OUTSIDER ART

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Art Brut

PRICIPE MISKIN

Questa mostra ha lo scopo di porre poche domande ma significative, su cio che significa:
artista, arte, linguaggio, e cultura.
Diciamo che vuole mettere in discussione i valori di riferimento su cui si regge l`arte oggi.
Ho voluto intitolare cosi la mostra , per dare un chiaro riferimento al personaggio
principale del libro L`Idiota di Fjodor Dostojewskis .
Un libro che toglie le maschere per mettere in luce l`anima delle persone, grazie alla figura del Principe Myschkin .
Nell`arte, molti rimangono attratti davanti a un opera come se fosse una perla, e nella contemplazione si dimenticano che, per l`ostrica la perla e´ una malattia.
Questo non e´ successo solo in casi sporadici, ma e´avvenuto spesso , con maggiore o minore intensita´in pittura, musica,
letteratura, ecc…
In questi anni in contatto con disabili e persone con problemi psichici, ho cercato di creare la giusta armonia per riuscire a instaurare un percorso creativo. cosi il frutto di questa mostra e´ una parte dei loro lavori , di cui mi sono innamorato.
Sono lavori che colpiscono per la loro forza espressiva, la liberta', e il linguaggio. Questa mostra vuole mettere in discussione chi fa arte, sul senso del fare arte oggi, in un mondo dove molto spesso quello che conta e´la soddisfazione del proprio ego personale attraverso un prodotto di consumo o peggio ancora una provocazione.
Io rimango una di quelle persone che in un lavoro cerca l´anima , io cerco come l´ostrica ha lavorato la propria malattia puntando alla perfezione "LA PERLA ", ossia superando i propri limiti.
Questa mostra la dedico:
agli artisti con cui ho lavorato in questi anni
a chi ha paura dell´irrazionalita´
a tutti gli artisti nati sotto il segno di saturno

Fürst Myschkin

FÜRST MYSCHKIN

Ziel dieser Ausstellung ist es, sich wenige bedeutsame
Fragen zu den Themen Künstler, Kunst, Ausdrucksweise und Kultur von heute zu
stellen. Anders gesagt möchte sie die Werte, auf die sich die heutige Kunst
stützt, hinterfragen.

Der Titel der Ausstellung wurde gewählt, um einen klaren
Bezug zu Fürst Myschkin, dem Hauptcharakter aus Fjodor Dostojewskis Buch „Der
Idiot“ herzustellen: Diese Figur schafft es mit Hilfe seiner Persönlichkeit,
die Masken der Anderen abzunehmen und so das Innerste der Personen zum
Vorschein zu bringen.

In der Kunst fühlen sich viele von einem Kunstwerk angezogen
als wäre es eine Perle. Beim Betrachten wird dann meist vergessen, dass die
Perle für die Auster ein Krankheitssymptom darstellt. Dies passiert oft, mit
unterschiedlicher Intensität, in Malerei, Musik, Literatur, etc..

Im Kontakt mit Menschen mit Behinderung und psychischen
Problemen versuchte ich mit Hilfe einer förderlichen Atmosphäre einen kreativen
Prozess in Gang zu setzen. Ein Teil dieser Ausstellung setzt sich aus den
Ergebnissen dieses Prozesses zusammen, in die ich mich verliebt habe: Es
handelt sich dabei um Arbeiten, die durch ihre Ausdruckskraft, Ausdrucksweise
und strukturlose Freiheit berühren.

Diese Ausstellung möchte sich kritisch mit dem Thema des KünstlerInnenseins
und dessen Sinn auseinandersetzen, eingebettet in eine Welt in der meist nur
die Befriedigung des eigenen Egos über ein Konsumprodukt, oder, schlimmer noch,
über Provokation, wertvoll erscheint.

Ich zähle mich zu jenen Personen, die die Seele eines Werkes
suchen, indem ich mich an die Auster erinnere, die ihre eigene Krankheit zur
Perfektion erhoben, das heißt, ihre eigenen Grenzen überwunden hat.

Ich widme diese Ausstellung

jenen KünstlerInnen, mit denen ich in diesen Jahren
zusammengearbeitet habe, ( Bernhard, Dagmar, Norbert )

jenen, die Angst vor Irrationalität verspüren und

allen KünstlerInnen, die, in Anlehnung an das gleichnamige
Buch, im Zeichen des Saturns geboren sind.

Outsider art

Outsider art

Adolf Wölfli's Irren-Anstalt Band-Hain, 1910

The term outsider art was coined by art critic Roger Cardinal in 1972 as an English synonym for art brut (French: "raw art" or “rough art”), a label created by French artist Jean Dubuffet to describe art created outside the boundaries of official culture; Dubuffet focused particularly on art by those on the outside of the established art scene, using as examples psychiatric hospital patients and children.

While Dubuffet's term is quite specific, the English term "outsider art" is often applied more broadly, to include certain self-taught or naïve art makers who were never institutionalized. Typically, those labeled as outsider artists have little or no contact with the mainstream art world or art institutions. In many cases, their work is discovered only after their deaths. Often, outsider art illustrates extreme mental states, unconventional ideas, or elaborate fantasy worlds.

Outsider art has emerged as a successful art marketing category; an annual Outsider Art Fair[3] has taken place in New York since 1993, and there are at least two regularly published journals dedicated to the subject. The term is sometimes misapplied as a catch-all marketing label for art created by people who are outside the mainstream "art world" or "art gallery system", regardless of their circumstances or the content of their work.

Art of the mentally ill

Main article: Creativity and mental illness

Interest in the art of the mentally ill, along with that of children and the makers of "peasant art", was first demonstrated by "Der Blaue Reiter" group: Wassily Kandinsky, Auguste Macke, Franz Marc, Alexej Jawlensky, and others. What the artists perceived in the work of these groups was an expressive power born of their perceived lack of sophistication. Examples of this were reproduced in 1912 in the first and only issue of their publication, Der Blaue Reiter Almanac. During World War I, Macke was killed at Champagne in 1914 and Marc was killed at Verdun in 1916; the gap left by these deaths was to some extent filled by Paul Klee, who continued to draw inspiration from these 'primitives'.

Interest in the art of insane asylum inmates continued to grow in the 1920s. In 1921, Dr. Walter Morgenthaler published his book Ein Geisteskranker als Künstler (A Psychiatric Patient as Artist) about Adolf Wölfli, a psychotic mental patient in his care. Wölfli had spontaneously taken up drawing, and this activity seemed to calm him. His most outstanding work was an illustrated epic of 45 volumes in which he narrated his own imaginary life story. With 25,000 pages, 1,600 illustrations, and 1,500 collages, it is a monumental work. Wölfli also produced a large number of smaller works, some of which were sold or given as gifts. His work is on display at the Adolf Wölfli Foundation in the Museum of Fine Art, Bern.

A defining moment was the publication of Bildnerei der Geisteskranken (Artistry of the mentally ill) in 1922, by Dr. Hans Prinzhorn. This was the first formal study of psychiatric works, based upon a compilation of thousands of examples from European institutions. The book and the art collection gained much attention from avant-garde artists of the time, including Paul Klee, Max Ernst, and Jean Dubuffet.

People with some formal artistic training as well as well-established artists are not immune from mental illness, and may also be institutionalized. For example, William Kurelek, later awarded the Order of Canada for his artistic life work, as a young man was admitted to the Maudsley Psychiatric Hospital where he was treated for schizophrenia.[6] In hospital he painted, producing The Maze, a dark depiction of his tortured youth.[7] He was transferred from the Maudsley to Netherne Hospital from November 1953 to January 1955, to work with Edward Adamson (1911–1996), a pioneer of art therapy, and creator of the Adamson Collection.

Jean Dubuffet and art brut

View inside the Collection de l'art brut museum, Lausanne.

French artist Jean Dubuffet was particularly struck by Bildnerei der Geisteskranken and began his own collection of such art, which he called art brut or raw art. In 1948 he formed the Compagnie de l'Art Brut along with other artists, including André Breton. The collection he established became known as the Collection de l'art brut. It contains thousands of works and is now permanently housed in Lausanne, Switzerland.

Dubuffet characterized art brut as:

"Those works created from solitude and from pure and authentic creative impulses – where the worries of competition, acclaim and social promotion do not interfere – are, because of these very facts, more precious than the productions of professionals. After a certain familiarity with these flourishings of an exalted feverishness, lived so fully and so intensely by their authors, we cannot avoid the feeling that in relation to these works, cultural art in its entirety appears to be the game of a futile society, a fallacious parade." — Jean Dubuffet. Place à l'incivisme (Make way for Incivism). Art and Text no.27 (December 1987 – February 1988). p.36 Dubuffet's writing on art brut was the subject of a noted program at the Art Club of Chicago in the early 1950s.

Dubuffet argued that 'culture', that is mainstream culture, managed to assimilate every new development in art, and by doing so took away whatever power it might have had. The result was to asphyxiate genuine expression. Art brut was his solution to this problem – only art brut was immune to the influences of culture, immune to being absorbed and assimilated, because the artists themselves were not willing or able to be assimilated.

Cultural context

The interest in "outsider" practices among twentieth-century artists and critics can be seen as part of a larger emphasis on the rejection of established values within the modernist art milieu. The early part of the 20th century gave rise to Cubism and the Dada, Constructivist and Futurist movements in art, all of which involved a dramatic movement away from cultural forms of the past. Dadaist Marcel Duchamp, for example, abandoned "painterly" technique to allow chance operations a role in determining the form of his works, or simply to re-contextualize existing "readymade" objects as art. Mid-century artists, including Pablo Picasso, looked outside the traditions of high culture for inspiration, drawing from the artifacts of "primitive" societies, the unschooled artwork of children, and vulgar advertising graphics. Dubuffet's championing of the art brut – of the insane and others at the margins of society – is yet another example of avant-garde art challenging established cultural values.

Vocabulary

Two images of Joe Minter's African Village in America, a half-acre visionary art environment in Birmingham, Alabama. Scenes include African warriors watching their descendants’ struggles in Alabama, tributes to black scientists and military leaders, recreations of the epic civil rights confrontations in Alabama, and biblical scenes.

A number of terms are used to describe art that is loosely understood as "outside" of official culture. Definitions of these terms vary and overlap.[8] The editors of Raw Vision, a leading journal in the field, suggest that "Whatever views we have about the value of controversy itself, it is important to sustain creative discussion by way of an agreed vocabulary". Consequently, they lament the use of "outsider artist" to refer to almost any untrained artist. "It is not enough to be untrained, clumsy or naïve. Outsider Art is virtually synonymous with Art Brut in both spirit and meaning, to that rarity of art produced by those who do not know its name."

• Art Brut: literally translated from French means "raw art"; 'Raw' in that it has not been through the 'cooking' process: the world of art schools, galleries, museums. Originally art by psychotic individuals who existed almost completely outside culture and society. Strictly speaking it refers only to the Collection de l'art brut.

• Folk art: Folk art originally suggested crafts and decorative skills associated with peasant communities in Europe – though presumably it could equally apply to any indigenous culture. It has broadened to include any product of practical craftsmanship and decorative skill – everything from chain-saw animals to hub-cap buildings. A key distinction between folk and outsider art is that folk art typically embodies traditional forms and social values, where outsider art stands in some marginal relationship to society's mainstream.

• Intuitive art / Visionary art: Raw Vision Magazine's preferred general terms for outsider art. It describes them as deliberate umbrella terms. However, Visionary Art unlike other definitions here can often refer to the subject matter of the works, which includes images of a spiritual or religious nature. Intuitive art is probably the most general term available. Intuit: The Center for Intuitive and Outsider Art based in Chicago operates a museum dedicated to the study and exhibition of intuitive and outsider art. The American Visionary Art Museum in Baltimore, Maryland is dedicated to the collection and display of visionary art.

• Marginal art/Art singulier: Essentially the same as Neue Invention; refers to artists on the margins of the art world.

• Naïve art: Another term commonly applied to untrained artists who aspire to "normal" artistic status, i.e. they have a much more conscious interaction with the mainstream art world than do outsider artists.

• Neuve invention: Used to describe artists who, although marginal, have some interaction with mainstream culture. They may be doing art part-time for instance. The expression was coined by Dubuffet too; strictly speaking it refers only to a special part of the Collection de l'art brut.

• Visionary environments: Buildings and sculpture parks built by visionary artists – range from decorated houses, to large areas incorporating a large number of individual sculptures with a tightly associated theme. Examples include Watts Towers by Simon Rodia, Buddha Park and Sala Keoku by Bunleua Sulilat, and The Palais Ideal by Ferdinand Cheval.

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