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2025
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| author | Zwitscher-Maschine. Journal on Paul Klee / Zeitschrift für internationale Klee-Studien |
| author_facet | Zwitscher-Maschine. Journal on Paul Klee / Zeitschrift für internationale Klee-Studien |
| contents | <p><strong>EDITORIAL</strong></p> <p>No artist of the 20th century stood so often at the center of philosophy as Paul Klee. As early as the First World War, Walter Benjamin and Ernst Bloch made his work a source and an instrument for thinking about utopias. Beyond Critical Theory, Klee’s work was taken up in various ways within phenomenology, for example in Hans Blumenberg’s <em>Imitation of Nature. On the Prehistory of the Idea of the Creative Human Being</em> (1957) or Maurice Merleau-Ponty’s <em>Eye and Mind</em> (1961). Almost simultaneously with Blumenberg and Merleau-Ponty, Martin Heidegger also engaged intensively with Klee, visiting exhibitions and studying his art theory, though his “Klee notes,” which even contain compositional analyses, were never fully developed. Drawing on these notes, <strong>Giovanbattista Tusa</strong> reconstructs in our new issue a paradoxical <em>sigetics</em> (“doctrine of silence”) within the experiential space of the atomic age. After Hiroshima and Nagasaki, Tusa argues, Klee’s paintings became, for Heidegger, ciphers of a different modernity in the aftermath of Hölderlin’s “lean times.”</p> <p>In contrast to Tusa’s speculative reading, <strong>Regine Prange</strong> situates Klee’s art theory and teaching within the concrete charged field of Bauhaus functionalism. In dialogue with Adorno’s <em>Aesthetic Theory</em>, she shows how the antinomies of objectivity intertwine with the critique of instrumental reason. In Prange’s materialist reading, the antinomies of modernity ultimately structure Klee’s cosmological imagination. Klee’s distinctive position at the Bauhaus between objectivity and functionalism thus becomes comprehensible.</p> <p>Also as a counterpoint to Heidegger’s essay <em>Building, Dwelling, Thinking</em> (1951), <strong>Volker Bernhard</strong>’s essay emphasizes primarily the social, political, and technical aspects that played a central role at the Bauhaus and in Klee’s theory of dwelling. Dwelling, Bernhard argues, in this sense constructs a new subjectivity. To design dwellings or other aspects of spatial formation, artists such as Anni Albers and Lena Bergner used “axonometry,” a graphic technique for depicting three-dimensional forms without distortion on a flat surface. <strong>Angela H. Brown</strong>’s contribution examines how Klee’s Bauhaus courses decisively influenced Anni Albers’ technical methods of fusion and linkage in the weaving workshop. This article is published in parallel with the exhibition <em>Anni Albers. Constructing Textiles</em>, which will be shown at the Zentrum Paul Klee from November 7, 2025, to February 22, 2026. It highlights another aspect of Anni Albers' work, which ingeniously combines weaving and architecture, as explained in the essays in the exhibition catalog.</p> <p><strong>Marie Kakinuma</strong> traces the provenances of <em>Red Earth</em>, 1926, 138, and <em>Three Boats</em>, 1926, 194, with source-critical precision. New insights into the collecting history of both works—rediscovered through auctions only after publication of the final volume of the <em>Catalogue raisonné Paul Klee</em>—are revealed: <em>Red Earth</em> belonged to Mies van der Rohe, <em>Three Boats</em> to Alexej von Jawlensky. This shows the high esteem in which Klee was held among the artistic avant-garde.</p> <p>The collection of the Zentrum Paul Klee includes, alongside works by Klee himself, works by other artists from his circle. With his workshop report, <strong>Cédric Burri </strong>provides a first insight into their provenances, identifying in particular works with provenance gaps from the period between 1933 and 1945. In doing so, he contributes to the further clarification of these ownership histories.</p> <p>Having already published the dialogue between the Swiss writer <strong>Jürg Halter</strong> and the Japanese poet <strong>Shuntarō Tanikawa</strong> in German in the 17th issue, we now include the Japanese translation in this issue. Following the 18th issue, we are planning an extensive relaunch for the coming year. For the newly formed international advisory board, we have already secured Annie Bourneuf (School of the Art Institute of Chicago), Gregor Wedekind (University of Mainz), Ara H. Merjian (New York University), Ralph Ubl (University of Basel), Eva Kernbauer (University of Applied Arts Vienna), Maria Stavrinaki (University of Lausanne), Andrea Pinotti (University of Milan), Hiromi Matsui (University of Tokyo), Ana Gonçalves Magalhães (University of São Paulo), and María Amalia García (Fundación MALBA, Buenos Aires). The 19th edition is planned for fall/winter 2026 as a special issue on Klee's <em>Angelus Novus</em>.</p> <p>We are delighted that the <em>Zwitscher-Maschine</em> is entering a new phase after its tenth anniversary. This issue too would not have been possible without the generous support of Rita Klee. Until the upcoming relaunch, we wish you an inspiring read of the current issue.</p> <p> </p> <p>The editorial team of the <em>Zwitscher-Maschine</em></p> <p>Marie Kakinuma, Zentrum Paul Klee, Bern</p> <p>Osamu Okuda, Zentrum Paul Klee, Bern</p> <p>Toni Hildebrandt, Zentrum Paul Klee, Bern</p> <p>Walther Fuchs, Digiboo publisher, Küsnacht</p> <p> </p> |
| format | Recurso digital |
| id | zenodo_https___doi_org_10_5281_zenodo_17696520 |
| institution | Zenodo |
| language | deu |
| publishDate | 2025 |
| publisher | Zenodo |
| record_format | zenodo |
| spellingShingle | Zwitscher-Maschine. Journal on Paul Klee / Zeitschrift für internationale Klee-Studien No. 18 (Full) Zwitscher-Maschine. Journal on Paul Klee / Zeitschrift für internationale Klee-Studien Paul Klee <p><strong>EDITORIAL</strong></p> <p>No artist of the 20th century stood so often at the center of philosophy as Paul Klee. As early as the First World War, Walter Benjamin and Ernst Bloch made his work a source and an instrument for thinking about utopias. Beyond Critical Theory, Klee’s work was taken up in various ways within phenomenology, for example in Hans Blumenberg’s <em>Imitation of Nature. On the Prehistory of the Idea of the Creative Human Being</em> (1957) or Maurice Merleau-Ponty’s <em>Eye and Mind</em> (1961). Almost simultaneously with Blumenberg and Merleau-Ponty, Martin Heidegger also engaged intensively with Klee, visiting exhibitions and studying his art theory, though his “Klee notes,” which even contain compositional analyses, were never fully developed. Drawing on these notes, <strong>Giovanbattista Tusa</strong> reconstructs in our new issue a paradoxical <em>sigetics</em> (“doctrine of silence”) within the experiential space of the atomic age. After Hiroshima and Nagasaki, Tusa argues, Klee’s paintings became, for Heidegger, ciphers of a different modernity in the aftermath of Hölderlin’s “lean times.”</p> <p>In contrast to Tusa’s speculative reading, <strong>Regine Prange</strong> situates Klee’s art theory and teaching within the concrete charged field of Bauhaus functionalism. In dialogue with Adorno’s <em>Aesthetic Theory</em>, she shows how the antinomies of objectivity intertwine with the critique of instrumental reason. In Prange’s materialist reading, the antinomies of modernity ultimately structure Klee’s cosmological imagination. Klee’s distinctive position at the Bauhaus between objectivity and functionalism thus becomes comprehensible.</p> <p>Also as a counterpoint to Heidegger’s essay <em>Building, Dwelling, Thinking</em> (1951), <strong>Volker Bernhard</strong>’s essay emphasizes primarily the social, political, and technical aspects that played a central role at the Bauhaus and in Klee’s theory of dwelling. Dwelling, Bernhard argues, in this sense constructs a new subjectivity. To design dwellings or other aspects of spatial formation, artists such as Anni Albers and Lena Bergner used “axonometry,” a graphic technique for depicting three-dimensional forms without distortion on a flat surface. <strong>Angela H. Brown</strong>’s contribution examines how Klee’s Bauhaus courses decisively influenced Anni Albers’ technical methods of fusion and linkage in the weaving workshop. This article is published in parallel with the exhibition <em>Anni Albers. Constructing Textiles</em>, which will be shown at the Zentrum Paul Klee from November 7, 2025, to February 22, 2026. It highlights another aspect of Anni Albers' work, which ingeniously combines weaving and architecture, as explained in the essays in the exhibition catalog.</p> <p><strong>Marie Kakinuma</strong> traces the provenances of <em>Red Earth</em>, 1926, 138, and <em>Three Boats</em>, 1926, 194, with source-critical precision. New insights into the collecting history of both works—rediscovered through auctions only after publication of the final volume of the <em>Catalogue raisonné Paul Klee</em>—are revealed: <em>Red Earth</em> belonged to Mies van der Rohe, <em>Three Boats</em> to Alexej von Jawlensky. This shows the high esteem in which Klee was held among the artistic avant-garde.</p> <p>The collection of the Zentrum Paul Klee includes, alongside works by Klee himself, works by other artists from his circle. With his workshop report, <strong>Cédric Burri </strong>provides a first insight into their provenances, identifying in particular works with provenance gaps from the period between 1933 and 1945. In doing so, he contributes to the further clarification of these ownership histories.</p> <p>Having already published the dialogue between the Swiss writer <strong>Jürg Halter</strong> and the Japanese poet <strong>Shuntarō Tanikawa</strong> in German in the 17th issue, we now include the Japanese translation in this issue. Following the 18th issue, we are planning an extensive relaunch for the coming year. For the newly formed international advisory board, we have already secured Annie Bourneuf (School of the Art Institute of Chicago), Gregor Wedekind (University of Mainz), Ara H. Merjian (New York University), Ralph Ubl (University of Basel), Eva Kernbauer (University of Applied Arts Vienna), Maria Stavrinaki (University of Lausanne), Andrea Pinotti (University of Milan), Hiromi Matsui (University of Tokyo), Ana Gonçalves Magalhães (University of São Paulo), and María Amalia García (Fundación MALBA, Buenos Aires). The 19th edition is planned for fall/winter 2026 as a special issue on Klee's <em>Angelus Novus</em>.</p> <p>We are delighted that the <em>Zwitscher-Maschine</em> is entering a new phase after its tenth anniversary. This issue too would not have been possible without the generous support of Rita Klee. Until the upcoming relaunch, we wish you an inspiring read of the current issue.</p> <p> </p> <p>The editorial team of the <em>Zwitscher-Maschine</em></p> <p>Marie Kakinuma, Zentrum Paul Klee, Bern</p> <p>Osamu Okuda, Zentrum Paul Klee, Bern</p> <p>Toni Hildebrandt, Zentrum Paul Klee, Bern</p> <p>Walther Fuchs, Digiboo publisher, Küsnacht</p> <p> </p> |
| title | Zwitscher-Maschine. Journal on Paul Klee / Zeitschrift für internationale Klee-Studien No. 18 (Full) |
| topic | Paul Klee |
| url | https://doi.org/10.5281/zenodo.17696520 |