The Year of Chillida

The transgressive spirit of the avant-gardes gave rise to a peculiar process of contamination: architecture began to tend to go artsy, and art to aspire to become architecture. While buildings have embraced abstraction and even become sculptures, the

In the Zabalaga country house estate located in Hernani (Guipúzcoa), near San Sebastián, Chillida Leku has inaugurated the first exhibition of its program of artists other than Chillida. On view through 10 January 2022, it presents small and large wo

The legacy of an artist frequently becomes a source of conflict. Sometimes because the wishes of the deceased do not coincide with those of the inheritors; other times because the legatees quarrel for possession of artworks or for the right to decide

Chillida Leku

Kosme de Barañano   Eight years after a mix of financial and management problems forced it to close down, the artistic sanctuary of Eduardo Chillida in Hernani reopens.

Outside Hernani, the museum founded by the Basque sculptor Eduardo Chillida reopens to the public on 17 April, with its outdoor scuptures and the exhibition space inside the Zabalaga house.

Luis Fernández-Galiano   The multitude exists only because the void does, and the impact of its presence in architectural frames comes precisely from the contrast with empty space. Tienanmen Square on two consecutive First of May – the second one of them coinciding with the

Guillermo Solana   La primera vocación de Eduardo Chillida (San Sebastián, 1924-2002) fue la arquitectura. En 1943, cuando aún no había cumplido los veinte años, el joven Eduardo comenzó a prepararse para ingresar en la carrera de arquitecto. Cuatro años más tarde, en

Miren Jaio   La primera imagen mediática que teníamos de ‘Chillida-leku’ procedía del día de la inauguración: un fondo de laderas de césped inglés salpicadas de esculturas de hierro, piedra labrada del siglo XVI y frondosos árboles autóctonos, con un primer plano

Luis Fernández-Galiano   Twenty five years after Franco’s death, democratic Spain remembers its recent past as incorporated in works of arts and emblematic buildings.

Luis Fernández-Galiano   The accidents on the sites of works by Rafael Moneo and Eduardo Chillida make us reflect on the fragility of construction and the mortality of art.

Con ocasión de la ceremonia de entrega del premio Pritzker en el Guggenheim Bilbao, los doce arquitectos y el escultor cuyas opiniones se recogen aquí tuvieron la ocasión de conocer el edificio y de cambiar impresiones con su autor.

(1924-2002) Eduardo Chillida wanted to be an architect, a vocation that he abandoned to become a painter first, and then a sculptor. But matter and form in Chillida’s sculptures revealed a spatial conception that was very close to his earliest vocati

Javier González de Durana   Diálogo