José Jiménez
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"Art does not reproduce what is visible, but makes what is visible". The first sentence by Paul Klee in his "Creative confession", a text from 1920 during his period of full maturity, is a reflexion about the artistic process: about how the construction of work is projected, and a resounding declaration of intentions about the finality of art. Beyond any mimetic submission, Klee sets the objective of plastic arts not in the mere representation, but on the construction of what is visible. If that is the objective, the artist will have to travel through unknown, problematic territories, in the search of that material that has to be embodied like a vision horizon. In my conference PAUL KLEE: THE EQUILIBRIST OF THE VISIBLE, I reconstruct that tension of the uncertain search that has characterized the trajectory of Paul Klee, in both his creative side and his pedagogic activity, specially in the Bauhaus, and in his dense reflexions through writing.

Subject of the pressures of opposing forces, the artist: Klee, acts like an equilibrist balancing over a tight rope crossing emptiness, seeking an equilibrium always difficult to reach. Between the wished stability and the recognition of the petulance of attempting to go further than what the human fragility allows for, Paul Klee refers several times along his career to this figure: the equilibrist, as an expression of the search of those insecure results. Here we stand, in this random world, suspended over emptiness, trying to reach, even beyond our strengths, and with the occasional assistance of all kind of poles that we find along the way, attempting to go further. Trying to see, know, feel: attempting to give shape to the visible

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