The tendency seems seems irreversible - to transform the classical concept of a museum - designed for the exhibition of certain works, into something more sumptuous and scenographic - which captures our interest first for its form and second for its content. The introduction of this desire to surprise the spectator on entering an area dedicated to contemporary art is undoubtedly the fruit of the intuition and geniality of Frank O Gehry. In one huge operation, he has enhanced at a stroke the destiny of the areas reserved for art, and the skyline of cities like Bilbao.
The need for new spaciousness has led to this transformation, more fluid and adaptable, and able to accomodate the restless art of today. But there is at the same time a desire to create places full of undreampt-of spaces that play with the surroundings, somehow laughing at themselves, or more seriously aiming to be meeting places, privileged areas of the city and its surrounding life.
The Guggenheim of Bilbao gives the impression of being a place that communicates to a city confronting itself but at the same time it camouflages itself according to the events being staged in the museum at the time. The building, completed in 1997, indicated the turning point of the poetic maturity of the great American architect. Gehry's works won prizes in a contest that included such artists as Arata Isozaki, Zaha Hadid and the Holland Historical group Coop Himmerbau. He is receptive to the influences of new visual art, which he appropriates to create a scuptuesque form, a grand installation or, more precisely, 'scenic machinery' thought of as art in its particular setting.
Apart from the effect of immensity that an operation of this kind has produced for Bilbao and the foundation Guggenheim (we may say that both have already been involved in the colossal costs of expropriation of the proposed areas for the project, besides those of the construction itself) it is important to note how the presence of such a building has revitalized an entire urban area, for some time in disuse. It has restored an image of vigour to a city weakened by vicissitudes of internal politics. It suddenly strikes us, that this building could be a sort of 'warden' for Bilbo, a deity descended to protect the city, which proclaims itself, at the entrance to the square, with an ironic structure composed of shrubs and leaves - the profile of a gigantic puppy, created by a great American spotlight-chaser of contemporary art, Jeff Koons. This architecture is both urban and extra- urban. It is a construction looking outwards, but at the same times inviting us to go in.
Step by step, as we cross the new bridge at the entrance, we are attracted by the folds of the building's volume, articulated towards the central structure, a sort of gigantic spire that distinguishes the building, similar to that of a gothic. This reflects the new creed of contemporary art. ?Are you startled by the comparison? Wasn't it Kandinskj that spoke of spiritual art?
Through the emblem of the bridge, the theme of dialogue with the city is created; it is an invitation to leave everything else behind and take the step of crossing the elegant water sign - thought of as protecting or, better, as differentiating the urban complex from the novelty of this new, modern architectural symbol. In trepidation, we cross over the vast entrance area to the church, and enter the main hall. Here, as in gothic buildings, we are induced to look upwards.
It is a forest, full of steel and glass ribs, welcoming the visitor, always ready to interact differently every time, supplying surprises: the installations from the Guggenheim collection.
Once inside, we are slowly involved in a new experience, in a hyper functional space that plays on different scales and at various levels with the art exhibited, almost competing with itself, being both provocative and astonishing. This is like being in a sort of Disneyland of Art, with multiform Dantesque scenery, specially designed to seduce the visitor, with its complicated contemporary forms. It is both up to date, and stimulating for observant eyes.
As if painting were too narrow or limited, the museum absorbs all that herogeneous modern art provides, whether installations or works of sculpture, silk-screen printing or photographs, performances or videos. It meets the need to represent as far as possible all the terrain that the artist crosses and promotes, and also to assume an active role. It aspires to generate other forms of art and make new proposals to the contemporary world.
Gehry has undoubtedly started a new trend, which has revitalized contemporary art, but at the same time he has promoted a risky idea for architecture conceived as art. If it is not well applied, it risks killing itself, by ceasing to provide what is always first required: the creation of spaces that satisfy the daily needs of man which are, above all, functional - for the use of the community.
