Zwitscher-Maschine. Journal on Paul Klee / Zeitschrift für internationale Klee-Studien No. 16 (Editorial)

The international dimension of Paul Klee’s work is once again evident in the diversity of contributions gathered in this 16th issue of the Zwitscher-Maschine. From Brazil to Japan to Switzerland, the scope of engagement with Klee’s artistic legacy spans far beyond Europe, leaving a lasting impact. This edition not only brings together art historical essays, but also offers insights into transcultural encounters that open up new perspectives on Klee. Eduardo Jorge de Oliveira takes us to Brazil with his article “A New Short History of Photography: Geraldo de Barros and the Homage to Paul Klee.” His analysis of de Barros’s photographic work reveals how strongly Klee served as a source of inspiration for modern photography. A reference is made here to the accompanying exhibition Brasil! Brasil! Breaking into Modernity at the Zentrum Paul Klee in Bern, which further deepens this intercultural exchange. In her contribution “Brazil – Switzerland: A Transcultural Dialogue,” Fabienne Eggelhöfer provides more insights into the cultural connections between these countries. She highlights how Klee’s work found fertile ground beyond the Atlantic and left its mark on the Brazilian art scene. Francesca Ferrari, in her essay “When Will the Machine Have Babies?: Paul Klee and the Automated Body,” examines a different aspect of Klee’s work, focusing on his fascination with machinery. She explores the relationship between human bodies and machines in Klee’s art, addressing questions about the automation of the body and the limits of technology. Wolfgang F. Kersten’s contribution also highlights the international dimension of Klee’s work. In “Paul and Lily Klee – Making the Transparent Visible,” he examines the “Glass Animal” that Klee left in the guestbook of the Japanese collector Hisataka Munakata. This work is now housed in the Museum of Modern Art in Kamakura and Hayama and stands as a remarkable testament to Klee’s artistic friendships. Finally, in “Paul Klee at the Lenbachhaus Since 1957,” Sarah Bock and Lisa Kern take a detailed look at the acquisition history of the Lenbachhaus in Munich and its decades-long engagement with Klee’s work. This issue also includes a further addition to the “Addenda Catalogue Raisonné”: Marianne Keller Tschirren presents newly discovered works by Paul Klee from 1923 and 1924. These recent findings expand the already extensive body of Klee’s work and offer new views into his creative output during these years. With this issue, the Zwitscher-Maschine once again underscores the international relevance of Paul Klee and how his work continues to resonate across a wide array of cultural contexts. Best regards,Your Editorial Team of the Zwitscher-Maschine: Marianne Keller Tschirren, Zentrum Paul Klee, Bern Walther Fuchs, Digiboo Verlag, Küsnacht Osamu Okuda, Zentrum Paul Klee, Bern