Performance Kunst Leben Subjekt Medium

Struktur und Wirkung in der Performance-Kunst als Druckversion (PDF mit Fn. 11.2 MB)

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Struktur und Wirkung in der Performance-Kunst

in: Grenzen der Karthasis in den modernen Künsten. Transformationen des aristotelischen Modells seit Bernays, Nietzsche und Freud, hrsg. von Martin Vöhler und Dirck Linck, Berlin/New York 2009, S. 199-230.

Kapitel IV: Resümee

Die Performance-Kunst agierte auf zwei Seiten zugleich, auf der Seite des Lebens und auf der Seite der Kunst, und sie tat es so, daß sie nicht das eine ins andere überführte, sondern beides so übereinanderlegte, daß das eine nur durch das andere hindurch sichtbar wurde. Performances legten es auf Augenblicke der Berührung an, die zugleich eine Einheits- und eine Zweiheitserfahrung eröffneten. Dies galt für die Kunst/Leben-Dialektik ebenso wie für die Inszenierung des Performers, der zugleich als aktives Subjekt, vermittelndes Medium und als passives Objekt der Handlung erschien. Indem die Pointen der Arbeiten sich vor allem denjenigen Betrachtern erschlossen, die deren Grenzgang zwischen Kunst und Leben erkannten und zu schätzen wußten, stellte sie hohe Anforderungen an die Rezipienten. Was ihnen als Kunstwerk geboten wurde, hatte den Status eines „unsicheren Objektes“, wie es der Kunstkritiker Harold Rosenberg nannte, das entweder ein Meisterwerk oder Schund – oder beides zugleich – sein konnte. Die kritische Befragung der Kunst und der Bedingungen menschlicher Subjektivität erreichte damit vornehmlich jene, denen die angesprochene Problematik ohnehin nahe stand. Dem breiteren, mit den Regeln der ‚Kunstwelt‘ nicht vertrauten Publikum hingegen mißlang die ‚willing suspension of belief‘, welche die Performance-Handlungen als Kunsthandlungen etablierten und dadurch erst erträglich und sinnhaft werden ließen, in den meisten Fällen. Sofern es Zeuge von Performances wurde oder – was häufiger geschah – durch die Presse davon erfuhr, reagierte es aufgebracht und ablehnend. So bleibt das Vermächtnis der Performance-Kunst ein gebrochenes: Die Erprobung neuartiger, zeit- und prozeßbasierter künstlerischer Produktions- und Rezeptionsformen sowie die Unerbittlichkeit künstlerischer Selbstbefragung setzte Maßstäbe, die bis heute nachwirken. Als Arbeit an den Begriffen der Kunst und des Künstlers war sie ebenso radikal wie folgenreich. Ihre Wirkungsmöglichkeiten über die Kunst hinaus, sei es im gesellschaftspolitischen Sinne als Veränderung realer Verhältnisse oder im psychologischen Sinne als Stabilisierung des individuellen Gefühlshaushaltes, waren, sofern sie überhaupt danach strebte, äußerst begrenzt. Das mußten nicht zuletzt die Künstler selbst feststellen. Zumindest für Acconci war dies der Grund, seine Performance-Tätigkeit zu beenden und sich einem anderen Feld, in seinem Fall dem Grenzgebiet von Architektur, Skulptur und Raumplanung, zuzuwenden, um eine greifbarere gesellschaftliche Wirkung zu entfalten.

„Meine ‚Performances'“, schrieb Acconci rückblickend,

„versprachen mehr als sie (oder ich) realisieren konnten (oder wollten). Der Performer blieb am Ende ein Performer, das Publikum blieb am Ende ein Publikum […] Am Ende kannten wir alle unseren Platz und behielten ihn; diese Welt war nicht real, sondern nur ein Modell, das auf die Dauer zu fragil war, um von Menschen betreten zu werden – der Raum, der erlebnisbezogen hätte sein sollen, erwies sich schließlich als lediglich visuell, die Aktion hätte ebenso gut ein Bild sein können (was sowieso die Art und Weise war, wie sie historisch bewahrt wurde).“

Kapitel I: Eine Kunst in ihrer Zeit
Kapitel II: Performance als künstlerische Form
Kapitel IIa: Zwischen bildender Kunst und Theater
Kapitel IIb: Der Betrachterbezug von Performances
Kapitel IIc: Performer versus Schauspieler
Kapitel IId: Das Ende einer Performance
Kapitel III: Katharsis und Kritik
Punkt Performance Kapitel IV: Resümee
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Struktur und Wirkung in der Performance-Kunst als Druckversion (PDF mit Fn. 11.2 MB)

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