Normal#crazy art. Works from a psychiatric context between diagnostics and aesthetics after 1945

1945年，艺术家和收藏家让·杜布菲（Jean Dubuffet）创造了“艺术新手”（art brut）一词，指的是外行人的原创作品，这些作品创作于传统和当前艺术运动之外，但他认为这些作品是真正的艺术，其中包括精神病患者的突出作品。因此，他在关于这些作品在病态化和强化艺术之间的分配的辩论中采取了坚定的立场，这种争论在第二次世界大战之前就已经开始了，“Bildnerei der Geisteskranken”，直到它在德语世界几乎被国家社会主义完全推翻。在接下来的几十年里，这些作品——我们在这里提议的项目中称之为正常的#疯狂艺术——成为了新的谈判过程的中心，除了精神科医生之外，艺术家、展览组织者和画廊老板也越来越多地参与其中，还有收藏家、记者、艺术治疗师，最后但并非最不重要的是，艺术家自己。除了不断扩大的演员阵容外，辩论还显示出“正常”与“疯狂”之间区别的侵蚀，尽管这些类别至今仍未完全消解，但仍在矛盾的意义上相互关联。艺术市场的经济逻辑已经保证了这一点，在这个逻辑中，艺术的解放，即后来的局外人艺术，从作为艺术的精神病学语境中解放出来，不能不同时（自我）病态化。这一过程尚未完成。然而，在1990年前后，在建立了自己的博物馆、画廊和杂志之后，可以假设外部艺术制度化阶段的结束，因此这个时间点适合作为调查期的结束。这个子项目的目的是在视觉艺术/艺术市场/艺术商业与精神病学/精神病学经验/特殊的心理经验之间的交叉点上，使“正常#疯狂”的侵蚀差异为当代通灵史带来丰硕的成果。子项目以正常的#疯狂艺术作品本身及其特征和美学为基础，以图像科学的角度来探索其特殊性，并以此为出发点，从社会不同领域进行辩论的重构。由于艺术的社会重要性和话语的公共性，这是基于正常的#疯狂作品及其光芒，在这一领域的侵蚀过程的重建，反映离心和向心的倾向是有效的，有助于研究小组的整体关注。

In 1945, the artist and collector Jean Dubuffet coined the term art brut for original works by laypersons, which were created outside of traditions and current art movements, but which he considered to the true art, including prominently works by psychiatric inmates. He thus took a firm position in the debate about the assignment of these works between pathologization and enhancement to art, which had already started before the Second World War for "Bildnerei der Geisteskranken", until it had been almost completely ousted with National Socialism in the German-speaking world.In the following decades, these works, which we would like to call normal#crazy art in the project proposed here, were at the center of new negotiation processes in which, in addition to psychiatrists, artists, exhibition organizers and gallery owners were increasingly involved, as well as collectors, journalists, art therapists and, last but not least, the artists themselves. In addition to constantly expanding actor constellations, the debates show an erosion of the difference between "normal" and "crazy", although the categories have still not been completely dissolved to this day, but remain related to each other in the sense of a contradiction. This is already ensured by the economic logics of the art market, in which the emancipation of art brut, later outsider art, from a psychiatric context as art cannot do without simultaneous (self-) pathologization. The process is not yet complete. Nevertheless, around 1990, after the establishment of own museums, galleries, and magazines, the end of a phase of institutionalization of the outsider art can be assumed, so that this point in time is suitable as the end of the investigation period.The aim of this sub-project is to make the eroding difference "normal#crazy" at the intersection between the visual arts / art market / art business and psychiatry / psychiatric experience / exceptional psychological experience fruitful for the contemporary history of the psychic. The subproject is based on the normal#crazy art works themselves, their charakteristics and aesthetics in order to identify their peculiarities to be explored in terms of image science as starting points for the reconstruction of the debate from different areas of society.Because of the social importance of art and the public of the discourse, which is based on the normal#crazy works and their radiance, a reconstruction of the erosion process in this area, a reflection of the centrifugal and centripetal tendencies that are effective in it, contributes significantly to the overall concern of the research group.