Die Kunst Der Anderen: „Weltkunst“ Und Die Anthropologische Konfiguration Der Moderne

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Die Kunst Der Anderen: „Weltkunst“ Und Die Anthropologische Konfiguration Der Moderne SUSANNE LEEB DIE KUNST DER ANDEREN: „WELTKUNST“ UND DIE ANTHROPOLOGISCHE KONFIGURATION DER MODERNE Inaugural-Dissertation zur Erlangung der Doktorgrades an der Kulturwissenschaftlichen Fakultät der Europa-Universität Viadrina Frankfurt/Oder Datum der Disputation 15. Mai 2007 2013 1. Gutachter: Prof. Dr. Anselm Haverkamp, Europa-Universität Viadrina Frankfurt an der Oder, Lehr- stuhl Westeuropäische Literaturen 2. Gutachterin: Prof. Dr. Beate Söntgen, Ruhr-Universität Bochum, Kunsthistorisches Institut DANKSAGUNG Ich möchte mich hiermit bei all jenen bedanken, die diese Arbeit in ihren diversen Stadien be- gleitet haben: allen voran Anselm Haverkamp, nicht nur für die vielen produktiven Kommenta- re, sondern auch für seine Geduld und das stets ermunternde Zutrauen in die eigene Arbeit, das meist größer war als das eigene. Mein Dank gilt auch Beate Söntgen, die sich gern bereit erklärt hat, diese Arbeit als Zweitgutachterin zu betreuen. Ein Stipendium im Rahmen des Graduier- tenkollegs „Repräsentation – Rhetorik – Wissen“ an der Europa-Universität Viadrina hat diese Arbeit ermöglicht. Klaus Krüger möchte ich danken für den letzten Schubs zur Einreichung. Mein großer Dank gilt auch Karin und Friedrich Leeb, die mein Studium ermöglicht und groß- zügig unterstützt haben. Ihnen sei diese Arbeit gewidmet. Viele Freundinnen und Freunde wa- ren involviert, die die Arbeit gelesen, kommentiert, korrigiert, mit mir diskutiert oder mich ein- fach nur immer wieder moralisch unterstützt haben: Sabeth Buchmann, Marcus Coelen, Helmut Draxler, Karin Gludovatz, Birgit M. Kaiser, Ralf Eckschmidt, Clemens Krümmel, Marion von Osten, Kathrin Peters, Kathrin Thiele und Mirjam Thomann. Euch allen allerallerherzlichsten Dank! 2 INHALTSVERZEICHNIS 0. DIE ANTHROPOLOGISCHE KONFIGURATION DER MODERNE – EINLEITUNG 5 0.1 FRAGESTELLUNG 5 0.2 ASPEKTE DER ANTHROPOLOGISCHEN KONFIGURATION 11 0.2.1 URSPRUNGSSUCHE 11 0.2.2 KULTURANTHROPOLOGIE, ANTHROPOBIOLOGIE 15 0.2.3 MODERNITÄT DES PRÄMODERNEN 18 0.2.4 PRIMITIVISMUS 22 0.2.5 ANTHROPOLGICAL TURN 24 0.3 KAPITELÜBERSICHT 26 I. DIE BAUKUNST DER TIERE – HUMANISTISCHE TELEOLOGIE 30 I.1 DIE ANTHROPOLOGISCHE DIFFERENZ 30 I.2 TRIEB UND KUNST – REIMARUS, HERDER, SCHILLER, FREUD 33 I.2.1 KUNSTTRIEB 35 I.2.2 SPIELTRIEB 42 I.2.3 SUBLIMIERUNG 44 I.3 MANGELWESEN – HERDER, SCHILLER 47 II. DIE KUNST DER NATURVÖLKER – ENTWICKLUNG UND ALLOCHRONIE 56 II.1 EINHEIT UND ANFANG – WOERMANN 57 II.2 JÄGERKULTUR UND DASEINSKAMPF – GROSSE, GROOS 63 II.3 SCALA NATURAE 72 II.4 HUMANISTISCHE TELEOLOGIE, RELATIONALE ONTOLOGIE, PRAGMATISMUS 84 III. DIE ORNAMENTE AUS DER SÜDSEEE – ZUR (UN-)REINHEIT DER MODERNEN KLASSIK 92 III.1 EPISTEMOLOGIE UND KOSMOLOGIE DES ORNAMENTS 95 III.2 DIE ORNAMENTE DER MAORI – SEMPER 100 III.2.1 KULTURANTHROPOLOGIE DER POLYCHROMIE 101 III.2.2 SÜDSEEAPOLL 112 III.2.3 SYMBOLISCHE ANDEUTUNG UND NACHLEBEN 119 III.2.4 ORNAMENT UND DEMOKRATIE 125 III.2.5 KOSMOS UND NATURRHYTHMUS DER PRODUKTION 128 III.3 TÄTOWIERUNG UND SEXUALITÄT – LOOS 132 VI. DIE ARCHAIK DER MODERNE – INTERNALISIERUNGEN 141 VI.1 URERFAHRUNG – WARBURG 141 IV.2. MATERIELLE KULTUR – DIE ZEITSCHRIFT DOCUMENTS, BATAILLE, EINSTEIN 150 V. DER STIL DER WELT – WELTKUNST DURCH KULTURVERGLEICH 170 V.1 STIL ALS WAHRNEHMUNGSPSYCHOLOGISCHE KATEGORIE 170 V.2 FORM UND HALLUZINATION – BLOSSFELDT, EINSTEIN 174 V.2.1 UNIVERSALMETAPHER SCHACHTELHALM 175 V.2.2 VISUELLER WARENFETISCH UND ANARCHIE DER VERGLEICHBARKEIT 179 V.3 STILPSYCHOLOGIE 185 V.3.1 STIL UND VÖLKERPSYCHOLOGIE – RIEGL 185 V.3.2 ANGST UND ARS UNA – WORRINGER 197 V.4 STILPOLITIK – LAMPRECHT 203 V.5 STILGEMEINSCHAFTEN 214 V.5.1 WELT-KUNST-GEMEINSCHAFT – BEYER 215 V.5.2 STILSCHICKSAL – HAUSENSTEIN 218 VI. DIE MALEREI DER TROGLODYTEN – URMENSCHHEIT UND SPÄTKULTUR 227 VI.1 EISZEIT STATT AFRIKA – GERMANISIERUNG DER HÖHLE 229 VI.2 DIE KUNST DER INDOGERMANEN – STRZYGOWSKI 239 VI.3 DIE TROGLODYTEN DER 1950ER JAHRE – BAUMEISTER 244 VI.4 PRÄHISTORIE ALS POSTHISTOIRE – GEHLEN 259 VI.5 PRÄHISTORIE UND DER NEUE MENSCH 268 VI.5.1 URKOMMUNISMUS – FISCHER 269 VI.5.2 AGON UND GESCHICHTSMÄCHTIGKEIT – RAPHAEL 271 VII. WELTKUNST UND GLOBAL ART HISTORY 274 BIBLIOGRAPHIE 284 4 0. DIE ANTHROPOLOGISCHE KONFIGURATION DER MODERNE – EINLEITUNG 0.1 FRAGESTELLUNG Ab Mitte des 19. Jahrhunderts erweiterte die sich formierende akademische Kunstge- schichtsschreibung ihr Gegenstandsfeld in einem Maße, wie es erst derzeit wieder im Zuge der Global oder World Art History und transnationalen Kunstgeschichtsschrei- bung geschieht. Es entstand der Anspruch, die Kunst aller Völker und Zeiten in die Kunstgeschichtsschreibung zu integrieren – und dies bedeutete, Artefakte aus dem Paläolithikum über die Künste der damals sogenannten und immer außereuropäisch gedachten „Naturvölker“ bis hin zu moderner Kunst zu berücksichtigen. Gerade die nichteuropäischen Künste erhielten dabei einen besonderen epistemologischen Stel- lenwert. Gottfried Semper plausibilisierte seine Ornamentauffassung anhand polyne- sischer Tätowierungen, Alois Riegl stützte seinen Stilbegriff auf sein Studium von Textilien aus Neuseeland, Carl Einstein entwickelte seine formalistische Kunsttheo- rie anhand der damals noch sogenannten „Negerplastik“, Aby Warburg entwarf seine Theorie des Nachlebens der Antike und seine Konzeption des Bildes als zwischen Religion und Kunstausübung stehend, nachdem er das Schlangenritual der Pueblos kennengelernt hatte, und nicht zuletzt basierte Willi Baumeisters Theorie des Unbe- kannten der Kunst auf archaischen Kulturen: von Felsmalereien aus dem libyschen Fessan bis hin zu den ersten Schrifteinkerbungen aus Uruk im heutigen Irak. Die Arbeit untersteht der „anthropologischen Konfiguration“1 der Moderne. Mi- chel Foucault stellt fest, dass die „Anthropologie als Analytik des Menschen [...] mit Sicherheit eine konstitutive Rolle im modernen Denken gespielt [hat], weil wir zu einem guten Teil uns noch nicht davon gelöst haben.“ Er begründet ihr Entstehen damit, dass die „Repräsentation die Kraft verloren hatte, für sich allein und in einer einzigen Bewegung das Spiel ihrer Synthesen und Analysen zu bestimmen.“ Und weiter: „Diese empirischen Synthesen mußten woanders als in der Souveränität des ‚Ich denke‘ gesichert werden. Sie mußten dort gesucht werden, wo genau jene Sou- veränität ihre Grenze findet, das heißt: in der Endlichkeit des Menschen, die ebenso- wohl die des Bewußtseins wie die des lebenden, sprechenden und arbeitenden Indi- 1 Michel Foucault, Die Ordnung der Dinge. Eine Archäologie der Humanwissenschaften, Frankfurt am Main 1991 (Orig. Les mots et les choses, 1966), S. 411. 5 viduums ist. [...] Jede empirische Erkenntnis, vorausgesetzt, daß sie den Menschen betrifft, gilt als mögliches philosophisches Feld, in dem sich die Grundlagen der Er- kenntnis, die Definition ihrer Grenzen und schließlich die Wahrheit jeder Wahrheit enthüllen muß.“2 Im Anschluss an Foucault von einer anthropologischen Konfiguration der Mo- derne in Bezug auf die Kunstgeschichtsschreibung zu sprechen, begründet sich darin, dass es hier ebenfalls um empirische Erkenntnisse geht, die die Grenzen der Kunst und ihres Wesens bestimmen – und zwar als Gattungsmerkmal des Menschen. Erst im Zuge der anthropologischen Konfiguration hat sich ein breites und grundlegendes Interesse an den „ersten“ und „primitiven“ Artefakten anderer Kulturen entwickelt. Insofern diese Konfiguration von der Grundunterscheidung Mensch/Tier strukturiert ist, wird ausgehend davon untersucht, welche Kunstbegriffe sich in ihrer Folge aus- bilden und was dies für nichteuropäische Künste bedeutet. Erst als anthropologisch relevante Artefakte gerieten die Künste anderer Kulturen in den Blick, die zuvor kaum Thema waren. Der Akzent liegt dabei auf einer deutschsprachigen Kunstge- schichte, Kunstwissenschaft und Kunsttheorie, die weitgehend von einem antiklassi- schen Impuls getragen war und sich daher auf nichteuropäische Künste stützte. Im Anschluss an Mark Rölli versteht sich die folgende Arbeit als „Kritik der an- thropologischen Vernunft“, bzw. hier des kunstanthropologischen Denkens.3 Es wer- den einerseits die epistemologischen Vorannahmen untersucht, unter denen die Re- zeption und Integration nichteuropäischer Kulturen möglich wurde. Andererseits werden die Ungleichheitsverhältnisse und Ausschlüsse, die diese epistemologischen Vorannahmen produzierten, in den Blick genommen. Auf diese Weise kann gezeigt werden, welche Kunstbegriffe von dieser anthropologischen Konfiguration zehren, an der bereits von Friedrich Nietzsche, Martin Heidegger oder Foucault und an- schließend vor allem seitens der Postcolonial Studies umfassend Kritik geübt wurde. Auch die Dichotomie „europäisch/nichteuropäisch“, die längste Zeit die Kunstge- schichtsschreibung organisierte, ist historisch zu sehen, während heute unter Auflö- sung der ehemaligen Kunstgeographien zunehmend von entangled histories, von transnationalen Verflechtungen und spezifischer Ungleichheitsverhältnisse ausge- gangen wird – im Unterschied zu einer Global Art History, von der noch die Rede sein wird. Die Ausbildung moderner Kunstbegrifflichkeiten ist im Hinblick auf ihr Verhält- nis zu außereuropäischen Künsten von einer Doppelbewegung gekennzeichnet: Im Zeitraum ab dem frühen 19. bis Mitte des 20. Jahrhundert/s trifft man auf zahlreiche 2 Ebd., S. 410 und S. 411. 3 Vgl. Mark Rölli, Kritik der anthropologischen Vernunft, Berlin 2011. 6 Kunsttheorien und Kunstgeschichtsschreibungen, die zur Formulierung ihrer Kunst- begriffe auf die Kunst außereuropäischer Kulturen zurückgreifen, um diese im glei- chen Zug aber an den Rand der Künste, in den Status
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