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<dc:dc xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:invenio="http://invenio-software.org/elements/1.0" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.openarchives.org/OAI/2.0/oai_dc/ http://www.openarchives.org/OAI/2.0/oai_dc.xsd"><dc:identifier>doi:10.1344/waterfront2023.65.04.01</dc:identifier><dc:language>eng</dc:language><dc:creator>Lorente, Jesús Pedro</dc:creator><dc:creator>Juan García, Natalia</dc:creator><dc:title>Art enticements in cultural waterfronts:  their perimuseal span in the Bilbao estuary beyond the Guggenheim</dc:title><dc:identifier>ART-2023-133829</dc:identifier><dc:description>The opening of the Guggenheim Museum Bilbao in 1997 intensified a discernible presence of monuments, museums, galleries and other establishments in its surroundings by defining a cultural district. In this gentrified neighbourhood, there are still a few artists-run spaces left, while ever more studios of architects and designers are spreading by the riverside, where the domino effect seemingly results in a musealisation of public art as civic heritage and a tourist attraction.</dc:description><dc:date>2023</dc:date><dc:source>http://zaguan.unizar.es/record/126445</dc:source><dc:doi>10.1344/waterfront2023.65.04.01</dc:doi><dc:identifier>http://zaguan.unizar.es/record/126445</dc:identifier><dc:identifier>oai:zaguan.unizar.es:126445</dc:identifier><dc:relation>info:eu-repo/grantAgreement/ES/AEI-FEDER/PGC2018-094351-B-C41</dc:relation><dc:identifier.citation>On the w@terfront 65, 4 (2023), 3-33</dc:identifier.citation><dc:rights>by</dc:rights><dc:rights>http://creativecommons.org/licenses/by/3.0/es/</dc:rights><dc:rights>info:eu-repo/semantics/openAccess</dc:rights></dc:dc>

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