The Guggenheim Bilbao just released a rap video to raise money to fix their Jeff Koons puppy sculpture and it’s … well, judge for yourself
The Guggenheim Museum Bilbao launched a € 100,000 ($ 118,000) crowdfunding campaign in June to renovate the flowered sculpture by Jeff Koons Puppy which stands at its entrance. But it seems donations were not as abundant as the institution might have hoped.
It has been two months since the campaign was launched and only € 28,000 ($ 33,000) were raised, just over a quarter of the goal. Now, in a last ditch effort to revive the fundraising campaign, the museum has released a bizarre rap video that “gives the sculpture a voice” and encourages art lovers to donate. It’s called “PUPPY” and it’s super annoying.
“It’s the ‘P’ with the ‘U’ with the ‘P’ with the ‘P’ with the ‘Y’. So please don’t kill my vibe, ”recalls MC Gransan, the Bilbao-born songwriter, in the chorus. The passage ends with another inexplicable plea: “Bring me back to life”.
In the video, Gransan performs at various locations in front of the museum, with Koons’ dog often appearing in the background. Much of the footage is styled with retrograde technicolor effects, making the whole feel like a 90s anti-drug PSA. The beat, meanwhile, was created by a certain Doggy Charles.
Puppy, as the 40-foot tall Koons sculpture of a West Highland Terrier is called, was installed in the Spanish branch of the Guggenheim in 1997. Since then, “he has proven to be an icon for the city of Bilbao.” , said the museum director. General, Juan Ignacio Vidarte, in a precedent promotional video.
Some 38,000 plants, including begonias, marigolds and petunias, line the exterior of the structure, while inside is an elaborate irrigation system. After two decades, many internal pipes need to be replaced, as well as some sections of the steel shell of the artwork. Preventive restoration work is planned for September and will allow the structure to consume water.
In a interview with the Guggenheim this year, Koons said that Puppy was “inspired by my visits to the baroque cathedrals of Europe and the way in which they achieve this balance between the symmetrical and the asymmetrical and between the eternal and the ephemeral”.
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