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Reading Room Reading Room Christine Göttler, Peter J. Schneemann, Birgitt Borkopp-Restle, Norberto Gramaccini, Peter W. Marx und Bernd Nicolai (Hrsg.) Reading Room Re-Lektüren des Innenraums Publiziert mit Unterstützung des Schweizerischen Nationalfonds zur Förderung der wissenschaftlichen Forschung. ISBN 978-3-11-059125-5 e-ISBN 978-3-11-059246-7 e-ISBN 978-3-11-059130-9 Library of Congress Control Number: 2018959159 Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.dnb.de abrufbar. © 2019 Walter de Gruyter GmbH, Berlin/Boston Coverabbildung: Ilya Kabakov, The Reading Room, Installation, 1996, Deichtorhallen, Hamburg, Fotografie von Quirin Leppert © 2018, ProLitteris Zürich Satz: LVD Gesellschaft für Datenverarbeitung mbH, Berlin Druck und Bindung: Beltz Grafische Betriebe GmbH, Bad Langensalza www.degruyter.com INHALTSVERZEICHNIS Vorwort Christine Göttler und Peter J. Schneemann 9 Atelier: Werkstatt, Showroom, Museum, Tempel Tabea Schindler 15 Boudoir und Salon: Geschlechterstrategeme im höfischen Interieur Norberto Gramaccini 25 Designing the Social: Zeitgenössische Installationskunst zwischen Zelle und Museumscafé im Verweis auf Utopien der Moderne Peter J. Schneemann 35 Dioramen: Wenn Außenräume mit Museumsräumen verschmelzen Noémie Étienne 45 Einrichten: Der Innenraum als Handlungsraum weiblicher Identität und Intimität Simone Neuhauser 53 Eremitage / Einsiedelei: (Innen-)Räume der Wildnis und Wüste am vormodernen Hof Christine Göttler 61 Fragmentierungen: Szenografische Prozesse der Dekonstruktion und Rekonstruktion Peter J. Schneemann 73 Gegen-Räume: Die utopische Dimension des Raums Bernd Nicolai 83 Gesamtkunstwerk: Parvenü-Kultur und Reformkonzepte des Interieurs Bernd Nicolai 93 Geschichtsräume / narrative Räume: Der zeitgenössische Period Room als Reflexionsmodell zu Konstruktion und Aneignung von Geschichte Peter J. Schneemann und Barbara Biedermann 107 Höhle / Welt: Weltabwendung und Welt-Bild-Stiftung Peter W. Marx 117 Kapelle: Der Sakralraum als Ort religiöser Subjektivierung Steffen Zierholz 127 Lichtraum: Die Inszenierung des Sakralen in der Moderne Sandra Bornemann-Quecke 139 INHaLtSVeRZeICHNIS 6 Membran: Die Welt zwischen Innen und Außen Bernd Nicolai 149 Mobile Räume – Mobile Bilder: Tapisserien als Medien der politischen Kommunikation Birgitt Borkopp-Restle und Jonas Leysieffer 161 Oikos: Vorgeschichte des bürgerlichen Interieurs Norberto Gramaccini 169 Passagen: Orte zum Verweilen Lilia Mironov 179 Puppenhaus: Das Interieur en miniature als kultureller Denkraum in der Frühen Neuzeit Ariane Koller 189 Realraum versus Illusionsraum: Neue Medien und die Rückkehr des realen Raumes Peter J. Schneemann und Barbara Biedermann 201 Repertoire / Fundus: Die Wechselwirkungen von Requisiten und Erinnerungen im Gegenwartstheater Sascha Förster 209 Scena: Die Potenziale von Performanz und Narrativität Peter W. Marx 219 Schwellenraum: Räumlich-zeitliche Übergänge in Herrscherinnenporträts Laura Windisch 229 Spiegelräume: Die Verbreitung reflektierender Gläser in frühneuzeitlichen Interieurs Marie Theres Stauffer 239 Terra incognita: Das Unbekannte zwischen Imagination und Empirie Ariane Koller 251 Unterwelt: Architekturen des Erdinnenraums zwischen Heterotypie, Dystopie und Utopie Christine Göttler und Tabea Schindler 263 Verortung und Transfer: Der Raum als geografisches Referenzsystem Peter J. Schneemann 277 Zeugen und Erzeugen: Chthonische Räume im Florenz der Medici Christine Göttler 285 Verzeichnis der Autorinnen und Autoren 296 Bildnachweise 300 INHaLtSVeRZeICHNIS 7 VORWORT Ilya Kabakov realisiert 1996 in den Hamburger Deichtorhallen die totale Installation Der Lesesaal (The Reading Room). Sie rekonstruiert die Wirklichkeit des sozialen Ortes einer Bibliothek in der russischen Provinz (abb. 1). Die Strategien Kabakovs demonstrieren den Zusammenhang zwischen dem Regelwerk eines Raumes und der in ihm stattfindenden gemeinschaftlichen tätigkeit. Die Wahrnehmung der an den Wänden hängenden Bilder ist nicht mehr zu trennen von institutionel- len Ritualen und anweisungen an Betrachterinnen und Betrachter zur Lektüre – Raum und soziale Handlung bedingen sich wechselseitig. In vergleichbarer Weise dokumentiert und inszeniert in den 1590er-Jahren die von Jan van der Straet in Florenz entworfene und in mehreren auflagen ina nt- werpen gedruckte Serie Nova Reperta »reale« Raumordnungen, in denen neues Wissen generiert wird (abb. 2). Bei einem Großteil der dargestellten architekturen handelt es sich um Werkstätten und Laboratorien, in denen Gruppen von Männern mit »neuen« Technologien experimentieren. Die fragmentarischen räumlichen Arrangements entsprechen nach Michel Foucault Heterotopien, lokalisierbaren Orten, die sich jedoch auf andere soziale und symbolische Räume beziehen, die starre trennung von Innen und außen unterlaufen und neue episteme in Bewegung setzen. Dies sind nur zwei Beispiele aus den vielen konkreten Lektüreübungen, mit denen sich eine interdisziplinäre Forschergruppe über sechs Jahre intensiv beschäftigt hat. Die vorliegende Publikation ist aus einem langjährigen, vom Schweizerischen Nationalfonds geförderten For- schungsprojekt hervorgegangen, das vom Institut für Kunstgeschichte der Universität Bern in Zusammenarbeit mit dem Institut für Medienkultur und theater der Universität Köln von 2012 bis 2016 durchgeführt wurde. Die siebenundzwanzig Beiträge von achtzehn autorinnen und Autoren legen innovative Deutungen komplexer Raumphänomene vor und beleuchten zentrale Fragestellungen, die gegenwärtig die Kunst-, Architekturgeschichte und Theaterwissenschaft beschäftigen. Die vorgelegten Reflexionen und Lektüren des Raumes negieren die Vorstellung einer linearen, alle Epochen umfassenden Chronologie. Die alphabetische Ordnung hebt denn auch den Gebrauchs- und Werkzeugcharakter des Bandes hervor, der weitere Überlegungen zu Räumen, Innenräumen und Lebenswelten anregen soll. VWOR ORT 9 1 Ilya Kabakov, The Reading Room, Installation, 1996, Deichtorhallen, Hamburg. Die versammelten »close readings« bilden einen Katalog von Schlüsselbegriffen und ver- stehen sich als experimentelle Annäherungen an unterschiedliche Positionen zu Raum und In- nenraum, die gängige Lese- und Lektüremuster durchbrechen; sie unterscheiden sich von sozio- logischen, literaturwissenschaftlichen und historischen Studien zum Raum durch die explizite Ausrichtung auf materielle, visuelle und affektive Dimensionen des Innenraums. Die Auseinan- dersetzung mit physischen, sozialen und diskursiven Räumen und Innenräumen eröffnet neue Möglichkeiten für die kunsthistorische und theaterwissenschaftliche arbeit. Der Fokus auf In- nenräume in ihrem performativen Potenzial verschiebt zudem die Aufmerksamkeit von festen, homogenen Raumvorstellungen auf sich überlagernde Wahrnehmungen des Raums als Kontext und gesellschaftliches Interface. Die hier versammelten Beiträge befassen sich mit unterschiedlichen entwürfen, Model- len, Konstruktionen und Kodierungen von Innenräumen in der Kunst und visuellen Kultur von der Frühen Neuzeit bis in die Gegenwart. ausgangspunkt ist ein heterogenes, dynamisches und relationales Verständnis des Innenraums, das die Vielfalt historischer, sozialer und medialer Kon- texte berücksichtigt. Untersucht werden reale, fiktionalisierte und virtuelle Innenräume, die Ima- gination, Inszenierung und Repräsentation von Innenräumen und Innenwelten auf der Bühne VWOR ORT 10 2 Unbekannter Künstler nach Jan van der Straet, »Distillatio«, aus Nova Reperta, um 1580–1605, Kupferstich, 20,4 × 26,8 cm, Rijksmuseum, amsterdam, Inv.-Nr. RP-P-1944-1037. oder in der Malerei, die Erzeugung von heterotopen, anagrammatischen und anachronen Raum- situationen. Es sollen Phänomene erschlossen werden, die so differente Räume wie Museen, Werkstätten, Bibliotheken, Flughäfen, durch Medien und Technologien geprägte Landschaften oder Lebenswelten thematisieren. Die engen Verflechtungen von natürlichen und sozialen Räumen wie auch deren generierendes, formierendes und transformierendes Potenzial ist Ge- genstand der Untersuchungen. Übergangs- und Grenzsphären (wie etwa Schwellen und Passa- gen) verweisen schließlich auf die Durchlässigkeit und instabile Unterscheidung von Innen und außen. Wir danken dem Schweizerischen Nationalfonds, der unsere gemeinsame Arbeit am In- nenraum während vier Jahren großzügig gefördert und auch die Publikation dieses Bandes fi- nanziert hat. Die von den sechs Forschergruppen organisierten Konferenzen, Symposien, Work- shops und Vortragsreihen haben uns einen fruchtbaren Austausch mit Kolleginnen und Kollegen über disziplinäre Grenzen hinweg ermöglicht, der die konzeptuelle und inhaltliche Orientierung der hier vorliegenden Beiträge nachhaltig geprägt hat. Unser Dank gilt Michèle Seehafer und etienne Wismer für die Hilfe beim erwerb der Bilder und Nutzungsrechte. tabea Schindler hat als ehemalige wissenschaftliche Assistentin und Koordinatorin des SNF Sinergia-Projekts »The Inte- VWOR ORT 11 rior: art, Space, and Performance (early Modern to Postmodern)« die Voraussetzungen für die Weiterentwicklung des Buches und nicht zuletzt eine rege Gesprächskultur geschaffen. Die Fertigstellung des Bandes wäre nicht möglich gewesen ohne die engagierte Beteiligung von Steffen Zierholz, der im Rahmen des Projekts promoviert hat und ab März 2016 als wissenschaft- licher assistent die Redaktion sowie zu einem Großteil auch das Lektorat der Beiträge übernahm. Seine kritischen
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