The wow of Bilbao

In a fight, Madrid beats Barcelona. That’s my take. I’ve been to both Spanish cities twice now — I returned this week from the capital, Madrid — and conclude that Madrid is the real charmer, the metropolis of less sprawl, less dazzle, less tourists. If it has perhaps fewer bucket-list attractions — despite the marvelous Prado and its trove of Goyas and El Grecos, and Picasso’s overwhelming “Guernica” at the Reina Sofía — it compensates in sheer street-level charisma.   

Madrid is about its distinct, vibrant, supremely walkable barrios, humming with old-world quirks and character. Tapas, flamenco, doggies, blue-chip ham that’s cured for years, wonderful locals, seductive atmosphere. There’s something more intimate, more personal, more special about Madrid compared to big chest-thumping Barcelona. Both are world-class — I do love my Gaudí — but I could live in Madrid.

On another high note, one of my trip’s tippy-top joys was a two-day jaunt to Bilbao, far north in hilly Basque Country. If you know Bilbao, a bustling bayside city of 350,000, it’s probably because of the famous Guggenheim art museum, which is celebrating 25 years as a ridiculously successful tourist magnet.

The Guggenheim, designed with playful splendor by architect Frank Gehry, is a shimmering shrine for modern art, from Serra and Rothko to Warhol and Bourgeois. It’s a succinctly curated spread of visual greatest hits, a tantalizing survey that’s intelligently to the point. You leave filled, not fatigued. 

Naturally the Guggenheim’s star is Gehry’s woozy vessel for the art — all shiny, warped grandeur — which is not only gorgeous, but mind-boggling. How does he conjure such elaborate beauty? (Er, genius.) And how in the world was it actually built — by elves and sorcerers? It’s all so breathtaking, a fun, lavish, almost Escherian modern marvel that vaults gawkers into fits of selfie euphoria. 

Here’s a few more angles:

Louise Bourgeois’ giant spider teetering on the museum waterfront.
Inside the museum, Richard Serra’s extraordinary space-bending steel sculptures.

And some shots of Bilbao and Madrid:

Madrid flamenco. So much boot-stomping, hand-clapping, sweat-flying drama. Operatically physical.
Madrid
Bilbao
Old Bilbao
Old Bilbao
Halloweeners in Madrid (a rare sight)
Street-art dog, Madrid
Real dog, Madrid

Rewards of the return visit

Friends, those kooks, occasionally wonder why I often return to places I’ve already traveled to instead of going somewhere new and horizon-expanding. The answers are simple and numerous. One, obviously, is that I’ve fallen for a city or country and the days I visited were but a tantalizing taste. I want more. To really get under the skin of a place. So I go back.

(It should be said that last week I was enjoying my first journey to Buenos Aires — my first time in South America — so I still seek the exotic and uncharted.)

To return to a destination is also to refresh the original experiences that made it special and to caulk the holes of crumbling memory. Right now I’m considering a revisit to Madrid, Spain, where I went like 20 years ago. That trip is a fond haze.

Besides Picasso’s gobsmacking “Guernica” and the gems of the Prado Museum — I’m specially partial to the wackadoodle Bosch triptych — I remember only a convivial Irish pub where I met some fun locals and a whiplashing green rollercoaster on the city outskirts. It didn’t even seem to be part of an amusement park, just this stand-alone adrenaline machine amid the trees. Anyway, it was a blast. 

So I’m mulling Madrid for my fall trip, with a three-day excursion north to Bilbao, which is famous mainly for its warped and woozy Frank Gehry-designed Guggenheim art museum but has, since the museum’s opening in 1997, blossomed with attractions and an arty, edgy personality all its own.

Guggenheim Bilbao

I’ve yearned to go to Bilbao for at least 15 years, but you don’t just go directly to the city, you typically go through a hub like Barcelona or Madrid then trek north by train to Spain’s autonomous and beautiful Basque Country.

Thus I’m piggybacking a new place with a place I’ve been before, but both should be rejuvenating and illuminating, since, as I said, my memories of Madrid are a scintillating smudge. 

This happens. I went to Rome in March and even though I had been there twice before, it was changed as much as I’d changed in the intervening years. Same with my January visit to Lisbon. I recognized much of the city, but it was also strikingly novel, a whole new world. It’s about layers: each visit peels back exciting ones, those you didn’t see or didn’t have time for the first go around. Discovery is fathomless.

And this is from someone who journals copiously and snaps photos like a paparazzo. But those mementos are static, mere documents, like a map or a postcard. Throbbing, breathing life is the aim, so, yeah, it’s time to go back.

The weird and wiggy, worldwide

As one who seeks out the freaky and far out in my travels, serendipity seems to be the best GPS for the fiendishly, often funnily, strange. Mostly this is in the form of art, mainly sculpture and statue and the occasional painting. (Or some decidedly unfunny human cremations in India and Nepal — I’ll spare you.)

Sure, it’s superficial this fascination. (So weird! So hilarious!) What does it mean? Not much. It’s aesthetics of the outré, stimuli out of left field, tailored, perhaps, to the oddballs among us. It’s striking, warped and wonderful. The more ghastly the better. The more shocking the cooler. (Note: I have yet to stumble upon art or artifact that’s sincerely blasted my senses. It’s out there, and I will find it.)

Here, meanwhile, are irresistible curiosities I’ve come across around the world: 

 

Cast of Joseph Merrick’s, aka the Elephant Man’s, skull, Royal London Hospital. One of the most interesting, most hideous and saddest skeletal specimens ever.
Latex cast of the Elephant Man from the 1980 David Lynch film “The Elephant Man” at the Museum of the Moving Image, New York. This is the mold they used to make-up John Hurt as the real-life Elephant Man.
“Crucified Woman,” an unsettling work by supreme provocateur Maurizio Cattelan, hanging in the Guggenheim in New York City. Note the pigeons. I have no idea what’s going on.
Cracked cherub in Iglesia de El Salvador, a gorgeous church in Sevilla, Spain. I love the little fella’s decrepitude and pink and bulgy doll-like creepiness.
Museu d’Art Contemporani de Barcelona. Stacked: a sheep, a pig, a cow, all with unicorn horns. Interesting, until you realize it’s just bad art.
Montreal Museum of Fine Arts. Rugged hiking man with primates. The bloke’s head is like a bobble-head.
The Met, New York City. Exactly how I wake each morning.
Body cast of Chang & Eng, original Siamese twins, Mutter Museum, Philadelphia. Gross and glorious.
A baby through Picasso’s eyes, Paris. I just like this poor warped toddler, so bulbous and twisted — and probably demonic.
Peter and Paul Fortress, St. Petersburg, Russia. At the resident Torture Museum. Highlight: the saliva string and puddle.
Hirshhorn Museum, Washington, DC. Trump in two years, in his cell. 
Malformed Baby Jesus, flea market, Barcelona, Spain. So distorted and freakish I desperately wanted to take it home and cuddle it.
Hanging horses by crazy Cattelan, Guggenheim, NYC. Something out of Fellini. See the little Pinocchio puppet by its front legs. Discuss.
Monkey murder. I really haven’t the foggiest. I wish I did, but I don’t. Montreal Museum of Fine Arts.