Past

Exhibitions

Consult everything you need to know about current and upcoming exhibitions at the Guggenheim Museum Bilbao.

Exhibitions | Guggenheim Museum Bilbao

Past | Guggenheim Museum Bilbao

Alex Reynolds

Talks with Artists

Alex Reynolds. There Is a Law, There Is a Hand, There Is a Song

Audioguide

The Film &amp; Video exhibitions program at the Guggenheim Museum Bilbao is permanently committed to artistic practices associated with the moving image in the context of contemporary visual arts.
The work of artist and filmmaker Alex Reynolds (b. 1978, Bilbao) constantly explores our modes of relation and affection as they appear embodied in the cinematic language. Altering narrative structures, commands and rhythms in production, playing with the conventions of acting and storytelling as well as the role of the viewer, the artist defies our perception beyond the perimeter of the screen and the realm of images. Thus she transforms objects and events in the exhibition space as well, suspending the automatisms of meaning.
This exhibition presents three recent works by Reynolds, between which a triangulation of ideas – the norm, the acting hand, the singing voice – circulates ceaselessly. The film Palais, shot in Brussels inside the imposing architecture of the Palace of Justice, presents a silent walkthrough of the labyrinthine administrative facilities of a 19th-century building. Intimations of curiosity, humorous mischief, and uncanny trepidation seem to overlap as we follow the camera through a monumental space marked by imperial iconography. At the other side of the anteroom, a tuning fork is presented and surreptitiously vibrates through the air. Traditionally used for fine-tuning musical instruments, this object has been custom-made to portray the exact voice pitch of a person known to the artist, and after whose name – Justine – the piece is titled.
On view in the main gallery is Reynolds’s most recent film work, made in collaboration with Swedish choreographer Alma Söderberg. Co-produced by the Guggenheim Museum Bilbao, The Hand that Sings builds a web of connecting gestures, voicings, and images in time. These elements mimic each other following an open associative sequence: from the extraction of oak bark in Extremadura during the yearly cork harvest, to the peeling of an orange before a handheld fire or the act of washing someone’s hand; from the tremor of leaves to that of a voice, to a bird’s flapping wings in the distance or, again, the feedback loop between the performer’s chant and hand movements. Words in Spanish and English are traded over a rooftop as we get a glimpse of the Palace of Justice in the Brussels skyline. Sensorial resistance to fixity and hierarchy, focus on transformation with all senses engaged in the process, are key aspects to this new work. Both free-form and minutely composed, The Hand that Sings proposes a lyrical interplay of correspondences where bodies, landscape, and the camera jointly perform, attuned to one another.
Curator: Manuel Cirauqui
Alex Reynolds &amp; Alma Söderberg 
The Hand that Sings (La mano que canta), 2021 
HD Video, color, sound (production image) 
Courtesy of the artists and Marta Cervera Gallery 
© Alex Reynolds and Alma Söderberg

The Film &amp; Video exhibitions program at the Guggenheim Museum Bilbao is permanently committed to artistic practices associated with the moving image

Alex Reynolds. There Is a Law, There Is a Hand, There Is a Song | Guggenheim Museum Bilbao

Bilbao and Painting

Lecture

Shared Reflections

Paco Durrio, Jewelry Designer: Modernity and Avant-garde

Creative Sessions

Bilbo and Painting

Guided Tour

IBERDROLA

Images of the Exhibition in the Museum

BILBAO: PORT & MARKET

THE VILLAGE & THE SEA

DANCE IN PAINTING

PACO DURRIO: BILBAO-PARIS CONNECTION

This exhibition is the visual history of a town, nineteenth-century Bilbao, which, in spite of being invaded by the French, besieged by the Carlists, and struck by various cholera epidemics—the first in 1834, the fourth and last in 1893—, consolidates economically as a great city, in which a significant number of great artists, who had previously passed through Paris, will thrive. Through twenty-seven pictorial scenes, like time-songs or greatest hits, we delve into the history of our city. These paintings sharpen that dual faculty of memory and knowledge that great painting makes possible.
Curator: Kosme de Barañano

This exhibition is the visual history of a town, nineteenth-century Bilbao, which, in spite of being invaded by the French, besieged by the Carlists, and

Bilbao and Painting | Guggenheim Museum Bilbao

Art, Science, and Synesthesia

Talk

Vasily Kandinsky was born on December 16, 1866, in Moscow. From 1886 through 1892 he studied law and economics at the University of Moscow, where he lectured after graduation. In 1896 he declined a teaching position in order to study art in Munich with Anton Azbe from 1897 to 1899 and at the Kunstakademie with Franz von Stuck in 1900. Kandinsky taught in 1901–03 at the art school of the Phalanx, a group he cofounded in Munich. One of his students, Gabriele Münter, would be his companion until 1914. In 1902 Kandinsky exhibited for the first time with the Berlin Secession and produced his first woodcuts. In 1903 and 1904 he began his and Münter’s travels in Italy, the Netherlands, and North Africa and his visits to Russia. He showed at the Salon d’Automne in Paris from 1904.

Kandinsky, Vasily

Kandinsky

Presentation talk

Virtual tours of the exhibition, guided by curator Megan Fontanella

Fundación BBVA

Gallery 305–306

Beginnings: Munich

Gallery 307

Cosmic Realms: Russia to the Bauhaus

Gallery 306

Miniscule Worlds: Paris

As a pioneer of abstraction and a renowned aesthetic theorist, Vasily Kandinsky (b. 1866, Moscow; d. 1944, Neuilly-sur-Seine, France) is among the foremost artistic innovators of the early twentieth century. In his endeavor to free painting from its ties to the natural world, Kandinsky discovered a new subject matter based solely on the artist’s “inner necessity” that would remain his lifelong concern.
In Munich in the 1900s and early 1910s, Kandinsky began exploring the expressive possibilities of color and composition, but he was abruptly forced to leave Germany with the outbreak of World War I, in 1914. The artist eventually returned to his native Moscow, and there his pictorial vocabulary started to reflect the utopian experiments of the Russian avant-garde, who emphasized geometric shapes in an effort to establish a universal aesthetic language. Kandinsky subsequently joined the faculty of the Bauhaus, a German school of art and applied design that shared his belief in art’s ability to transform self and society. Compelled to abandon Germany again when the Bauhaus closed under Nazi pressure in 1933, he settled outside Paris, where Surrealism and the natural sciences influenced Kandinsky’s biomorphic imagery.
More so than any other artist, Kandinsky is intertwined with the history of the Solomon R. Guggenheim Foundation, established in New York in 1937. Industrialist and museum founder Solomon R. Guggenheim began collecting Kandinsky’s work in 1929 and met him at the Dessau Bauhaus the following year. This exhibition draws from the foundation’s extensive holdings to illustrate the full arc of Kandinsky’s seminal career.
Curator: Megan Fontanella
Organized by The Solomon R. Guggenheim Foundation, New York
Vasily Kandinsky 
Black Lines (Schwarze Linien), December 1913 (detail) 
Oil on canvas 
130.5 × 131.1 cm 
Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding Collection, By gift 37.241 
© Vasily Kandinsky, VEGAP, Bilbao 2020

Persistent State of Discovery

INNOVATIVE TEACHING

INFLUENTIAL WRITINGS

KEY TERMS

Presentation by Megan Fontanella

Introduction to the exhibition installation

Packing and shipping the works of art

Getting the galleries ready

Advertising

Shipping the works from New York to Bilbao

Moving the works of art around the Museum

Checking the condition of the works of art

Artwork layout

Catalog

Lighting

Graphic design

Didaktika

Press conference

#KandinskyCountdown

We’d like to invite you to enjoy a virtual tour of the exhibition Kandinsky. This tour includes all the works and didactic texts in the show.

START NOW

VIRTUAL TOUR

As a pioneer of abstraction and a renowned aesthetic theorist, Vasily Kandinsky (b. 1866, Moscow; d. 1944, Neuilly-sur-Seine, France) is among the

Kandinsky | Guggenheim Museum Bilbao

Lee Krasner

On Lee Krasner

A Conversation

Screening

Interviews with Lee Krasner

LK: Living Painting

Krasner's Techniques

+18 Creative Sessions

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&#8216;I was a woman, Jewish, a widow, a damn good painter, thank you, and a little too independent&#8217;. Lee Krasner

Artista

Krasner, Lee

Lee Krasner: Living Color

Enjoy the presentation of our new temporary exhibition, Lee Krasner: Living Color, and an online tour guided by its curator, Lucía Agirre.

Presentation of Lee Krasner: Living Color and online guided tour

Seguros Bilbao

Becoming Lee

Life Drawing

Little Images

War Service Windows

Stable Gallery

Prophecy

Night Journeys

Primary Series

Primary Series Drawings

Palingenesis

Eleven Ways

Lee Krasner (1908–1984) was born in Brooklyn as Lena Krassner and grew up in an Orthodox Jewish, Russian émigré family. She decided to become an artist at the age of 14, and was one of the first artists in New York to adopt an entirely abstract approach. She went on to be one of the pioneers of Abstract Expressionism. In 1942, her work was included in a group exhibition entitled French and American Painting, and the only fellow exhibitor that she had not met was Jackson Pollock, so she decided to visit his studio. From then on, they were together and in 1945 they married and moved to Springs, Long Island.
Unlike many of her contemporaries, Krasner refused to develop a “signature image,” which she considered to be “rigid rather than being alive.” Working in cycles, she continually sought out new means for authentic expression, even during the most tumultuous of times, which included Pollock's emotional volatility and his sudden death in a car crash in 1956. Krasner's formidable spirit is felt throughout the body of work that she created over more than fifty years in the studio—celebrated in this exhibition.
Exhibition organized by Barbican Centre, London in collaboration with the Guggenheim Museum Bilbao. With the support of the Terra Foundation for American Art
Curators: Eleanor Nairne and Lucía Agirre
Lee Krasner 
Combat, 1965 
Oil on canvas 
179 × 410.4 cm 
National Gallery of Victoria, Melbourne, Felton Bequest, 1992 (IC1-1992) 
© The Pollock-Krasner Foundation
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IN FOCUS

Lee Krasner (1908–1984) was born in Brooklyn as Lena Krassner and grew up in an Orthodox Jewish, Russian émigré family. She decided to become an artist at

Lee Krasner: Living Color | Guggenheim Museum Bilbao

“Art was used to encourage a different way of thinking in the kids, to visualize topics in new ways and deal with them from a different perspective.”
Elssie Ansareo

Artists

Ansareo, Elssie

“We tried to recreate the shapes of the mountains and rocks in the surroundings with our own bodies. We experienced the landscape in our bodies, changing the classroom routine and using dynamics in which cooperation and coordination are a must, in which we all have to work together to create a new landscape.”
Maider López

López, Maider

“The project’s main goal was to make the kids experience geometry, illustrating it with examples from their environment and analyzing everyday objects for geometric properties.

Art was a vehicle for visual experimentation with objects and shapes. In this project, we focused on team work, so we designed activities for the kids to do together.”
Iñaki Gracenea

Gracenea, Iñaki

“One of the project’s big concepts was the day that, sooner or later, research, daily work and study help you find the way. Or rather, they are the way. The process, rather than the result, is what matters. Another big concept was the importance of making mistakes in ongoing learning processes.

There can be no progress, no trial, without errors. Making mistakes part of the learning process is very important. It sends the message that not knowing is ok: teachers and artists may not know either. This is the way: you don’t know, you have questions, you try things, you investigate.
Making students familiar with working in groups, talking about what they see and choosing what they want to do, as well as making room for mistakes, helps them build their own criteria as a strategy for discussion.”
Manu Muniategiandikoetxea

Muniategiandikoetxea, Manu

“In Samaniego School I came across a multicultural group–young, responsive children, open to trying new things. The project idea was clear right from the start. The school, embarked on a space project, gave us an assignment to equip Noski–the project’s space traveler–with an adequate outfit for the stratospheric adventure.

The project was cancelled as a result of the lockdown, and Noski was grounded immediately. Now we have a pending, equally exciting, task: preparing our own expedition.”
Ibon Sáenz de Olazagoitia

Sáenz de Olazagoitia, Ibon

“Finding the materials, techniques and shapes, and arranging them according to the group’s needs takes time. Sometimes, having just one way of managing a project like this one can be detrimental, and in our specific case, it’s quite unrealistic. In my experience, it’s better to take the kids where they want to go, at their own pace. In the end, being together and on the move, we found our way–and it was exactly what we needed.

We took one step at a time, championed a way that served no particular purpose, but, on the contrary, remained open, trying to find its own means of expression, and most of all, leading to discovery and self-affirmation.”
Manu Uranga

Uranga, Manu

Learn with BBK

SAN GABRIEL, TRÁPAGA

Visible and Invisible

ZAMAKOLA-JUAN DELMAS  

Drawing, Body, City

SÁNCHEZ MARCOS 

Geometry in the Classroom

BUENOS AIRES 

Looking at Nature

SAMANIEGO 

A Special Trip to Space

BIZARAIN 

Mountains and Rocks

Art as a Learning Tool
Talking about art and participating in the artists’ creative process is a way for elementary schoolchildren to deal with curricular topics from a different perspective.
Kids tend to learn better when they play an active role and have a say in their own learning process. This program encourages them to ask questions, give free rein to curiosity, explore inspiring ideas, and experience the thrill of discovery.
Each project is bespoke and unique. They have all been designed as open processes and adjusted to meet individual skills and interests. When implemented, they make room for play and improvisation, research and exploration, trial and error. In the artistic process, kids think, appreciate, choose, try, have doubts, have fun, get lost, get stuck, and, of course, make mistakes–for there can be no progress without mistakes.
The school year is coming to a close, and so is this project. The creative process can now be shown and shared. Staging and showing an exhibition gives a new meaning to the work done. By reaching out to others, the exhibition brings the artistic process to a close. The works meet their viewers. The kids will have the chance of showing what they did in the Museum, in an event that is bound to boost their self-esteem and to stay with them for the rest of their lives.
Like every summer, the Education Space at the Museum will be filled with works by schoolchildren. From 26 June to 27 September, visitors will be able to take a look at them, as they enjoy the little artists’ fresh, original perspectives.
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Bilbao-New York

Program

History

The Remarkable Educational Potential of Learning through Art

The artists of Learning through Art

Learning Through Art 2020

Art as a Learning Tool Talking about art and participating in the artists’ creative process is a way for elementary schoolchildren to deal with curricular

Learning Through Art 2020 | Guggenheim Museum Bilbao

William Kentridge: 7 Fragments

Exhibition Video

William Kentridge is a leading figure in the recent history of video installations, which in his case always operate as a crossroads between choreography and drawing, gesture, erasure, and lines. The predominance of black and white links the traditional texture of cinematographic film to the graphic media of charcoal, graphite, and ink. At this nine-screen installation, Kentridge invokes Georges Méliès, the founding genius and father of cinema, simultaneously creating a dreamlike self-portrait using the graphic artist’s studio as a cosmic stage, staging both his body and his daily work. 7 Fragments for Georges Méliès, the set of recordings that give the exhibition its name, is accompanied by two additional pieces also created in 2003, respectively entitled Day for Night (for the process to invert black and white in photo negatives) and Journey to the Moon (an implicit tribute to the homonymous masterpiece created by Méliès in 1902). This last work dramatically fills the entirety of the space with sound through the original music by Philip Miller.
Curator: Manuel Cirauqui
William Kentridge 
7 Fragments for Georges Méliès and Day for Night, 2003 
Eight-channel HD video installation. Black and white, silent. 
Collection Fundació Sorigué, Lleida 
© William Kentridge, 2003 
Image courtesy of Lia Rumma Gallery Milan/Naples

William Kentridge is a leading figure in the recent history of video installations, which in his case always operate as a crossroads between choreography

William Kentridge: 7 Fragments | Guggenheim Museum Bilbao

Lygia Clark was born in Belo Horizonte, Minas Gerais, Brazil in 1920 and received informal artistic training in the late 1940s by Brazilian artists Roberto Burle Marx and Zélia Ferreira Salgado in Rio de Janeiro. By 1950 she traveled to Paris to continue her artistic training with modern masters Fernand Léger and Árpád Szènes. She held her first exhibition, L. Clark-Ribeiro (1952), at the Institut Endoplastique, Paris, where she exhibited her early experiments with abstraction and constructive forms in two-dimensional works. Upon her return to Brazil later that year, she held her first solo show, Lygia Clark 1950-1952, at the Ministério da Educação, Rio de Janeiro. Recognized as an emerging artist, Clark began to participate in important regional group exhibitions, including the first Exposição Nacional de Arte Abstrata (1953) and the Bienal de São Paulo (1953).

In 1954, Clark became involved with the vanguard collective, Grupo Frente, along with her contemporaries Aluísio Carvão, Hélio Oiticica, and Lygia Pape, among others, and participated in the group’s groundbreaking exhibitions through 1956. Following the tenets of Geometric Abstraction, her work from this period embraced a rigorous representation of geometric form, bold colors, and a sense of order. She participated in other major exhibitions, such as the Salão Nacional de Arte Moderna (1956 and 1957), the first Exposição Nacional de Arte Concreta (1957), and the Bienal de São Paulo (1957). Towards the end of the 1950s, Clark’s aesthetic and philosophical concerns coincided with those of Neo-Concretism, a Brazilian artistic movement established in 1959 that rejected the impersonal and objective quality of Concrete abstraction. The Neo-Concretists conceived of their works as existing between art and life and as experiences in the public realm. A founding member, Clark participated in the Exposição Neoconcreta in 1959, and created three-dimensional work that fostered the active participation of the spectator in the artwork.
From 1964 through the early 1970s, Clark resided in Paris and created a series of unconventional works paralleling her lengthy psychoanalysis with psychiatrist Pierre Fédida, which led her to conceive the idea of a therapeutic form of art. These investigations coincided with groundbreaking events in the world, such as the events of May 1968 in France and the rise of a new generation of Brazilian artists involved in movements such as Nova Objetividade (New Objectivity) and Tropícalia. Clark’s works from this period incorporate elements that stimulate the body through eyes, ears, and nose as a way of integrating the senses without privileging the visual. Her artistic investigation from this period embraced a therapeutic performance that aimed to activate subjective and corporal awareness. After 1978, during her last stages of her career, Clark solely dedicated herself to her psychoanalytic practice. She died in Rio de Janeiro in 1988.

Clark, Lygia

 Lygia Clark: Painting as An Experimental Field, 1948-1958 

Lygia Clark: Painting as an Experimental Field, 1948–1958 

Round Table

The Early Years, 1948–1952

Geometric Abstraction, 1953–1956

Variation of Form: Modulating Space, 1957–1958

A pioneer in abstraction, Lygia Clark (b. 1920, Belo Horizonte, Brazil; d. 1988, Rio de Janeiro, Brazil) was a major artist of the second half of the twentieth century. Lygia Clark: Painting as an Experimental Field, 1948–1958 presents a reexamination of Clark’s crucial formative years from 1948 to 1958, when she was experimenting between figuration and abstraction to articulate the compelling visual language that defined her mature production. Along with a pertinent representation of her early figurative work, this exhibition assembles paintings from major series created during this early period to provide a fundamental overview of the first decade of Clark’s artistic career.
Viewing painting as an “experimental field,” a phrase from a keynote lecture given by the artist in 1956, Clark sought to redefine the medium by pushing the boundaries of traditional painting. Dedicating herself to art without formal training, she embedded herself within the artistic milieu of Rio de Janeiro in the late 1940s and participated in seminal artistic movements, such as Concrete art and geometric abstraction, throughout the 1950s. This focused exhibition traces Clark’s artistic evolution in three structured historical sections: “The Early Years, 1948–1952;” “Geometric Abstraction, 1953–1956;” and “Variation of Form: Modulating Space, 1957–1958.” Each chapter addresses Clark’s most significant ideas and provides an in-depth representation of her artistic development through a concise selection of works.
This presentation of Lygia Clark’s early practice debuts on the centenary anniversary of the artist’s birth, bringing a renewed attention at an international level to a significant postwar Latin American female artist. The museum is thankful to the Lygia Clark Cultural Association, Rio de Janeiro, and the artist’s heirs for their tremendous support of the exhibition.
Curator: Geaninne Gutiérrez-Guimarães
Lygia Clark 
The Violoncellist (O Violoncelista), 1951 
Oil on canvas, 105.5 x 81 cm 
Private Collection 
© Courtesy of “The World of Lygia Clark” Cultural Association

From Europe to Latin America

Beyond painting

Art as mediator

Between Art and Therapy

Lygia Clark: Painting as an Experimental Field, 1948–1958

A pioneer in abstraction, Lygia Clark (b. 1920, Belo Horizonte, Brazil; d. 1988, Rio de Janeiro, Brazil) was a major artist of the second half of the

Lygia Clark: Painting as an Experimental Field, 1948–1958 | Guggenheim Museum Bilbao

Richard Artschwager was born in 1923 in Washington D.C. and died in 2013 in Albany, New York. After receiving a BA in 1948 from Cornell University, New York, he studied under Amédée Ozenfant, one of the pioneers of abstraction. In the early 1950s, Artschwager became involved in cabinetmaking, producing simple pieces of furniture. After a catastrophic workshop fire at the end of the decade, he began making sculpture using leftover industrial materials; then expanded into painting, drawing, site-specific installation, and photo-based work.

Artschwager’s first exhibition took place at the Art Directions Gallery, New York, in 1959; and was followed by the first of many solo exhibitions with Leo Castelli in 1965. Solo exhibitions include Up and Across, Neues Museum, Nuremberg, Germany (2001); Museum für angewandte Kunst (MAK), Vienna (2002); Kunstmuseum Winterthur, Switzerland (2003); Painting Then and Now, Museum of Contemporary Art, Miami (2003); Up and Down/Back and Forth, Deutsche Guggenheim, Berlin (2003); Richard Artschwager!, Whitney Museum of American Art, New York (2012).
Artschwager forged a unique path in art from the early 1950s through the early 21st century, making the visual comprehension of space and the everyday objects that occupy it strangely unfamiliar. In his work, both pictorial and sculptural, an anonymous sheet of walnut-patterned formica is both itself and a depiction of a wooden plane; a table or a chair is furniture, sculpture, and image all at once; and a painting or a sculpture can be a “multi-picture” or “three-dimensional still life.” Artschwager foregounded the structures or perception, striving to conflate the world of images—which can be aprehended but not physically grasped—and the world of objects, the same space that we ourselves occupy.
Photo: Richard Artschwager in his exhibition Gegenwärtig aber ungenau, Georg Kargl BOX, Vienna, 2005.

Artschwager, Richard

With Germano Celant about Richard Artschwager

Conversation

Richard Artschwager

Exclamation Point, 2010

Piano Grande, 2012

Standing woman (Dirne), 1999

Portrait I, 1962

Untitled (Potatoes V), 1997

Dates pending
This exhibition surveys the creative career of Richard Artschwager (b. 1923, Washington, D.C.–d. 2013, Albany, U.S.A), an artist who worked halfway between painting and sculpture and who developed a unique language using the new domestic materials of his time. This ambitious project, conceived by world-renowned curator Germano Celant and co-organized by the Guggenheim Museum Bilbao and MART – Museo di arte moderna e contemporanea di Trento e Rovereto, comprises almost 70 pieces alongside a selection of rarely-seen archival documentation.
Designed as an open labyrinth highlighting the main nuclei of Artschwager’s oeuvre, the exhibition features a comprehensive selection of paintings and sculptures dating from the early 1960s to the first decade of the 21st century: from his first wood and formica structures and paintings on Celotex to his nylon-bristle sculptures and “corner pieces,” including horsehair works and so-called blps, which the artist began making in 1968 and displaying individually or on a citywide scale. Artschwager, who had a crucial experience as a cabinetmaker at the beginning of his career, always worked toward the fusion of figuration and abstraction, artistic innovation and design, and ironically sought to combine the functional and the useless.
With the paintings and sculptures of a long and varied career, Artschwager plots a distinctive course between handcraft and industrialization, encompassing space as well as the objects and beings that inhabit it. He represented places, scenes from everyday life, and common objects such as tables, chairs, and dressers, interpreting them in ordinary, standardized industrial materials such as formica, Celotex, acrylic paint, and rubberized horsehair. He also explored pure geometric form, particularly in his sculptures, venturing into abstraction and solid figures evoking a sense of pictorial illusionism. Stylistically, Artschwager purposely maintained a characteristic ambivalence, challenging the iconographic dogmatism of tendencies (like Pop Art and Minimal Art) that claimed to be antithetical. Rather than allowing any conflict between schools, he practiced a synthesis that included all the elements, however different, and held them together. “What interests me, he declared, is above all the line of demarcation between ordinary things and the ones we recognize as objects of art.”
Artschwager’s work continually questions appearance and essence, venturing into the realms of ontology, epistemology, and aesthetics with wit and intelligence. It offers us a delicate and realistic, humorous yet monumental interpretation of the world.
Richard Artschwager 
Door }, 1983-84 
Acrylic and lacquer on wood and glass, metal, two parts 
207.6 x 165.1 x 24.8 cm 
Collection Kerstin Hiller and Helmut Schmelzer, on loan to Neues Museum Nürnberg 
Photo: Annette Kradisch 
© Estate of Richard Artschwager, VEGAP, Bilbao, 2020

IN MEMORIAM

Richard Artschwager: Germano Celant’s Vision

Richard Artschwager: Keys

Organizing an Exhibition with Carolina Erdocia

Dates pending This exhibition surveys the creative career of Richard Artschwager (b. 1923, Washington, D.C.–d. 2013, Albany, U.S.A), an artist who worked

Richard Artschwager | Guggenheim Museum Bilbao

18€ Adults - 9€ Senior - 9€ Students

TopARTE, an initiative of the Guggenheim Museum Bilbao, remains firmly committed to local cultural actors and organizations. The result of this fruitful collaboration is a multidisciplinary program offering a wide range of content and formats, reaching all kinds of audiences.
As part of this initiative, the Museum hosts activities from a variety of fields, including architecture, film, dance, design, gastronomy, music, performance art, and theater.

Exhibitions

Past

Alex Reynolds. There Is a Law, There Is a Hand, There Is a Song

Bilbao and Painting

Kandinsky

Lee Krasner: Living Color

Learning Through Art 2020

William Kentridge: 7 Fragments

Lygia Clark: Painting as an Experimental Field, 1948–1958

Richard Artschwager

Exhibitions current

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