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by Enrico Tantucci A close look at glass and at the moment through which its artistic research is passing - this the theme of the new issue of Trieste Contemporanea - seen, as always, from a western and an eastern perspective. Murano is the starting point of this journey which moves towards eastern Europe and beyond to outline the borders and the forms of a process in which art, craft, design and serial production intertwine in territories which are not always easily identified. The Venetian island, where glass making enjoys a millenary tradition for the most part largely unsurpassed, testifies to this transformation. Artists and designers from all over the world have become regular clients, for the execution of their pieces, of a number of Muranese furnaces and operate alongside the production of objects for the customary market, often so intense as to leave no space for creativity, and that of legendary works of such world-famous masters of Murano as Archimede Seguso. It is no coincidence that this year’s edition of the International Design Contest Trieste Contemporanea, which is reviewed in a special section of the magazine, was dedicated to blown glass with the participation of artists from many different countries, nor that Murano was chosen as both the forge and the opening venue of the exhibition of the selected pieces, all executed on the island by “Anfora” in collaboration with the artists themselves. The director of the Museo del Vetro di Murano, Attilia Dorigato, and the coordinator of studies, Rosa Barovier Mentasti, of the Scuola del Vetro which has now been active for some years on the island, help us to outline in the dossier the state of the art on the Venetian glass scene, while the critic Dan Klein offers an overview of the situation of artistic glassmaking in Eastern Europe, thus bringing together two milieux which have always entertained some kind of connection and which share a common moment of visibility every two years in Venice within the framework of the international “Aperto Vetro” expo. Besides the glass dossier and the regular feature of the international calendar of events taking place in Central-eastern Europe, this issue of Trieste Contemporanea also offers a special section dedicated to Russian Yiddish literature. An unusual insight, through the eyes of two of its representatives, Dovid Bergelson and Der Nister, which helps to understand better its tormented originality. Enrico Tantucci |
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