Andy Warhol. Modern Madonna sehen berühren

Modern Madonna deutsch als Druckversion (PDF mit Abb. u. Fn. 720 KB)

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Körperloses Auge, blickloser Mund – Andy Warhols Zeichnungsserie Modern Madonna

in: Andy Warhol. Modern Madonna, Katalog Jablonka Galerie, Köln 1999, S. 5-39.
Warhols Bilder leben von der Kraft der Paradoxie. Sie ist das Prinzip einer Kunst, die einer Drehtür gleicht, die man leichtfüßig betritt, um sogleich wieder auf der anderen Seite hinausgeworfen zu werden. Da ist zum Beispiel das paradoxe Verhältnis von Inhalt und Form. Eine fast unübersehbare Themenfülle kennzeichnet das Werk, eine Fülle, die alle traditionellen Gattungen der Malerei umgreift, vom Historienbild über das Portrait, das Genre, das Interieur bis zur Landschaft und zum Stilleben. Das stellt im 20. Jahrhundert eine erstaunliche und einzigartige Leistung dar. Warhols Kunst wächst im Laufe der Jahre zu einem Archiv der wichtigsten Persönlichkeiten, Nahrungsmittel, Katastrophen, Kunstwerke und Mythen heran, die das allgemeine, insbesondere das amerikanische Bewußtsein in den letzten Jahrzehnten beschäftigten. Allein die Gruppe der Katastrophen-Bilder, der Disasters, umfaßt eine nahezu komplette Auflistung gewaltsamer Todesarten, ob durch Unfall oder Suizid, Vergiftung oder Mord, die Atombombe oder den elektrischen Stuhl. Nimmt man schließlich die Hunderten von Zeichnungen hinzu, die die Bilder seit ihren Anfängen begleiteten, dehnt sich die Reichweite seiner Kunst noch einmal erheblich aus. Kaum ein Motiv zwischen industrieller Produktion, religiöser Symbolik und verschiedenen Formen der Sexualität blieb ausgespart, so daß es nicht erstaunt, auch einer Serie von stillenden Müttern zu begegnen, die nun hier zu sehen ist.
Doch mit der thematischen Universalität des Œuvres kontrastiert seine formale Uniformität. Ein Warhol wird augenblicklich, und nicht nur von einem Spezialisten, als solcher erkannt. Warhols epochales Vermögen bestand darin, eine Schablone zu erfinden, die für jede Gelegenheit ‚paßt‘. Seine Imaginationskraft zielte nicht darauf, einem Sachverhalt oder einer Empfindung eine adäquate, d.h. individuelle Form zu verleihen (das Werk müßte dann ein ebenso enzyklopädisches Formenrepertoire aufweisen), sondern eine Matrix zu entwickeln, die, widersprüchlich genug, allen denkbaren Inhalten gleichermaßen angemessen ist. Warhol gelingt damit das Unerhörte, sowohl der unbeteiligte Chronist der späten Jahrzehnte unseres Jahrhunderts zu sein, wie gleichzeitig allem, was er aufgreift, seinen unverkennbaren Stempel aufzudrücken. Dabei bleibt unentscheidbar, ob die ganze Welt wie Warhol aussieht oder ob sich vielmehr durch die Einverleibung von allem Sichtbaren die Konturen seiner Persönlichkeit aufgelöst haben.
Auch das einzelne Werk wird duch seine Widersprüchlichkeit bestimmt. Wiederkehrend begegnen wir der unaufhebbaren Spannung zwischen Sensation und Banalität, Einmaligkeit und Repetition, Emotionalität und desinteressierter Kälte, bloßer Reproduktion und unerschöpflicher Kreativität. Warhol vermag aus dem Motiv des elektrischen Stuhls eine dekorative Tapete zu fertigen und herausragende Erscheinungen wie Jackie Kennedy zur Massenware zu vervielfältigen, jedoch nicht, wie man meinen könnte, mit dem Effekt, die Indifferenz von allem und jedem vorzuführen, sondern mit dem gegenteiligen Ergebnis, die Prägnanz des Gezeigten so zu steigern, daß unser inneres Bild davon, z.B. die Vorstellung Marilyn Monroes, heute maßgeblich durch Warhols Bildreihen bestimmt wird.
Dabei handelt es sich um Phänomene, die für die Massenmedien, insbesondere für das Fernsehen, bezeichnend sind. Auch das Fernsehen präsentiert die Fülle der Welt in einem einzigen, immergleichen ‚Format‘, dem Bildschirm. Was hier erscheint, wirkt gespalten, ist zugleich unvermittelt und unendlich vermittelt, ‚realistisch‘ und eigengesetzlich, transparent und opak. Das Fernsehen verkehrt auch das blutigste Geschehen in ein bloßes Stimulans der Abendunterhaltung , das uns gleichwohl in Atem hält, da es uns direkt in die Mitte des geschützten Heims katapultiert wird.
Widersprüchen wiederum eigener Art begegnen wir in der Zeichnungsserie Modern Madonna. Da ist zunächst das uneingelöste Versprechen des Titels. Es sind nicht Maria und der Jesusknabe, die hier erscheinen, sondern gewöhnliche Mütter mit ihren gewöhnlichen Kindern. Doch die Ebenen durchdringen sich. Das christliche Thema bot stets auch die Gelegenheit, die irdisch-profane Beziehung einer Mutter zu ihrem Kind zu zeigen. Das garantierte dem heilig entrückten Paar zugleich die Wärme und Nähe des Allgemeinmenschlichen, das die Brücke zu den Gläubigen schlug. Gleichzeitig führte das Exemplarische der Konstellation von Maria und Jesus dazu, in jeder Beziehung einer Mutter zu ihrem Kind den Widerschein des Sakralen glänzen zu sehen. Wenn nun Warhol ‚wirkliche‘ Mutter-Kind-Paare in sein Studio holt, um sie zu fotografieren und diese Fotos zur Basis seiner Zeichnungen zu machen, dann profanisiert er das christliche Motiv nur, um das umgekehrte Ziel zu verfolgen, nämlich in jedem solchen Zusammensein von Mutter und Kind die mächtigen, unsere Vorstellung prägenden ‚Über-Bilder‘ aufscheinen zu lassen: jede Mutter eine Madonna, jedes Kind ein Jesuskind. Warhol vollzieht hier das, was ihn ein Lebenswerk lang beschäftigte. Er erkundet den schwebenden Ort, wo äußere Bilder und innere Vorstellungswelt, Projektion und Wirklichkeit, Klischee und Archetypus, Künstlichkeit und Natürlichkeit verschmelzen. Das heißt in unserem Fall, daß das weite kulturelle Feld ‚Mutter und Kind‘ mit seiner biologischen, historischen, theologischen, psychologischen und bildnerischen Tiefe auf die flache Zweidimensionalität eines volumen- und körperlosen Umrißstrichs auf weißem, nie verdeckten Grund zusammengeschoben wird. In dieser Komprimierung wird unentscheidbar, ob nun die Kultur eine Überhöhung der Natur oder vielmehr die Natur eine Projektion der Kultur sei. Warhol arbeitet im Intertext der Bilder, wo es den sicheren Grund einer ’natürlichen Natur‘ nicht gibt, sondern alles immer schon als ein geronnenes – inneres oder äußeres – Bild existiert, das wiederum auf andere Bilder verweist. Innerhalb der Serie sind so Bilder anzutreffen, die Nachzeichnungen von Reklamefotos sein könnten, in denen das Mutter-Kind-Glück eine reine Inszenierung für die Adressaten der Werbebotschaft darstellt – allerdings mit dem signifikanten Unterschied, daß Warhols Modelle zu diesem Gestus der Selbstinszenierung nicht aufgefordert wurden, sondern ihn von sich aus vollzogen. Sie haben diese Stereotypen gleichsam internalisiert. Sowohl die Protagonisten vor der Kamera wie Warhol hinter ihr sind sich bewußt, daß die Natürlichkeit der Szene dann besonders prägnant sein wird, wenn sie ein stimmiges und vertrautes Bild ergibt. Sein ist gleich Wahrgenommenwerden, und die Mimikry eingefahrener Bildmuster erhöht die eigene Erscheinungsqualität zweifellos. „Everything is sort of artificial, I don’t know where the artificial stops and the real starts“, so beschreibt Warhol selbst das Verschwimmen der Grenzen von Wirklichkeit und Bild.
Doch die Paradoxien von extremer Flächigkeit der Form und ‚Tiefe‘ und Vielschichtigkeit des Themas sowie von größter Natürlichkeit als perfektester Bildhaftigkeit erscheinen geradezu peripher im Vergleich mit dem wohl auffallendsten Merkmal dieser Zeichnungen. Betrachten wir sie als Serie, springt ins Auge, wie nach einer anfänglichen Variaton über spielerisches oder posierendes Zusammensein in ihrer zweiten Hälfte nur noch ein einziges Thema dominiert: das Streben des Kindes nach der Mutterbrust, sowie die Ankunft und das glückliche Verweilen an dortiger Stelle. Das verdient nicht nur Beachtung, weil Warhol damit die erotisch-sexuelle Dimension durchbrechen läßt, die in der Tradition der Madonnenbilder stets nur verdeckt anklingen durfte, er also den kulturellen Bildcode überschreitet, indem er ihn als Code im wörtlichen Sinne, als Verschlüsselung, enthüllt. Diese Fokussierung ist vor allem deswegen bemerkenswert, weil es hier auf einmal um körperliche Urerfahrungen geht, die in der Perspektive der Kunst als der bildnerischen Umformung des Sehens brisanter nicht sein könnten. Warhols Kamera richtet sich, ganz Auge, ganz Visualität, auf eine Situation, in der das Sehen blind wird und sich die Begegnung der Körper ganz ins Feld des taktilen und oralen verlagert, wo also jegliche optische Distanz der körperlichen Unmittelbarkeit weicht. Diese Verlagerung manifestiert sich nicht zuletzt an der Konzentration des Bildausschnitts auf Kind und Brust, die in den meisten Fällen den Kopf der Mutter teilweise oder ganz aus dem Bild verdrängt. Das Kinderauge wird blicklos, das Mutterauge wandert in ihre Brust.
Angesichts dessen soll von einem letzten Paradox die Rede sein, das Warhols Bildwelt von Anbeginn an durchzieht. Es ist das Zugleich von maximaler Distanz und Distanzlosigkeit. Die Dinge und Menschen begegnen uns in seinem Werk nicht im meßbaren dreidimensionalen Raum, sondern als ortlos flottierende Phänomene, die sowohl bedrängend nah wie ungreifbar fern sind – ob das nun, wie in den Flowers, Hibiskusblüten sind, die riesengroß und wandartig vor uns aufragen, oder ein Elvis Presley, der aus einem bodenlosen Silbergrau heraus seine Pistole auf uns richtet, oder schließlich Warhol selbst, der in seinen letzten Selbstportraits zum schwebenden Kopf wird, der in nächtlichem Schwarz seinen erschrockenen Blick durch uns hindurch auf etwas Namenloses richtet. Der Betrachter sieht sich hier Untiefen gegenüber, die die Kehrseite von Warhols oft angemerkter ‚Oberflächlichkeit‘ bilden. Alles verharrt in „absoluter Distanz“, wie Sartre über Giacometti gesagt hat, also in einer Distanz, die sich beim Näherkommen nicht vermindert, sondern im Gegenteil sogar wächst. Warhols Kunst scheint aus der Obsession geboren, die herandrängende Welt in Distanz zu rücken, und gleichzeitig aus einem ursprünglichen Mangel, von dem seine Freunde berichten, nämlich der Unfähigkeit zur Nähe, zur körperlichen Begegnung mit seiner Umwelt.
Die künstlerische (nicht allein die motivische) Intimität dieser Zeichnungen liegt in der Art und Weise, wie hier ein Grundkonflikt im Weltzugang des Menschen Andy Warhol in eine bildmäßige, ja ikonographische Form gebracht wurde. Die unmittelbarste Begegnung, die primärste körperliche Befriedigung, die Geborgenheit des Kindermundes an der Mutterbrust, wird ins Bild gesetzt mit einem Verfahren und einer Ästhetik, die distanzierter und unkörperlicher nicht sein könnten: das starre Auge der Kamera zunächst, mit dem Warhol sein Sehen aus dem Körper in einen Apparat auslagert, der sich zwischen ihn und seine Modelle schiebt, dann das getreuliche, emotionslose Kopieren der Umrisse auf das Papier, wobei jegliche Fülle des Motivs flachgepreßt wird wie eine Blume im Herbarium. Das Nachfahren der Linien, Bild für Bild, Zeichnung für Zeichnung, erscheint wie ein immer neues Nachbuchstabieren des Unfaßbaren: der Möglichkeit eines blicklosen, rein körperlichen Erfassens des Gegenübers, das einen nährt, hält und schützt – ein Erfassen, das Warhol verschlossen blieb und das er gerade deshalb mit voyeuristischem Furor sein Leben lang umkreiste. In der insistierenden Fokussierung auf Mutterbrust und Kindermund zeigt sich die Triebkraft dieser Serie, in der der älter werdende Künstler an den kindlichen Tiefenschichten seiner Vita schürft. „I just know this series is going to be a problem. It’s too strange a thing, mothers and babies and breastfeeding.“

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Modern Madonna deutsch als Druckversion (PDF mit Abb. u. Fn. 720 KB)

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  85. La question se pose à plusieurs titres. Les deux principales figures de l’islam de France ont participé au procès aux assises de Douai en 1997. Et ce n’est pas rien. Dalil Boubakeur, qui vient de tirer sa révérence à la tête de la Grande Mosquée de Paris, a été à l’époque sollicité par la justice pour donner un avis théologique sur la chose. Quant à Amar Lafsar, qui allait rapidement connaître une carrière nationale qu’on lui connaît à la tête de l’UOIF, il a témoigné, en faveur de l’exorciste. Ce qui était assez cohérent. Amar Lafsar voyait en l’exorciste un futur cadre de l’islam de France dans la région. Lafsar comme Boubakeur commençaient leurs carrières à l’époque où l’État balbutiait ses premiers plans pour un islam de France. Et des gens comme l’exorciste, prêchant en français et ayant fait des études, correspondaient au casting potentiel. En étant extérieur au sujet, on pouvait penser qu’en 1994 cette affaire n’était qu’un accident collatéral, un résidu de magie arrivé dans les valises des Algériens fuyant le pays après la guerre. C’est ce que la justice a pu croire peut-être, et d’autant plus qu’en 1994, le nouveau Code pénal qui entrait en vigueur venait d’être épousseté des vieilles contraventions liées à la magie ou la divination. On entrait dans le XXIe siècle et la bulle internet. Toute autorité religieuse proche de ses fidèles aurait dû voir l’explosion de la pratique. Mais surtout le fait que celle-ci était importée d’une dictature théocratique, dont l’expansion de la religion se faisait aux dépens de toutes les autres. Mais peut-être qu’aucun responsable du culte musulman ne voulait s’opposer de manière trop visible au royaume saoudien. D’autant que les autorités saoudiennes ont pris parti dans cette affaire. L’exorciste a bénéficié du soutien du grand mufti d’Arabie Saoudite (autant dire l’équivalant du pape !) en défense, arguant de la bonne foi du chasseur de démon et au passage faisant état de la peine qu’il aurait purgé si l’évènement s’était passé là-bas. En l’occurrence il n’aurait pas été poursuivi. On a du mal à s’imaginer le juge d’instruction français de l’époque recevant cette lettre venue d’une des pires dictatures au monde. Il y a quelque chose qu’on rappelle trop rarement quand il s’agit de parler de l’influence de l’islam saoudien en France. Tous les musulmans du monde prient en direction de la Mecque. S’y rendre est une obligation religieuse. Mais on n’y voyage pas comme ça, le royaume ferme ses portes à qui il veut. Et c’est certainement une des raisons de la grande complaisance de certains responsables du culte à l’égard du royaume. La pratique de l’exorcisme à la saoudienne a explosé en trente ans et dans certains pays comme l’Algérie il y a eu tellement de victimes que le gouvernement a envisagé un temps l’interdire. En France on parle souvent de l’islam pour évoquer les défaillances de ses institutions ou les franges les plus radicalisées. Entre les deux, il y a une majorité silencieuse de fidèles, des familles comme celle de Louisa ou la mienne qui vivent leurs malheurs à huis clos, loin de la politique, c’est vers eux que je préfère porter le regard.

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