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I know Bilbao, but very thorough, yes for many years. I remember Nervià margins, that landscape of industrial desolation-just where now stands the towering museum, at dawn one day in August 1983 when the flood came down the five hundred years. The flood, deluge, from that day I know it. The Museum already have seen even know where is the rusty scale of the cover (I can think of that one alive should take the iron titanium home after a switch to a less metal noble, or perhaps a game of Gehry, which I do not). The Museum is not to call me too, I mean, for me, finally destroying the spirit of most of the works, making values, hv like silent power of intimacy, being buried under their architectural opulence. We do not equivoquéssim now in there culture becomes the claim, the excuse of another American franchise. That is, I can go through Bilbao once a year and you do not stop, even disregarding the museum is entering hv the market to see piles of tuna fish stalls. Unless, of course, the museum has scheduled one of my weaknesses, like Anselm Kiefer in 2007, then to waver, pierced the door and pay the ticket. NO PHOTOS! I called the guards so I discreetly the first and only photo provided without flash. It is the same woman who was desecrating the room must watch a stupid conversation by phone. Then, in the museum shop, check or postal hv orders are available, the only option to take is to buy a memory Kiefer's monumental catalog of 60 euros. Imagine if we were travelers about light rail and backpack, our interest in art, emotion before the work would be less? I told my remaining hv prevention rather rejection by the exaggerated hv accounts Guggenheim museum. And it goes without saying that the catalog said to me as he could sweeten. hv
Was always the old standby, remove the card, make a pencil, and a dwell time in front of a work to enter. Now it is often said a picture instantly, now, with sophisticated digital automation, hv more so than ever snapshot photos. The drawing, by tracery fast you are, it is never instantaneous capture all calls and select, select all of the above, ie choose, and freedom of choice is. Later, with the drawing you can make whatever you want, even parody photos that you were not allowed to do because ultimately awaits a store where they sell expensive catalogs.
Kiefer poor-so poor that I do not think it is, it is only man aching for life, as a kind of artist-Celan version, the Kiefer therefore not to blame for the meanness of a museum us believe that great. Well this is great: it would be difficult to find another space to hang a painting of three storeys high and designed to be seen from the elevator, but we know that does not mean big magnanimous. That is something physical quantities and the other human. Of these, the toughest corner of persistent pain is spoken of the work of Anselm Kiefer; here in Bilbao museum, further highlighted by the beam of contrasts and oppositions.
All writing Guggenheim came to me after a collateral issue that I add by way of addendum. You can hear in the streets of Bilbao hv being someone on the phone saying (you must feature ditty Biscay): hv "Oye barbed quedamos where the txakurra." This means that they are decrypted before the museum at the foot of the big dog got flowers planting Jeff Koons, the champion of the postmodern frivolity. It is also possible to listen through hv the same streets of Bilbao, and during a rally cry of warning: "Let them txakurras Vienna." That means next police dogs. It is a case of this txakurra, a polysemy specifically Bilbao. Also, every day world, there are people of the city that evening say, "Pass the txakurra in Saco." and his dog, only to hear it, it gets to jump for joy.
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