Kocherscheidt Illusionismus Ding Leib

Kocherscheidt – Sartre – Rihm als Druckversion (PDF mit Abb. u. Fn. 34.100 KB)

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„Ein Lob dem groben Schnitt, dem brechenden Rand und der Bildentgleisung.“ Kocherscheidt – Sartre – Rihm

in: Brustrauschen. Zum Werkdialog von Kurt Kocherscheidt und Wolfgang Rihm, hrsg. von Heinz Liesbrock, Stuttgart 2001, S. 28-53.

Kapitel III

In Zeichnungen wie Paläontologische Waldlichtung von 1975 (Abb. S. 30 unten) oder Gemälden wie Glockenblume von 1977 (Abb. S. 33) werden die irritierenden, fremdartigen Natur-Körper noch in räumliche Zusammenhänge eingebettet, die sich illusionistisch in die Tiefe hin erstrecken. Kocherscheidt operiert hier noch im traditionellen Modus des Landschaftlichen und treibt diese Darstellungsform der Natur dennoch an eine Grenze. Denn das, worauf sich das Augenmerk des Künstlers richtet, entwindet sich den bildnerischen Zusammenhängen. Bei der Glockenblume wird das durch die überdimensionierende Nähe bewirkt, in der die sackartige Blüte, die von einem weißlichen Steinziegel bedrängt wird, gesehen ist. Und in der Zeichnung wird es durch den Wechsel vom Bleistift, mit dem die gegenständlich eindeutigeren Bäume gezeichnet sind, zur Ölkreide manifest, deren dickerer, fettigerer Strich die amorphen Klumpen und Wülste von ihrer Umgebung isoliert. Bereits in solchen Details offenbart sich, daß der landschaftliche Zugang zur Natur für das, was Kocherscheidt an ihr wichtig ist, weiter nicht tragen wird.

Gegen Ende der 70er Jahre verschwindet der Horizont, unabdingbare Orientierung des traditionellen Landschaftsbildes, aus Kocherscheidts Malerei. Zunächst wächst das Bild gleichsam von allen Seiten her zu wie in Kleine Girlande von 1979 (Abb. S. 34), wo wir rankenartige Pflanzenglieder um eine lichte Mitte tanzen sehen. Der Blick trifft lotrecht auf diese vegetabile Szenerie wie auf ein seltsames Präparat unter Glas. Die Bildtiefe schwindet entsprechend. Dann folgen, wie im Viertafelbild Boissano II von 1981 (Abb. S. 35), eigentümlich aufgeräumte, helltonige Bilder, in denen in sich selbst drehende Rundkörper zwischen Gefäß, Wurzel, Astfragment und Insektentorso dimensions- und ortlos vor mehr oder weniger monochromem Grund dahingleiten. Die Isolierung des Dings als Sprengung jeden definierbaren Kontextes ist hier weit fortgeschritten, gleichwohl sind das dargestellte Ding und das Bild klar zu trennende Sachverhalte. Allerdings dienen sowohl das Abbrechen der Farbe auf der rechten Bildseite als auch vor allem die Zusammenfügung aus vier Tafeln als Maßnahmen, den bildlichen Illusionismus in Schach zu halten, der sich im klaren Figur-Grund-Verhältnis manifestiert. Dadurch tritt der Bildgrund selbst als ein mehrgliedriger Körper deutlich hervor. Über die gemeinsame Vierzahl von Tafeln und repräsentierten Schwebekörpern werden Bild-Ding und Gegenstands-Ding sogar unmittelbar parallelisiert. Doch die Parallelität der beiden schließt ihre Koinzidenz gleichzeitig aus.

Im Rückblick erscheint eine Arbeit wie Boissano II eher wie eine heitere, surrealistisch angehauchte Zwischenstufe vor dem entscheidenden Durchbruch, der sich 1982 mit Bildern wie der Gruppe der Säulen (Abb. S. 36) oder der Serie der Leiber (Abb. S. 37) ereignet. Das Bild wird nun zum Erscheinungsort eines einzigen, randfüllenden, ja rand-dehnenden Gegenstandes, dessen Volumen nicht abgebildet wird, etwa mittels Perspektive oder Schattenwurf, sondern sich in der Dichte der Farbmaterie aufbaut, sodaß diese Säule oder dieser Torso ganz flach und bildebenenparallel und zugleich ganz körperlich, ganz Ding zu sein vermögen. Nun beginnt das, was man als die allmähliche Verschmelzung des Dargestellten (als einem prinzipiell abwesenden) und des Bildes (als einem prinzipiell gegenwärtigen), also als die Koinzidenz des Zeichens mit dem Bezeichneten, beschreiben kann. Der Blick wird jetzt wieder frontal, denn nun geht es um die „Konfrontation“, um die Formulierung Kocherscheidts aufzunehmen: die Konfrontation zwischen unserem Leib und dem Leib des Bildes. Die illusionistische Vertiefung des Bildraumes, die trotz der genannten Maßnahmen in Werken wie Boissano II nicht verschwindet, wird gewissermaßen umgepolt und weicht einem förmlichen nach vorne Gemaltsein, das die Säule bzw. den Torso in den Raum zwischen uns und dem Bild hineindrängen läßt. An der Serie der Leiber scheint außerdem bedeutsam zu sein, daß sie jeweils zugleich auch Gesichter sind. Die „Lungen“ des Großen Leibes IV (Abb. S 37) ähneln Insektenaugen, deren Phantomblick uns erfaßt. Aus ihnen trifft uns ein Blick, der wie der Blick des Blinden kein wirkliches Gegenüber bildet und gerade daraus seine dezentrierende Macht gewinnt.

Kapitel I
Kapitel II
Punkt Kapitel III
Pfeil Kapitel IV
Kapitel V
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Kocherscheidt – Sartre – Rihm als Druckversion (PDF mit Abb. u. Fn. 34.100 KB)

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