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Express Tour

If you do not have much time, choose the main artistic and architectural features today at the Museum to make the most of your visit.

Interior del edificio, Atrio | Guggenheim Bilbao Museoa


1st floor, Atrium

Climb your way up to the third floor. The balcony opposite gallery 304 affords breathtaking views of the Atrium–the beating heart of Frank Gehry’s architectural design.

Offering a different perspective on the works of Jenny Holzer, El Anatsui, Sol LeWitt, and Lucio Fontana, among others, it also gives an insight into the interesting dialogue between art and architecture within the building.

The Matter of Time
La Materia del Tiempo | Richard Serra | Guggenheim Bilbao Museoa

The Matter of Time

Balcony, 2nd floor

Go up to the second floor of the Museum and take a look from the balcony opposite gallery 204. You will get a panoramic view of the eight monumental sculptures that make The Matter of Time (1994–2005), a permanent installation by Richard Serra. The sculptures posed a huge challenge in terms of both manufacturing and installation, as they were impossibly heavy and yet quite fragile, as they were made of towering weathering steel sheets. It took state-of-the-art technology to make them.

Richard Serra
The Matter of Time , 1994–2005
Weathering Steel
Dimensions variable
Guggenheim Bilbao Museoa

Joan Miró. Absolute Reality. Paris, 1920–1945
Paisaje (La liebre)

Joan Miró. Absolute Reality. Paris, 1920–1945

Gallery 105

The exhibition Joan Miró. Absolute Reality. Paris, 1920-1945 focuses on a key period in Joan Miró’s long career.

Upon his arrival in Paris in 1920, Miró began to develop his own personal language. His stripped outlines and bright colors, under the influence of the Parisian avant-garde – Fauvism, Dadaism, Surrealism –, coexisted with the landscapes of Catalonia, the place where he was born.

Between 1920 and 1945, Miró set out to “murder painting” – a phrase by which he meant breaking away from tradition. With this goal in mind, he experimented with a variety of media and techniques – assemblage, lithography, ceramics –, as shown in Personage I (1945). He would try many others throughout his career.

Joan Miró
Landscape (The Hare) [Paysage (Le Lièvre)], 1927
Oil on canvas
129.6 × 194.6 cm
Solomon R. Guggenheim Museum, New York
© Successió Miró, 2023