Selecciones de la Colección del
Museo Guggenheim Bilbao II
15 de noviembre, 2011 – 28 de octubre, 2012
Segunda muestra de un ciclo de exposiciones programado para los años 2009 a 2012 en torno a los fondos de la Colección Propia del Museo Guggenheim Bilbao, que, en esta ocasión, profundiza en los debates artísticos de las décadas de 1970 y 1980 planteado por una generación de artistas europeos cuya trayectoria se inició a principios de los años sesenta y setenta, y que aquí están representados con una selección de obras que datan desde finales de los ochenta hasta nuestros días.
Nacidos en su mayoría en una época de gran convulsión política, su visión artística ha impulsado, a lo largo de décadas, un amplio abanico de experiencias dentro del arte contemporáneo. Desde su individualidad y de maneras muy distintas, estos artistas reaccionaron ante las fuerzas ideológicas, económicas, sociales y políticas que han conformado el mundo desde la década de 1960. La vuelta a una forma de reflexión más personal y la apropiación del pasado como archivo de la propia existencia encuentran su manifestación en medios y expresiones formales diferentes. La pintura cargada de materialidad de Anselm Kiefer, de gestualidad de Georg Baselitz, romantizada como en Gerhard Richter, y las instalaciones de Richard Long, Christian Boltanski, Francesc Torres y Jannis Kounellis describen la complejidad de pensamiento y creación de esta generación de artistas.
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Gerhard Richter, Seascape (Seestück), 1998 (detail). Oil on canvas. 290 x 290 cm.
Guggenheim Bilbao MusseumNovember 15, 2011–October 28, 2012
This exhibition is the second in a series scheduled to take place between 2009 and 2012 featuring works from the Guggenheim Museum Bilbao collection. On this occasion, the exhibition examines the artistic debates of the 1970s and 1980s initiated by a generation of European artists whose careers began in the 1960s and 1970s.
Over the decades, the artistic vision of these artists—most of whom were born in an era of great political unrest—inspired a wide variety of contributions to contemporary art. Each of these creators reacted to the ideological, economic, social, and political forces that shaped the course of events in that period. The return to a more personal style of reflection and to the appropriation of the past as a record of existence itself was expressed using various formal means and mediums. The solid materiality of Anselm Kiefer, the gesturality of Georg Baselitz, the romanticism of Gerhard Richter, and the installations of Richard Long, Christian Boltanski, Francesc Torres, and Jannis Kounellis illustrate the complex creative and contemplative processes of this generation of artists.
Baselitz was one of the most prominent artists of the post–World War II era and one of the greatest inspirations for younger artists. The Guggenheim Museum Bilbao has recently acquired his series of 16 large-format canvases titled Mrs. Lenin and the Nightingale (2008), on view here for the first time. These paintings combine historical and autobiographical references with wordplay and enigmatic phrases reminiscent of contemporary artists such as Frank Auerbach, Jake and Dinos Chapman, Tracey Emin, Lucien Freud, Damien Hirst, and Jeff Koons.
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Liam Gillick – Arquitectura Habitada
19 de septiembre, 2012 — 19 de mayo, 2013
¿Cómo te vas a comportar? Un gato de cocina habla
Comisaria: Lucía Aguirre
La obra de Liam Gillick, que se inspira en el Arte Conceptual y el Minimalismo y los reinterpreta, no se limita a una forma específica de práctica artística sino que se ve influida por las variadas actividades del artista como crítico, escritor, diseñador, comisario, cineasta, profesor y artista visual. Todas estas disciplinas inspiran su obra, que se entiende mejor como grupos de ideas con múltiples capas o facetas que como objetos individuales.
En 1989, Gillick montó su primera exposición individual, 84 Diagrams, en la Karsten Schubert Gallery de Londres, donde presentó una serie de dibujos para edificios de estilo moderno tardío que eran intencionadamente defectuosos o inviables como arquitectura. El artista, interesado en la «posibilidad de trabajar rápido y de procesar las ideas con rapidez», utilizaba un programa informático para obtener resultados en una época en la que dichos programas empezaban a ser accesibles para el público en general [1]. El año siguiente, Gillick comenzó a trabajar con el artista y escritor Henry Bond en una serie titulada Documentos (Documents). Para este proyecto, los artistas funcionaron como un equipo de noticias, trabajaron a través de una asociación de prensa británica y asistían a eventos periodísticos (conferencias de prensa, sesiones fotográficas, etc.) como reporteros o fotógrafos. No obstante, las obras resultantes, cada una de las cuales consistía en una fotografía enmarcada y un panel con texto que a veces iban acompañadas de una grabación de audio, tenían poco que ver con el periodismo. Gillick ha dicho: «Para mí, lo más interesante era cambiar constantemente entre el rol del artista y la persona que no necesita un permiso cultural para participar en un discurso activado y que ha solido profesionalizar los límites».
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Liam Gillick In Inhabited Architecture
At The Bilbao Guggenheim Musseum
How are you going to behave? A kitchen cat speaks (How Are You Going to Behave? A Kitchen Cat Speaks), 2009
Wood, lamps, stuffed cat, text, door blinds, MP3 player
Dimensions variable
Guggenheim Bilbao Museo
Curator: Lucía Agirre
Borrowing from and reinterpreting Conceptual art and Minimalism, Liam Gillick’s work is not confined to a specific form of artistic practice but ranges over his various activities as a critic, writer, designer, curator, filmmaker, professor, and visual artist. All of these diverse undertakings comprise his oeuvre, which is best considered in terms of groups of ideas with multiple layers or facets rather than individual objects.
In 1989 Gillick mounted his first solo exhibition, 84 Diagrams,at Karsten Schubert in London, presenting a series of drawings for buildings in the late Modernist style that were deliberately faulty or unworkable as architecture. Interested in “the ability to work fast and to process ideas rapidly,” he used a computer program to generate the renderings at a time when such programs were first becoming accessible to the general user.[1] The following year Gillick began working with artist and writer Henry Bond on a series called Documents. For this project, the artists operated as a news team, working through a British press association and attending news events (press conferences, photography sessions, and so on) as reporters or photographers. The works that resulted-each comprising a framed photograph and text panel, sometimes accompanied by an audio recording-had little to do with journalism, however. Gillick has said: “For me the more interesting idea was to constantly shift between the role of the artist and the person who doesn’t need cultural permission to get involved in a discourse that is activated and normally has professionalised
The Guggenheim Collection
The Guggenheim Bilbao’s collection spans from the mid-twentieth century to the present day, concentrating on post-war painting and sculpture in America and Europe. The collection includes key works by significant artists including Anselm Kiefer, Willem de Kooning, Robert Motherwell, and Richard Serra, whose work The Matter of Timewas created to be a permanent installation in Bilbao’s largest gallery.
Assembled over the past decade, Bilbao’s collection of art spans from the mid-twentieth century to the present day. Concentrated on post-war painting and sculpture in America and Europe, the collection is autonomous yet complements the Solomon R. Guggenheim Museum’s outstanding holdings of modern and contemporary art. This concept of individual collections existing within a shared network is at the heart of the Guggenheim’s aim to foster cultural exchange and exhibit art to the widest possible audience.
Under the Guggenheim Foundation’s advisement, Bilbao has acquired key works by some of the most significant artists of the second half of the twentieth century, including Anselm Kiefer, Willem de Kooning, Robert Motherwell, Sigmar Polke, Gerhard Richter, James Rosenquist, Clyfford Still, Cy Twombly, and Andy Warhol. The acquisition of singular masterworks by leading artists of our time allows the museum to present a series of influential high points of modern and contemporary art. Major acquisitions include Joseph Beuys’s Lightning with Stag in Its Glare (1958–85); Jeff Koons’s Puppy (1992), now iconic in its position in the museum plaza; Mark Rothko’s Untitled (1952–53); and Robert Rauschenberg’s Barge (1962–63), purchased jointly with the museum in New York.
The Guggenheim Bilbao has actively sought artists long associated with the Guggenheim Museum to engage with the unprecedented scale and dynamic galleries of the museum. Works by Francesco Clemente, Jenny Holzer, Richard Long, and Sol LeWitt, among others, were made with Gehry’s spaces in mind, and most recently Richard Serra has grouped eight monumental sculptures in a permanent installation in Bilbao’s largest gallery. Site-specific projects, such as Daniel Buren’s Arcos Rojos, help to stimulate the dialogue between art and the institution, enriching new architectural spaces and bringing the traditional neutrality of museum display areas to an end.
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Exposición: Fernando Botero. Celebración.
Museo de Bellas Artes de Bilbao.
El Museo de Bellas Artes de Bilbao acoge la mayor antología de la carrera de este artista y reúne un centenar de sus pinturas.
La muestra repasa toda la trayectoria artística de Fernando Botero y pone de manifiesto su particular estilo, caracterizado por la exaltación del volumen, su vitalismo burlón y el empleo de colores exuberantes. Sus obras suelen girar en torno a la condición humana y han otorgado al artista colombiano un gran prestigio internacional, tanto en la pintura como en la escultura.The Fine Arts Museum of Bilbao hosts the largest anthology of the career of this artist and brings together hundreds of his paintings.
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Exhibition: Fernando Botero. Celebration. Bilbao Fine Arts Musseum.
The exhibition looks at the entire career of Fernando Botero and reveals his particular style, characterized by the exaltation of volume, mocking his vitality and employment of exuberant colors. His works often revolve around the human condition and have given the Colombian artist an international reputation in both painting and sculpture.
Cristina Ybarra 