Klee y España. Los Irredentos Kleeianos. Paul Klee y el arte español de postguerra

2021 ◽  
Author(s):  
Alfonso de la Torre
Keyword(s):  
Paul Klee

La Bauhaus en la educación visual de Mathias Goeritz en México

2018 ◽  
Author(s):  
Sandra Valenzuela Arellano
Keyword(s):  
Paul Klee ◽  
Johannes Itten ◽  
Walter Gropius

Entre 1919 y 1928, maestros de la Bauhaus consideraban a la educación visual como una vía de fomento para la autoexpresión, con el fin de formar artistas-artesanos-técnicos vinculados con la sociedad. Este artículo relaciona características de la enseñanza de la educación visual de Mathias Goeritz (1915-1990) en la unam, durante los años sesenta, con las pedagogías de maestros de la Bauhaus cuando Walter Gropius fue su director. Primero describo el contexto y las características de las enseñanzas en la Bauhaus, para luego vincularlos con las dinámicas de la clase, entrevistas y textos de Mathias Goeritz. Aunque Goeritz nunca fue estudiante de la Bauhaus (nació en 1915), recibió influencia de esa escuela por medio de su amistad con Herbert Bayer y Gyorgy Kepes, su interés por las teorías pedagógicas de Johannes Itten, László Moholy-Nagy y su admiración por Paul Klee.

Etel Adnan Meets Paul Klee

2019 ◽  
Vol 1 ◽  
pp. 11-18
Author(s):  
Fabienne Eggelhöfer
Keyword(s):  
Paul Klee ◽  
Etel Adnan

The Diaries of Paul Klee 1898–1918, Felix Klee, ed. and intro.

1967 ◽  
Vol 49 (1) ◽  
pp. 82-83
Author(s):  
Kate T. Steinitz
Keyword(s):  
Paul Klee

Paul Klee—Ex Musica Pictura

Art Journal ◽  
1985 ◽  
Vol 45 (4) ◽  
pp. 356-358
Author(s):  
K. Porter Aichele
Keyword(s):  
Paul Klee

Paul Klee as I Remember Him

Art Journal ◽  
1972 ◽  
Vol 32 (2) ◽  
pp. 178-178
Author(s):  
Ernest Harms
Keyword(s):  
Paul Klee

The Prototypical Triangle of Paul Klee

1982 ◽  
Vol 64 (2) ◽  
pp. 299
Author(s):  
Mark Rosenthal
Keyword(s):  
Paul Klee

scholarly journals Considerations about exhibition design after the creation of an audiovisual display for the exhibition Paul Klee - Unstable Balance

2020 ◽  
pp. 50-51
Author(s):  
Daniel Grizante
Keyword(s):  
Exhibition Design ◽  
Sao Paulo ◽  
Point Of View ◽  
São Paulo ◽  
Cultural Center ◽  
Paul Klee ◽  
Design Project ◽  
The Creation ◽  
Belo Horizonte ◽  
Object Of Study

In 2019, I was with the design team of the exhibition Paul Klee - Equilíbrio Instável, held in the various spaces of the Banco do Brasil Cultural Center, in the cities of São Paulo, Rio de Janeiro and Belo Horizonte. It was an exclusive exhibition for Brazil that brought together 120 works by the artist, from the collection of Zentrum Paul Klee from Bern, Switzerland. At that time, I made an audiovisual display on five screens, which presented to the visitors aspects of the artistic techniques developed and used by the artist in his vast work. This research is part of a broader one, on the use of audiovisual in expographic projects that is the subject of my doctoral thesis, in progress. At this moment, however, a reflection will be presented on this specific audiovisual display, held for the exhibition cited. Our goal was to look at the various tensions that apply to the process of construction of a piece of this type, from the point of view of the design project. As well as the search for the function performed by it within the exhibition project. To do this reflection we started with a contextualization of this modality of exhibition using as object of study its edition held at the Banco do Brasil Cultural Center of São Paulo (CCBB-SP), looking at the spaces and their exhibition issues and its influence on the development of the project. We present, in the sequence, a description of the exhibition as a whole from the visitor point of view and from its catalog. Production files from this audiovisual display were researched, such as first drawings, scripts, concept development archives, photographic material and versions developed until its final. This material was observed from the concept of the creation networks, by Cecília Almeida Salles. We also held a dialogue with other members of the creative team, from different levels of the production process, in order to know the tensions that are applied in the production of this limited element of an expographic project like this. We saw, in this specific case of producing an audiovisual display, how each constituent element of an exhibition like this is traversed by tensions of various types, which are common within an exhibition design project, with many professionals from different areas involved. In addition to the identification of external factors that directly influence its production. We conclude then that the development of an exhibition is now inserted within what we know as a culture of design, which allows us to look at thistype of cultural manifestation as something that can no longer be limited to previous models of idealization of the exhibition space or abstain from the use of technologies and possibilities of connection with the public.

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