Past

Exhibitions

Consult everything you need to know about current and upcoming exhibitions at the Guggenheim Museum Bilbao.

Exhibitions | Guggenheim Museum Bilbao

Paul Pfeiffer

Opening Talk

Audio guide map

Paul Pfeiffer 

Audio guide

The Pure Products Go Crazy

The Long Count (Rumble in the Jungle)

Live Evil (Kuala Lumpur)

Morning After the Deluge

Four Horsemen of the Apocalypse

The Saints

Justin Bieber Torso

Paul Pfeiffer's artistic practice is distinguished by a profound inquiry into the nature of spectacle, identity, and the intricate mechanisms of image-making within contemporary culture. His oeuvre encompasses a diverse array of mediums, including video, photography, sculpture, and installation, which enables him to delve into the complexities of how images shape our perceptions and experiences.
At the core of Pfeiffer's work lies the manipulation of footage from sporting events, music concerts, and films, which he skillfully edits using early digital software. His creations often reflect on the dualities of veneration and objectification, particularly concerning global icons such as athletes and pop stars. This emphasis highlights the multifaceted roles these figures play within mass culture, drawing attention to the artificiality of media representations and prompting audiences to critically examine their own positions as consumers of such imagery.
Pfeiffer's installations frequently incorporate elements of scale, juxtaposing miniature and larger-than-life formats to disrupt the viewer's relationship with the artwork. This approach heightens awareness of their physical presence in relation to the spectacle. Additionally, his exploration of the architectural forms of stadiums and arenas serves as a critical lens through which he scrutinizes the collective experience of spectatorship. He reveals that these spaces transcend mere venues for entertainment; they are also arenas where societal and political identities are both defined and contested.
The exhibition Paul Pfeiffer: Prologue to the Story of the Birth of Freedom represents the artist's most extensive presentation in Europe, featuring approximately thirty works that span his prominent career and affirm his status as one of today's most influential artists. This exhibition, which starts in this gallery and continues in gallery 103 also located on this floor, highlights his evolution by presenting iconic pieces that draw upon the dramatic narratives of sports and religion, alongside recent works that address colonial legacies and the complexities of identity. Ultimately, this show not only celebrates Pfeiffer's era-defining contributions to contemporary art but also provides a critical framework for examining the intricate themes of identity, belonging, and the pervasive influence of celebrity culture, underscoring the relevance of his work in our media-saturated society.
Exhibition organized by The Museum of Contemporary Art, Los Angeles, in collaboration with the Guggenheim Museum Bilbao
Galleries: 105 and 103
Paul Pfeiffer 
Four Horsemen of the Apocalypse (07), 2000/24 
Matte C-print 
146.3 x 182.9 cm 
Courtesy of the artist and carlier | gebauer 
© Paul Pfeiffer. Courtesy the artist; Paula Cooper Gallery, New York; carlier | gebauer, Berlin/Madrid; Perrotin; and Thomas Dane Gallery, London

Paul Pfeiffer: Prologue to the Story of the Birth of Freedom

Architecture of the Masses

About Pfeiffer’s Practice

Video about The Exhibition

Paul Pfeiffer's artistic practice is distinguished by a profound inquiry into the nature of spectacle, identity, and the intricate mechanisms of

Paul Pfeiffer: Prologue to the Story of the Birth of Freedom | Guggenheim Museum Bilbao

Hilma af Klint

Iberdrola

Gallery 205

The Beginnings

Spiritual Drawings, The Five (1896–1908)

Primordial Chaos (1906–07)

Eros (1907)

Gallery 206

Large Figure Paintings (1907)

Gallery 207

The Seven-Pointed Star (1908)

Evolution (1908)

Gallery 209

The Ten Largest (1907)

Gallery 203

The Dove (1915)

Altarpieces and Closing Painting (1915)

Gallery 202

The Parsifal Series and The Atom Series (1916–17)

Geometric Series and Watercolors (1920–22)

Galley 204

Tree of Knowledge (1913)

Gallery 208

The Swan (1915)

In 1906, Hilma af Klint (b. Stockholm 1862; d. 1944) embarked upon the most ambitious, ground-breaking project of her career, the Paintings for the Temple. Over nearly a decade, she created 193 paintings and drawings, many of which were like little that came before. Bold, colorful, and often untethered from references to the visible world, these works explore forces and structures that af Klint believed were hidden to the eyes. In making these works, af Klint set aside the conventions of the Swedish academic tradition, and instead looked to the scientific and the spiritual currents of her day. Incorporating ideas and imagery from these two areas, while forging her own unique artistic vocabulary, af Klint established herself a pioneer in representing the invisible.
As af Klint made her way as an artist, she was living through profound social changes, including women’s rights movements. Despite the limitations placed on women during the late 19th and early 20th centuries, af Klint was able to study at Royal Academy of Fine Arts and went on to exhibit her more traditional figurative works, but she also had to struggle to devote herself freely to art. In a context where women artists were commonly thought to be capable only of copying, not innovating, she rarely presented her more radical, abstract art publicly and struggled to find an audience who appreciated it. Undeterred, she painstakingly edited, saved, and catalogued her work so it would be preserved for future audiences, and stipulated that it not be exhibited until two decades after her death, when she believed the world would finally be ready to understand what she had produced. Ultimately, it would take even longer. Although her art was finally shown in 1986, forty-two years after her death, it would take decades more before her extraordinary legacy finally earned the recognition it deserves.
This exhibition presents a survey of the Swedish artist’s career. In addition to 110 works from the essential Paintings for the Temple, it also showcases her early more conventional creations, the automatic drawings she made with her spiritualist group The Five, her geometrically inflected series from the years after the Paintings for the Temple, and her later watercolors and sketchbooks.
Gallery: Second floor 
Curators: Tracey Bashkoff, Senior Director of Collections and Senior Curator, Solomon R. Guggenheim Museum, and Lucía Agirre, Curator, Guggenheim Museum Bilbao
 
Hilma af Klint 
Group VI, Evolution, No. 16, The WUS/Seven-Pointed Star Series 
(Grupp VI, Evolutionen, nr 16, Serie WUS/Sjustjärnan), 1908 
Oil on canvas 
102 x 133 cm 
Courtesy The Hilma af Klint Foundation, Stockholm, HaK 84 
©The Hilma af Klint Foundation, Bilbao 2024

Spiritual beliefs and theosophy. Gateways to spiritual worlds

Scientific developments. Behind the forces of matter

Women’s voice. From the dark room to public speaking

Figurative and abstract artworks. Observation and invention

Chronology

In the Museum

We’d like to invite you to enjoy a virtual tour of the exhibition Hilma af Klint. This tour includes all the works and didactic texts in the show.

START

VIRTUAL TOUR

In 1906, Hilma af Klint (b. Stockholm 1862; d. 1944) embarked upon the most ambitious, ground-breaking project of her career, the Paintings for the

Hilma af Klint | Guggenheim Museum Bilbao

3nd floor

3rd floor

This presentation of the Guggenheim Museum Bilbao Collection includes a selection of works that mark crucial moments in art history following World War II. In an ambitious gesture to underscore the resonance between art and architecture, this installation, which features some of the Collection’s most outstanding pieces, also showcases the original architecture of the building. The installation celebrates of the diaphanous and luminous spaces of the third floor of the Museum.
This exhibition is inspired both by the Museum’s holdings of singular works by artists and by historical artistic movements that are well represented in the Collection. The presentation thus highlights figures who belonged to the avant-garde of their time and whose contributions chartered new courses in post-war art history. Each gallery offers the chance to view the production of a single artist or a selection of artists who explore shared concerns from different perspectives.
Some spaces on this floor show site-specific installations or single pieces of an experiential character, like those dedicated to Sol LeWitt and El Anatsui. The work by the latter, Rising Sea, is a contemporary sculpture of great importance by the African artist, and is the latest acquisition to join the Collection. Other galleries house thematic selections on the development of abstract art after World War II, or on approaches between abstraction and spirituality, or deal with later artistic languages that developed between 1960 and 1980, such as Pop Art and the presence of popular culture in contemporary art. The displays furthermore include historic documentation on these artistic trends and the artists who contributed to them. Cette
Galleries: third floor 
Curator: Lekha Hileman Waitoller, Marta Blàvia

If Walls Could Talk…

El Anatsui

Jenny Holzer

Jeff Koons

Sol Lewitt

Works from the Guggenheim Museum Bilbao Collection

This presentation of the Guggenheim Museum Bilbao Collection includes a selection of works that mark crucial moments in art history following World War

Works from the Guggenheim Museum Bilbao Collection | Guggenheim Museum Bilbao

The Réunion des Musées Nationaux – Grand Palais and the Guggenheim Museum Bilbao are co-organizing a major exhibition dedicated to Brazilian artist Tarsila do Amaral (b. 1886; d. 1973), which will first be presented at the Musée du Luxembourg, Paris in fall 2024, and subsequently at the Guggenheim Museum Bilbao in winter 2025.
A central figure of Brazilian modernism, Tarsila do Amaral created an original, evocative body of work, drawing on indigenous imagery and the modernizing forces of a rapidly-transforming country.
In the 1920s, moving between São Paulo and Paris, Tarsila ferried between the avant-gardes of these two cultural capitals. Having forged a “Brazilian” iconographic world in Paris, put to the test by the Cubism and Primitivism so in vogue in the French capital, her painting was the root of the Pau-Brasil and “Anthropophagic” movements, whose search for an “authentic,” multicultural and multiracial Brazil aimed to refound the country's relationship with the European “centers” of colonization.
The activist dimension of Tarsila's paintings from the 1930s and their ability to accompany the profound transformations of her social and urban environment until the 1960s confirm the strength of an oeuvre attuned to her time, always willing to reinvent itself, despite the unstable conditions of the different times and contexts that an emancipated, independent woman artist must face.
With her invitation to delve into a Brazilian modernity that she contributed to forging even more than she painted it, Tarsila do Amaral reveals in her production all the complexity of this concept always subject to debate, which raises identity and societal questions of great importance even today, both in Brazil and Europe.
Galleries: 201, 202, 203 
Curators: Cecilia Braschi and Geaninne Gutiérrez-Guimarães 
Venues: Musée du Luxembourg, Paris; Guggenheim Museum Bilbao
 
Tarsila do Amaral 
Postcard (Cartão postal), 1929 
Oil on canvas, 127.5 x 142.5 cm 
Private collection, Rio de Janeiro 
© Tarsila do Amaral Licenciamento e Empreendimentos S.A. 
Photo: Jaime Acioli

Tarsila do Amaral: Painting Modern Brazil

The Réunion des Musées Nationaux – Grand Palais and the Guggenheim Museum Bilbao are co-organizing a major exhibition dedicated to Brazilian artist

Tarsila do Amaral: Painting Modern Brazil | Guggenheim Museum Bilbao

The exhibition presents a selection of works from the extensive holdings of the Museum of Fine Arts – Hungarian National Gallery of Budapest and offers a unique view of eight centuries of prints and drawings that emphasizes the evolution and technical diversity of the genre as a reflection of its rich traditions and capacity for innovation. From delicate sketches capturing the immediacy of an artist’s thought to detailed studies for larger compositions, the show brings together pieces dating from around 1400 to the present day. The collection focuses on the connection between artistic thought and creativity and highlights the importance of the works on paper in human expression—“a form of language” in contemporary sculptor Richard Serra’s own words—and the power of the medium to express complex ideas and emotions throughout the centuries.
The Museum of Fine Arts, Budapest holdings comprise dozens of thousands of drawings and some 100,000 prints, whose delicate nature makes it impossible to have them on view for prolonged periods of time. Thus the exhibition presents an exceptional opportunity to contemplate works that are usually only seen in temporary exhibitions or in specialized publications.
Galleries: 205, 206, 207, 209 
Curators: Kinga Bódi and Marta Blàvia
 
Peter Paul Rubens (1577–1640) 
Profile Portrait of the Artist’s Son, Albert Rubens, ca. 1618–19 
Black and red chalk, pen, brown ink, brown wash on paper, 246 × 202 mm 
MFA CPD; inv. no. 1745 
Purchased from the Esterházy Collection, 1871 
© 2024 Museum of Fine Arts, Budapest

Masterpieces on Paper from Budapest

The exhibition presents a selection of works from the extensive holdings of the Museum of Fine Arts – Hungarian National Gallery of Budapest and offers a

Masterpieces on Paper from Budapest | Guggenheim Museum Bilbao

The inaugural in situ exhibition will be an immersive, architectural, and multisensory artwork by Refik Anadol (b. 1985, Istanbul, Turkey), an internationally renowned media artist and pioneer in the aesthetics of machine intelligence. Anadol currently resides in Los Angeles, California, where he leads Refik Anadol Studio (RAS) whose practice is centered around discovering and developing trailblazing approaches to data narratives. He is also a lecturer in UCLA’s Department of Design Media Arts.
Anadol’s body of work addresses the challenges and possibilities that ubiquitous computing has imposed on humanity, and questions what it means to be a human in the age of AI. Taking the data that surrounds us as primary material, and the neural network of a computerized mind as a collaborator, Anadol offers us radical visualizations of our digitized memories and expands the possibilities of interdisciplinary arts. Anadol’s AI data paintings and sculptures, live audio/visual performances, and immersive installations take many forms, while encouraging us to rethink our engagement with the physical world, public art, decentralized networks, and the creative potential of AI.
Galleries: 204, 208 
Curator: Lekha Hileman Waitoller
 
Refik Anadol Studio 
Render for exhibition at Guggenheim Museum Bilbao, 2023 
Courtesy of Refik Anadol Studio

in situ: Refik Anadol

The inaugural in situ exhibition will be an immersive, architectural, and multisensory artwork by Refik Anadol (b. 1985, Istanbul, Turkey), an

in situ: Refik Anadol | Guggenheim Museum Bilbao

Over his fifty-year career, Vito Acconci (b. 1940, New York; d. 2017) explored subjectivity through concrete poetry, photography, video, performance, installation, and architecture. The springboard for this exhibition will be the collaboration and friendship that united this historic figure with contemporary Basque artist Sergio Prego (b. 1969, Donostia-San Sebastián) at the end of Acconci’s career and at a turning point in Prego’s training as a member of the art and architecture firm Acconci Studio. Also held in collaboration with the archives of New Yorkbased Electronic Arts Intermix (EAI), this exhibition will take a subjective journey through Acconci’s career in video and performance on a configuration designed by Prego. It will also include a dialogue with a selection of works of the same format created by Prego during the first two decades of this century. In them, both in Prego’s characteristic way and following Acconci’s spirit, the body and architecture are understood as agents pierced by forces resulting in the emergence of sculptural volume understood not as a shape but as the tangible manifestation of a tension.
Gallery: 103 
Curator: Manuel Cirauqui
 
Vito Acconci 
Peoplemobile, 1979 
Installation view in public space, Amsterdam 
Photo: Fernando Pereira / Anefo

Vito Acconci / Sergio Prego: YOU

Over his fifty-year career, Vito Acconci (b. 1940, New York; d. 2017) explored subjectivity through concrete poetry, photography, video, performance,

Vito Acconci / Sergio Prego: YOU | Guggenheim Museum Bilbao

Fundación BBVA

The Guggenheim Museum Bilbao presents Helen Frankenthaler: Painting Without Rules, a major exhibition celebrating one of the most significant artists of the 20th century. Frankenthaler’s revolutionary approach to painting is explored through works produced between 1953 and 2002 in dialogue with paintings and sculptures by contemporary peers, including Jackson Pollock, Morris Louis, Robert Motherwell, Kenneth Noland, Mark Rothko, David Smith, Anthony Caro, and Anne Truitt. The show aims to highlight the artist's innovative practice through the lens of the artistic affinities, influences, and friendships that graced her personal and artistic life.
Through her innovative soak-stain technique, Frankenthaler set a new course for modern painting, establishing a new relationship between color, space, and form. The technique involved applying diluted paint on untreated monumental canvases laid out on the studio floor, creating effects similar to watercolor, first with oil, then acrylic paint. Frankenthaler applied paint with brushes and sponges, or directly from buckets, allowing it to spread and blend naturally, creating unique chromatic interactions marked by blurred transitions and translucent overlays.
Helen Frankenthaler: Painting Without Rules celebrates an artist who challenged conventions and pushed the boundaries of painting with a bold and intuitive vision that reset traditional norms. Her poetic abstractions, distinguished by masterly technique and protean imagination, stand as an enduring legacy.
The exhibition is organized by the Fondazione Palazzo Strozzi, Florence and the Helen Frankenthaler Foundation, New York in collaboration with the Guggenheim Museum Bilbao; and it is curated by Douglas Dreishpoon, Director of the Helen Frankenthaler Catalogue Raisonné.
Gallery: 105
 
Helen Frankenthaler 
Open Wall, 1953 
Oil on canvas, 136.5 × 332.7 cm 
Helen Frankenthaler Foundation, New York 
© 2024 Helen Frankenthaler Foundation / VEGAP

Helen Frankenthaler: Painting Without Rules

The Guggenheim Museum Bilbao presents Helen Frankenthaler: Painting Without Rules, a major exhibition celebrating one of the most significant artists of

Helen Frankenthaler: Painting Without Rules | Guggenheim Museum Bilbao

The Guggenheim Museum Bilbao proudly presents the first survey exhibition in Spain of work by renowned American artist Barbara Kruger. For over forty years, Kruger has captivated audiences by blending striking images from mass media with bold, thought-provoking phrases that challenge the viewer to confront the power dynamics shaping identity, desire, and consumerism. Her iconic works speak directly to us, encouraging reflection on how we relate to one another and the world around us.
This exhibition showcases Kruger’s ability to transform architectural spaces into immersive, text-driven experiences. Visitors will step into powerful installations where language takes center stage, enveloping entire environments with vinyl, soundscapes, and multichannel video works. Many of these pieces revisit and reimagine Kruger's early works, brought to life anew through digitization, large-scale LEDs, and the integration of sound.
Organized in close collaboration with the artist, this exhibition invites visitors to engage with Kruger’s provocative explorations of language, media, and meaning in the digital age.
Galleries: 201, 202, 203, 205, 206, 207, 209 
Curator: Lekha Hileman Waitoller
 
Barbara Kruger 
Untitled (FOREVER), 2017 
Print on vinyl wallpaper 
Dimensions variable 
Installation view, FOREVER, Sprüth Magers, Berlin, September 16, 2017–January 20, 2018 
Courtesy the artist and Sprüth Magers 
Photo: Timo Ohler

Barbara Kruger

The Guggenheim Museum Bilbao proudly presents the first survey exhibition in Spain of work by renowned American artist Barbara Kruger. For over forty

Barbara Kruger | Guggenheim Museum Bilbao

Sky Hopinka came to filmmaking through his interest in Indigenous languages and storytelling techniques. A member of the Ho-Chunk nation and a descendent of the Pechanga Band of Luiseño Mission Indians, Hopinka creates intricately constructed videos that blend personal narratives with documentation of contemporary Native life and abstract imagery—all reflecting on the power and limits of intercultural communication.
A meditation on family, tradition, healing, and landscape, Hopinka’s Fainting Spells (2018) explores a mythical narrative about Xąwįska, or Indian pipe plant, used medicinally by Ho-Chunk people to revive those who have fainted. In the film, texts about the plant and its role in Ho-Chunk traditions scroll over abstracted images of gatherings, familiar terrains, and natural phenomena, many evocative of historical avant-garde cinematic aesthetics. Executed mostly in Washington and Colorado, the film exemplifies Hopinka’s ongoing efforts to create what he calls “ethnopoetic” art focused on a creative engagement with living Indigenous cultures.
For the artist, Fainting Spells is an examination of “what and how myth teaches us; how it is a presence in present-day native communities; and the way it influences how we navigate the world.” Hopinka often brings personal insights into his work, embodied here by the recordings of his father’s voice audible in the film as part of a lush instrumental soundscape.
Gallery: 103 
Curator: Geaninne Gutiérrez-Guimarães
 
Sky Hopinka 
Fainting Spells, 2018 
Three-channel color video, with sound, 9 min., 45 sec. 
A.P. 1/2, edition of 3 
Solomon R. Guggenheim Museum, New York, Purchased with funds contributed by the Photography Council, 2021 
© Sky Hopinka

Sky Hopinka. Fainting Spells

Sky Hopinka came to filmmaking through his interest in Indigenous languages and storytelling techniques. A member of the Ho-Chunk nation and a descendent

Sky Hopinka. Fainting Spells | Guggenheim Museum Bilbao

The work from Maria Helena Vieira da Silva (b. 1908, Lisbon; d. 1992, Paris) has been seen to incorporate a variety of styles and influences, ranging from the decorative geometry of the Hispano-Arabic Azulejo tiles to the chequered tablecloths found in Pierre Bonnard’s paintings. As a result, accounts of Vieira da Silva’s work have tended to emphasize her debt to a range of existing movements and styles, rather than highlight the development of her independent artistic vocabulary. Rarely, the literature has drawn attention to the relationship between abstraction and figuration in her work, as seen in the architectural spaces she creates, which blur the distinction between real and imaginary cityscapes. This is one of a series of aspects that this exhibition seeks to highlight.
By surveying the artist’s output from the 1930s to the late 1980s, to consider Vieira da Silva’s engagement with urban architectural landscapes and the role of memory and play in her work, this exhibition will look beyond the loose formal references to Portuguese visual culture and avant-garde movements such as Cubism and Futurism. Integral to this assessment is a reconsideration of Vieira da Silva’s work as independent from the gestural aesthetics of Art Informel (to which she has frequently been aligned) and an acknowledgment of her experience of Paris, understood as a distinctly transnational hub in the postwar World War II era. Likewise, attention will be drawn to the networks Vieira da Silva established during her time in Rio de Janeiro, where she escaped to with her husband Árpád Szenès at the outbreak of World War II. The exhibition will be grounded in a selection of key paintings showing Vieira’s repeated and continuously evolving deployment of abstract forms and optical illusions. These will be complemented by drawings, engravings, illustrated books and tapestries to offer a comprehensive overview of the artist’s interdisciplinary practice.
Gallery: 105 
Curator: Flavia Frigeri 
Venues: Peggy Guggenheim Collection, Venecia; Museo Guggenheim Bilbao
 
Maria Helena Vieira da Silva (1908 – 1992) 
Figure de ballet, 1948 
Oil and graphite on canvas, 27 x 46 cm 
Courtesy Galerie Jeanne Bucher Jaeger, Paris - Lisbon 
Inv. CR587

Maria Helena Vieira da Silva. Anatomy of Space

The work from Maria Helena Vieira da Silva (b. 1908, Lisbon; d. 1992, Paris) has been seen to incorporate a variety of styles and influences, ranging from

Maria Helena Vieira da Silva. Anatomy of Space | Guggenheim Museum Bilbao

Mark Leckey (b. 1964) is a British contemporary artist who lives and works in London. Since he came to prominence in the late 1990s, Leckey’s influential practice has addressed the relationship between popular culture and technology as well as exploring the subjects of youth, class and nostalgia. His found object art and video pieces draw on elements of pop culture. In particular, he is known for Fiorucci Made Me Hardcore (1999) and UniAddDumThs; (2015-ongoing). He won the 2008 Turner Prize for his exhibition Industrial Light and Magic (2008). Over the past six years Leckey has hosted a program on NTS Radio presenting experimental music by emerging and established artists. His presentation at the Guggenheim Bilbao will draw on the multiplicity of sources that go into his works such as sound, sculpture, and performance.
Galleries: 204, 208 
Curator: Lekha Hileman Waitoller
 
Mark Leckey 
Installation view, O’ Magic Power of Bleakness, Tate Britain, London, 24 September - 5 January 2020 
Photograph by Mark Blower, courtesy of the artist, Cabinet Gallery London, and Tate.

in situ: Mark Leckey

Mark Leckey (b. 1964) is a British contemporary artist who lives and works in London. Since he came to prominence in the late 1990s, Leckey’s influential

in situ: Mark Leckey | Guggenheim Museum Bilbao

Rooted in the Guggenheim Museum Bilbao’s Environmental Sustainability Strategic Framework, the exhibition Arts of the Earth offers a reinterpretation of the environmentally inspired art of the past decades. In addition to providing a new diverse multidisciplinary map of artistic forms, this exhibition also seeks to offer an inventory of tools, possibilities, and futures. Arts of the Earth adopts our current concern for the health of our planet, and specifically for the survival of soil as moldable, living matrix, as the cornerstone of a journey through artistic expressions crossing all geographies. It is an itinerary that connects artifacts made of earth, wood, leaves, roots, and plants—ancestral mediums that have once again risen to importance today—with the earthly interventions of recent decades that have come to be known as Land Art or Earthworks, including living anti-monuments erected in remote places, at times ephemeral, the marks of which we interpret today as prophecies of the Anthropocene.
Over these past generations, artists from starkly different cultures have asked themselves how to work the earth when it most needs care and restoration; how to offer gratitude and pay tribute; how to learn from that which it offers us at a time when it appears to be being stripped of its biological, mineral, organic and chemical richness. The constructive potential of soil and the substances that compose it takes us far beyond the classic formulations of sculpture, architecture, or landscape architecture. Over the past years, many artists have experimented with the dynamics of this substrate and have combined processes of composition and composting, drawing lines and revealing the common roots of culture and agriculture; form, formation, and terraforming. In doing so, Arts of the Earth encompasses historic works from 1970 to today and includes formats such as sculpture, installations, drawing, and performance, in addition to an extensive selection of archive materials. Spanning practices that sometimes call for multiple forms of collaborative knowledge, it looks at the intersection of agronomy, botany, geology, chemistry, and biology with the arts, architecture, and design.
Galleries: 201, 202, 203, 205, 206, 207, 209 
Curator: Manuel Cirauqui
 
Giuseppe Penone 
Nail and Laurel Leaves (Unghia e foglie di alloro), 1989 
Glass and laurel leaves 
Courtesy the artist and Marian Goodman Gallery 
Photo: Alex Yudzon

Arts of the Earth

Rooted in the Guggenheim Museum Bilbao’s Environmental Sustainability Strategic Framework, the exhibition Arts of the Earth offers a reinterpretation of

Arts of the Earth | Guggenheim Museum Bilbao

15€ Adults - 7.5€ Senior - 7.5€ Students

TopARTE, an initiative of the Guggenheim Museum Bilbao, remains firmly committed to local cultural actors and organizations. The result of this fruitful collaboration is a multidisciplinary program offering a wide range of content and formats, reaching all kinds of audiences.
As part of this initiative, the Museum hosts activities from a variety of fields, including architecture, film, dance, design, gastronomy, music, performance art, and theater.

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Exhibitions

Paul Pfeiffer: Prologue to the Story of the Birth of Freedom

11.30.2024 - 03.16.2025

Hilma af Klint

10.18.2024 - 02.02.2025

Works from the Guggenheim Museum Bilbao Collection

01.24.2023 - 12.31.2025

Exhibitions

upcoming

Tarsila do Amaral: Painting Modern Brazil

Masterpieces on Paper from Budapest

in situ: Refik Anadol

Vito Acconci / Sergio Prego: YOU

Helen Frankenthaler: Painting Without Rules

Barbara Kruger

Sky Hopinka. Fainting Spells

Maria Helena Vieira da Silva. Anatomy of Space

in situ: Mark Leckey

Arts of the Earth

Exhibitionspast

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