1

CONTENTS

Introduction 4

Art Program 6

Projects 10

Acquisitions 12

Education 16

Visitors 23

Individual Members 24

Corporate Members 26

Press 29

Store/Bookstore 32

Publications 33

Management Model 34

Impact 35

Awards & Distinctions 36

VIP Visitors 37

Human Resources & Quality 38

Annual Report 2013 Guggenheim Museum Bilbao

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INTRODUCTION

The Guggenheim Museum Bilbao ended 2013 on a very positive note, as we were able to meet our goals for the year in terms of income levels and financial autonomy, which is no small feat considering the as-yet complicated state of affairs in the global economy. Despite this inauspicious climate, the Museum managed to defend its position as a benchmark institution while significantly intensifying its social and educational outreach activities, and it has supported and stimulated the local arts scene to offer residents and visitors a wide range of quality cultural events and experiences.

In 2013, we strengthened our commitment to corporate social responsibility through proactive initiatives like the new Erdu program, which offers free admission to the Museum for people who are unemployed. In the nine months since it was launched, a total of 2,137 people have signed up for this program. In addition to Erdu, the Museum continued to design and organize its regular educational projects, like the workshops for children hospitalized at Cruces and Basurto or the talks given with the help of our volunteers at different centers for disadvantaged collectives or people at risk of social exclusion. Adopting a multidisciplinary approach that embraces the new media, the Museum also organized courses,

Juan Ignacio VidarteDirector General of the Guggenheim Museum Bilbao

tours, meet-the-artist sessions, round tables, workshops, film series, educational spaces, and dramatized readings of art in its myriad forms—photography, architecture, dance, film, poetry, and the performing arts—that attracted the interest and participation of numerous individuals.

With regard to the 2013 Art Program, L’Art en guerre, a survey of the prolific creativity that characterized the World War II years in France, was the temporary exhibition that drew the largest audience, 580,203 visitors in total. Meanwhile, Riotous Baroque: From Cattelan to Zurbarán, with its combination of contemporary works and 17th-century paintings, also attracted an impressive 402,212 visitors. Additionally, this year our audiences were able to get up close and personal with Antoni Tàpies’s sculptural and objectual work, trace the evolution of three of today’s leading Basque artists (Iñaki Garmendia, Erlea Maneros Zabala, and Xabier Salaberria), and contemplate major works from the Bilbao Collection in three presentations that explored the work of Cy Twombly and Georg Baselitz, the influence of Pop art, and a series of relevant creators on the contemporary scene. This program was rounded out by Curatorial Lab, in which the Museum invited three young curators to take over Gallery 103b and develop an exhibition project over the course of the year. The installation of Jesús de Echebarria’s stereo photographs marked the end of an era for this gallery, which will become home to the new Store/Bookstore as a result of a partial refurbishmet project of spaces the Museum plans to undertake in 2014.

The Bilbao Collection also grew in 2013 thanks to Darío Urzay’s generous donation of In a (Microverse II) Fraction (En una [Microverso II] fracción), which forms a pair with an eponymous piece the Museum purchased in 1997, and to the addition of three works commissioned for the collection from the three Basque artists featured in the show Process and Method. Consequently, by the end of the year the Museum’s artistic holdings had increased to 128 works by 73 different artists.

We welcomed a total of 931,015 visitors in the course of the year, a figure that tallies with our expectations and with which we are very pleased. The proportion of local visitors varied little in comparison with last year (12%), while visitors from the rest of Spain accounted for 23% of the total and the remaining 65% came from abroad, primarily France, the United Kingdom, Germany, the United States, and Italy. I must also point out the invaluable support of our Individual and Corporate Members, the vast majority of whom remain loyally committed to the Museum. Thanks to our visitors and members, this year the institution’s level of financial autonomy was situated at 69%.

On the topic of economic affairs, we conducted our customary annual study to gauge the Museum’s impact on the local and regional economy. The study revealed that in 2013 the Museum’s activity generated 310.5 million euros in direct expenditure, 273.8 million euros in GDP, and an additional 42.15 million euros in tax revenue for the Basque treasuries, thereby contributing to the maintenance of 5,876 jobs. These recent statistics confirm a steady trend we have observed since the institution first opened its doors: namely, that the Guggenheim Museum Bilbao is an exceptional powerhouse whose presence consistently benefits and reinvigorates the regional economy, year after year.

I would like to end this brief introduction with a special word of thanks to all those who, through their participation, commitment, support, or efforts in 2013, have made it possible for the Museum to put its best foot forward once again this year.

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ART PROGRAM

The 2013 Art Program welcomed major figures of 20th-century art in the exhibition L’Art en guerre. France, 1938−1947, a survey of the ebullient creative activity that characterized France during World War II; it revisited the concept of the “baroque” in a show that drew fascinating parallels between 17th-century and contemporary pieces; and it delved into the art of today through several exhibitions that examined the art of our present and recent past from different perspectives, such as the show dedicated to the sculptures and objects of Antoni Tàpies.

The most visited temporary exhibition at the Museum in 2013 was L’Art en guerre, with over 500 artworks and historical documents that explored the onset, conflict, and aftermath of World War II. Through works by Braque, Dalí, Ernst, Giacometti, Magritte, Matisse, Picasso, and other artists, the show carefully examined the relationship between art and war in France from 1938 to 1947, offering a revealing vision of how art can be used as a weapon against destruction and evil.

Gallery 207 during the exhibition L’Art en guerre. France, 1938–1947: From Picasso to Dubuffet

Riotous Baroque: From Cattelan to Zurbarán staged a unique encounter between selected 17th-century paintings and several contemporary works that revealed the “Baroque” bond shared by such seemingly disparate creations: an intense sense of vitality, the beating pulse of life faced with the imminence or awareness of death. Subjectivity, drama, morality, coarseness, sensuality, and passion were just some of the aspects of existence explored in this show.

In addition, in 2013 Museum visitors had the opportunity to take a closer look at the sculptural and objectual work of Antoni Tàpies thanks to an exhibition that examined his output from 1964 to 2009; they were able to trace the evolution of three of today’s best Basque artists (Iñaki Garmendia, Erlea Maneros Zabala, and Xabier Salaberria); and they became better acquainted with the Permanent Collection through three presentations: Stories of History, dedicated to the work of Cy Twombly and Georg Baselitz, Selections from the Guggenheim Museum Bilbao Collection III (featuring artists related to the Pop art movement), and Selections IV with pieces by Elssie Ansareo, Manu Arregui, José Manuel Ballester, Prudencio Irazabal, Darío Urzay, and Juan Uslé. In 2013 we were also able to enjoy, as we do each year, the products of an entire year of learning and creating: the young students who participated in the program Learning Through Art showcased their works in the annual exhibition.

Gallery 307 during the exhibition Riotous Baroque, with works by Bartolomeo Passetotti (left) and Rebecca Warren (right)

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PERMANENT COLLECTION Stories of HistoryJanuary 22–May 19, 2013Galleries 305 to 307 Curated by Petra Joosno. of works: 2, comprising 9 and 16 paintings eachno. of visitors: 236,441

Selections from the Guggenheim Museum Bilbao Collection IVNovember 26, 2013–August 31, 2014Gallery 105Curated by Petra Joosno. of works: 11no. of visitors [as of Dec. 31.]: 67,864

TEMPORARY EXHIBITIONS L’Art en guerre. France, 1938–1947: From Picasso to DubuffetMarch 16–September 8, 2013 Second-floor galleries Curated by Jacqueline Munck and Laurence Bertrand Dorléacno. of works: 550no. of visitors: 580,203

sponsored by

top: View of Gallery 307 with Cy Twombly’s Nine Discourses on Commodus (1963) [detail], Guggenheim Bilbao Museoa. center: Panoramic view of Gallery 105 with three works by José Manuel Ballester, The Royal Palace (Palacio Real, 2009), The Third of May (3 de mayo, 2008), and The Raft of the Medusa (La balsa de la Medusa, 2010), Guggenheim Bilbao Museoa. bottom: View of Marcel Duchamp’s “1,200 Bags of Coal,” an installation originally shown at the Exposition Internationale du Surréalisme in 1938 and recreated for L’Art en guerre

Riotous Baroque: From Cattelan to Zurbarán. Tributes to Precarious VitalityJune 14–October 6, 2013 Third-floor galleries Curated by Bice Curigerno. of works: 100no. of visitors: 402,212

Learning Through ArtJune 11–August 25, 2013 Gallery 103b

no. of visitors: 304,165sponsored by

Antoni Tàpies: From Object to Sculpture (1964–2009)October 4, 2013–January 19, 2014 Second-floor galleries Curated by Álvaro Rodríguez Fominayano. of works: 84no. of visitors [as of Dec. 31]: 188,547sponsored by

Garmendia, Maneros Zabala, Salaberria: Process and MethodOctober 31, 2013–February 16, 2014 Third-floor galleriesCurated by Lucía Agirre and Álvaro Rodríguez Fominayano. of works: 32no. of visitors [as of Dec. 31]: 110,877

top: Paul McCarthy, Pig, 2003, private collection, Switzerland, and Matthias Stom, Young Couple at Their Evening Meal, n.d., Kunsthaus Zürich, Verena Timossi Bequest, 1992. center: Works by Antoni Tàpies: Slipper (Sabatilla, 1986), Colección Fundació Antoni Tàpies, Barcelona. Background, left to right: Llit (Bed, 1988), Maxine and Stuart Frankel Foundation for Art; Armari (Closet, 1973), Colección Fundació Antoni Tàpies, Barcelona; and Díptic (Diptych, 1983), private collection, Finland. bottom: Iñaki Garmendia, Untitled (Six Peaks) (Sin título [seis picos], 2011), Artium de Álava, Vitoria-Gasteiz

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Curatorial Lab was an initiative of the Guggenheim Museum Bilbao featuring interventions and projects that young Basque curators had envisioned specifically for Gallery 103b, giving the local emerging art scene a presence inside the Museum.

This program materialized in three projects over the course of 2013: The Name, After (Izena gero), curated by Iskandar Rementeria; Horizon (Horizonte), created by Alexandra Baurès; and the curatorial proposal of Ines Bermejo, Stop the World, I Want To Get Off: Cancel One Era, Begin Another (Que se pare el mundo, que yo me bajo: cancela una época, inaugura otra).

To wrap up the year, Gallery 103b also hosted the project Jesús de Echebarria: A Stereoscopic Chronicle of the Early 20th Century, which showed selected stereo photographs by Bilbao-born Jesús de Echebarria.

The Name, After (Izena gero)May 1–26, 2013Curated by Iskandar Rementeriano. of works: 8no. of visitors: 83,091

Horizon (Horizonte)September 4–29, 2013 Curated by Alexandra Baurès no. of works: 15no. of visitors: 80,079

Stop the World, I Want To Get Off: Cancel One Era, Begin Another (Que se pare el mundo, que yo me bajo: cancela una época, inaugura otra)Octuber 8–November 3, 2013 Curated by Ines Bermejono. of works: 8no. of visitors: 81,254

PROJECTS

Jesús de Echebarria: A Stereoscopic Chronicle of the Early 20th CenturyNovember 8–December 1, 2013 Curated by Lucía Agirreno. of works: 14 photographs and 21 objectsno. of visitors: 40,585

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Four new works entered the Guggenheim Museum Bilbao Collection in 2013: one was a gift, and the others were commissioned from three local artists. As a result, at the close of the year, the Bilbao Collection boasted a total of 128 works by 73 different creators.

The first acquisition was a piece by Darío Urzay entitled In a (Microverse II) Fraction (En una [Microverso II] fracción, 1997), a seamless fusion of installation art, painting, and photography. The artist’s generous gift has now joined its companion piece, In a (Microverse I) Fraction (En una [Microverso I] fracción, 1997), purchased by the Museum in 1997. Both were created at the same time, and in them Urzay used two types of superimposed strokes: one corresponding to the gesture made with a camera, and the other to the movement of the painter’s own hand. For the artist, the dominant blue tone of In a (Microverse I) Fraction is connected to “something cosmic, the realm of thought,” while the red of In a (Microverse II) Fraction is a reference to blood and the artist’s fascination with this life-giving fluid. The glossy, semi-reflective surfaces of both works alter the viewers’ perception, making them an active part of the pieces. The two works were shown together for the first time and drew a “virtual” circle around observers in the presentation Selections from the Guggenheim Museum Bilbao IV, which opened in November.

Darío Urzay, In a (Microverse II) Fraction (En una [Microverso II] fracción) [top] and In a (Microverse I) Fraction (En una [Microverso I] fracción) [bottom], both from 1997. Mixed media on wood, 170 x 850 cm each. Guggenheim Bilbao Museoa

ACQUISITIONS

Secondly, when organizing the show Garmendia, Maneros Zabala, Salaberria: Process and Method, the three featured artists were each commissioned to produce a piece for the exhibition that would later enter the Museum’s collection.

The piece devised by Iñaki Garmendia, entitled Ikaraundi – EQDALOS (Head Kneeling against the Wall) (Ikaraundi –EQDALOS [burua paretan kontra belaunikatuta] ) is a synthesis of his work to date. Taking as his starting point the few existing photographic records of Jorge Oteiza’s bust of painter José Sarriegui (no longer extant), Garmendia applies certain industrial engineering processes to his own engineering of memory and recollection in a direct, radical way. The traces of this procedure are revealed in different formats, like the video that takes the head as its central motif, underscoring its objectual and iconic nature, the actions contaminated by the artist’s own voice, and the disjointed tale with which he concocts a personal puzzle and presents it to both the spectator and himself.

Iñaki Garmendia, Ikaraundi – EQDALOS (Head Kneeling against the Wall) (Ikaraundi –EQDALOS [burua paretan kontra belaunikatuta]), 2013. Paper, metal, MDF, wood, and projection. Overall dimensions variable. Guggenheim Bilbao Museoa

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The piece that Erlea Maneros Zabala created for this show was Basque Graphics; Typography and Ornament: 1961–1967 (Grafía Vasca; tipografía y ornamentación: 1961–1967), consisting of 39 etched copper plates that reproduce fragments of the covers of the underground periodical Sine Nomine distributed by Basque clergymen. Basque Graphics allows us to see Maneros Zabala’s earlier series in a different light, revealing how her interest has shifted from the formal aspects of the image to the formal aspects of text, thereby eliminating, in a way, the text-image dichotomy. Thus, Basque Graphics does not offer the actual printed page but the matrix from which the text springs, like an archeological attempt to demonstrate the process of mechanical reproduction, an obsolete industrial technique. With this choice, the artist has struck a perfect balance between form and content.

Erlea Maneros Zabala, Basque Graphics; Typography and Ornament: 1961–1967 (Grafía Vasca; tipografía y ornamentación: 1961–1967), 2013. Copper plate etching, 32 x 45.9 cm (with frame), each. Guggenheim Bilbao Museoa

A.T.M.O.T.W., 2013. Metal, folded sheet metal, glass, paint, and concrete. Site-specific dimensions. Guggenheim Bilbao Museoa

Finally, Xabier Salaberria presented the work A.T.M.O.T.W. as a means of reflecting on the museum as a place of representation. The title A.T.M.O.T.W. stands for “All The Material Of The World,” a statement of intent in which the museum’s architecture is the subtext. This work contains numerous references which are sometimes quite subtle, such as its connection with the idea of “Basque sculpture”; however, it is virtually impossible not to associate the wall of concrete blocks with the Rietveld Pavilion, designed by architect Gerrit Thomas Rietveld in 1955 for the Third International Sculpture Exhibition held in Sonsbeek Park, Arnhem, the Netherlands. Salaberria deconstructs the history of modernism, the Industrial Revolution, and the serialization typical of mass production by reinterpreting their characteristic artifact-objects or exhibition displays.

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EDUCATION

Innovation, creativity, participation, and experience are some of the pedagogical cornerstones of the Guggenheim Museum Bilbao’s educational program, which takes a holistic view of education as a facilitator that helps different target audiences connect with the Art Program and the architecture of Frank Gehry’s building.

In 2013 the social dimension of the Museum’s cultural activities was reinforced in order to help as many people, audiences, and groups as possible—educators, children, families, youth, Museum Members, disadvantaged collectives, etc.—connect with modern and contemporary art and the building’s unique architecture.

Several pilot experiences were launched and new programs with innovative approaches to education were introduced: Baby Art for babies between 6 and 12 months old; The Art Corner for children ages 2 to 8; an introduction to architecture course designed for kids ages 5 to 10; Books Alive! for children ages 3 to 8; workshops and creative sessions for adults; and a strategic program of gallery docents.

Details and figures for these activities are provided below.

Didactic space and reading room of Riotous Baroque

Participative programs

The Museum’s participative educational programs targeted a wide variety of audiences. They included innovative initiatives such as The Art Corner, Baby Art, Books Alive!, an architecture course for children, and Learning Through Art, which remains one of the country’s best contemporary art education programs. The Museum also offered a diverse array of complementary activities with a cross-disciplinary, thematic focus, such as the creative sessions for adults.

In addition, during the months of July and August the first pilot experience of the gallery docents’ strategic program was conducted, which is to be introduced in 2014.

Participants 2013 Programs

Schoolchildren 28,625 7

Educators 3,166 3

Families 8,941 11

Social programs and accessibility 2,752 7

Members and general public 60,787 8

didaktika

didaktika a unique initiative unmatched by any other contemporary art museum, is designed to help visitors plan and prepare their time at the Museum and view the Art Program from multiple, enriching perspectives. These educational aids are set up in special areas separate from the galleries.

Beneficiaries 2013

Zero Espazioa 45,337

Didactic spaces 279,763

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Online Resources

The Museum offered instructive online materials and activities for educators, families, and the general public, such as teachers’ guides, EducatorsWiki, a virtual tour for children, and the didactic website sections for adults Did You Know...? These aids are designed to help people teach and learn about the Art Program in the classroom and at home, outside the Museum’s walls.

Users 2013

Didactic units for educators 10,093

Learning Through Art search tool 10,143

EducatorsWiki 3,346

Virtual tour for children 1,624

Did You Know...? 14,384

Other resources Museum visitors can also avail themselves of various tools, devices, and materials to help them tour the Museum on their own, equipped with information that will enhance their understanding and enjoyment of the works on display and the building’s architecture.

Visitors 2013

Guggenheim Bilbao guide 366,445

Audio guides 424,636

Highlights

• January1-6:ChristmasFamilyFun(scavengerhuntandworkshops).

• February5:PremiereofthedocumentaryThe Artist Is Present, produced in connection with the 2010 Marina Abramovic retrospective held at MoMA, New York.

• February5,7,12,and14;April9,11,16,and18;October15,17,22, and 24: Orientation sessions and free entry for educators to become familiar with the Permanent Collection and the exhibitions L’Art en guerre and Antoni Tàpies.

• March11:LecturebyLaurenceBertrandDorléac,co-curatorofL’Art en guerre, entitled Art at War: The Genesis of an Exhibition.

• March19:Openhousefortheintroductiontoarchitecturecoursefor children.

• March19–21:LaunchofthecreativesessionsDo It Yourself! for adults with the photography workshop “Portraits with your Smartphone” given by David Hornback in connection with the presentation from the Permanent Collection Selections III and Alex Katz’s series Smiles.

• March23and24:WorkshopsforMuseumMembers’childrenabout Louise Bourgeois’s work Maman.

• April9–June18;October8–December17:Introductiontoarchitecture course for children.

• April22:TalkbyCristinaIglesias,whereshediscussedherworkandher pieces included in Inhabited Architecture, the presentation from the Permanent Collection.

• April24and25;May8and9:Secondcreativesessionforadultswith the workshop “Recycling Furniture and Accessories”, led by Recrea2 in connection with Inhabited Architecture.

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• May3and4:TheGuggenheimMuseumBilbaojoinedintheBilbao Art District cultural initiative, offering a performance by artist Esther Ferrer in the Museum Atrium in addition to its habitual weekend educational activities.

• May18,19,25,and26;October19,20,26,and27:WorkshopsforMuseum Members’ children about Jeff Koons’s work Puppy.

• June5:SessionoftheACTPerformingArtsFestival,featuringyoung artists of international renown.

• June5–7;October22–24:Screeningsofselecteddocumentariesfrom the Art21 series Access 100 Artists, focusing on artists represented in the Guggenheim Collections.

• June9,16,23,and30;October13,20,and27;December8and15:Books Alive!, a program that uses books and stories in English to make learning about art fun for kids between ages 3 and 8.

• June11–August25:Exhibitionofthe2012–2013Learning Through Art educational program, led by artists Elssie Ansareo, Naia del Castillo, Ibon Garagarza, Iñaki Gracenea, Maider López, and Jorge Rubio. This year participants came from the following schools: CP Arrankudiaga, CP Las Viñas in Santurtzi, CP Zubialde in Zeberio, CP Arrateko Andra Mari in Eibar, CP Belaskoena in Irún, and CP Judimendi in Vitoria–Gasteiz.

• June18:RoundtableinconnectionwiththeshowRiotous Baroque, featuring artists Cristina Lucas and Marilyn Minter, and moderated by Bice Curiger, curator of the exhibition.

• June24–28;July1–5:SummerworkshopsforMuseumMembers’children.

• August21and22:Performancebyrenowneddancersofthe New York City Ballet as part of the program Works & Process at the Guggenheim.

• October16:Performancebyyoungchoreographersfrom the Spanish Compañía Nacional de Danza as part of the 14th Dantzaldia Festival organized by Fundición Aretoa.

• October24:Espanha1984, a performance by artist Pablo Fidalgo, organized in the context of BAD, the Contemporary Theater and Dance Festival.

• October29:LecturebyartcriticandindependentcuratorTonyGodfrey entitled Tàpies and Conceptual Art: Foes or Secret Friends? to complement the exhibition Antoni Tàpies: From Object to Sculpture (1964–2009).

• October31:GuidedtourwithErleaManerosZabalaoftheshowGarmendia, Maneros Zabala, Salaberria: Process and Method.

• November26:LecturebypoetandwriterPereGimferrerentitledMatter and Three Dimensions in Tàpies’s Late Work: Two Characters, 2011, to accompany the show about the Catalan artist.

• November28:Concert/performanceforthe12theditionofMEM,the Experimental Music Festival.

• December12:“DistorsiónSigma,”20thanniversaryconcertoftheKlem Kuraia Festival (contemporary music event).

• December7,2013–January5,2014:UnderthetitleObjects and Color, this year’s family Christmas activities included a scavenger hunt, exclusive workshops for Members, the children’s show Kubik offered by the Teatro Paraíso company in association with the Théâtre de La Guimbarde, and the puppet show Stone by Stone, by Teatre de L’home Dibuixat.

• Aspartoftheeducationalprogram’ssocialoutreachinitiatives,once again the Museum organized off-site talks given by volunteers at associations for senior citizens and women, recreational clubs and drug abuse rehabilitation centers, as well as activities for children being treated at the hospitals of Cruces and Basurto.

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• TheprogramBabyArtforbabiesbetweentheagesof3and12months was offered every Sunday during the school year, and The Art Corner welcomed kids ages 2 to 8 in the Museum Atrium every weekend, during the holiday week before Easter, and in July and August to meet the increased demand for children’s activities during school vacation periods.

• AspartoftheDIDAKTIKAproject,theMuseumhasdesignedspaces with useful tools and resources to help visitors make their most of their time when touring the exhibitions. The visitor orientation room, Zero Espazioa, was also updated with contents related to the 2013 Art Program.

• TheprogramConnect with Art offers various possibilities and ways of visiting the Museum, such as guided tours, audio guides, the aforementioned educational spaces, and an app for iPhone and Android.

• GuggenheimBilbao+Tours,uniqueguidedtoursoftheMuseum’shidden corners.

VISITORS

A total of 931,015 people visited the Museum in 2013, a figure that matches the initial predictions and is considered as very positive considering the adverse economic climate.

With regard to place of origin, it is interesting to note that the percentage of foreign visitors was slightly higher than in 2012: 65% of all visitors came from abroad, primarily France, the UK, Germany, the USA, and Italy. The proportion of visitors from the Basque Country was similar to that of the previous year (12%), while visitors from the rest of Spain accounted for 23%.

Finally, each visitor who came to the Museum on its 16th Anniversary in October was given a souvenir to take home: one of the winter plants used to replant Jeff Koons’s sculpture Puppy.

Other

Japan

USA

Portugal

Italy

Germany

France

UK

Rest of Spain

Basque Country

0% 5% 10% 15% 20% 25% 30%

2012 2013

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INDIVIDUAL MEMBERS

Throughout 2013, the Museum continued to receive the unconditional support of nearly 15,500 Members, a very considerable number in these difficult financial times. In fact, in response to the hardships brought on by the recession, this year the Museum decided to launch Erdu, a program that offers free access to the Museum for anyone registered as unemployed. In the nine months since this initiative was introduced in 2013, 2,137 people have signed up and paid a total of 3,150 visits.

Selected highlights

• TheHonorMembersAdvisoryCommitteemetonFebruary14duringtheARCOartfairinMadrid,andagainonOctober 3 during the inauguration of the exhibition dedicated to Antoni Tàpies.

• Previewsorprivatetoursofthetemporaryexhibitions,exclusivelyforInternationalMembersduringclosinghoursandled by the shows’ curators: Jacqueline Munck and Laurence Bertrand Dorléac (L’Art en guerre, March 14), Bice Curiger (Riotous Baroque, June 12), Álvaro Rodríguez Fominaya (Antoni Tàpies: From Object to Sculpture, September 26), and Lucía Agirre and Álvaro Rodríguez Fominaya (Process and Method, October 29).

Creative process featuring Cirque du Soleil performers in the Museum Auditorium

• Foreachtemporaryexhibition,theMuseumoffersitsMembersfree guided tours on the Tuesday, Friday, and Sunday after opening day. In 2013 a total of 30 free guided tours were organized for 592 participants.

• “Lagunartean”hasbecomeapopularwayforMemberstomeetand explore the exhibitions on guided tours, followed by lunch or dinner at the Bistró Guggenheim Bilbao.

• ExclusivevisitstotheinteriorofJeffKoons’ssculpturePuppy when the flowers were changed on May 20, 21, and 22 and October 10 and 11.

• Culturaltrips,thisyeartoSantiagodeCompostelaandPorto(February 28–March 3); Berlin (April 26–May 1); a Baltic cruise with visits to the Hermitage in St. Petersburg and the Arken Museum in Copenhagen, among other museums (June 9–20); FIAC, the Paris art fair (October 23–27); and Jerusalem-Tel Aviv (December 1–8).

• ThankstocollaborationagreementswithTeatroArriaga,theBilbaoSymphony Orchestra and GetxoArte, Members enjoyed special benefits and discounts on tickets to shows and events organized by these institutions. In addition, arrangements with Fundación Iberdrola and the Cirque du Soleil offered Members exclusive tours behind closed doors and new perks.

• VisitstothestudiosoftheartistsfeaturedinSelections from the Guggenheim Museum Bilbao Collection IV, which will continue in 2014. The first visit took place on December 5, with Elssie Ansareo.

• 2013endedwiththetraditionalMembers-onlyopenhousedayon December 16. The event attracted more than 700 Friends, who were able to visit little-known areas of the Museum, like the conservation rooms or HVAC facilities, accompanied by the department staff, and take part in raffles, quiz contests, family shows, and a Christmas concert.

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CORPORATE MEMBERS

The Museum maintains strong ties to the business community through its Corporate Members program. At the close of 2013, a total of 113 companies were active in the program’s different categories: Strategic Trustees, Trustees, Corporate and Media Benefactors, and Associate Members. Although contributions in the lower categories descended slightly this year, the level of corporate support is still very high and remains an essential pillar of the Museum’s funding model, even in these times of widespread budget cuts when arts patronage has been particularly hard hit.

As in the past, several companies chose to specifically sponsor the Museum’s Art Program and activities, most notably the four Strategic Trustees: BBK, Fundación BBVA, Iberdrola, and ArcelorMittal. These major sponsorships were complemented by a variety of standing or one-off contributions to initiatives and services that allow the Museum to maintain a dynamic, diverse calendar of activities.

top left: Outdoor banner sign; top right. Introductory wall text for an exhibition; bottom left: Official photo at the opening of L’Art en guerre; bottom center + right. Signing agreements with Museum Trustees

Exhibition / project/ Programa / Actividad Sponsors Collaborators

The Matter of Time ArcelorMittal

L’Art en guerre. France, 1938–1947: From Picasso to Dubuffet Fundación BBVA

Antoni Tàpies: From Object to Sculpture (1964–2009) Fundación Iberdrola

Garmendia, Maneros Zabala, Salaberria: Process and Method

Bodegas de los Herederos del Marqués de Riscal

Connect with Art program: Smartphone app, audio guides, guided tours, and exhibition-specific educational spaces BBK

Social programs: group tours and activities in hospitals BBK

Shared Reflections program Fundación Vizcaína Aguirre

Educators Wiki BBK

Learning Through Art BBK

Guggenheim Bilbao Nights BBK

Art After Dark BBK

Curatorial Lab BBK

Corporate Film ForumAdecco Ferroser

Ysios (Domecq Bodegas) Deusto Alumni

Visitor Services Prosegur

Annual dinner IXO grupo

Norbega S.A. Ysios (Domecq Bodegas) G.H. MUMM

Social media contestHotel Miró IXO grupo

16th Anniversary, Puppy flowers gifts Ferrovial Servicios

Members-only open house dayillycaffè Norbega S.A.

Children’s Christmas activities BBKBizkaiko Foru Aldundia/ Diputación Foral de Bizkaia

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In addition to the Museum’s own activities, different spaces in the building also host corporate events. After visiting hours, the Atrium, the Vestibule, the Auditorium, Zero Espazioa, and the Education Room are made available for events organized by companies and institutions. In 2013, a total of 85 special events were held at the Museum, significantly more than last year, ranging from social gatherings to business conferences.

PRESS

Throughout its 16-year history, the Guggenheim Museum Bilbao has maintained a high media profile both in Spain and abroad, and in 2013 it received 20,100 mentions valued at over 27 million euros. The visibility and coverage of the Art Program and the Museum’s activities have increased steadily over the years. Other high-profile aspects, such as Frank Gehry’s iconic building, the “Guggenheim/Bilbao effect,” the Museum’s power as a tourist magnet, and its fine dining options continue to attract the interest of the media, particularly in foreign countries, proving once more the importance of the Guggenheim Museum Bilbao as a tool for promoting and publicizing the Basque Country around the world. The exhibitions that received the most coverage this year were L’Art en guerre. France, 1938–1947 and Antoni Tàpies: From Object to Sculpture (1964–2009), both of which received numerous mentions in the Spanish media and further afield, primarily in Germany, France, Italy, and the UK.

Press conference to present the exhibition Antoni Tàpies: From Object to Sculpture (1964–2009)

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Overall, the Art Program was featured in nearly 3,000 news items in Spain and abroad.

• Stories of History: 160 media mentions, including 9 in international media.

• L’Art en guerre. France, 1938–1947: 674 mentions, 142 in international media.

• Riotous Baroque: From Cattelan to Zurbarán: 316 mentions, 68 in international media.

• Antoni Tàpies: From Object to Sculpture (1964–2009): 582 mentions, 102 in international media.

• Garmendia, Maneros Zabala, Salaberria: Process and Method: 126 mentions, 4 in international media.

• Selections from the Guggenheim Museum Bilbao Collection IV: 56 mentions, 4 in international media.

Meanwhile, the marketing campaigns organized to promote the Art Program not only drew visitors but also reinforced the Museum’s brand and international visibility: • L’Art en guerre: in addition to a conventional press, radio, TV, and

OOH advertising campaign, The Museum also conducted special promotional events. The campaign reached over 30 million users and obtained 54,000 click-throughs to the website, and the TV ad was viewed 600,000 times on YouTube.

• “Visitusforthefirsttime,asoftenasyoulike”campaign,withradio spots, TV ads, and video banners on Spanish websites, which reached an audience of 10 million and achieved 40,000 click-throughs to the website and 354,614 views on YouTube.

Internet and social media

• 1,360,078visitorstothewebsite,277,770asaresultofdifferentonline marketing campaigns.

• 1,480,124viewsonYouTubeand130,000onVimeo.• 154,470Facebookfansand28,153Twitterfollowers,confirmingthe

Guggenheim Museum Bilbao as the third most popular Spanish museum on social media.

Number of mentions 2013

Foreign press 3,320

Spanish press 4,338

Spanish TV 372

Spanish radio 475

Online 11,594

Website visitors 1,360,078

Media visits 665

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The exhibition L’Art en guerre, which opened in March 2013, inspired a new product line based on the distinctive typeface used in the show. These products proved to be very popular with Store/Bookstore customers, who purchased them in large quantities. The merchandising created to commemorate this exhibition included a special issue of the journal Connaissance des Arts, T-shirts, and stationary items.

This year the Museum maintained its policy of collaborating with prestigious brand names and designers from Spain and abroad. Consequently, brands like Vista Alegre (Porto) and Minimil (Donostia-San Sebastián) designed exclusive products to be sold at the Museum, and articles by designers like Andrés Gallardo and Ana Roquero—whose Jōmon tableware received the Red Dot Design Award in 2014—can now be found in the Store/Bookstore.

At the end of the year, the Store/Bookstore staff began to prepare for the relocation of the Store in its new premises, designed by Frank Gehry.

STORE/ BOOKSTORE PUBLICATIONS

With regard to publishing, the Museum released several high-quality publications to accompany the exhibitions in the Art Program and illustrate the Museum’s activities:

• Exhibitioncatalogue:Arte en guerra. Francia, 1938–1947, Spanish edition [496 pages]

• Exhibitioncatalogue:Riotous Baroque: De Cattelan a Zurbarán–Manifiestos de la precariedad vital, Spanish edition [180 pages]

• Exhibitioncatalogue:Antoni Tàpies: Del objeto a la escultura / From Object to Sculpture (1964–2009), two separate editions in Spanish and in English [212 pages]

• Exhibitioncatalogue:Garmendia, Maneros Zabala, Salaberria: Process and Method, bilingual edition in Spanish and English [128 pages]

• 2012AnnualReportand2013-2014StrategicPlanpublishedinBasque, Spanish, and English on the Museum’s corporate website

• 2013MuseumMembersYearbook,inBasqueandSpanish

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MANAGEMENT MODEL

The Guggenheim Museum Bilbao operates under a combined public-private management model that is reflected in the composition of its Board of Trustees, comprising representatives of thirty-plus private institutions and the Founding Trustees: the Basque Government, the Provincial Council of Biscay, and the Solomon R. Guggenheim Foundation. One of the cornerstones of this model is achieving the highest possible amount of self-generated funding. Thanks to this principle, on average the Museum is able to supply 70% of its funding needs, giving it a degree of financial autonomy that is very rare among both Spanish and European art institutions and making its management model an example for others to follow.

In 2013, the Museum’s activities were funded in part by the significant contributions of 113 firms and the support of nearly 15,500 Individual Members. Government authorities contributed a total of 7,514,242 euros, divided between the Basque Government (3,341,993 euros) and the Provincial Council of Biscay (4,172,249 euros). Two collaboration agreements were signed with the Provincial Council of Biscay on May 24 and December 18, 2013, to secure the aforementioned amount earmarked as partial funding of the Museum’s activities.

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IMPACT

In late 2011, the Guggenheim Museum Bilbao updated its model for calculating its economic impact in order to incorporate new parameters for sustainable businesses using the “triple bottom line” (TBL or 3BL) approach, which evaluates three different dimensions of a company’s performance: economic, environmental, and social. Consequently, in addition to estimating the impact of the Museum’s activities in terms of the wealth they generate for the Basque Country, the yearly analysis also examines how they affect the social, artistic, cultural, and environmental spheres in the medium term.

The economic impact results in 2013 were as follows:

• TotaldemandgeneratedbytheMuseum’sactivity:310.5millioneuros.• GDPgenerated:273.8millioneuros.• Annualjobsmaintained:5,876.• AdditionalrevenuefortheBasquetreasuries:42.1millioneuros.

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In 2013, the Guggenheim Museum Bilbao added the following distinctions to its already considerable collection of awards and honors:

• Capital Ciudad de Bilbao Award to the institution that best promotes the image of Bilbao abroad, granted by Capital magazine

• 2013 Bronze Laus Award to the Museum website for “best websites adapted to mobile devices”

• Certificate of Excellence 2013 from TripAdvisor

• 2013 Travellers’ Choice from TripAdvisor, rating the Guggenheim Museum Bilbao as the fourth best museum in Spain

• LonelyPlanethasnamedtheGuggenheimMuseumBilbaooneoftheWorld’s Most Beautiful Buildings

• TheMuseumwasre-certifiedaccordingtoStandard1000-2asaFamily-FriendlyOrganization

top, left to right: the Ambassador of France in Spain with the Museum’s Director General; actor Viggo Mortensen; and Bette Midler, actress and singer with her husband, artist Martin von Haselberg, and designer Michael Smith. bottom: Bob Geldof, singer; Depeche Mode; and the Ambassador of the Russian Federation with his guest

In 2013 the Museum welcomed 157 VIP visitors, including prominent figures from such diverse fields as science (Francois Englert, 2013 Nobel Laureate for Physics), art and culture (artist Georg Baselitz and the Director of the Queen Victoria Museum & Art Gallery, Richard Mulvaney), and the business world (Antonio Brufau, Chairman of Repsol and Cengiz Cetindogan, CEO and Chairman of the Turkish multinational Demsa Group). The Museum also received representatives of government institutions, such as Edwin Poots, Minister for Health of Northern Ireland, or ambassadors Jon Allen of Canada, Yuri P. Korchagin of the Russian Federation, Jérôme Bonnafont of France, or Jane Hardy of Australia. Celebrities of the stage and screen also stopped by the Museum this year: actress and singer Bette Midler, singer-songwriter Bob Geldof, the British band Depeche Mode, or actors Keira Knightley and Viggo Mortensen, among others.

AWARDS & DISTINCTIONS VIP VISITORS

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Human Resources Plan

During 2013, the Museum developed a Human Resources Plan (HRP) that would prepare the staff and the organization itself to tackle the challenges laid out in the 2013–2014 Strategic Plan. The HRP proposes four fields of action for the medium-term, up to the year 2016. The proposed goals are as follows:

• Organization:ImplementanddevelopanorganizationalmodelfortheMuseumthatisflexible,multi-purpose, cross-cutting, effective, and efficient enough to meet its unique needs.

• IntegralHRmanagement:ImplementanintegralHRmanagementmodeladaptedtotheMuseum’sspecificneeds in light of the Strategic Plan.

• Communication:Encourageandpromoteinternalcommunicationasastrategictool,andestablishandimplementcommunications channels and resources adequate to meet the organization’s needs.

• Leadershipmodelandmanagementstyle:Implementacustomizedleadershipmodelandmanagementstyleconsistentwith the Museum’s strategy and values that will help the Museum to achieve its strategic goals.

HR & QUALITY

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Of the reproduced works: © their authors; © Fundació Antoni Tàpies, Barcelona/VEGAP, Bilbao, 2014; authorized reproductions © VEGAP, Bilbao, 2014. © FMGB Guggenheim Bilbao Museoa, Bilbao 2014. Photo archive of the Guggenheim Museum Bilbao