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Opening exhibition „nulla dies sine linea“ (Prof. Tilman Osterwold, Artistic Director)
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Paul Klee wrote the above phrase (which translates either as “No day without a (drawn) line” or “No time without writing”) in 1938 in his directory of works, specifically under work No. 365, a drawing entitled Süchtig (Addicted) (pencil on letter paper) (“nulla dies sine linea” is taken from Pliny the Elder’s historia naturalis).
Klee’s late work
Klee’s late work, particularly the years from 1938 to 1940, is characterised by an unparalleled escalation of his creative output, of drawings especially. In a letter dated 2 January 1940 to his friend, the art historian Will Grohmann, he writes: “It has been a rich year for drawings. Never have I drawn as much, and never with greater intensity. Twelve hundred numbers in 1939 has to be a record.”
Architectural contrast
The diary-like development of his late work demands an alternative method of representation for his late work, in relation to the collection’s presentation. The exhibition provides for the criterion of quantity to be structured in conceptual terms and addressed using a cyclical approach. The exhibition nulla dies sine linea will clearly emphasise the transverse format of the temporary exhibition space – unlike the longitudinal shape of the collection architecture – to create an intentional architectural contrast with the space dedicated to the collection. A clearly defined, rectangular, regularly shaped space is to be created using partitions placed between the outer columns. The central inner space created in this way is to be used to showcase drawings of virtually identical format on notepaper and letter paper, selected meticulously to achieve a careful balance of both content and design. The precise chronology of the sequences will be illustrated by the work numbers. The presentation of the late drawings on paper is to be continued in modified form within the passageway delineated by the partition walls as the outer limits of the space.
Calligraphic pencil and ink drawings
The selection stems from an extensive body of calligraphic pencil and ink drawings and paste colour sheets, which express the profound enigma of Klee’s experience of life and his ideology in an expressive, meditative representation form. These are levels of Paul Klee’s work that are usually less known to the general public. The rear and side walls of the room architecture are to provide exhibition surfaces for individual works (e.g. panel paintings) which relate to the sequence shown opposite.
Paul Klee completed his work in the year of his death in 1940 with work No. 366; a conceptual consideration? For 1940 was a leap year. (The panel painting Stilleben am Schalttag (Still life on the leap day) is owned by the Paul-Klee-Stiftung.) Klee concluded his directory of works with the work numbers of a complete year – a biographic aspect that provides a connection with the diary-like element and the phrase “nulla dies sine linea” that relates to the day of the year and whose contents continues to have effect by association.
Klee in a dialogue with himself
With this exhibition we place Klee in a dialogue with himself. We are presenting his work on the opening of the Zentrum in two extremely disparate presentation forms, whose interplay is set to intensify the way in which Klee is received and enhance the experience of his art. We also aim to show that the Zentrum Paul Klee is capable of staging alternative forms of visualising Klee’s work over many layers and with a great deal of contrast.
(Every voiced opinion is valid.)
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