Happy New Year!
We got 2017 off to a great arty start.
On Friday I went with my two
daughters to Bern where we visited Zentrum Paul Klee. This stunning building, designed
by the Italian architect Renzo Piano (who also designed The Shard) was opened
in 2005 and dedicated to the individual, life and work of Klee (1879–1940) acknowledged
as one of the pivotal artists of the 20th century.
This masterpiece in
architecture in no small part owes its existence to Livia Klee-Meyer, Paul
Klee's daughter-in-law, who in 1997 donated her inheritance of almost 690 works
to the city and canton of Bern. The generous gift came with the condition that
a ‘Paul Klee Museum’ should be realised by the end of 2006 at the latest. Bright
lady.
With around 4,000 pieces, Zentrum
Paul Klee houses the largest collection (40%) of Klee’s work. This architectural
homage to his life, rising sensuously from the earth, comprises three ‘hills’
of steel and glass, transforming the entire area into a landscape sculpture.
Located on a beautiful piece
of land, east of the city, the premise was to combine nature and architecture
in an exciting relationship. Early on it became clear to the architect Piano
that Klee had ‘a too broad, too large breath’, for him to be locked up into a
‘normal building’. Zentrum Paul Klee should not only be a ‘Place of
remembrance’, but an interchange between encounter, relaxation and enjoyment
drawing on Klee’s numerous activities as painter, musician, teacher, writer and
philosopher. As a result each of the three hills has its own task. The North
Hill is used for the practice of art education, for music, the conferences and the
workshops, the Middle Hill for displaying the collection and the changing
exhibitions, the South Hill for research and administration.
The snow added drama to our
visit on Friday – a blanket of white caressing the undulating curves of the
museum and providing a superb quality to the light and space at the south end
of the building, where we happily spent most of our time.
On arrival, we first headed
downstairs to the underground level to experience the current exhibition Paul Klee and the Surrealists, an
exploration of Klee’s relationship with Surrealist artists in Paris in the 1920s
and 1930s. Created in co-operation with the Centre Pompidou in Paris, it includes
a large number of works by Max Ernst, Joan Miró, Hans Arp, Alberto Giacometti, André
Masson and Salvador Dalí.
My girls were offered paper
and pencils at the door and happily spent an hour sketching various pictures
and enjoying the audio exhibits through headphones. It was an interesting
layout and my eldest daughter asked plenty of questions, alongside the expected criticism that some of the drawings were ‘a bit rubbish and she could do
better.’ I admitted I could see why she came to that conclusion but did my best
to explain that Klee was not interested in painting exactly what was in front of him. His aim was to convey so much more. Poppy
seemed to take this on and even went on to point out pictures that she really
liked and give reasons why! I was amazed, this was the most interactive my
daughters have ever been in a gallery. And I feel the whole design of the
building helped.
We left the exhibit – the
underground location helps to preserve the drawings – and once back upstairs
the light and space was invigorating. We spent another hour in my favourite
section – the library – curled up on various cushions scattered across the
permanent Lang/Baumann exhibit, an imaginative sculpture comprising seating and
cushions which could be moved around. Poppy found this very exciting and soon
picked a perfect spot, high up on the sculpture.
I was transfixed by the huge panes
of glass framing the snow scenes of everyday life taking place outside - people
strolling, dogs lolloping, children cavorting. Magnificent steel curves adorned
the view with their rise and fall, embracing its visitors and making them feel
an integral part of this living, breathing masterpiece. Sprawled across the
cushions the girls found out about Klee and his taste in classical music,
playing excerpts of Beethoven, Mozart and Haydn on a couple of tablets which
had been left on the cushions to be discovered. Poppy was especially impressed
with the fact that Klee had a cat called Bimbo whose pictures were included!
We enjoyed a yummy pastry and
drink at the café on the North side before taking our leave but unfortunately
didn’t have time to seek out Klee’s Burial place and the sculpture park before
we had to make our way home.
But we will be back. I love
the whole layout and premise of Zentrum Paul Klee. It is super airy, relaxed
and casual about its passion for art appreciation and education, which is of
course the best way to engage people – especially children. Younger visitors
actually have their own Kindermuseum Creaviva with an interactive exhibition
and regular workshops.
This sensual living,
breathing monument does indeed draw on the essence of Klee as painter,
musician, teacher, writer and philosopher. What a fabulous legacy for an artist
to leave behind.
Admission – adults CHF 20 Children
6–16 CHF 7 Family ticket (1 adult + children 6-16) CHF 27 (Thanks to Coop the
exhibition admission for children and adolescents up to 16 years is free every
Sunday)
Getting there: Bus No.12 from
Bern Hauptbahnhof
