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Stepping Into the Picture

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Stepping Into the Picture Stepping into the picture Notburga Karl Bildnachweise Abb. 1: Joan Jonas’ Vorbereitungsmappe zu The Shape, the Scent, the Feel of Things © Joan Jonas, Notburga Karl; Foto: Notburga Karl Abb. 2: Dynamische Bildtafeln © Notburga Karl; Foto: Notburga Karl Abb. 3, 4: The Shape, the Scent, the Feel of Things (Haus der Kulturen, Berlin, 2008) © Joan Jonas, Notburga Karl; Still: Notburga Karl Abb. 5: Joan Jonas’ Vorbereitungsmappe © Joan Jonas, Notburga Karl; Foto: Notburga Karl Anhang 9.2 © Joan Jonas, Notburga Karl; Videostandbilder der Dokumentation: Notburga Karl Dieses Werk ist als freie Onlineversion über das Forschungsinformationssystem (FIS; https://fis.uni-bamberg.de) der Universität Bamberg erreichbar. URN: urn:nbn:de:bvb:473-irb-496622 DOI: https://doi.org/10.20378/irb-49662 Inaugural-Dissertation in der Fakultät Geistes- und Kulturwissenschaften der Otto-Friedrich- Universität Bamberg unter dem Titel: Notburga Karl, Stepping into the Picture: Bild und Performance in Joan Jonas’ The Shape, the Scent, the Feel of Things (2005-12) Erstgutachter: Prof. Dr. Wolfgang Brassat (Kunstgeschichte) Zweitgutachterin: Prof. Dr. Andrea Sabisch (Kunstpädagogik) Datum der Abschlussprüfung: 09.07.2019 Danksagung Vielen Menschen möchte ich an dieser Stelle meinen Dank aussprechen, die im Hinter- grund auf ihre Weise zum Entstehen dieser Arbeit beitrugen, beginnend mit meiner Familie im weitesten Sinne und meinen FreundInnen, die mir immer wieder ihre Zeit, Zuversicht gaben, und ihren Humor. Ein besonders herzlicher Dank gilt dabei Christian Krug, den ich immer an meiner Seite wusste. Von meinen nachsichtigen KollegInnen seien besonders Doris Eggenhofer, Frithjof Grell und Jörg Wolstein erwähnt. Ein besonderer Dank gilt meinem Doktorvater Wolfgang Brassat, der mir stets mit Rat und Tat zur Seite stand, sowie meiner Zweitbetreuerin Andrea Sabisch, die mich zu einem wis- senschaftlichen Denken ohne Geländer anspornte, Karl Josef Pazzini, Heribert Sturm, Jan- nis Kounellis, Johan Grimonprez, Thommy Lanigan Schmidt, Alexandre Singh, die mir nebenbei die Augen öffneten; Evelyn May, Bernadett Settele, Nadia Bader, Stefanie Johns, Catharina Jochum, Katja Hoffmann, Lucas Sonnemann, Nina Rippel, Anna Stern, Susanne Schittler, Katja Böhme, Barbara Vollmer, Lea Gebhardt, Anja Ciupka, Manuel Zahn, Iris Nentwig-Gesemann, Karl Schawelka, Ana Raabe, Susanne Liebmann-Wurmer, Birgit En- gel, Marie-Luise Lange, Matthias Warstat, Michael Hakimi, Johannes Bilstein, Kristin West- phal, Iris Hermann, Sibylle Rahm, Juliane Engel und die vielen anderen für die bereichern- den Diskussionen in den verschiedenen Kolloquien und Anlässen in Loccum, Hamburg, Bamberg, Berlin, Nürnberg und Unsleben; Britta Rekemeyer für ihren besonderen Support; Petra Kathke, Ruth Kunz, Tobias Loemke, Simona Lotti, Klara Hobza, Stefanie Trojan, Thomas Trinkl, Charlotte Desaga, Jochen Flinzer und Birgit Szepanski als unermüdliche und nachdenkliche GesprächspartnerInnen sowieso, und besonders auf den Spuren von Jonas in Venedig, New York, Stuttgart, Berlin, London und Mailand; Judy Tuwaletstiwa, die uns auf dem Field Trip zu den Hopi beherbergte, sowie Rita McBride, die mich über- haupt zu Joan Jonas führte; Martin Schulz, Pablo Schneider, Thomas Hensel und Claudia Wedepohl mit ihren konkreten Hinweisen zu Aby Warburg; Valerie Smith, Pia Lindmann, Ragani Haas und David Dempewolf für ihre geteilten Erfahrungen im Kontext der Perfor- mance, Matthias Mäuser, Barbara Kahle und die Londoner Galeristin von Joan Jonas, Amanda Wilkinson, für die Ermöglichung der Sonderausstellung im Naturkundemuseum Bamberg; und nicht zuletzt meinen Studierenden, die sich auf meine experimentellen Set- tings und Fragen im Kontext meiner Dissertation immer wieder offen und ehrlich einlie- ßen. Für ihre Großzügigkeit und Inspiration möchte ich Joan Jonas selbst danken. Meinem Vater Inhaltsverzeichnis 1. Einleitung ...................................................................................................................................... 1 2. Joan Jonas und ihre Performancekunst .................................................................................. 17 2.1 Jonas’ Lebens- und Kunstperformances ......................................................................... 17 2.2 Joan Jonas’ Performance-Kunst: Ein Werküberblick .................................................... 39 2.2.1 Phänomenologie und Wahrnehmung (1968-72) ..................................................... 41 2.2.2 Subjekt und Medium (1972-6) ................................................................................... 55 2.2.3 Bild und Text (1976-2001) .......................................................................................... 61 2.2.4 Bildimmersionen (ab ca. 2001 bis heute) ................................................................. 63 2.2.5 Querliegendes, Erweiterungen und Supplemente ................................................... 66 2.3 Öffentliche und kunstwissenschaftliche Rezeption: Probleme und Chancen ........... 74 2.4 Statt einer Performancegeschichte ................................................................................... 85 3. The Shape, the Scent, the Feel of Things ...................................................................................... 103 3.1 Performative Text-Palimpseste ...................................................................................... 105 3.2 ‚Bewegtes Beiwerk‘ und kulturelle Aneignungen ........................................................ 114 4. Bildtheorien und Jonas’ ‚Visual Vocabulary‘ ...................................................................... 121 4.1 Bildhafte Performances, performierende Bilder .......................................................... 122 4.2 Analytische Bildtheorien ................................................................................................. 129 4.3 Historische Bildtheorien ................................................................................................. 151 4.4 Jonas’ ‚Visual Vocabulary‘ ............................................................................................... 167 5. Bildkonzepte und Bildformen in The Shape, the Scent, the Feel of Things ........................... 177 5.1 „The Opening Scene“ ...................................................................................................... 177 5.2 „Healing Ritual“ (Szene 3) .............................................................................................. 193 5.2.1 Figur/Grund und Image/Tableau ......................................................................... 194 5.2.2 Raumsubjekte, Raumrelationen, Raumhandeln ................................................... 208 5.3 „Melancholia“ (Szene 5) .................................................................................................. 215 5.4 „The Library“ (Szene 13) ................................................................................................ 229 6. Affizierte Subjekte und Aspektwechsel ............................................................................... 261 6.1 Subjektpositionen ............................................................................................................. 268 6.2 Bildübergänge und Subjektübergänge ........................................................................... 277 6.3 Affektdramaturgie und Aspektwechsel ......................................................................... 283 6.3.1 Affektdramaturgie in Szene 9-11 ............................................................................ 284 6.3.2 Aspektwechsel ........................................................................................................... 291 7. Schlussbetrachtungen: ‚Poiesis der Bilderfahrung‘ ............................................................ 303 8. Literaturverzeichnis ................................................................................................................ 325 8.1 Ausstellungskataloge ........................................................................................................ 325 8.1.1 Joan Jonas .................................................................................................................. 325 8.1.2 Andere Künstler ........................................................................................................ 326 8.2 Interviews .......................................................................................................................... 327 8.3 Studien ............................................................................................................................... 329 9. Anhänge ................................................................................................................................... 359 9.1 The Shape, the Scent, the Feel of Things: Kommentiertes Performance-Script .............. 359 9.2 Die Choreographie der Szenenübergänge .................................................................... 395 1. Einleitung There is an emotion in the image that cannot be translated. The image contains it. (Joan Jonas)1 Diese Studie möchte einen neuen Zugang zum Performance-Werk von Joan Jonas eröff- nen, indem sie ihr Schlüsselwerk The Shape the Scent, the Feel of Things (2005-12) exemplarisch in den Mittelpunkt stellt. Jonas hat sich zwar bereits in den späten 1960er Jahren als Pio- nierin von Video- und Performancekunst einen Namen gemacht, sie schaffte es allerdings erst im Nachgang ihrer documenta-Beteiligung 2002 ins Bewusstsein
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