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Stockholm
Lubitel 166+, fomapan 100, developed for 8 minutes, fomadon R09 1:40, fixed for 5 minutes. Scanned on Epson V600.
Mattia Moreni. 1920-1999. Sterpaglia sulle rocce. Underbrush on rocks. Sous bois et rochers. 1956. Turin Galleria d'Arte Moderna e Contemporanea
ART MODERNE ET CONTEMPORAIN
Certains musées exposent uniquement des oeuvres de l'Art Ancien, d'autres regroupent l'Art ancien et l' Art Moderne, ou encore sont spécialisés dans l'Art Moderne ou dans l'Art Contemporain, séparément. Certains musées, comme le musée de Turin, proposent, des oeuvres appartenant aux deux dernières périodes : celle de l'Art Moderne (1850-1950) et celle de l'Art Contemporain (Après 1950). Les oeuvres ne sont pas présentées successivement, en suivant la logique de l'histoire, mais alternativement et parfois dans la même salle.
Cette représentation en simultanée de l'Art Moderne et de l'Art Contemporain dans un même lieu d'exposition présente l'intérêt de faire bien apercevoir les différences très nettes de conception de l'art (en peinture et sculpture) qui caractérisent et opposent ces deux périodes et l'art qu'elles proposent.
On comprend très bien la particularité de l'art contemporain :
1° L'art non figuratif (abstrait) est une création majeure de la période dite Moderne. Inévitablement l'art abstrait ouvre la porte au Non-sens, à l'absence de tout discours intelligible, et donc partagé entre l'artiste et le public. Mais avec l'Art Contemporain, le non sens devient l'Absurde. L'absence de signification se transforme en une apologie systématique de la dérision et de l'aberration.
2° Sauf exceptions très rares, le Beau n'est plus une finalité de l'artiste, et le Laid le remplace comme but de l'oeuvre d'art. C'est la nouveauté, la plus caractéristique sans doute, de l'Art Contemporain. Une rupture majeure dans l'histoire de l'art universel. Créer du Laid à la place du Beau n'est pas une invention innocente, et encore moins un accident, mais une volonté révélatrice d'un état d'esprit. Un profond renversement des valeurs, révélateur de l'état d'une société.
3° La recherche d'une communication, d'un dialogue, d'une émotion partagée, avec un public le plus large possible, est devenu esprit de coterie, égotisme, refus de communiquer, obsession de la provocation distinctive et exclusive. De l'art Dialogue entre les élites et les peuples, l'Occident est passé à l'art Rupture entre les élites et les peuples.
4° L'étonnante diversité, l'esprit de recherche de la nouveauté, qui caractérise l'Art Moderne, s'est stérilisée, et s'est transformée en une systématique de l'absurde et du laid. Les provocations de l'Art Contemporain officiel n'ont absolument rien d'une liberté de création, rien d'une innovation, mais sont tout au contraire stériles, totalitaires, conformistes, académiques.
5° L'échec total de la peinture et de la sculpture officielle contemporaine dans leur dialogue avec le public est à comparer et à opposer aux réussites esthétiques que connaît l'architecture contemporaine. La raison en est simple et se résume en quelques mots : Les architectes sont contraints par différentes circonstances de fait incontournables de créer des oeuvres qui durent, qui servent et qui plaisent au public, au grand public, et pas seulement à une coterie de prétendus éclairés.
Ces contraintes sont leur sauvegarde. Ces contraintes sont aussi la sauvegarde en architecture contemporaine d'un art véritable. Alors que la peinture officielle n'a d'art que le nom. L'art officiel a pu favoriser en peinture, non seulement l'art minimal mais tout simplement le non-art : à la fois laid, sinistre, et absurde. En architecture, les oeuvres laides, sinistres et absurdes existent bien sûr; mais ce sont tout simplement des échecs qui sont reconnus comme tels. Alors qu'en peinture et en sculpture ce sont ces échecs qui sont niés, et même plus proclamés comme étant des réussites. La grande majorité des tableaux de peinture contemporaine peuvent être présentés la tête en bas : personne n'y verra rien. Pas même les auteurs de notices explicatives. C'est impossible à faire pour un bâtiment, même pas pour un musée d'art contemporain.
MODERN AND CONTEMPORARY ART
Some museums exhibit only works of Ancient Art, others include Ancient and Modern Art, or are specialized in Modern Art or Contemporary Art, separately. Some museums, such as the Turin Museum, offer works belonging to the last two periods: Modern Art (1850-1950) and Contemporary Art (after 1950). The works are not presented successively, following the logic of history, but alternately and sometimes in the same room.
This simultaneous representation of Modern and Contemporary Art in the same place of exhibition presents the interest of making clear the very clear differences of conception of art (in painting and sculpture) that characterize and contrast these two Period and the art they propose.
We can then understand very well the peculiarity of contemporary art:
1) Non-figurative art (abstract art) is a major creation of the Modern period. Inevitably, abstract art opens the door to the nonsense, to the absence of any intelligible discourse, and therefore shared between the artist and the public. But with Contemporary Art, the non sense becomes the Absurd. The absence of meaning is transformed into a systematic apology of derision and aberration.
2) Except for very rare exceptions, the Beau is no longer an end of the artist, and the Laid (ugly) replaces it as the goal of the work of art. This is the novelty, undoubtedly the most characteristic of Contemporary Art. A major break in the history of universal art. Creating ugliness in place of the Beautiful is not an innocent invention, much less an accident, but a will revealing a state of mind. A profound reversal of values, revealing of the state of a society.
3) The search of a communication, a dialogue, and shared emotion, with a the widest possible public, is become a spirit of coterie, egotism, a refusal to communicate, an obsession with the distinctive and exclusive provocation. From the Art Dialogue between the elites and the peoples, the West has passed in the 1950s to art Rupture between the elites and the peoples
4) The astonishing diversity, the spirit of search for novelty, which characterizes Modern Art, has sterilized itself, and has been transformed into a systematics of the absurd and of the ugly. The provocations of contemporary art have absolutely nothing of a freedom of a creation, nothing of an innovation, but are, on the contrary, sterile, totalitarian, conformist, academic.
5. The total failure of contemporary official painting and sculpture in their dialogue with the public is to be compared and contrasted with the aesthetic successes of contemporary architecture. The reason for this is simple and can be summarized in a few words: Architects are constrained by various essential facts to create works that last, that serve and that pleases to the public, the general public, and not only to a coterie of so-called enlightened . These constraints are their safeguard. These constraints are also the safeguard in contemporary architecture of a true art. While the official painting has only the name of art. The official art was able to promote in painting not only the minimal art but simply the non-art: at once ugly, sinister, and absurd. In architecture the works ugly, sinister and absurd exist of course; But they are simply failures that are recognized as such. On the contrary, in painting and sculpture, these failures are denied, and even more proclaimed as successes.
The vast majority of contemporary paintings can be presented upside down: no one will see anything. Not even the authors of explanatory notes. It's impossible to do for a building, not even for a museum of contemporary art.
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
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------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
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CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
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In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
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for activating the format or for inviting the installation
please contact 1@colonel.dk
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critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
La arquitectura moderna de la ciudad de Zaragoza con la escultura de "El alma del Ebro", el Palacio de Congresos y la Torre del Agua al fondo.
Ljubov Popova: Space-Force Construction (1921).
Moderna Museet is located on Skeppsholmen,
an island in central Stockholm.
Giorgio Morandi 1890-1964 Bologna
Natura morta 1931
Museo d'Arte Moderna di Bologna (MAMbo)
MORANDI (Giorgio) ART MODERNE ET ART CONTEMPORAIN OFFICIEL
Giorgio Morandi ( 1890-1964) a été actif à Bologne. Il appartient par son esthétique à la période de l'Art Moderne (1850-1950). C'est à dire la recherche et le partage de la beauté mais en utilisant des techniques nouvelles, ou du moins différentes de celles utilisées par la peinture européenne depuis le 16è siècle. C'est un peintre figuratif qui est souvent à la limite de la figuration et constitue de ce fait une bonne illustration du passage de l'art figuratif à l'abstraction. Outre des paysages, l'essentiel de ses thèmes est constitué par des natures mortes, très récurrentes, composées de récipients de formes diverses posés sur une surface plane.
Sur le chemin qui va de l'esthétique imitative de la nature telle que l'homme la perçoit, qui règne en Europe depuis les 15è- 16è siècles, à l'esthétique abstraite, qui nait vers 1900, il utilise deux des principaux procédés de l'Art Moderne : l'esquisse et la peinture plate.
L'esquisse a été pendant des siècles, seulement, ce que son nom indique : une Etude préparatoire à un tableau définitif. Elle est une approximation, une évocation du thème choisi par le peintre tant par le dessin que par la couleur. Le dessin n'est pas achevé, les contours des figures demeurent imprécis. La touche du pinceau n'est pas fine, elle reste très apparente. Au 19è l'esquisse devient un procédé définitif, terminal, d'expression artistique.
La technique de la "peinture plate" réduit ou supprime les volumes et la perspective et privilégie les lignes. Le peintre ne s'efforce plus de rendre le monde en trois dimensions, comme il l'a fait pendant des siècles. Le peintre propose une vision du monde qui accepte la planéité du tableau. L'artiste peint en deux dimensions. C'est un retour à une esthétique qui était celle de la peinture Byzantine, Romane et Gothique.
Son choix des couleurs est aussi une caractéristique de l'art de Giorgio Morandi : des couleurs claires, douces, atténuées, peu contrastées, quelque peu irréelles. L'utilisation de ces techniques et ses choix de coloris donnent aux œuvres de Morandi un charme poétique et symbolique. Son esthétique synthétique ne décrit pas ce qui pour nous est le réel, elle a choisi l'évocation du réel par la simplification des formes et des couleurs.
Pas d'erreur : Il s'agit bien d'une esthétique. C'est-à-dire que Giorgio Morandi est clairement dans la tradition millénaire de l'art européen et même mondial : Il est à la recherche d'une beauté certes différente, originale, "moderne", mais qu'il entend partager avec le public le plus large possible. La laideur et l'absurdité, la fin de l'esthétique, la provocation maximale des sentiments publics ne sont pas encore des objectifs proclamés, revendiqués comme nécessaires. Même si le beau ressenti est affaire personnelle et dans une certaine mesure arbitraire.
En cela Giorgio Morandi appartient à l'Art Moderne : la recherche de la nouveauté, de l'originalité dans les techniques utilisées laisse subsister l'impératif esthétique : la beauté et la signification communiquées, échangées le plus largement possible sont toujours les buts poursuivis par l'artiste. Avec l'Art Moderne, à la fin du 19è siècle, apparaît l'idée que le beau n'a pas de caractère absolument fixe, précisément défini et totalement objectif, que la beauté peut être relative et diverse, revêtir des formes multiples. Mais la beauté demeure une finalité proclamée de l'Art Moderne. Giorgio Morandi n'est pas représentatif de l'Art Contemporain Officiel, l'Art Ultra Moderne, Institutionnel, qui s'est imposé en Occident à partir des années 1950 et suivantes : une anti-esthétique délibérée, qui fait du laid, de l'absurde, de la provocation, du refus du partage consensuel et aimable avec le grand public une caractéristique distinctive obligatoire. Des caractéristiques évidemment masquées derrière un discours mensonger qui affirme à l'inverse inlassablement la nécessaire participation du public à l'œuvre d'art et le caractère révolutionnaire et démocratique de la création artistique contemporaine.
MORANDI Giorgio. MODERN ART AND OFFICIAL CONTEMPORARY ART
Giorgio Morandi (1890-1964) was active in Bologna. It belongs by its aesthetics to the period of Modern Art (1850-1950). That is to say, the search for and sharing of beauty but using new techniques, or at least different from those used by European painting since the 16th century. He is a figurative painter who is often at the limit of figuration and is therefore a good illustration of the transition from figurative art to abstraction. In addition to landscapes, most of his themes are composed of recurring still lifes, composed of containers of various shapes placed on a flat surface.
On the path from the imitative aesthetics of nature as man perceives it, which has reigned in Europe since the 15th-16th centuries, to the abstract aesthetics, which was born around 1900, he uses two of the main processes of Modern Art: the sketch and the flat painting.
The sketch has been for centuries, only, what its name suggests: a preparatory study for a final painting. It is an approximation, an evocation of the theme chosen by the painter both by the drawing and by the colour. The drawing is not finished, the outlines of the figures remain imprecise. The touch of the brush is not fine, it remains very apparent. In the 19th century, the sketch became a definitive, terminal process of artistic expression.
The "flat paint" technique reduces or eliminates volumes and perspective and favours lines. The painter no longer strives to make the world three-dimensional, as he has done for centuries. The painter proposes a vision of the world that accepts the flatness of the support: table, wall.... The artist paints in two dimensions. It is a return to an aesthetic that was that of Byzantine, Romanesque and Gothic painting.
His choice of colours is also a characteristic of Giorgio Morandi's art: light, soft, attenuated, low-contrast, somewhat unreal colours. The use of these techniques and his choice of colours give Morandi's works a poetic and symbolic charm. Her synthetic aesthetic does not describe what for us is the real, she chose the evocation of reality by the simplification of shapes and colors.
No mistake: It is an aesthetic. That is to say, Giorgio Morandi is clearly in the thousand-year-old tradition of European and even world art: he is in search of a beauty that is certainly different, original and "modern", but that he intends to share with the widest possible audience. Ugliness and absurdity, the end of aesthetics, the maximum provocation of public feelings are not yet proclaimed objectives, claimed as necessary. Even if the beautiful feeling is a personal matter and to a certain extent arbitrary.
In this respect, Giorgio Morandi belongs to Modern Art: the search for novelty and originality in the techniques used leaves the aesthetic imperative alive: the beauty and meaning communicated and exchanged as widely as possible are always the goals pursued by the artist. With Modern Art, at the end of the 19th century, the idea appeared that beauty did not have an absolutely fixed, precisely defined and totally objective character, that beauty could be relative and diverse, take on multiple forms. But beauty remains a proclaimed goal of Modern Art. Giorgio Morandi is not representative of Official Contemporary Art, Ultra Modern, Institutional Art, which imposed itself in the West from the 1950s onwards: a deliberate anti-aesthetics, which makes the ugly, the absurd, the provocative, the refusal of the consensual and sympathetic sharing with the general public a mandatory distinctive characteristic. These characteristics are obviously masked behind a misleading discourse that, on the contrary, tirelessly affirms the need for public participation in the work of art and the revolutionary and democratic nature of contemporary artistic creation.
Raquel Córcoles. Autora de Moderna de Pueblo
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We hear the music of architecture as we move through spaces while arcs of sunlight beam white light and shadow. Louis I. Kahn
www.flickr.com/photos/chiccofratta/sets/72157622834378842...
Museo Guggenheim Bilbao, museo di arte contemporanea, si trova a Bilbao, Pais Vasco in Spagna, nella provincia di Vizcaya (biscaglia).
E’ uno dei vari musei della Fondazione Solomon R: Guggenheim.
Progettato dallo studio d'architettura di Frank Gehry, fu aperto al pubblico nel 1997
Il museo è uno dei più spettacolari esempi del decostruttivismo.
Il progetto ha ricevuto il Premio Internazionale Puente de Alcantara nel 1998
Museum Guggenheim Bilbao, museum of contemporary art, Bilbao is found to, Pais Vasco in Spain, in the province of Vizcaya (biscaglia). It is one of the various museums of the Foundation Solomon R: Guggenheim.
Planned by the study of architecture of Frank Gehry, it was open to the public in 1997
The museum is one of the most spectacular examples of the decostruttivismo.
The project has received the International Prize Puente de Alcantara in 1998
Museo Guggenheim Bilbao, museo de arte contemporáneo, se encuentra a Bilbao, Pais Vasco en España, en la provincia de Vizcaya (biscaglia).
Y' uno de los varios museos de la Fundación Solomon R: Guggenheim.
Planeado por el estudio de arquitectura de Frank Gehry, fue abierto al público en el 1997
El museo es uno de los más espectaculares ejemplos del decostruttivismo.
El proyecto ha recibido el Premio Internacional Puente de Alcantara en el 1998