Un viaje por el arte psicológico europeo

Arte y enfermedad mental. Disfrute y sublimación, pero también necesidad y escape. Psicosis en el extremo de la proyección del Inconsciente de los artistas, aunque aún con signos de una percepción cruda de la realidad y el sufrimiento de vivir en una cabeza psicótica. Os invitamos a un viaje por algunas de las colecciones más relevantes de Arte Psicótico y Psicológico en Europa y a sus protagonistas.

Elementos bizarros, transparencias, repeticiones, horror al vacío, contaminaciones o fusión de identidades, dibujos planos, confusión de frente-perfil, confusión dentro fuera, refuerzo de límites, rostros agrandados…son elementos que se han ido encontrando en la obra de artistas “sin querer”, ingresados en diferentes clínicas psiquiátricas desde el S.XIX, cuyos doctores pudieron apreciar el valor artístico y terapéutico de sus producciones.

“Cuando un enfermo que no tiene conocimientos de arte moderno, hace un dibujo así, puedes concluir que es esquizofrénico” (Leo Navratil, psiquiatra de la Clínica psiquiátrica de Gugging, en la ciudad suiza de Berna). Es decir, la importancia de un gráfico para la ayuda de un buen diagnóstico. Porque el Arte desde el trastorno mental ayuda mucho a poder intuir el contenido del pensamiento de quien lo padece.

La Psicosis, pura proyección del Inconsciente del artista, pero aún consciente de la realidad. La Psicosis o el sufrimiento de vivir en una cabeza llena de pensamientos, dudas, y alucinaciones. Os presentamos a algunos de los artistas que, a partir de su obra gráfica, mejor han ayudado a psiquiatras, psicólogos e historiadores del arte a empezar a vislumbrar lo que significa vivir en una cabeza psicótica.

Adolf Wölfli (1864-1930): Nace en Berna (Suiza). A los siete años es abandonado por su padre, permaneciendo con su madre durante dos años, momento en que pasó a vivir con diferentes familias campesinas con las que trabajó como cabrero y granjero. Posteriormente trabajó como leñador y como obrero. Años más tarde, Wölfli fue arrestado por exposición indecente y estuvo en prisión durante dos años. En libertad reincidió en el mismo delito, por lo que fue llevado en 1899 al hospital de Waldau, cerca de Berna, donde permaneció hasta su muerte. A los 35 años de edad comenzó a pintar, escribir y componer música. Su producción es colosal e incluye 25.000 páginas que contienen composiciones gráficas con lápiz, collage, creaciones literarias y pentagramas de música (donde los elementos tienen una función rítmica y decorativa).

Más sobre Adolf Wölfli

Andrew Kennedy (1825-1899): Admitido en el Asilo Real de Glasgow en Mayo de 1877 a los 52 años a causa de “alucinaciones de naturaleza religiosa y sexual y exaltación”, Andrew Kennedy pronto fue derivado al hospital de Crichton donde pasó unos años y retornando de nuevo al asilo en 1896 (según la historia clínica que permanece en dicho lugar). Los 34 extraordinarios dibujos de Andrew Kennedy que permanecen intactos, han sido guardados por sus doctores, no solo por su mérito artístico, sino como ejemplo visual para ilustrar diferentes formas de la Psicosis. Como tema recurrente, encontramos médicos, dragones, hombres y mujeres de los que brotan plumas o ramas. Los textos que aparecen en su obra gráfica revelan también características de su pensamiento e imaginario.

Más sobre Andrew Kennedy

 

Heinrich Anton MüllerHeinrich Anton Müller (1889-1930): Nace en Versalles (Francia) y se casa con una mujer suiza. Trabaja como viticultor e inventa y patenta una máquina para desmochar vides. A causa de un olvido del pago anual exigido por el mantenimiento de la patente, la pierde, por lo que pronto entra en una Depresión. A los 37 años ingresa en la clínica psiquiátrica de Münsingen (cerca de Berna) donde vivirá hasta el final de sus días. Fue ahí donde, a partir de 1914, comenzó a crear arte: impresionante maquinaria hecha con ramas, trapos y alambre, dibujos en las paredes del hospital, cartones y papeles, donde plasmó un bestiario fantástico. Pintó también inusuales textos con una caligrafía sofisticada, que enfatiza la naturaleza misteriosa de su autor. 

Edmund MonsielEdmund Monsiel (1897-1962): Nace en Polonia, donde abre una pequeña tienda de la que es desposeído en 1942 por los alemanes. Temeroso de ser arrestado, se refugió en el apartamento de su hermano en Wozuczyn, donde se escondió hasta el final de la guerra y hasta su muerte. Con un diagnóstico de Autismo y alucinaciones auditivas y visuales, Edmund Monsiel creó unas 500 obras a lápiz, encontradas en dicho apartamento después de su muerte. Casi todas representan rostros que parecen representar a Jesucristo que se conecta con otros rostros, que engendran otros rostros y así hasta el infinito. Textos religiosos, llamamientos a la acción y máximas moralizantes aparecen tanto delante como detrás de sus composiciones.

 

 

 

 

Letter of Emma Hauck to her husband, Mark.Emma Hauck (1878 -1920): Emma Hauck ingresa en el hospital psiquiátrico de la Universidad de Heidelberg en Alemania en 1909, a la edad de 30 años y siendo madre de dos hijos, con un diagnóstico de lo que hoy sería Esquizofrenia. Cuando la evolución de su trastorno y su deterioro general aumentaron, fue transferida al Asilo de Wiesloch, donde moriría años después. De ella permanece una desgarradora colección de cartas, donde una escritura obsesiva y superpuesta, y en ocasiones ilegible, clama gritos de auxilio hacia su esposo: “Ven, ven, ven, ven…”.

 

 

OLYMPUS DIGITAL CAMERAPhilipp Schöpke (1921-1998): Alumno de la escuela elemental con algunas dificultades de aprendizaje, Philipp Schöpke trabaja en una granja en la que le resulta difícil integrarse y sufre acoso por parte de sus compañeros. Se le considera no apto para el ejército, y poco después es diagnosticado con una Psicosis Maníaco Depresiva, razón por la que es ingresado en el hospital de Gugging. En sus dibujos encontramos figuras humanas con transparencias que dejan ven los órganos, como si nuestros ojos tuvieran la capacidad de ver a través de la piel. Cuerpos vulnerables, cabezas desproporcionadas, esqueletos en convulsión…

Ida Buchmann, Kein Feuer, keine Kohle. kann glühen so heissIda Buchman (1911-1983): Ida Buchman ingresa en la clínica psiquiátrica Königsfelden, donde su talento artístico es descubierto y potenciado. Pinta hasta los ochenta años aproximadamente, pero siempre coincidiendo con los momentos de mayor euforia anímica. Su obra es dinámica y suele versar sobre el amor y la amistad. Su arte refleja su vida emocional, sus sueños y anhelos. Lo más llamativo de su obra es la continua representación de cuerpos humanos que contienen un segundo rostro.

Las mejores muestras de arte psícológico en Europa

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