Expressão, esquizofrenia, arte: Hans Prinzhorn e a produção artística dos sujeitos asilados
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Data
2018-12-13
Autores
Tozzi, Márcia de Oliveira
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Universidade Estadual Paulista (Unesp)
Resumo
Historicamente, a relação entre psiquiatria e arte se caracteriza de modo quase hegemônico, pela intenção de reduzir o artístico a fins diagnósticos e terapêuticos. Entretanto, há, também, na história, momentos em que essas experiências artísticas escapam ao reducionismo polarizado entre normal e patológico, e, mesmo dentro do confinamento asilar, regulamentado pelo saber psiquiátrico, encontram visibilidade social. Na trilha desse percurso histórico, no qual figuram as possibilidades de reconhecimento estético das obras dos sujeitos asilados, encontramos um autor emblemático, que se constitui como o objeto desta pesquisa: Hans Prinzhorn (1886 – 1933), psiquiatra e historiador de arte alemão que, por meio de suas produções referentes à intersecção entre psiquiatria e arte, lança uma abertura para a construção de um lugar diferente para o sujeito louco no imaginário social. No cenário brasileiro, os escritos de Hans Prinzhorn têm influências no trabalho de figuras importantes como Osório César, Nise da Silveira e Mário Pedrosa. Prinzhorn debruça seu olhar sobre as produções artísticas ocorridas no interior das instituições psiquiátricas, constituindo uma das maiores coleções plásticas da loucura, por volta de 1920. Apontado como o primeiro a admitir a capacidade estética nas obras dos “loucos”, Prinzhorn distancia seus escritos da mera classificação diagnostica, definindo como referências centrais para seu trabalho o processo de configuração e a perspectiva do sujeito doente mental, em especial dos sujeitos esquizofrênicos. Hans Prinzhorn contribuiu, decisivamente, para o diálogo entre criação artística e psiquiatria/psicopatologia. Em um momento em que a psiquiatria se esforça por sistematizar as manifestações esquizofrênicas, Prinzhorn é inovador ao lançar um outro olhar para as produções dos sujeitos asilados, produzindo, ainda, uma transposição dessa problemática para os domínios da reflexão artística. Esse fato modificou, também, a perspectiva sobre a loucura. A visibilidade social que os sujeitos asilados experimentam, por meio do reconhecimento estético de suas produções, os desloca da condição de sujeitos alienados à condição de sujeitos produtores de arte e cultura.
Historically, the relationship between psychiatry and art is characterized in a quasi-hegemonic way, by the intention of reducing the artistic for diagnostic and therapeutic purposes. However, there is also in history, moments in which these artistic experiences escape the polarized reductionism between normal and pathological, and even within the asylum confinement regulated by the psychiatric knowledge, they find social visibility. In the course of this historical journey, which includes the possibilities of aesthetic recognition of the works of the asylum subjects, we find an emblematic author, who is the object of this research: Hans Prinzhorn (1886-1933), psychiatrist and German art historian half of his productions concerning the intersection between psychiatry and art, launches an opening for the construction of a different place for the crazy subject in the social imaginary. In the Brazilian scene, the writings of Hans Prinzhorn have influences in the work of important figures like Osório César, Nise of Silveira and Mário Pedrosa. Prinzhorn looks at the artistic productions within psychiatric institutions, making it one of the greatest plastic collections of madness, circa 1920. Appointed as the first to admit aesthetic ability in the works of the 'madmen', Prinzhorn distances his writings from the a mere diagnostic classification, defining as central references for his work the configuration process and the perspective of the mentally ill subject, especially the schizophrenic subjects. Hans Prinzhorn contributed decisively to the dialogue between artistic creation and psychiatry / psychopathology. At a time when psychiatry strives to systematize schizophrenic manifestations, Prinzhorn is innovative in casting a second glance at the productions of asylum-seekers, producing a transposition of this problematic into the realms of artistic reflection. This fact also modified the perspective on madness. The social visibility that the asylum subjects experience through the aesthetic recognition of their productions, moves them from the condition of alienated subjects to the condition of producing subjects of art and culture.
Historically, the relationship between psychiatry and art is characterized in a quasi-hegemonic way, by the intention of reducing the artistic for diagnostic and therapeutic purposes. However, there is also in history, moments in which these artistic experiences escape the polarized reductionism between normal and pathological, and even within the asylum confinement regulated by the psychiatric knowledge, they find social visibility. In the course of this historical journey, which includes the possibilities of aesthetic recognition of the works of the asylum subjects, we find an emblematic author, who is the object of this research: Hans Prinzhorn (1886-1933), psychiatrist and German art historian half of his productions concerning the intersection between psychiatry and art, launches an opening for the construction of a different place for the crazy subject in the social imaginary. In the Brazilian scene, the writings of Hans Prinzhorn have influences in the work of important figures like Osório César, Nise of Silveira and Mário Pedrosa. Prinzhorn looks at the artistic productions within psychiatric institutions, making it one of the greatest plastic collections of madness, circa 1920. Appointed as the first to admit aesthetic ability in the works of the 'madmen', Prinzhorn distances his writings from the a mere diagnostic classification, defining as central references for his work the configuration process and the perspective of the mentally ill subject, especially the schizophrenic subjects. Hans Prinzhorn contributed decisively to the dialogue between artistic creation and psychiatry / psychopathology. At a time when psychiatry strives to systematize schizophrenic manifestations, Prinzhorn is innovative in casting a second glance at the productions of asylum-seekers, producing a transposition of this problematic into the realms of artistic reflection. This fact also modified the perspective on madness. The social visibility that the asylum subjects experience through the aesthetic recognition of their productions, moves them from the condition of alienated subjects to the condition of producing subjects of art and culture.
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Palavras-chave
Hans Prinzhorn, Processos de Configuração, Esquizofrenia, Arte, Saúde Mental