Fontana concetto spaziale attesa Raum

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 2: Der Schnitt als Schwelle

Obschon Fontana mit den Schnittbildern von der repräsentierenden Gegenständlichkeit, die auch sein eigenes Frühwerk prägt, zu einer performativen Kunstform übergeht, folgert er daraus nicht, was vielen Künstlern der späten 1950er und vor allem der 1960er Jahre geboten scheint: nämlich ganz aus dem Bild auszusteigen und im tatsächlichen Raum tätig zu werden, beispielsweise mit Performances. Fontanas ‚acted spatiality‘ bleibt bildimmanent: entgegen Fontanas Diktum, er wolle keine Bilder machen, erzeugt sie eine Öffnung als Bild. Die Bildschöpfung als Bildzerstörung – oder Bildzerstörung als Bildschöpfung – bringt ein widersprüchliches Bild hervor, das etwas zu sehen gibt und doch nichts zeigt. Der Raum, den der Schnitt eröffnet, lässt sich weder auf den empirischen Raum noch auf ein Raum-Zeichen vereindeutigen. Fontana bringt dies durch die Betitelung der Tagli zum Ausdruck, die er durchgängig Concetto spaziale/Attesa (Raumkonzept/Erwartung) nennt. Die Pointe der Schnitte besteht vielmehr darin, Sein und Schein gleichermaßen zu sein. Das ‚Unendliche‘ wird im Schnitt konkret erschaffen und zugleich als Effekt inszeniert – letzteres insbesondere dadurch, dass Fontana hinter die Partien der Leinwand, die von den Schnitten durchtrennt sind, eine dunkle Gaze spannt, die verhindert, dass die Wand hinter dem Bild hervorscheint. Indem diese Gaze deutlich sichtbar ist, wird offenbar, dass das ‚Unendliche‘ gerade so tief ist wie die durchschnittene Leinwand. Innerhalb der Leinwand entdeckt Fontana also den Raum, mit dem er die herkömmliche illusionistische Räumlichkeit der Bildkünste zu überbieten sucht. Die Wirkung des Schnitts besteht demzufolge nicht darin, den Schein zu durchbrechen und zum substanziellen, ‚unendlichen‘ Sein vorzudringen, sondern Sein und Schein wechselseitig gegeneinander auszuspielen. Bei den Tagli sind Endlichkeit und Unendlichkeit, Materialität und Immaterialität ineinander umspringende Aspekte desselben Wahrnehmungsobjekts.

Topologisch gesprochen, hat der Schnitt die Eigenart einer Schwelle. Kennzeichnend für Schwellen ist es, dass sie keiner der beiden Seiten zugehören, deren Übergang sie markieren, sondern als ihr Dazwischen jenes ‚excluded middle‘ sind, mit dem im Englischen das ausgeschlossene Dritte bezeichnet wird. Ein solches ‚excluded middle‘ ist Fontanas Schnitt-Öffnung. Inmitten der Leinwand erscheint sie wie ein Symptom, das die generelle Eigenschaft von Bildoberflächen anzeigt, weder zur Ordnung des Dargestellten noch zur Ordnung des Realraums zu gehören. Durch den Schnitt krümmt sich die Leinwand leicht, meistens vom Betrachter weg, in selteneren Fällen zu ihm hin. Die Krümmung verleiht der Schnitt-Öffnung eine Körperlichkeit, die die Schwelle zwischen dem Innen und dem Außen des Bildes betont, indem sie auf diese Weise zu einer eigentlichen Zone des Übergangs wird. Zugleich führt die Krümmung dazu, dass Fontanas Schnitte für unterschiedliche Assoziationen – sexuelle oder medizinische – anschlussfähig werden.

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

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