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Built around 1180 and is dedicated to the Apostle Andrew. The church is exceptionally well preserved and is one of the most distinctive stave churches in Norway. Some of the finest features are the lavishly carved portals and the roof carvings of dragons heads. The stave churches are Norway's most important contribution to world architecture and Norway's oldest preserved timber buildings. - Visit Norway website
Borgund Stave Church (Norwegian: Borgund stavkyrkje) is a stave church located in the village of Borgund in the municipality of Lærdal in Sogn og Fjordane county, Norway. It is classified as a triple nave stave church of the Sogn-type. The church is part of the Borgund parish in the Indre Sogn deanery in the Diocese of Bjørgvin. No longer regularly used for church functions, it is now a museum run by the Society for the Preservation of Ancient Norwegian Monuments. - Wikipedia
Views of the Guggenheim Museum Bilbao from under the Puente Le Salve.
The Guggenheim Museum Bilbao is a museum of modern and contemporary art in Bilbao (Biscay), Spain. It is one of several museums affiliated to the Solomon R. Guggenheim Foundation and features permanent and visiting exhibits of works by Spanish and international artists. It was inaugurated on 18 October 1997 by King Juan Carlos I of Spain, with an exhibition of 250 contemporary works of art. It is one of the largest museums in Spain.
The building, designed by Canadian-American architect Frank Gehry, was built alongside the Nervion River, which runs through the city to the Cantabrian Sea. A work of contemporary architecture, it has been hailed as a "signal moment in the architectural culture", because it represents "one of those rare moments when critics, academics, and the general public were all completely united about something", according to architectural critic Paul Goldberger. The museum was the building most frequently named as one of the most important works completed since 1980 in the 2010 World Architecture Survey among architecture experts.
The La Salve bridge formerly called the Príncipes de España bridge until its change in 2016, is a bridge over the Bilbao estuary in Bilbao, Vizcaya (Spain).
It is called the bridge of the Salve because when the ships arrived at the port of Bilbao through the estuary, at the height of the bridge is the first place where the Virgin of Begoña is seen and there the sailors sang the Salve to her.
Its opening took place on January 9, 1972 and its author was the engineer Juan Batanero García-Geraldo. It was designed at the end of the sixties, to solve the problem of traffic, which was beginning to become saturated in the north of the city. It was also the first in Spain with a brace system and one of the few with a metal deck. It has 23.5 meters of free height for the passage of boats, being fixed.
It is equipped with elevators from its base on the right bank, in the area of La Salve, at the end of Campo de Volantín. These are maintained by the city council, transporting 200,000 passengers annually. They have been free since May 2008.
Next to this bridge, on the left bank of the estuary, is the Guggenheim Museum Bilbao . Furthermore, it is curious to contemplate how the architect of this museum wanted to integrate, in a certain way, this bridge into it, building, for this purpose and on its left side, as seen from the Campo de Volantín, a high tower with access stairs. to the museum, which is located on the right side.
The Maman de Louise Bourgeois spider like sculpture.
Louise Bourgeois
Maman (Ama)
Like a creature escaped from a dream, or a larger-than-life embodiment of a secret childhood fear, the giant spider Maman (1999) casts a powerful physical and psychological shadow. Over 30 feet high, the mammoth sculpture is one of the most ambitious undertakings in the long career of Louse Bourgeois. Over a vast oeuvre spanning more than sixty years, Bourgeois plumbed the depths of human emotion further and more passionately than perhaps any other artist of her time. In its evocation of the psyche, her work is both universal and deeply personal, with frequent, explicit reference to painful childhood memories of an unfaithful father and a loving but complicit mother. Bourgeois first gained notice in the 1940s with her Surrealist-inspired Personnages (1945–55): thin, vertical forms in wood or stone that evoke the human body. Installed in clusters, suggesting a small crowd or perhaps a family, the Personnages were meant to symbolize figures from the artist’s past. Maman, in fact, is associated with the artist’s own mother. The spider, who protects her precious eggs in a steel cage-like body, provokes awe and fear, but her massive height, improbably balanced on slender legs, conveys an almost poignant vulnerability.
Over the past 30 years, sculptor Anish Kapoor has undertaken investigations into objecthood that have expanded Post-Minimalist practices and had a profound effect on the course of contemporary sculpture. Exploring color, scale, materiality, space, and process, he has worked iteratively through major themes and bodies of work, or what the artist calls "form languages". Like his early "voids", his more recent architecturally inspired, site-specific installations are phenomenological events that elicit both intimate and collective experiences. For Kapoor, the object is always in a state of becoming as it transits through varying processes of self-generation, dissolution, fragmentation, and multiplication. The body and gaze of the viewer are all-important elements of the work, as each viewer brings his or her own subjective reality to bear while witnessing and contemplating these powerful sculptural presences.
Kapoor's monumental Tall Tree and the Eye (2009), recently installed outside the museum alongside outdoor works by Louise Bourgeois, Daniel Buren, Jeff Koons, and Fujiko Nakaya, consists of 73 reflective spheres anchored around three axes. This illusionistic work continues the artist's examination of complex mathematical and structural principles embodied in sculptural form. The mirrored surfaces of the orbs reflect and refract one another, simultaneously creating and dissolving form and space. Images of the surrounding city, including the Nervión river, Buren's sculptural intervention on La Salve Bridge (Arcos rojos/Arku gorriak, 2007), and the museum itself, are cast into dynamic suspension. Kapoor reminds us of the instability and ephemerality of our vision-and by extension of our world.