El Anatsui

In 2022, the Guggenheim Museum Bilbao is celebrating its 25th Anniversary with an ambitious presentation of works from the Collection that unfolds throughout the galleries. The exhibition is conceived as a large triptych, constructed through three thematic approaches that are placed in dialogue with one another, as a means to rediscover works that have historically defined both the interior and the exterior of the Museum. Thus, in Sections/Intersections each floor of the Museum offers a section of the Collection: Material Life [September 8] in gallery 105, Unfolding Narratives [October 19], on the second floor, and Marking History [September 20] on the third floor are the primary thematic axes of this three-part exhibition, which for the first time provides a panoramic view of the wealth of the cultural and artistic holdings the Museum has acquired since its foundation and up to the present day. Likewise, within the context of the Museum’s 25th Anniversary, gallery 103 displays an exceptional installation by Yayoi Kusama [October 19].

Curators: Lekha Hileman Waitoller, Manuel Cirauqui, Geaninne Gutiérrez-Guimarães, Lucía Agirre, Maite Borjabad

El Anatsui
Rising Sea, 2019
Aluminum and copper wire
800 x 1400 cm
Guggenheim Bilbao Museoa

Did you know that...?

If materials could talk…

The Didaktika project for Sections/Intersections – the exhibition organized by the Museum to celebrate its 25th anniversary –
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Out of context and laid on a rolling table, the kitchen appliances that make Home by Mona Hatoum (b. 1952) –a meat mincer, a grater, a vegetable slicer, a meat mallet, etc.
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Jannis Kounellis (1936–2017), a remarkable member of Arte Povera, thinks of unconventional materials as those that are readily accessible, often as waste, and can usually be found in dumps, woods or industrial containers.
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One of the key elements of Asier Mendizabal’s Nom de guerre is fire –a symbol with overlapping ancestral, social, and political meanings.
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In Japanese temples, you can often see scraps of paper hanging from trees. From a distance, they look like hundreds of blooming flowers, but close up, they are wishes written by worshippers.
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If Walls Could Talk…

As part of the Didaktika project, the Museum designs educational spaces and organizes complementary activities for the exhibitions, both in the galleries and online
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In 1998, El Anatsui (1944), Ghanaian sculptor active for much of his career in Nigeria, began to use bottle caps sourced from alcohol recycling stations in his works.
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In 1997, Jenny Holzer (1950) was asked to create a work for a space of her choice in the Museum. She chose gallery 101 (next to the Atrium)
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In his Celebration series, Jeff Koons (1955) reimagines common items in ultra-polished stainless steel, so that the sculptures’ bright colorful finishes reflect everything around them
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Conceptual artist Sol LeWitt (1928-2007) made his wall paintings following a series of instructions woven into the nature of the works themselves
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