Suppr超能文献

[希腊的艺术表达与精神病学:突出亮点(1950 - 2011)]

[Artistic expression and Psychiatry in Greece: Prominence highlights (1950-2011)].

作者信息

Rossiou E, Orologas A

机构信息

Department of History of Art, School of History and Archaeology, Faculty of Philosophy, Aristotle University of Thessaloniki.

First Department of Neurology, School of Medicine, Faculty of Health Sciences, Aristotle University of Thessaloniki, Thessaloniki, Greece.

出版信息

Psychiatriki. 2018 Oct-Dec;29(4):349-358. doi: 10.22365/jpsych.2018.294.349.

Abstract

The art of the confined began to be studied by psychiatrists in the late 19th century for diagnostic purposes, while the first studies of aesthetic interest were found in the first decades of the 20th century, when psychiatrists as the Swiss W. Morgenthaler and the Austrian H. Prinzhorn published studies on mentally ill artworks, having mainly aesthetic approach. The artworks of the mentally ill belong to the field of Art found in the international literature by the term of Art Brut. The term "Brut" was introduced in 1945 by J. Dubuffet to describe the production of art by authors who were not taught academic art, did not belong to any artistic movement and were indifferent to a potential identification with the viewer or the collector. This French painter and sculptor named Art Brut the founded movement, whose main field was the works of mental patients. Dubuffet was particularly affected, in terms of artistic expression, like so many other creators of expressionism and surrealism, by the art of the mentally ill. Regarding the Greek scene, the relationship between our country and this category of Art began in 1950, at the Psychiatric Hospital of Attica "Dromokaitio", when Professor G. Pampoukis and Dr N. Drakoulidis sent patients' works to the Exposition Internationale d' Art Psychopathologique ( International Exhibition of Psychopathological Art) held in Paris that year. By the late 1980's, only occupational therapy projects existed. The first major artist appearance with a mental disorder is that of O.K. with his participation in the 2nd Biennale of Young Artists of the Mediterranean, in 1987. The year 1994 was a very important one in terms of art production of the mentally ill, as the Cultural Communication Unit (CCU) of the Psychiatric Hospital of Thessaloniki (P.H.T.) was founded, which aim was to produce original works that recorded the psychic reality of the patients and did not recreate other artists' projects. Regarding the promotion of this art, of great significance are the three Panhellenic Exhibitions held in 1996, 1997 and 2001, the last under the auspices of the Greek Psychiatric Association, which brought together the patient-artists' projects of various institutions of our country with the general public, receiving very positive feedback from both the press and the critics. Worth mentioning is also the honorary discrimination of two patient-artists who cooperated with the CCU, D.Z. and A.V., in EUWARD 2004 and 2007 of the German Foundation Augustinum, and also of G.M., who was awarded the first prize at the competition of "Very Special Art" in USA. Two other important moments of the effort of projecting the relationship between Art and Psychiatry were first in 2004 with the exhibition On The Other Bank, as part of the Cultural Olympiad, and the other in 2005 at the Christian and Byzantine Museum of Athens, where the exhibition Art against Stigma, organized by the World Psychiatric Association, the Greek Psychiatric Association and a privately held pharmaceutical company took place. Finally in 2011, again under the auspices of the Greek Psychiatric Association, works of the famous Prinzhorn Collection were exhibited both in Athens and Thessaloniki. In this way the public, once again, came into contact with works in which fears, insecurities and demons within the soul of every patientartist were imprinted, these projects serving not only as clinical evidence but also as creations of unquestionable artistic value.

摘要

19世纪后期,精神病医生开始研究封闭环境中的艺术,用于诊断目的。而对其美学意义的首次研究则出现在20世纪的头几十年,当时瑞士的W. 莫根塔勒和奥地利的H. 普林茨霍恩等精神病医生发表了关于精神疾病患者艺术作品的研究,主要采用美学方法。精神疾病患者的艺术作品属于国际文献中以“原生艺术”(Art Brut)一词指代的艺术领域。“原生”一词由J. 迪比费于1945年引入,用于描述未接受过学术艺术教育、不属于任何艺术运动且对与观众或收藏家的潜在认同漠不关心的作者所创作的艺术作品。这位法国画家兼雕塑家将这一创作活动命名为原生艺术,其主要领域是精神疾病患者的作品。和许多表现主义及超现实主义的创作者一样,迪比费在艺术表达方面深受精神疾病患者艺术的影响。在希腊,我国与这类艺术的关联始于1950年,在阿提卡的“德罗莫凯蒂奥”精神病院,当时G. 潘普基斯教授和N. 德拉库利迪斯医生将患者的作品送去参加当年在巴黎举办的国际精神病理艺术展。到20世纪80年代末,仅有职业治疗项目。第一位患有精神疾病的重要艺术家是O.K.,他于1987年参加了第二届地中海青年艺术家双年展。1994年对于精神疾病患者的艺术创作而言是非常重要的一年,因为塞萨洛尼基精神病院(P.H.T.)的文化交流单元(CCU)成立了,其目的是创作记录患者心理现实的原创作品,而非重现其他艺术家的项目。在推广这类艺术方面,1996年、1997年和2001年举办的三场泛希腊展览意义重大,最后一场展览由希腊精神病学协会主办,该展览将我国各机构的患者艺术家项目与公众汇聚一堂,获得了媒体和评论家的积极反馈。还值得一提的是,与CCU合作的两位患者艺术家D.Z. 和A.V. 在德国奥古斯丁基金会2004年和2007年的EUWARD活动中受到荣誉表彰,以及G.M.在美国“非常特别艺术”竞赛中荣获一等奖。在展现艺术与精神病学关系的努力中,另外两个重要时刻,一是2004年作为文化奥林匹克一部分举办的《在彼岸》展览,另一个是2005年在雅典的基督教和拜占庭博物馆举办的由世界精神病学协会、希腊精神病学协会和一家私人制药公司组织的《艺术对抗污名》展览。最后在2011年,同样在希腊精神病学协会的支持下,著名的普林茨霍恩收藏作品在雅典和塞萨洛尼基展出。通过这种方式,公众再次接触到了那些铭刻着每位患者艺术家内心恐惧、不安和心魔的作品,这些作品不仅是临床证据,也是具有无可置疑艺术价值的创作。

文献AI研究员

20分钟写一篇综述,助力文献阅读效率提升50倍。

立即体验

用中文搜PubMed

大模型驱动的PubMed中文搜索引擎

马上搜索

文档翻译

学术文献翻译模型,支持多种主流文档格式。

立即体验