Was uns die knalligen Gefängnisse des Künstlers zu sagen haben
Praktisch und gut, und in seiner Schlichtheit beinahe magisch: Das Quadrat ist einer der wichtigsten Bausteine für die Pioniere der abstrakten Kunst des 20. Jahrhunderts. So diente es für Kasimir Malewitsch etwa – in Schwarz und Weiß – der Befreiung der Kunst von der „Schwere der Gegenstände“. Josef Albers machte es mit seinem berühmten Werkzyklus „Homage to the Square“ („Huldigung an das Quadrat“) zu seinem Markenzeichen und fand in der perfekten Form einen Raum für freies Spiel mit der Farbe. Universell, ewig und vollkommen: Das Quadrat wurde zu einem „quasi-religiösen Kultobjekt“, schreibt Guillermo Solana, der künstlerische Leiter des Museo Nacional Thyssen-Bornemisza, im Vorwort zum Ausstellungskatalog „Peter Halley en España“.
Und Peter Halley (New York, 1953), der nun mit einer Retrospektive im Casal Solleric geehrt wird, war es, der bei diesem Kult ausscherte und „um die Ecke dachte“. Im Grunde genommen ein Querdenker, bevor dieser Begriff im Zuge der Pandemie einen Beigeschmack bekam. Tatsächlich hat seine Kunst aber sogar einen Lockdown-Bezug: „Halley sah das Quadrat auf eine andere Weise: als Grundeinheit der Begrenzung, der räumlichen Isolation. Und dagegen rebellierte er mit einer respektlosen, ikonoklastischen Geste“, schreibt Solana.
Gefängnisse und fensterlose Zellen
Zur Erläuterung wählt er den folgenden Vergleich: So wie Marcel Duchamp einst einer Reproduktion der Mona Lisa einen Schnurrbart und Spitzbart verpasst hatte, malte Peter Halley vertikale Streifen ins Innere des Quadrats und verwandelte es somit in das vergitterte Fenster, das Gefängnis: seine erste Ikone. Dann nahm er sich das Quadrat erneut zur Brust, füllte es mit einer strukturierten Tupfung und schuf eine zweite Ikone: die fensterlose Zelle. In Halleys Gemälden werden diese beiden Ikonen durch Schächte und Schornsteine ergänzt, sodass eine schematische, klaustrophobische Architektur entsteht.
Das wirklich Radikale und Besondere dabei ist aber, dass der seit den frühen 1980ern aktive Künstler der Geometrie eine neue Bedeutungsebene gab, die darüber hinausgeht, auf konkrete und bekannte Formen anzuspielen: Seine Werke illustrieren die Strukturen, die unser Handeln in der heutigen Gesellschaft bestimmen. Halley wehrte sich stets gegen das Etikett „Abstrakte Kunst“. Vielmehr sollten seine Arbeiten auf diagrammatische Art und Weise die Steuerungsvorgänge des modernen Lebens repräsentieren: einer post-industriellen, elektronischen, digitalen und oft geometrisch geordneten Welt.
Gegen die "Geometrisierung" des Lebens
Für die klassischen Künstler der Abstraktion im 20. Jahrhundert verkörperte die Geometrie ein erstrebenswertes Ideal von Reinheit, Ordnung und Vernunft. Bei Halley hingegen bekommt sie etwas Dystopisches: Er betrachtet sie als Sprache der Unternehmens- und Verwaltungswelt, der Stadtplanung und der Telekommunikation. So prangert er in den Essays, von denen er zahlreiche im Laufe seiner Karriere schrieb, die „Geometrisierung“ unseres Lebens an.
Und das schon zu einer Zeit, die noch weitgehend analog funktionierte. Der Einzug neuer Technologien in unsere Lebensrealität, die von Isolierung und permanenter Vernetzung zugleich geprägt ist, findet bei Halley Niederschlag in einer fluoreszierenden Farbpalette, die die Energie von Bildschirmen heraufbeschwört. In seinen neueren Kompositionen durchbricht die freie, schwebende Bewegung der Elemente das Format der Leinwand. Solana schreibt: „In diesen shaped canvases, die einem Tanz von Quadraten und Rechtecken gleichen, befreit sich Halley auf wundersame Weise vom Quadrat als Gefängnis.“
Peter Halley (Mitte) mit Fernando Gómez de la Cuesta (li.) und Kulturstadtrat Javier Bonet. / Rathaus Palma
Erste Retrospektive in Spanien seit 1992
Seit Mitte der 1990er schuf der US-Amerikaner, dessen Arbeiten sich unter anderem im Museum of Modern Art, der Tate Gallery und der Sammlung des Guggenheim Museums befinden, auch ortsspezifische Installationen. Dieser Teil seiner Aktivität bleibt auf Wunsch des Künstlers aber bei der Ausstellung in Palma außen vor; sie befasst sich nur mit der Entwicklung seiner Malerei.
Halley wählte auch persönlich die 20 gezeigten Arbeiten aus, die im Zeitraum von 1985 bis 2024 entstanden. Sie stammen aus privaten und öffentlichen spanischen Sammlungen. Bei der Schau handelt es sich um die erste Retrospektive in Spanien seit 1992, und um eine Kooperation mit dem Museo Thyssen-Bornemisza in Madrid. Dort war sie bis zum 19. Januar vor der zweiten Station in Palma zu sehen.
„Peter Halley en España“, 22. März, 12 Uhr, bis 25. Mai, Casal Solleric, Passeig del Born, 27, Eintritt frei.
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der Kunst auf Mallorca","https://www.mallorcazeitung.es/kultur/kunst/2025/03/21/art-palma-brunch-programm-115508569.html",{"mainUrl":594,"epigraphUrl":-1,"redirectUrl":-1,"sourceUrl":-1},0,{"data":598,"type":379},"u003Cp class="ft-text">Und u003Cstrong>Peter Halley u003C/strong>(New York, 1953), der nun mit einer Retrospektive im Casal Solleric geehrt wird, war es, der bei diesem Kult ausscherte und „um die Ecke dachte“. Im Grunde genommen ein Querdenker, bevor dieser Begriff im Zuge der Pandemie einen Beigeschmack bekam. Tatsächlich hat seine Kunst aber sogar einen Lockdown-Bezug: „Halley u003Cstrong>sah das Quadrat auf eine andere Weise: als Grundeinheit der Begrenzung, der räumlichen Isolationu003C/strong>u003Cem>. u003C/em>Und dagegen rebellierte er mit einer respektlosen, ikonoklastischen Geste“, schreibt Solana.u003C/p>",{"data":600,"type":603},{"level":601,"text":602,"indent":-1,"align":-1},"h2","Gefängnisse und fensterlose Zellen","heading",{"data":605,"type":379},"u003Cp class="ft-text">Zur Erläuterung wählt er den folgenden Vergleich: So wie Marcel Duchamp einst einer Reproduktion der Mona Lisa einen Schnurrbart und Spitzbart verpasst hatte, malte Peter Halley u003Cstrong>vertikale Streifen ins Innere des Quadrats u003C/strong>und verwandelte es somit in das vergitterte Fenster, u003Cstrong>das Gefängnis:u003C/strong> seine erste Ikone. Dann nahm er sich das Quadrat erneut zur Brust, füllte es mit einer strukturierten Tupfung und schuf eine zweite Ikone: dieu003Cstrong> fensterlose Zelle. u003C/strong>In Halleys Gemälden werden diese beiden Ikonen durch Schächte und Schornsteine ergänzt, sodass eine schematische, klaustrophobische Architektur entsteht.u003C/p>",{"data":607,"type":379},"u003Cp class="ft-text">Das wirklich Radikale und Besondere dabei ist aber, dass der seit den frühen 1980ern aktive Künstler u003Cstrong>der Geometrie eine neue Bedeutungsebeneu003C/strong> gab, die darüber hinausgeht, auf konkrete und bekannte Formen anzuspielen: Seine Werke illustrieren die u003Cstrong>Strukturen, die unser Handeln in der heutigen Gesellschaft bestimmenu003C/strong>. Halley wehrte sich stets gegen das Etikett „Abstrakte Kunst“. Vielmehr sollten seine Arbeiten auf u003Cem>diagrammatischeu003C/em> Art und Weise die Steuerungsvorgänge des modernen Lebens repräsentieren: einer post-industriellen, elektronischen, digitalen und oft geometrisch geordneten Welt.u003C/p>",{"data":609,"type":603},{"level":601,"text":610,"indent":-1,"align":-1},"Gegen die "Geometrisierung" des Lebens",{"data":612,"type":379},"u003Cp class="ft-text">Für die klassischen Künstler der Abstraktion im 20. Jahrhundert verkörperte die Geometrie ein erstrebenswertes u003Cstrong>Ideal von Reinheit, Ordnung und Vernunftu003C/strong>. Bei Halley hingegen bekommt sie etwas Dystopisches: Er betrachtet sie als u003Cstrong>Sprache der Unternehmens- und Verwaltungsweltu003C/strong>, der Stadtplanung und der Telekommunikation. So prangert er in den Essays, von denen er zahlreiche im Laufe seiner Karriere schrieb, die „Geometrisierung“ unseres Lebens an.u003C/p>",{"data":614,"type":379},"u003Cp class="ft-text">Und das schon zu einer Zeit, die noch weitgehend analog funktionierte. Deru003Cstrong> Einzug neuer Technologienu003C/strong> in unsere Lebensrealität, die von Isolierung und permanenter Vernetzung zugleich geprägt ist, findet bei Halley Niederschlag in eineru003Cstrong> fluoreszierenden Farbpaletteu003C/strong>, die die Energie von Bildschirmen heraufbeschwört. In seinen neueren Kompositionen durchbricht die freie, schwebende Bewegung der Elemente das Format der Leinwand. Solana schreibt: „In diesenu003Cem> shaped canvasesu003C/em>, die einem Tanz von Quadraten und Rechtecken gleichen,u003Cstrong> befreit sich Halley auf wundersame Weise vom Quadrat als Gefängnisu003C/strong>.“u003C/p>",{"data":616,"type":397},{"photoView":617,"footer":-1,"author":-1,"imageSrc":-1,"id":693,"type":397,"preTitle":-1,"metas":618,"photoFooter":620,"signature":621,"shortPreTitle":-1,"alt":-1,"photoId":623,"description":-1,"shortDescription":-1,"shortTitle":-1,"published":6,"title":624,"photoClippings":625,"url":680,"body":-1,"shoppingInfo":-1,"bodyComponents":695},{"preTitle":-1,"metas":618,"photoFooter":620,"signature":621,"shortPreTitle":-1,"alt":-1,"photoId":623,"description":-1,"shortDescription":-1,"shortTitle":-1,"published":6,"title":624,"photoClippings":625,"url":680,"id":693,"type":397,"body":-1,"shoppingInfo":-1,"bodyComponents":694},{"metaKeywords":-1,"customMetas":619,"metaTitle":-1,"metaCanonicalURL":-1,"metaDescription":-1,"metaRobots":371},[],"u003Cp>Peter 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Dieser Teil seiner Aktivität bleibt auf Wunsch des Künstlers aber bei der Ausstellung in Palma außen vor; sie befasst sich nur mit der Entwicklung seiner Malerei.u003C/p>",{"data":702,"type":379},"u003Cp class="ft-text">Halley wählte auch persönlich die 20 gezeigten Arbeiten aus, die im u003Cstrong>Zeitraum von 1985 bis 2024u003C/strong> entstanden. Sie stammen aus privaten und öffentlichen spanischen Sammlungen. Bei der Schau handelt es sich um die erste Retrospektive in u003Ca class="ft-link ft-link--decoration" href="/tags/spanien/" target="_blank">Spanien u003C/a>seit 1992, und um eine Kooperation mit dem u003Cstrong>Museo Thyssen-Bornemisza in Madridu003C/strong>. Dort war sie bis zum 19. Januar vor der zweiten Station in Palma zu sehen.u003C/p>",{"data":704,"type":379},"u003Cp class="ft-text">u003Cem>„Peter Halley en España“, 22. März, 12 Uhr, bis 25. 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