Fischli Weiss Lauf der Dinge Signer

Der Einsatz der Autonomie als Druckversion (PDF mit Abb. u. Fn. 3.054 KB)

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Der Einsatz der Autonomie. Spieldimensionen in der Kunst der Moderne

in: Faites vos jeux! Kunst und Spiel seit Dada, Katalog Kunstmuseum Liechtenstein, Vaduz; Akademie der Künste, Berlin; Museum für Gegenwartskunst, Siegen, hrsg. von Nike Bätzner, Ostfildern-Ruit 2005, S. 37-46.

3. Das Spiel mit dem Betrachter

Im Laufe des 20. Jahrhunderts dynamisiert sich die Spieldimension der Kunst bis zu dem Punkt, wo das Anstoßen jener unabschließbaren Bewegung des Hin und Her zum produktiven (oder autodestruktiven) Programm und zum eigentlichen Inhalt der Kunst werden kann. Insofern tritt sie nicht nur an die Stelle der Illusion, sondern zugleich an die Stelle der Narration. Das Spielerische erfasst nun alle Aspekte und Bereiche der Kunst – nicht nur das Kunstwerk selbst, sondern auch die Künstler, die in immer neue Rollenspiele eintreten, sowie die Betrachter, die freiwillig oder gezwungenermaßen zu Mitspielern in einem Werkprozess werden, der sich erst mit und in ihnen vollendet. Sie treten in ein Spiel mit den Elementen des Werks, die sie aufeinander beziehen. Zugleich aber spielen sie mit sich selbst, indem sie sich beim Vollzug ihrer Wahrnehmungs- und Verarbeitungsprozesse gewissermaßen zuschauen. Die Illusionserwartung gegenüber der älteren Kunst wird durch eine Art Realismuserwartung abgelöst. Denn die Betrachter kommunizieren nicht mit einer scheinhaften Realität jenseits der ästhetischen Grenze, sondern mit den konkreten materiellen Werkbestandteilen, deren Zusammenwirken und Sinn sie zu ergründen suchen. Die magischen Konnotationen des Illusionsbegriffs werden dabei vom emphatischen Präsenzbegriff der modernen Kunst beerbt.
Bereits vor vierzig Jahren analysierte Umberto Eco jene Werkform, die sich auf eine spielerische Interaktion mit dem Betrachter ausrichtet, und brachte sie auf den Begriff des „offenen Kunstwerks“. In den Aufsätzen, die er unter diesem Titel zusammenfasste, untersuchte er die operativen Strukturen moderner Kunst. Den Begriff der Struktur setzte er demjenigen der Form bewusst entgegen. Denn die Struktur umfasse auch die Beziehung von Werk und Betrachter und sei also bereits die aufgefasste Form. Der Begriff der Offenheit sollte nicht für ein subjekt- und erlebnisorientiertes anything goes stehen, sondern für die programmatische Poetik der modernen Kunst, deren Bedeutungserzeugung sich grundsätzlich anders vollzieht als in der traditionellen Kunst. Angesichts der negativen Konnotationen, welche die Nähe von Kunst und Spiel aufrufen kann, ist es aufschlussreich, dass Eco zwei unterschiedliche Auffassungen der modernen Offenheit der Kunst zurückweist. Es läge nahe, so Eco, die Tendenz zu Mehrdeutigkeit und Unbestimmtheit als Spiegelung einer Krise unserer Zeit zu begreifen; ebenso nahe läge die gegensätzliche Deutung, dass diese Poetiken die positiven Möglichkeiten eines Menschentyps ausdrückten, der offen sei für eine ständige Erneuerung seiner Lebens- und Erkenntnisschemata und produktiv an der Erweiterung seiner Horizonte arbeite. Beide Auffassungen – die ebenso auch dem Spielcharakter eines Kunstwerks entgegengebracht werden könnten – schiebt Eco beiseite. Denn im offenen Kunstwerk liege die Bedeutung gerade nicht im Werk, sondern vielmehr in den kommunikativen Strukturen, die es eröffne. Diese zeigten sich in der spezifischen Art, wie das Kunstwerk die Beziehung zwischen den semantischen, syntaktischen, physischen, emotiven und thematischen Ebenen strukturiere, sowie darin, wie der Betrachter in die Strukturierungstätigkeit einbezogen werde. Offenheit sei das Medium der Bedeutungserzeugung und nicht schon das Ziel – also nicht schon die Bedeutung selbst. Diese Feststellung scheint mir auch für die Spieldimension der modernen Kunst wesentlich zu sein: auch sie ist eine bestimmte Art, das Werk zu strukturieren, und nicht schon dessen Gehalt. Ecos Bemerkung verdeutlicht zugleich, dass es ganz unterschiedliche Verwirklichungen des Spielerischen in der Kunst gibt, deren Eigenarten erst einer genaueren Untersuchung der jeweiligen Werkstruktur zugänglich werden. Der eröffnete Spielraum wird stets anders konturiert und in einer je eigenen Weise zuallererst erzeugt. Erst im Durchspielen der Werkstruktur lässt sich bestimmen, ob das gespielte Spiel eher als Fiktion, (Selbst-)Reflexion, (Selbst-)Kritik oder als jenes karnevalistische Lachen aufzufassen ist, das Michail Bachtin an bestimmten Literaturformen herausarbeitete. Drei Positionen der Ausstellung seien herausgegriffen, um die Spannweite des Möglichen zumindest anzudeuten.
Peter Fischlis und David Weiss‘ Videofilm Der Lauf der Dinge (1987) gehört zur letztgenannten Kategorie einer Kunst, die durch das Umstülpen bestehender Ordnung auf ein befreiendes Lachen zielt. In einer Lagerhalle bastelten die beiden Künstler mit disparaten, jedoch aus dem Alltag vertrauten Gegenständen eine labile Struktur von gut 20 Metern Länge, die, einmal in Bewegung gesetzt, eine Kettenreaktion auslöst, die durch Feuer, Wasser, Schwerkraft und verschiedene chemische Prozesse in Gang gehalten wird. Das Funktionieren dieser Struktur wird insofern ins Absurde geführt, als jener „Lauf der Dinge“ nur deshalb immer weitergeht, weil sich stets neue Kleinkatastrophen ereignen, die wiederum zur nächsten führen. Die Kategorien von richtig und falsch, gut und böse, Funktionalität und Dysfunktionalität werden spielerisch zum Einsturz gebracht. Bei den Betrachtern provoziert die allein sich selbst erhaltende, ansonsten jedoch völlig zwecklose Kettenreaktion eine Gefühlsmischung zwischen Spannung und Erleichterung, die sich mit jener Heiterkeit paart, die der Verkehrung gewohnter Ordnungen entspringt.
Ähnlich strukturiert sind die „Aktionsskulpturen“ Roman Signers, die häufig mit Explosionen, Zusammenstößen und der Flugbahn von Gegenständen durch den Raum arbeiten. Minutiös geplant wie wissenschaftlich-technische Versuchsanordnungen, ereignen sie sich in kurzen dramatischen Augenblicken, die zum paradoxen Resultat führen, jeweils dann zu gelingen, wenn die Versuchsanordnung sich selbst zerstört oder die angestoßene Bewegung abrupt und ohne wirklich brauchbares Ergebnis beendet wird. Wie die ausgestellte Arbeit Gleichzeitig (2004) verdeutlicht, kontrastiert mit der sorgfältigen Planung nicht nur die Unberechenbarkeit des Ablaufs, der durch verschiedene physikalische Kräfte bestimmt wird, sondern vor allem die erheiternde Sinnfreiheit des Resultats. Häufig tritt Signer in den Aktionen selbst auf. Er agiert dann als Arrangeur und Versuchsperson zugleich, d.h. er entwirft das Spiel, um von diesem gespielt zu werden. So entfesseln seine Aktionen die Dialektik von Freiheit und Zwang, Zufall und Kontrolle, spielerischem play und gefährlichem game. Die Pointe, sich freiwillig einem selbstkonstruierten und überdies zweckfreien Zwang auszusetzen, legt den paradoxen Grundzug jeden Spiels frei, das die Unterwerfung unter Regeln und Kausalitäten fordert, ohne dafür Gründe oder Zwecke zu nennen, die auch außerhalb des Spiels Gültigkeit beanspruchen können.
Einem Spielcharakter ganz anderer Art begegnen wir in Roland Stratmanns MonAlisa-Lovedrive (2002/05). Die Installation entwirft ein zeitlich und räumlich mehrschichtiges Fiktionsspiel um Leonardos Mona Lisa, in das der Betrachter auf verschiedene Weise eintritt: zunächst auf der realen Ebene der Installation selbst, die ein ehemals bewohnt erscheinendes, eigentümlich tapeziertes Zimmer bereitstellt; dann auf der textuellen Ebene von Tagebucheintragungen Mona Lisas, die im Raum verstreut sind, sowie dem Bericht über die Entdeckung dieser Aufzeichnungen; und schließlich auf der Ebene einer tatsächlichen Spielanordnung, die aus auf dem Boden verstreuten Puzzleteilen besteht, die zusammengefügt die Umrisszeichnungen von Leonardos Porträts ergeben. Das Spiel erscheint hier in zweierlei Funktion: als spielerische Um- und fiktive Fortschreibung historischer Gegebenheiten, sowie in der unmittelbaren Form, den Betrachter als Mitspieler hineinzuziehen. Beide Funktionen werden dadurch verknüpft, dass es sich jedes Mal um ein „Zusammenlesen“ einzelner Fragmente handelt. Im Prozess dieses „Zusammenlesens“ verwischen sich die Grenzen zwischen der Außenperspektive auf das Kunstwerk und den Figurenperspektiven innerhalb des Kunstwerks, zwischen Betrachterrealität und Figurenfiktionalität. Auf diese Weise setzt MonAlisa-Lovedrive die ästhetische Grenze, die Realität und Fiktion, Werk und Betrachter voneinander scheidet, aufs Spiel.

1. Einleitung
2. Das Werk als Spiel
Kapitel 3. Das Spiel mit dem Betrachter
Kapitel 4. Der Künstler als Spieler
5. Resümee
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Der Einsatz der Autonomie als Druckversion (PDF mit Abb. u. Fn. 3.054 KB)

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