Bruce Nauman Installationen Corridors Corridor Installation

Die eigentliche Tätigkeit als Druckversion (PDF mit Abb. u. Fn. 869 KB)

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Die eigentliche Tätigkeit. Aktion und Erfahrung bei Bruce Nauman

in: Auf der Schwelle. Kunst, Risiken und Nebenwirkungen, hrsg. von Erika Fischer-Lichte, Robert Sollich, Sandra Umathum und Matthias Warstat, München 2006, S. 57-74.

Kapitel IV: Von der Performance zur Installation

Als sich Nauman die Frage stellte, wie er diese Konzeption von der eigenen Person ablösen und für andere öffnen könnte, entwickelte er die Werkgruppe der Corridors. Im Hinblick auf den Bezug zwischen Naumans künstlerischem Ansatz und Ecos Konzept des „offenen Kunstwerks“, aber auch im Hinblick auf die Aktivierung des Betrachters stellen die Corridors die wohl einschlägigste Werkgruppe in Naumans Œuvre dar. Es handelt sich um mehr oder weniger geschlossene, aus Brettern und Latten roh gezimmerte Partial-Räume, die innerhalb eines bestehenden architektonischen Raumes aufgebaut werden. Sie sind installative, skulpturale Werke und zugleich Versuchsanordnungen, in denen der Betrachter – oder eher: Benutzer – auf einen Parcours geschickt wird, so wie es Nauman in den Performances mit sich selbst tat. Die Arbeiten sind insofern ‚offene Kunstwerke‘, als sie erst durch den Benutzer vervollständigt werden. Der Umgang mit dem Werk ist dabei keineswegs frei, sondern wird einer rigiden Kontrolle unterworfen. Mit einer Wendung Umberto Ecos gesagt: Ehe es ein Feld von zu treffenden Wahlen wird, ist es schon ein Feld getroffener Wahlen. Nauman eröffnet Möglichkeiten nur, um sie wieder einzuschränken; in der limitierten Offenheit der Korridore ist es die Limitierung und nicht die Offenheit, welche die Oberhand behält. Die Arbeiten affizieren die psychophysische Sensorik auf verschiedene Weise: durch den Entzug vertrauter Weite, Geräusch dämmende Wände oder ungewöhnliches Licht, was insgesamt einen Effekt des Unausweichlichen erzeugt. Allerdings verhält sich die Präzision der Versuchsanlagen umgekehrt proportional zur Unbestimmtheit dessen, was aus deren Erfahrung folgt.
In der frühesten Arbeit dieser Werkgruppe, Corridor Installation von 1970, zimmert Nauman ein Gehäuse mit sechs oben offenen Gängen verschiedener Breite (Abb. 3). Der erste Korridor ist verschlossen und nicht einsehbar, der zweite nur wenige Zentimeter breit. Der dritte schließlich bietet gerade ausreichend Platz für eine Person. (Abb. 4) An seinem hell beleuchteten Ende sind zwei Monitore übereinander gestellt, die beide das Bild des leeren Gangs zeigen. Tritt man in diesen Gang ein, wird man nach ungefähr einem Viertel des Weges von einer über dem Eingang positionierten Kamera erfasst und erscheint gleichzeitig, da es sich um eine Closed-Circuit-Schleife handelt, auf dem oberen der beiden Monitore – allerdings aufgrund der Kameraposition von oben und von hinten gesehen. Erst wenn man zu gestikulieren beginnt, wird deutlich, dass hier kein Anderer sichtbar wird, sondern die verkehrte Sicht auf sich selbst. Je näher man dem Monitor kommt, desto kleiner wird man im Bild, da man sich gleichzeitig von der Kamera wegbewegt. Auf diese Weise überkreuzt sich die Körpererfahrung zunehmender räumlicher Enge mit dem Beobachten des eigenen Verschwindens im Raum. Wenn man sich, auf der Suche nach der Kamera, umwendet und in deren Linse blickt, erscheint man auf dem Monitor in Frontalansicht, kann dies aber nicht sehen, da dieser jetzt im eigenen Rücken liegt. So erzeugt die Kamera-Monitor-Schleife einen ‚Spiegel‘, der die Selbstbegegnung im selben Zuge ermöglicht und verweigert. Während all dem zeigt der untere Monitor fortwährend das Bild des leeren Gangs, das die Kamera vorab aufnahm und nun von einem Videoband in Endlosschleife abgespielt wird.
Während der vierte Gang wiederum zu schmal zum Betreten ist, befindet sich am Ende des fünften, nach hinten dunkler werdenden Gangs erneut ein Monitor. Er zeigt das Schwenkbild einer Kamera, die eine leere Raumecke hin und her schweifend absucht. (Abb. 5) Als Ursprung dieses Überwachungsbildes kommt – wie man schließlich vermuten muss – nur der verschlossene erste Korridor in Frage. Das aber bedeutet eine Verkehrung der üblichen Überwachungsperspektive. Wir werden nicht von einer Kamera erfasst, die unser Bild in einen uns verborgenen Kontrollraum übermittelt, sondern sehen das Kontrollbild eines Ortes, der für uns unzugänglich bleibt.
Über dem Monitor mit dem Schwenkbild ist eine zum Betrachter/Benutzer gerichtete Kamera installiert, deren Bild auf einen im benachbarten sechsten Gang positionierten Monitor gespielt wird. Wechselt man zu diesem letzten Gang hinüber, sieht man, wie eine Figur gerade aus dem Monitor verschwindet. Auch darin erkennt man schließlich sich selbst, festgehalten im Wechsel vom Korridor, der das eigene Bild aufnimmt, zum Korridor, in dem es abgespielt wird. Über diesen sechsten Korridor verlässt man die Installation schließlich wieder. Man hat also zunächst sein Bild aus dem Monitor verschwinden sehen, bevor man als realer Körper den realen Raum der Installation verlässt.
Wer sich in Corridor Installation bewegt, erfährt sich im Zuge eines Experiments, das keine zu lösende Aufgabe darstellt, sondern die Exploration dessen, was einer erfolgreichen Lösung entgegensteht. Zwar ist man als Umhergehender der Gemeinte, für den die Anlage aufgebaut ist wie das Laufrad für den Hamster. Zugleich aber erfährt man sich als Störung im System, als auftauchender und wieder verschwindender Fleck im Bild, als eine Art Überschuss. Denn das Umhergehen in der Installation führt nicht nur zur Dezentrierung des Selbst, sondern auch zu einer Störung der harmonischen Selbstbespiegelung des leeren Raums. Solange sich niemand in der Installation aufhält, spiegeln sich leerer Raum und leere Monitore ineinander, und zeigen die beiden übereinander gestellten Monitore das identische Bild jenes leeren Ganges, an dessen Ende sie aufgestellt sind. Nauman, der Subjektivität als Kontaktgrenze von Körper und Raum begreift, inszeniert hier deren Umschlag beider ineinander. Das Subjekt wird verräumlicht, indem es sich plötzlich anderswo und von außen sehen kann – von einem Punkt aus, von dem wir normalerweise lediglich gesehen werden, so wie wir im Zuge des Herumgehens in der Installation von den anderen Betrachtern/Benutzern der Installation gesehen werden. Überdies werden körperlich erfahrener Realraum und über Monitore eingeblendeter Sehraum – oder in Kunstgattungen gesprochen: Corridor Installation als Skulptur und Corridor Installation als Videoarbeit – gegeneinander ausgespielt. Nauman selbst formuliert es folgendermaßen:
„Da gibt es den realen Raum und das Abbild des realen Raums, und das sind schon zwei ganz verschiedene Dinge. Man hat also in gewissem Sinne zwei Arten von Information, einerseits die reale Information, dass man sich an einer Wand, im Raum, innerhalb einer Eingrenzung befindet, und man hat andererseits Informationsbruchstücke, die einen eher intellektuellen Umgang mit der Welt darstellen. Mir schien interessant, diese beiden Informationen zusammenzubringen: physische Information und visuelle oder intellektuelle Information. Die Spannung entsteht aus der Erfahrung, dass die beiden nicht zusammenzubringen sind.“
Die Dekonstruktion des perspektivischen Sehens, das von einer klaren Scheidung von beobachtendem Subjekt und beobachtetem Anderen sowie von nicht reversiblen Blicklinien ausgeht, ist nicht ohne Pointe bei einer Arbeit, die aus lauter Korridoren, also aus lauter perspektivischen Sehkanälen besteht.
Der Spaltung und Verräumlichung des Selbst entspricht umgekehrt eine Subjektivierung des Raums, der mit seinen unterschiedlichen Lichtverhältnissen und Raumweiten sowie mit seinen oft weniger den Ausstellungsbesucher als vielmehr sich selbst beobachtenden Kamera-Monitor-Systemen so wirkt, als hätte er selbst eine Psyche, in deren Kraftfeld man eintritt. Dies gilt nicht nur für Corridor Installation. Viele von Naumans Raumarbeiten spielen mit der Verkehrung von Innen und Außen, Subjekt und Raum. Darauf verweisen schon Titel wie Room with My Soul Left Out, Room That Does Not Care von 1984, Dream passage von 1983 oder der Titel der Raum-Ton-Installation Get Out of My Mind Get Out of This Room von 1968 (Abb. 6 u. 7). Die letztgenannte Arbeit besteht aus einer nackten weißen Raumschachtel, in deren Wände Lautsprecher eingelassen sind. Sie empfangen den Eintretenden mit der Forderung, die der Arbeit ihren Titel gibt: Geh mir aus dem Sinn, geh raus aus diesem Raum – eine Forderung, die Naumans Stimme in unterschiedlichsten Tonlagen, Geschwindigkeiten und Betonungen spricht, schreit und flüstert und in Endlosschleife wiederholt. Die Subjektivierung des Raums – das Ineinanderfließen von ‚mind‘ und ‚room‘ – ist dabei im Lichte der Performance-Filme zu sehen, deren Struktur zu überwinden die Corridors entwickelt wurden. Mit ihnen gelang es Nauman nicht nur, seine Kunst auf den Betrachter hin zu öffnen, sondern zugleich, sich selbst aus dem Spiel zu nehmen. Er verschwindet als körperliche Präsenz aus dem Werk und erzeugt statt dessen eine anonyme und ungreifbare psychische Aufladung des Raums. An die Stelle der Begegnung zwischen Performer und Betrachter (die bei Nauman allerdings über das filmische Medium vermittelt wurde), tritt die Begegnung zwischen Betrachter und Raum, wobei sich Naumans Zurücktreten als Performer und die Aktivierung des Betrachters zum Quasi-Performer asymmetrisch entsprechen. Das Zurücktreten des Künstlers hinter die Werkstruktur steht dabei in direktem Zusammenhang mit deren kalkulierter Offenheit. Gefragt nach der widersprüchlichen, Lücken produzierenden Struktur der Installationen, verweist Nauman auf seine Angst, sich in den Arbeiten zu exponieren und die Menschen zu nahe an sich herankommen zu lassen. Offenheit wird zu einer Distanzierungsstrategie.

Kapitel I: Aktivität und Passion
Kapitel II: Nauman und das „offene Kunstwerk“
Kapitel III: Vom Werk zur Performance
Punkt Bruce Nauman Kapitel IV: Von der Performance zur Installation
Bruce Nauman Pfeil Kapitel V: Das Spiel (mit) der Subjektivität
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Die eigentliche Tätigkeit als Druckversion (PDF mit Abb. u. Fn. 869 KB)

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