It is easy to dream all four wheels in a city where worldwide fame cars are made. The car culture is very important in Stuttgart, more than anywhere else. Here began their unique trajectories Daimler-Benz and Porsche. We can find two spectacular museums in honor of these brands.

On one side, the ultramodern Mercedes-Benz Museum, which tells the car’s complete history from the beginning without skipping any of the stages. In his futuristic building, you’ll find over 1,500 pieces spread over nine floors documenting its history.

On the other hand, it is located the Porche Museum, in the town of Zuffenhausen. The building causes great admiration because of its architecture, and the fact that it is supported by only three points. It seems to float in the air. Inside, all white, we find rare vehicles and a variety of historical mode.

Also, if your visit to Stuttgart is in March, during the month Retro Classics is celebrated, one of the most beautiful car fair of all Germany, where classic car collectors worldwide met together.

But not only the automotive industry city lives, Ballet, Opera and Theatre are worldwide known. The Great Orchestra of Stuttgart, jazz clubs or two musical theaters in the SI-Centrum Stuttgart provide musical delights to all visitors. In the streets Calwer and Königstrasse will enjoy a mile of world-class stores where to shop. And save your time for another of the great attractions that Stuttgart offers: Wilhelma Park, one of the most beautiful botanical gardens and zoos in Europe.

A place well worth discovering! Check out our flights here.

The Stockholm Vasa Museum could be a good metaphor of what has happened today in Spain: a country that is sinking as a result of having failed to take care of what matters, how to sustain itself. The Vasa warship did not even manage to make it out of port. Loaded with 700 sculptures, 64 canons, 300 soldiers and 130 sailors prepared for their first voyage to dominate the Baltic Sea on 10 August, 1628. And it wasn’t even necessary to fire one shot at them, not even cross paths. The wind battered its sails just a few metres from the port and it slowly began to sink in full sight of the people and King Gustavus Adolphus II who had commissioned its construction. 333 years later, she was found intact submerged in the mud, still blushing from the insults of all the enemies of Sweden and the anger it arose in the Royal Family. She now rests in the same place as from where she started out, in the port of Smörland, and is the only conserved warship from the 17th Century and the perfect excuse to get to know the Scandinavian capital. In Piedra de Toque we take a trip to Stockholm to discover the other face of different European capitals with My Vueling City.

Stockholm is a city divided into thirds: one third fresh-water, one third sea and another third city. Made up of 14 islands it has more than 100 museums and among these is the highlight, the Vasa: constructed to dominate the Baltic and sunk beneath its own weight the same day as its launch.

Image: Holger.Ellgaard

By Iñaki Makazaga from Piedra de Toque

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In the Emilia-Romagna region, only about 50 km from Bologna, are the Galleria Ferrari in Maranello and the Museo Enzo Ferrari in Modena, both genuine paradises for people who love fast and beautiful cars.

The Galleria Ferrari is in Maranello because that’s the city in which Ferraris have been made since 1943. “Live the dream” is the slogan welcoming the visitor, and if Ferraris figure in his dreams, here he will find Ferraris of the past, present, and future, including the current Formula 1 racing car. Other museum pieces are the car that won the first Grand Prix in Rome, 1947, and the one in which Michael Schumacher won six Formula 1 titles, and the latest Ferraris to hit the track. Other attractions include Formula 1 simulators, two for adults and two for children, where visitors can learn how it feels to sit behind the wheel of one of these powerful machines on the racecourses of Monza, Silverstone, Iola, Nürburgring, and Mugello.

But true devotees will not want the miss the Enzo Ferrari Museum about 20 km distant in Modena, housed since last year in the building in which the Ferrari patriarch was born in 1898. Aside from the marvellous collection of cars, an outstanding feature of the museum is the adjacent building designed by the Czech architect Jan Kaplicky. In it you can watch a spectacular audiovisual show about the life and times of one of motor sport’s most celebrated figures.

You can buy a ticket giving admission to both museums, which are linked by a railroad and bus service.

And while you’re in Modena, you should consider trying one of the magnificent restaurants in a city famous the world over for its cuisine.

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Those who think cultural tourism is a 21st-century invention are well off course – Venice invented it long ago. Intent on setting the city under the international spotlight, the first International Art Exhibition ever was held there in 1895. That is, the Venice Biennale, which has continued until this day.

The undisputed artificer of the avant-garde art pulse – Documenta notwithstanding – the Biennale has run into its 57th edition without losing steam. Six months full-out, from 13 May to 26 November, during which the city is invaded by contemporary art, which takes over both land and sea. What with vaporetti, churches and palazzi, we visited the city of canals to soak up the latest trends, soon to descend on museums and art galleries across half the globe. Let the Grand Tour begin!

Survival Manual

A cautionary word to all navigators – moving through the Biennale is no mean feat. The key – comfortable footwear, strategically placed accommodation and solid planning. The offerings are boundless and the spaces, gargantuan.

The main facilities are located at the Arsenale and the Giardini di Castello. Those are the sites of the official exhibition, Viva Arte Viva, as well as many of the 85 national pavilions dotting the island. And, as if that weren’t enough, the list is augmented by countless top-notch parallel exhibitions and events that have staked out their territory in the city’s historic buildings.

My advice – keep calm and don’t get flustered. The marathon only comes around every two years. Set aside three days on your agenda and you won’t succumb in the attempt. Take up lodgings in the area of Il Castello, the Biennale’s hard core, thereby avoiding vaporetto tickets. And, have a notebook on you and a camera with fully charged batteries so you can review the sights once you’re back home.

In the Giardini – the Cream of the Crop

Separating the wheat from the chaff can be exhausting. By way of a warm-up, we headed south-east, to the confines of the city. Located there are the Giardini di Castello, Venice’s green lung par excellence and the preserve of the national pavilions (a somewhat archaic idea, a reminder that the current Biennale is an updated version of the classical trade fairs of yesteryear). The fact is that in Venice each state has its own building to showcase to the world the cream of the crop of its contemporary art production, by way of an Art Olympics where the winner manages to show the most muscle.

While the Biennale is all about art, it is in fact also about power and architecture. In terms of the latter, some pavilions shine with a light of their own. Not to be missed are the Finland pavilion, built in timber modules by the luminary, Alvar Aalto, the father of modern Scandinavian architecture; the Austrian pavilion, the work of Josef Hoffmann who, together with Gustav Klimt, founded the Vienna Secession, and that of The Netherlands, its open forms highlighting the minimalist elegance of 1950s neoplasticism.

But, let’s get back to art and to the most talked-about offerings. The Golden Lion for the Best Pavilion was awarded to Germany, where artist Anne Imhof installed a glass floor under which performances displaying the world “as a kennel” take place. France depicts a musical space and recording studio, Studio Venezia, an installation designed by Xavier Veilhan where musicians and artists from all over the world perform. And Austria draws all the camera flashes with a lorry standing on its nose by Erwin Wurm, a playful proposal in a pavilion redolent with sculptures which visitors can interact and have fun with.

The Off Programme

Side shows, parallel exhibitions, talks, dialogues, performances and film cycles – no body is built to withstand Venice. Indeed, the official programme is rivalled by a series of first-rate artistic proposals staged in churches, foundations and museums around the city. Here, then, are the juiciest offerings in the Off-Biennale 2017.

Damien Hirst has hit Venice with a two-fold proposal. At collector François Pinault’s art spaces, the Punta della Dogana and the Palazzo Grassi, he has installed his latest eccentricities,including an 18-metre-high sculpture which rises into the firmament. In keeping with the British artist we are familiar with, his show is pure spectacle, and the perfect excuse to visit two historic buildings overlooking the Grand Canal.

The tiny island of San Giorgio Maggiore surrenders unconditionally to Michelangelo Pistoletto. A key figure of Arte Povera and one of the most prominent Italian artists, Pistoletto presents One and One Makes Three, an exhibition housed in an abbey designed by Palladio where he showcases a selection of his works created between the 60s and the present, also featuring his popular “Venus of the Rags”.

We wind up our marathon tour at the Palazzo Fortuny, a Venetian Gothic gem which rises between the Rialto Bridge and St Mark’s Square. This former home and studio of painter Marià Fortuny houses both the artist’s collection and temporary exhibitions. This time around, it is the turn of Intuition, a collective display dedicated to the evocative power of art and featuring such great names as André Breton, Joan Miró, Vassily Kandinsky, Marina Abramovic and Anish Kapoor.

Thus far our review of the Biennale, a centennial event which reinvents itself each year and showcases art to suit all tastes, interests and theories. We’re off to the canals!

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Text by Núria Gurina

Photos by: Andrea Avezzù, Jean-Pierre Dalbéra, Francesco Galli, g.sighele, imagea.org, Erin Johnson