhibition and collection activities and looking back on the origins of what was still a modest private collection in the 1970s, one can only agree with Lilly Ernsting: “Who would have thought!”

Photo credit:

Photo above: Alena Matejka, Water, 2020 – Foto: Gabriel Urbánek

Photos (from left):

Lars Widenfalk, La Greca, 2019 – Photo: Gabriel Urbánek  /  László Lukácsi, FAN, 2019 – Photo: Liza Lukácsi  / Carol Milne, Purple Reigns, 2016 – Photo: Carol Milne  / Josef Marek, Fusion, 2019 – Photo: Jirí Koudelka  /

Anna Torfs, Parts High – Crystal Gold, 2017 – Photo: Jaroslav  Kvíz  /  Julius Weiland, Down the Rabbit Hole, 2017 © VG Bild-Kunst, Bonn 2024, Photo: Eric Tschernow  /  Antoine Pierini, Vestige Contemporain (VEC1A2), 2017 – Photo: Gaëlle Pierini  /  Jan Surýnek, Igel, 2014 – Photo: Glasmuseum Lette /

Thomas Kruck, Treasure Box, 2013 – Photo: Thomas Kruck  /  Stanislaw Jan Borowski, Sweet delight VS The Pinch a bit Bear, 2013 – Photo: Grzegosz Matoryn  /  Alison Allum, Twitter Troll, 2018 – Photo: Glasmuseum Lette /  Iris Haschek, Fadenwesen, 2018 – Photo: Iris Haschek

Antoine Pierini and Friends

The small town of Biot in Southern France, located between Cannes and Nice in the Alpes Maritimes region, is considered the French capital of contemporary glassmaking. A number of highly skilled glassmakers have their place of work there. Among them are Robert Pierini, his son Antoine and Antoine’s wife Gaëlle, true enthusiasts who are devoted heart and soul to this fascinating material. The family members have long worked hand in hand very successfully for their own company: the Pierini Glass Art Center.

The Pierini family success story goes back to 1980, when Robert Pierini, a pioneer of the studio glass movement in France, and his wife Francine discovered an old olive oil mill from the fifteenth century at the foot of the town of Biot. They immediately recognised the potential of this magical place. After purchasing and renovating the historical building, they set up their glass studio here. Their son Antoine was born in 1980 and grew up in this extraordinary setting, watching his father at work with growing interest. By the age of ten he was already able to wield his father’s utensils, such as pipe, wood block and shears. But he learned more from his father than just the basic techniques and knowledge of glassmaking – he also discovered the joy of mastering this molten material. Antoine later continued his training by taking courses, doing residencies, and working in various artists’ studios and at museums and art centres in the USA, Japan and Europe.

Travelling and meeting the biggest names on the international glass scene enriched and refined Antoine Pierini’s own artistic vision. The prime themes in his work today are the richness and fragility of the natural and cultural heritage of the Mediterranean region: “I try to capture with my glass sculptures the ancestral and ephemeral poetry of Mediterranean cultures and landscapes.” Antoine Pierini has developed his own signature style, creating pieces that captivate with both their colours and shapes. His working method combines traditional skills with cutting-edge experimentation, and he likes to call himself an “artist of matter” who lends his creations a sensitive and poetic depth.

The Pierini family’s many encounters with international artists inspired them to establish their own artist-in-residence programme. Artists who share the Pierinis’ passion for glass flock to Biot from all over the world to work in the studio at the Pierini International Glass Art Center. Here they find an ideal setting for sharing ideas with other artists as they develop and produce new works that then have their public debut in the Art Center galleries.

In 2005, Antoine and his wife Gaëlle took over the management of the family business. But this transfer of responsibility did not really change anything in the daily life of the family, as father Robert still works side by side with his son Antoine and the other artists.

We are very much looking forward to a rendezvous with “Antoine Pierini and Friends”. Bienvenue!

 

Photo above:

Antoine Pierini, Dunes (Installation-blue) – Photo Ilan Dehe

Photos:

Antoine Brodin, Hypnos, 2018 – Photo Antoine Brodin

Robert Pierini, Plume, 2001 – Photo Gaelle Pierini

Raven Skyriver, Hyppocampe, 2018 – Photo Galla Theodosis

Rob Stern, Solares, 2019 – Photo Ilan Dehe

Nicolas Laty, Snake Berlingot, 2018 – Photo Nicolas Laty

Antoine Pierini, On the Rock, 2017 – Photo Ilan Dehe

Kelly O’Dell, Homard, 2018 – Photo Galla Theodosis

Gabe Feenan, Squiggle tea, 2018 – Photo Loic Bisoli

Ethan Stern, Blue Fraction, 2018 – Photo Loic Bisoli

Ondrej Novotny, Speculum Multicolor, 2019 – Photo Ilan Dehe

Ethan Stern, Blue Fraction, 2018 – Photo Loic Bisoli

Léo, Toa (P1010859), 2019 – Photo Leo

Galla Theodosis, Tears of Dionysos, 2018 – Photo Galla Theodosis

The Glasmuseum Lette will be open to visitors again from Wednesday, May 13, 2020

The Glasmuseum Lette will be open to visitors again from Wednesday, May 13, 2020 – we are looking forward to see you!

 

The opening times remain unchanged: Wed, Sat and on public holidays 2 p.m. to 5 p.m., Sun 11 a.m. to 5 p.m.

The current special exhibition “New Acquisitions 2019” is provisionally extended until August 02, 2020.

Regular exhibition operations can of course only be started under the currently widely used protective and hygiene measures in order to reduce the risk of infection to a minimum and to protect visitors and staff.

For this reason, in addition to increased hygiene measures such as wearing a nose and mouth protection in the building and using the hand disinfection dispenser at the entrance to the museum, there are also a maximum number of visitors as well as a regulated route and floor markings to ensure that the minimum distance is observed.

During the tour, make sure to keep the required distances of 1.5 to 2 meters and the usual hygiene rules (sneezing / coughing in the crook of your arm / handkerchief, keeping your hands away from your face, not touching other people).

In addition, groups should be avoided, which is why Guided tours are currently not possible. The The glass depot in the Höltingshof is also closed until further notice.

Please note the new distance and hygiene rules so that everyone can enjoy the museum visit even in Corona times.

 

Thank you for your understanding and enjoy the Glasmuseum Lette!

NEW ACQUISITIONS 2019

“I love images arising in me which describe situations or relationships. To bring them into the glass is joy. With the glass, the light and sometimes the inner touch.” This is how Heikko Schulze Höing describes his work with the artistic medium of glass. Last year we were able to acquire for our collection his multi-layered graal vase “Herz der Finsternis” (Heart of Darkness), which won first prize in the prestigious Immenhäuser Glaspreis 2019 awards. The shadowy cameo engraving is reminiscent of cut-out silhouettes, with a further dimension added by an inner motif of people fleeing. We were also impressed by the work that took third place, “Fadenwesen” (Thread Creatures) by Iris Haschek. Here, she masterfully pushes the pâte de verre technique to its limits: delicate azure-blue mushrooms grow up out of charred wood, evoking the eternal circle of life, death and rebirth.

Our quest for exciting glass art took us to some special events this past year. The British Glass Biennale 2019 in Stourbridge, for example, was a real highlight! We were able to acquire some fantastic works, including “Curled over” by Nina Casson McGarva. The young artist was born in England but grew up in rural Burgundy in France, so it is no wonder that natural phenomena in all their variety are her great inspiration. She says that “to me the material is most alive when it’s hot and being transformed. The end result is solid and doesn’t move any longer; it is at the fragile time before disintegration and maintains a dynamic form and rich structures such as dry leaves, feathers or sea shells.” Allister Malcolm’s vase object “Bubble-Wrap” also caught our interest with its distinct flair for design and flawless workmanship. Malcolm was inspired here while diving, observing underwater how the bubbles released with each breath ascend to the surface.

In the Netherlands we made another exciting discovery: Han de Kluijver, an architect who has also worked as a glass artist for many years. His efforts have now been crowned with success, as he was awarded first prize in the competition Glasplastik und Garten (Glass Sculpture and Garden) hosted by the City of Munster! Each one of his glass objects resembles an architectural creation: a fixed form in space. The work of the Japanese artist Masayo Odahashi is by contrast more sculptural. Her meditative figures, mostly young girls, seem to look inward, radiating a quiet strength, as if they could guide us to greater inner peace.

We present to you these and other fascinating new works in our first exhibition of 2020. Be prepared to make some delightful discoveries!

 

Photo above:

Iris Haschek, Fadenwesen, 2018 (Photo Iris Haschek)

 Photos:

Han de Kluijver, Mesocosm, 2010 (Photo Tomas Hilger)

László Lukácsí, FAN, 2019 (Photo Liza Lukácsí)

Masayo Odahashi, In my hands II, 2018 (Photo Galerie B)

Simone Fezer, Cell (Serie Organix), 2014 (Photo Simone Fezer)

Heikko Schulze Höing, Herz der Finsternis, 2019 (Photo Peter Hübbe)

Tomáš Brzoň, Shark, 2015 (Photo Jiří Koudelka)

Nina Casson McGarva, Curled over, 2019 (Photo Nina Casson McGarva)

Allister Malcolm, Bubble-Wrap, 2019 (Photo Simon Bruntnell)

Free and applied glass art from the Staatliche Glasfachschule Hadamar  

The small Hessian town of Hadamar, idyllically set at the edge of the Westerwald forest between Cologne and Frankfurt, has been home to a modern training centre for glass technology and glass design since 1949.

The Staatliche Glasfachschule Hadamar is today one of the best-known training and glass-processing establishments in all of Germany. It was founded in 1949 on the initiative of glass workers who had been displaced from the glassmaking centres of northern Bohemia after the Second World War and settled in Hadamar and environs and established new glass-finishing businesses there. Their aim was to teach young professionals their trade at a vocational school for glass, as had been customary in their homeland.

Thanks to forward-looking management with a finger on the pulse of the glass industry, the school has succeeded in continually optimising its training programmes to fit the latest developments and requirements of professional practice. In addition, the school’s directors and teachers have regularly had a say in amending the training regulations and framework curricula for the glass working and processing professions, thus creating excellent conditions for training.

The school’s fine reputation enables it to attract young people from all over Germany to Hadamar, and not infrequently also from neighbouring European countries as well as Asia and Africa. They come here to learn a glass-processing or industrial occupation, to do advanced training in the various techniques, and to work creatively with glass.

The multi-year full-time vocational school offers foundation training in the professions of glazier, glass apparatus maker, and glass finisher (edge and surface finishing, glass painting and art glazing). Other school forms in the Hadamar complex are a two-year technical college, a school for apprentices, and a preparation course for the master craftsman exam offered by the Federal Association of Glazier Trades (BIV).

But beyond the trade aspects, working with glass as a material gives students the opportunity to find their own means of creative expression. It thus comes as no surprise that many distinguished glass artists have come out of the Glasfachschule Hadamar.

In our new exhibition we present some 50 works by both graduates and current students at the school. The artists all have one thing in common: a perfect command of the various glass techniques, which they apply to reinterpreting and even breaking the rules they learned at the Glasfachschule Hadamar, each in their own way. The works on view are abstract, sculptural, narrative, ironic, or simply beautiful – unfolding a broad kaleidoscope of artistic skill and creativity!

 

Photo above:

Alexandra Lesch, Fischdrache, 2002  (Photo Alexandra Lesch)

Photos:

Elvira Bach, o.T., 1985  (Photo Derix Glasstudios, Taunusstein)

Fritz Prehal, Gegen den Strom, 2014 (Photo Lena Prehal)

Elisa Ekler, Schmetterlings Kronenleuchter, 2017/18  (Photo Elisa Ekler)

Gabriele Küstner, Deckelgefäß 3.B.2007, 2007 (Photo Max Hundertmark, Fotostudio Maxwell)

Samuel Weisenborn, Destruction,  2019  (Photo Samuel Weisenborn)

Thomas Kruck, Treasure Box, 2013  (Photo Thomas Kruck)

Sandra Urban, Seelenverwandte, 2017 (Photo Reiner Eul)

Jochen Härter, o.T.  (Wettbewerbsarbeit), 2017  (Photo Reiner Eul)

 

Glass Generations

The Gerrit Rietveld Academie in Amsterdam, an independent college of fine arts and design, has been home to a close-knit community of students from all over the world for the past 50 years. Students and teachers work together here to create a learning environment where theory and practice coincide, giving rise to unexpected ideas. The academy hones the skills of talented young artists to enable them to work independently in the field of fine arts or design.

Glass has always played an important role at the Gerrit Rietveld Academie. The glass department was founded in 1969 by Sybren Valkema, who coined the term “free glass” to distinguish glass designed and made by artists from what Americans call “studio glass”. Thanks to his pioneering work, the worlds of teaching and art have been able to cross-fertilise one another. The glass department at the Rietveld Academie takes a strongly conceptual approach, viewing glass as a sculptural material for contemporary art. The department’s new name is telling in this respect: “The Large Glass”, borrowed from the title of a work dating to 1915–1923 in which the artist Marcel Duchamp used glass for the first time in a conceptual artwork.

The students hence do not see themselves as glass artists but rather as fine artists who happen to work with glass. They are encouraged to work freely and to explore the possibilities offered by the material, challenging it and pushing it to its limits. Technique is a tool here rather than an end in itself. Nevertheless, basic skills are taught throughout the course of study: art theory, conceptual thinking, hot and cold glass techniques (blowing, casting, grinding, sandblasting, mould-making, etc.). The focus is on each student’s own individual artistic approach and on teaching the practical and theoretical knowledge required to be an artist.

With our latest exhibition we congratulate the academy on its 50th anniversary and present exceptionally freeform objects, wall pieces and installations by eleven young graduates. These recent works are accompanied by numerous pieces from the collection of the Glasmuseum Lette, the only institution in the German-speaking world to present an extraordinary cross-section of works produced by the glass department at the Rietveld Academie. The exhibition thus functions as a satellite show for the anniversary year, conveying the development of glass art over the past 50 years at academy.

Jens Pfeifer, who has been head of the glass department there since 2011, graciously invited us to undertake this project. Thanks to his initiative we are also able to demonstrate to our own audience the potential displayed today by the Rietveld Academie!

 

Photo above:

Mirre Yayla Séur, When Memory Enters, a Midwife as a Metaphor (The Pretense of Presence), 2018  (Photo Kit Séur)

 

Photos:

Katrien Van Liefferinge, „…Blood, Sweat, and Tears“, 2017  (Photo Katrien Van Liefferinge)

Marie De Bruyn, The process and its object, 2011 (Photo Marie De Bruyn)

Jenny Ritzenhoff, Lover 11 – 127 #reconstruction 1, 2017  (Photo Jenny Ritzenhoff)

Geir Nustad, Street view – Mother, son, soldier, 2014  (Photo Geir Nustad)

Jens Pfeifer, Bohemian cut 1, 2013 (Photo Jens Pfeifer)

Gareth Noel Williams, Deep in my own world, 2001 – Collection Glasmuseum Lette (Photo Ron Zijlstra)

Richard Meitner, Jumbo Lights, 2003 – Collection Glasmuseum Lette (Photo Ron Zijlstra)

Mieke Groot, o.T., 2003 – Collection Glasmuseum Lette (Photo Ron Zijlstra)

 

Taking Off – Hungary’s Young Glass Scene

Hungary’s glass scene is still young, and it’s off to a grand start.

Masterpieces by Hungarian glass artists are now in high demand, and major international museums and private collectors often have to wait a long time to acquire world-class works. This wave of interest comes as no surprise, as many Hungarian artists have already won top international prizes.

Nevertheless, glass art in Hungary has had to find its own unique path, which could not take its cue from the international studio glass movement. Although there were some folk art traditions and small-scale glassmaking, mass production dominated the country’s glass industry from around 1948 to 1990. Afterwards, many glassworks were forced to shut down due to privatisation, and thus they did not play an important role for either the industry or training in contemporary glass art.

Of enormous importance by contrast is the first-class education that has been available in Hungary since the 1950s and 60s at technical schools, academies and the Moholy-Nagy University of Art and Design Budapest (MOME). Zoltán Bohus, master, teacher and pioneer, has been a seminal figure for the development of autonomous glass art in Hungary, rapidly rising to world fame with his architectural sculptures made of cold-worked glass.

Surprisingly, the country’s glass art has yet to attract much recognition in Hungary itself. Hungarian museums for the most part show only design glass and display more interest in antique pieces than in modern studio glass. Although there are a number of active professional glass artists in Hungary, most of them work alone in their own studios and workshops. It is difficult for them to network with each other because there are very few specialised galleries, exhibitions or fairs where artists might freely exchange ideas and find mutual inspiration. Moreover, most of the pieces on display make their way straight to foreign galleries. The sole glass gallery – the Hefter Gallery – is located in the western town of Pannonhalma. Otherwise, works by Hungary’s glass artists can be found only in a handful of art galleries that do not specialise in glass. This means that the artists don’t often get the chance to see the work of their colleagues.

The Hungarian Glass Arts Society (HGS), founded in 1996, is the most active organisation devoted to autonomous glass art. Since 2012, it has been mounting the internationally acclaimed “HuGlass” exhibition every three years. The aim is to present the various areas of glass art to the public and to give members the opportunity to show their work in a professional context in order to attract the attention of the art market. Artistic work in glass is extremely versatile in Hungary, but all artists share a high professional standard in applying glass techniques and processes and the desire to develop their own personal form of visual expression.

Our new exhibition is devoted to presenting this young and lively glass scene to a wider audience. Around 55 works by 27 artists will be on view – including sculptures, objects and installations by both world-renowned artists and promising representatives of the younger generation. All of them are members of the Hungarian Glass Arts Society (HGS).

Our sincere thanks to the Hungarian artist and curator Zsuzsanna Kóródi, who displayed great dedication in making this presentation of Hungarian glass art possible.

 

Photo above:

Judit Grünfelder, Can´t Find, 2019 (Photo Judit Grünfelder)

 

Photos:

Rita Bánó, Blue peach, 2019  (Photo László Spengler, Lili Sziráki)

Bernadett Hegyvari, Above and below 01, 2019  (Photo James Carcass)

Zsuzsanna Kóródi, Grid VII., 2018  (Photo Zsuzsanna Kóródi)

Zoltán Bohus, Autum I, 2015  (Photo Réka Bohus)

Dóra Varga, Boov 2, 2017  (Photo Zsuzsanna Kóródi)

Kyra László, w.omens 04, 2017  (Photo Kyra László)

Péter Borkovics, Blue yellow 2, 2017  (Photo Péter Borkovics)

Endre Gaál, Golden age 7, 2019  (Photo Endre Gaál)

György Gáspár, Plan, 2017  (Photo Zsuzsanna Kóródi)

Birgit Köblitz, Der Kurgast (H.H.), 2018  (Photo Éva M. Fodor)

Vajk Farkas, Green Stripe, 2017  (Photo Vajk Farkas)

Eszter Bősze, Flow Motion II., 2018  (Photo Tamás Szelestey)