“Poems and logolalias”, Paul Klee

By Maria Jose Muñoz Spinola. THE ART OF FUGAGE IN THE WORD.

A century ago, Paul Klee (Switzerland, 1879-1940), in an atomistic vision of space and emptiness, was immersed in an expository-reflexive investigation of the ultimate substance that defines everything, and from which he sought to redefine substance in the world in a relative way in his painting. The artist, for whom music, poetry and painting were viewed as substantial attributes, not modal ones, created a plastic sphere in which the polyphony of their voices are a form of expression in which some need the others to address the complexity of concepts. Born into a family of musicians, the magnificent violinist, in a yearning for the freedom to explore radical ideas and styles, began in his youth to write poetry and paint. In his verses he discovered his artistic vocation and, nationalized German, he would study Arts in Munich. Exiled, after leaving the country to which he would never return, he parodies and wit dialogue in verses and painting in the last years of his life.

In the search for the primal meanings of life that open up to the universe in incalculable possibilities, his poetry became a place of reflection with different and marked intensities, which expand the meaning sought out like centrifugal waves from an atomic nucleus known only by the creator. Inspired by the concept of Bach’s musical fugue, the artist understood poetry and painting as music: a space that, beyond waiting to be reduced by words, is endowed with temporality. A concept present in all of his work and whose accentuation endowed it with great musicality. From major to minor or from the inside out, his poetry is the study of the length of music through complementarity, movement and distance or closeness, where a series of vibrations are generated to be perceived both in silences and in geometrized words in which the poet, by doubling the straight and ovalizing the parallel, makes a point that becomes a wave.

Abada editores publishes, for the first time, the corpus of the poetic work of Paul Klee from the largest of the editions collected to date by his son. The work, which also includes some poems and handwritten notes and drawings by the creator from 1895 and up to a year before his death, is read as a compendium of the evolution of thought between divergent beliefs from a God-artist versus the artist as a dead God. this, the reflective analysis of the artist’s situation and the conditions of his art and a certain abundance of a lyric in which the artistic —or poetic— self is identified with a natural world, a world that is listened to and seen converted into text: into writing., as explained in the prologue by the poet and essayist Juan Barja, translator of the work. We will also find in this bilingual edition the logolalias Kleenian: specific verses that, of great musicality and without having a clear explanation, when resorting to them will one day provoke a thought or enliven some mystery.

Its polyphonic presence in art, even today, is capable of anticipating and inducing epistemological changes that, once incorporated into the theory of knowledge, become part of new paradigms different from Western hegemonic thought. Paul Klee will always demand an active role from the reader —always a spectator— to apprehend his art: «I give you my totality / And I give you nothing».

poems and logolalias

Paul Klee

Ed. Abada


“Poems and logolalias”, Paul Klee