Fontana Bild Schnitte Ikon Performance

Fontanas Schnitte als Druckversion (PDF mit Abb. u. Fn. 190 KB)

Fontanas Schnitte

in: Bild-Riss. Textile Öffnungen im ästhetischen Diskurs, hrsg. von Mateusz Kapustka, Textile Studies, Band 7, Edition Imorde, Emsdetten/Berlin, 2015, S. 25-38.

Kapitel 3: Die zwei Ordnungen des Schnitts: ikonisch und performativ

Pierre Bourdieu zufolge geht die Entwicklung zu größerer Autonomie, die die Kunst in der Moderne durchläuft, mit der kritischen Rückwendung der Künstler auf die Prinzipien und Voraussetzungen ihrer eigenen Produktion einher. Bei Fontana bezieht sich die kritische Rückwendung einerseits auf das Medium des Bildes, genauer auf dessen Oberfläche im Zeichen modernistischer ‚flatness‘. Sie bezieht sich aber ebenso offensichtlich auf die Geste als Ausdrucksbewegung eines Subjekts. Diese doppelte Reflexion – des Mediums wie der subjektiven Expression – wird besonders anschaulich in Ugo Mulas’ berühmter Bildserie, die Fontanas Praxis fotografisch inszeniert und aus der hier drei Fotografien wiedergegeben sind. An ihnen lässt sich ablesen, dass die Schnitte auf zwei Ordnungen bezogen sind. Bevor Fontana dazu ansetzt, betrachtet er das Leinwandgeviert genau, da er sich entscheiden muss, wo und in welcher Ausrichtung er sie setzt. Denn deren Platzierung wird darüber entscheiden, welchen Ausdruck das Bild gewinnt. Materiell mögen die Schnitte die Leinwand zerstören; ästhetisch indes organisieren sie das Bildfeld in einer Weise, die die Schnittkonstellationen bald streng und hieratisch, bald besonders elegant, bald wiederum tänzerisch rhythmisiert erscheinen lassen. Erneut zeigt sich die Verwandtschaft des Schneidens mit dem Zeichnen: Auch Fontanas Schnitte sind kompositorische, auf die vorgegebene Instanz der Bildfläche bezogene ästhetische Setzungen.

Der ikonischen Ordnung der Schnitte steht eine andere Ordnung gegenüber, die im Fortgang von Mulas’ Foto-Sequenz die Oberhand gewinnt. Es ist nicht die ikonische Ordnung der Bildfläche, sondern die performative Ordnung der Aktion – jener Aktion, die sich zwischen dem Körper des Künstlers und seinem Gegenüber ereignet. Hier unterwirft sich der Künstler den Gesetzen der Bildfläche nicht, sondern antwortet, die aufblitzende Waffe in der Hand, auf die Herausforderung der mächtigen leeren Leinwand mit einem Angriff – mit jenem Angriff auf das Medium, durch den das Bild, Robert Motherwell zufolge, etwas ‚bedeutet‘. In Mulas Bildfolge gewinnt das performative Bedeuten deshalb die Oberhand über das ikonische Bedeuten, weil die Kamera schließlich so nahe an die Schnittgeste heranrückt, dass die Totalität der Leinwand als maßgebliche Größe ikonischen Bedeutens aus dem Blick gerät. Unabhängig von einer solchen fotografischen Fokussierung, im Angesicht der Tagli selbst, überwiegt jedoch die Erfahrung, dass der ikonische und der performative Aspekt der Schnitte ästhetisch perfekt ausbalanciert sind.

Einleitung: Modernistische ‚flatness‘ und ihr Widerruf
Kapitel I: Fontanas Fund
Kapitel II: Der Schnitt als Schwelle
Fontana Kapitel III: Die zwei Ordnungen des Schnitts: ikonisch und performativ
Fontana Kapitel IV: Der Schnitt als Äußerung – und Fontanas rückseitige Notate
Kapitel V: Transzendenz und Immanenz des Unendlichen
Fontanas Schnitte als Druckversion (PDF mit Abb. u. Fn. 190 KB)

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