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The French "Collectif de réflexion sur l'Art Brut", CrAB, on July 14, 2012, has published in its weblog a text that can be read as a mission statement.
The French "Collectif de réflexion sur l'Art Brut", CrAB, on July 14, 2012, has published in its weblog a text that can be read as a mission statement.
In agreement with the CrAB I am happy to publish here a translation into English of this text.
In agreement with the CrAB I am happy to publish here a translation into English of this text.
France's numerous art environments will often be discussed from the viewpoint and in the context of art brut, so it is quite interesting to take note of the recent academic discussion in France about the further direction of theorizing around art brut, a discussion which probably will also reflect upon the further research of outsider art environments.
France's numerous art environments will often be discussed from the viewpoint and in the context of art brut, so it is quite interesting to take note of the recent academic discussion in France about the further direction of theorizing around art brut, a discussion which probably will also reflect upon the further research of outsider art environments.
The following text has also been published in Italian in the on line journal Osservatorio Outsider Art, No. 4, p. 142-151.
The following text has also been published in Italian in the on line journal Osservatorio Outsider Art, No. 4, p. 142-151.
Art Brut 2012: emulation or proliferation?
Art Brut 2012: emulation or proliferation?
by Baptiste Brun, Vincent Capt, Céline Delavaux and Roberta Trapani
by Baptiste Brun, Vincent Capt, Céline Delavaux and Roberta Trapani
Limiting ourselves to consider the European and French situation during the past two years, an unprecedented interest seems to have taken hold of art brut.
Limiting ourselves to consider the European and French situation during the past two years, an unprecedented interest seems to have taken hold of art brut.
Both in the field of expositions of art brut as in the discussion they evoke, this movement of expansion and excitement does not fail to influence the reception and understanding of art brut.
Both in the field of expositions of art brut as in the discussion they evoke, this movement of expansion and excitement does not fail to influence the reception and understanding of art brut.
From the perspective of the researchers of the Collectif de réflexion sur l'Art Brut (CrAB), this specific moment requires a renewed critical vigilance, in order to preserve the meaning and value of art brut and to let this concept remain efficient for thinking about art.
From the perspective of the researchers of the Collectif de réflexion sur l'Art Brut (CrAB), this specific moment requires a renewed critical vigilance, in order to preserve the meaning and value of art brut and to let this concept remain efficient for thinking about art.
Institutionalization and globalization
Institutionalization and globalization
The interest in objects related to art brut is not new, we know. Since the death of Jean Dubuffet, almost thirty years ago, the labels and collections have increased - a first mutation which tends to transform art brut into a label. By sticking to a referral to the collection Dubuffet assembled from 1945 on, currently presented at the Collection de l'Art Brut in Lausanne, the theoretical part of art brut as developed in the core of the writings of the painter, is sometimes ignored, often seen as antiquated and always interpreted in a different way. So the reference to "art brut of Dubuffet" is an affiliation without consistency and without consensus, if not a conflicting one.
The interest in objects related to art brut is not new, we know. Since the death of Jean Dubuffet, almost thirty years ago, the labels and collections have increased - a first mutation which tends to transform art brut into a label. By sticking to a referral to the collection Dubuffet assembled from 1945 on, currently presented at the Collection de l'Art Brut in Lausanne, the theoretical part of art brut as developed in the core of the writings of the painter, is sometimes ignored, often seen as antiquated and always interpreted in a different way. So the reference to "art brut of Dubuffet" is an affiliation without consistency and without consensus, if not a conflicting one.
Since the late 1990s, and at the time of the debate about the "crisis of contemporary art", a set of adjoining (and sometimes overlapping) territories constitutes the field of art brut as kind of cartographic battle: art hors-les-normes, art outsider, art singulier, création franche, art en marge, etc. are used as labels, to define new borders that attempt to invent a different world of art, different from what is considered "official".
Since the late 1990s, and at the time of the debate about the "crisis of contemporary art", a set of adjoining (and sometimes overlapping) territories constitutes the field of art brut as kind of cartographic battle: art hors-les-normes, art outsider, art singulier, création franche, art en marge, etc. are used as labels, to define new borders that attempt to invent a different world of art, different from what is considered "official".
The activities of the Halle Saint Pierre in Paris, directed by Martine Lusardy, show the existence of these territories, broadly grouped under the term of "contemporary folk art". Since the first exhibition in 1995, "Art brut et compagnie", which intended to reveal "the hidden face of contemporary art", until the last one under the curatorship of the founders of the journal Hey!, it is about the existence of another world of art.
The activities of the Halle Saint Pierre in Paris, directed by Martine Lusardy, show the existence of these territories, broadly grouped under the term of "contemporary folk art". Since the first exhibition in 1995, "Art brut et compagnie", which intended to reveal "the hidden face of contemporary art", until the last one under the curatorship of the founders of the journal Hey!, it is about the existence of another world of art.
Meanwhile, there are pioneers who do remarkable field work, like Bruno Montpied, author of the weblog Le poignard subtil and Jean-Louis Lanoux, author of the Animula Vagula weblog. These approaches retain a spirit of anti-institutional resistance: they discover and describe, thanks to a subjective and a personal-poetic investment, but they refrain from any analytic discourse. In an effort to preserve the world of art brut from the world of art (shortly speaking), they put their cards on cohabitation without dialogue.
Meanwhile, there are pioneers who do remarkable field work, like Bruno Montpied, author of the weblog Le poignard subtil and Jean-Louis Lanoux, author of the Animula Vagula weblog. These approaches retain a spirit of anti-institutional resistance: they discover and describe, thanks to a subjective and a personal-poetic investment, but they refrain from any analytic discourse. In an effort to preserve the world of art brut from the world of art (shortly speaking), they put their cards on cohabitation without dialogue.
Here we find the paradox which is inherent in the exposure of art brut: How to show without assimilating? How to protect without ghettoising? More importantly, how to avoid reinventing categories where, precisely, the attempt was to think about art outside categories? In other words, how, by the mere juxtaposition of another world, can we preserve the critical effectiveness of art brut?
Here we find the paradox which is inherent in the exposure of art brut: How to show without assimilating? How to protect without ghettoising? More importantly, how to avoid reinventing categories where, precisely, the attempt was to think about art outside categories? In other words, how, by the mere juxtaposition of another world, can we preserve the critical effectiveness of art brut?
In this perspective, the logical solution, as proposed by Alain Bouillet, would be to no longer speak of "art" and "works of art", no longer use the vocabulary of art to address the artistic productions concerned. But then, how to make art brut into a tool to query the art when you consider that it no longer belongs to the field of art? The issues that underlie the various approaches are not the same, but yet they are not incompatible. Again, art brut shows the need to cooperate: this concept can not be understood from a single point of view or in the context of a single discipline.
In this perspective, the logical solution, as proposed by Alain Bouillet, would be to no longer speak of "art" and "works of art", no longer use the vocabulary of art to address the artistic productions concerned. But then, how to make art brut into a tool to query the art when you consider that it no longer belongs to the field of art? The issues that underlie the various approaches are not the same, but yet they are not incompatible. Again, art brut shows the need to cooperate: this concept can not be understood from a single point of view or in the context of a single discipline.
The approach that seeks to protect the art brut of an integration, an assimilation with the world of modern and contemporary art, cultivates a certain distrust of academic thinking, confusing it with academicism, and it often rejects any form of discourse. But how to enable oeuvres (or just approaches) to make sense without discourse? How to understand a phenomenon and a mode of thought, make it a mode of thought, without forging critical links between the different approaches that continue to be juxtaposed?
The approach that seeks to protect the art brut of an integration, an assimilation with the world of modern and contemporary art, cultivates a certain distrust of academic thinking, confusing it with academicism, and it often rejects any form of discourse. But how to enable oeuvres (or just approaches) to make sense without discourse? How to understand a phenomenon and a mode of thought, make it a mode of thought, without forging critical links between the different approaches that continue to be juxtaposed?
For, from the 2000s on, a second mutation lies in wait for art brut because of its institutionalization and entrance into the art market. Compared with the previous decade, the movement seems to be reversed: art brut opens itself to the world of contemporary art, a world one until then wanted to oppose.
For, from the 2000s on, a second mutation lies in wait for art brut because of its institutionalization and entrance into the art market. Compared with the previous decade, the movement seems to be reversed: art brut opens itself to the world of contemporary art, a world one until then wanted to oppose.
In Belgium, in Liege, the Madmusée is growing, while in Brussels the Art & marges Musée (Art en Marge before 2009) does not give up a dialogue between contemporary art and art brut. In Switzerland, recent exhibitions of the Collection de l'Art Brut often show unedited works from around the world (India, Canada, Japan, Russia, Indonesia, Ghana, Ivory Coast, United States of America, China) that confirm this movement of expansion. In France, shows like "La clé des champs" (Paris, Jeu de Paume, 2003), "A corps perdus : abcd, une collection d’art brut" (Paris, Pavillon des Arts, 2004), for example, are also emblematic of this change, as they were presented in institutions in Paris that are vested in modern and contemporary art. Other, nowadays essential, institutes have set up exhibits that show a strong interest in works related to outsider art, like the Maison Rouge, the foundation of Antoine de Galbert. Finally, the donation of the collection of l'Aracine to the Musée d’art moderne et contemporain de Villeneuve d’Ascq in 1997 and the exhibits in this context (entitled "Les Chemins de l'Art Brut") have catalyzed this change. The opening in September 2011 of the LAM - Museum of modern art, contemporary art and art brut of Lille in Villeneuve d'Ascq - probably is the key event of art brut in the beginning of the decade: this institutional moment crowns the trend towards integration of outsider art in the world of art.
In Belgium, in Liege, the Madmusée is growing, while in Brussels the Art & marges Musée (Art en Marge before 2009) does not give up a dialogue between contemporary art and art brut. In Switzerland, recent exhibitions of the Collection de l'Art Brut often show unedited works from around the world (India, Canada, Japan, Russia, Indonesia, Ghana, Ivory Coast, United States of America, China) that confirm this movement of expansion. In France, shows like "La clé des champs" (Paris, Jeu de Paume, 2003), "A corps perdus : abcd, une collection d’art brut" (Paris, Pavillon des Arts, 2004), for example, are also emblematic of this change, as they were presented in institutions in Paris that are vested in modern and contemporary art. Other, nowadays essential, institutes have set up exhibits that show a strong interest in works related to outsider art, like the Maison Rouge, the foundation of Antoine de Galbert. Finally, the donation of the collection of l'Aracine to the Musée d’art moderne et contemporain de Villeneuve d’Ascq in 1997 and the exhibits in this context (entitled "Les Chemins de l'Art Brut") have catalyzed this change. The opening in September 2011 of the LAM - Museum of modern art, contemporary art and art brut of Lille in Villeneuve d'Ascq - probably is the key event of art brut in the beginning of the decade: this institutional moment crowns the trend towards integration of outsider art in the world of art.
Parallel with the permanent deployment of the Collection l'Aracine, supplemented by the acquisitions of the museum, the art market confirms a trend of international openness and commercial success of art brut. This goes for the new gallery of Christian Berst (formerly Objet trouvé) in Paris, who directs his research outside Europe. The activities of the Galerie du Marché in Lausanne, of the gallery Jean-Pierre Ritsch-Fisch in Strasbourg and of other non-specialized dealers confirm an exponential enthusiasm of the market for art brut, not to mention the proliferation of public sales on various European markets, where certain ratings are confirmed and records broken. One might therefore wonder whether this movement of opening and expansion is not modeled upon the phenomenon of globalization that has taken hold of contemporary art, symptomatic of a mimetic operation.
Parallel with the permanent deployment of the Collection l'Aracine, supplemented by the acquisitions of the museum, the art market confirms a trend of international openness and commercial success of art brut. This goes for the new gallery of Christian Berst (formerly Objet trouvé) in Paris, who directs his research outside Europe. The activities of the Galerie du Marché in Lausanne, of the gallery Jean-Pierre Ritsch-Fisch in Strasbourg and of other non-specialized dealers confirm an exponential enthusiasm of the market for art brut, not to mention the proliferation of public sales on various European markets, where certain ratings are confirmed and records broken. One might therefore wonder whether this movement of opening and expansion is not modeled upon the phenomenon of globalization that has taken hold of contemporary art, symptomatic of a mimetic operation.
With regard to discourse and research
With regard to discourse and research
Faced with these changing practices of collection and exhibition, critical and scientific discourses must evolve. New ways of reflection are born, seeking to identify what happens with art brut today. With regard to scientific research, the challenge remains to preserve art brut of being used as a simple label that is affixed on productions for commercial value. But the evolution of art brut does not involve either to treat it as a category, or worse a "genre" or a "style", or to interprete it a posteriori as a "movement", as we often read - an unavowed way to integrate it into the history of art and the market. Art brut is still difficult to grasp, because it is constitutionally heterogeneous. And it is interesting in terms of research because it is a problem. It undermines our conventional and exclusive frameworks (historiographical, sociological, linguistic or psychoanalytic). It never ceases to put in question the conventional notions: art, madness, the margin, the culture, in other words the relationship of man to society (through art).
Faced with these changing practices of collection and exhibition, critical and scientific discourses must evolve. New ways of reflection are born, seeking to identify what happens with art brut today. With regard to scientific research, the challenge remains to preserve art brut of being used as a simple label that is affixed on productions for commercial value. But the evolution of art brut does not involve either to treat it as a category, or worse a "genre" or a "style", or to interprete it a posteriori as a "movement", as we often read - an unavowed way to integrate it into the history of art and the market. Art brut is still difficult to grasp, because it is constitutionally heterogeneous. And it is interesting in terms of research because it is a problem. It undermines our conventional and exclusive frameworks (historiographical, sociological, linguistic or psychoanalytic). It never ceases to put in question the conventional notions: art, madness, the margin, the culture, in other words the relationship of man to society (through art).
In this sense art brut is fundamentally a practice of critical thinking, which renews the approaches by extension and problematization of the boundaries of art. The non-designable of art brut refers to what constitutes our limits, our pillowcase, namely the institutionalization of scientific divisions, and this leads logically to upset them. In short, art brut invites a deregulation of the humanities by the federation of all disciplines involved in an anthropology of art.
In this sense art brut is fundamentally a practice of critical thinking, which renews the approaches by extension and problematization of the boundaries of art. The non-designable of art brut refers to what constitutes our limits, our pillowcase, namely the institutionalization of scientific divisions, and this leads logically to upset them. In short, art brut invites a deregulation of the humanities by the federation of all disciplines involved in an anthropology of art.
This is the view of the Collectif de réflexion autour de l'Art Brut (CrAB), founded in September 2010 by eight researchers from France, Switzerland and Italy. The CrAB was primarily established as a forum for sharing research and, by extension, as a "place" of work aimed at establishing links not only between people from different research fields (history of art, literature, linguistics, history, heritage, museology, psychology, among other human sciences), but also outside the framework of academic research. Being transdisciplinary, the CrAB is based upon a strong shared belief of its members, namely the extraordinary ability of art brut to mobilize many fields of research simultaneously.
This is the view of the Collectif de réflexion autour de l'Art Brut (CrAB), founded in September 2010 by eight researchers from France, Switzerland and Italy. The CrAB was primarily established as a forum for sharing research and, by extension, as a "place" of work aimed at establishing links not only between people from different research fields (history of art, literature, linguistics, history, heritage, museology, psychology, among other human sciences), but also outside the framework of academic research. Being transdisciplinary, the CrAB is based upon a strong shared belief of its members, namely the extraordinary ability of art brut to mobilize many fields of research simultaneously.
In return, we can in no other way respond adequately to questions initiated by art brut - the concept and the works - then by crossing points of view from different disciplines. To the historical approach, that tends to situate the origins of art brut in the artistic climate of the postwar years, a contemporary approach is added, that aims to examine the factual character of art brut in the world of today, the field of art and that of critical thinking.
In return, we can in no other way respond adequately to questions initiated by art brut - the concept and the works - then by crossing points of view from different disciplines. To the historical approach, that tends to situate the origins of art brut in the artistic climate of the postwar years, a contemporary approach is added, that aims to examine the factual character of art brut in the world of today, the field of art and that of critical thinking.
Since two years the CrAB organizes a research seminar at the Institut National d’Histoire de l’Art. In addition, it implements various types of meetings with people who are related to the world of art brut (The Fabuloserie, the Biennale d’Art-Hors-les-Normes de Lyon, the Festival Serendip in Paris, among others) in order to produce a truly critical activity, a result these partners often seek in return. Finally, a project of publications is underway to disseminate the research of the collective.
Since two years the CrAB organizes a research seminar at the Institut National d’Histoire de l’Art. In addition, it implements various types of meetings with people who are related to the world of art brut (The Fabuloserie, the Biennale d’Art-Hors-les-Normes de Lyon, the Festival Serendip in Paris, among others) in order to produce a truly critical activity, a result these partners often seek in return. Finally, a project of publications is underway to disseminate the research of the collective.
In 2011, other research initiatives have emerged. A seminar was opened at the Collège international de philosophie in Paris, in partnership with the association Abcd (Art brut connaissance & diffusion, directed by Barbara Safarova, doctor in aesthetics. Initially, reflecting focussed upon an analysis of "images of creators of art brut", looking at their relationship with the body, in a second phase, the seminar this year invites collectors to talk themselves about their practice.
In 2011, other research initiatives have emerged. A seminar was opened at the Collège international de philosophie in Paris, in partnership with the association Abcd (Art brut connaissance & diffusion, directed by Barbara Safarova, doctor in aesthetics. Initially, reflecting focussed upon an analysis of "images of creators of art brut", looking at their relationship with the body, in a second phase, the seminar this year invites collectors to talk themselves about their practice.
The LAM has launched a seminar under the joint direction of Anne Boissiere, professor of aesthetics at the University of Lille III and Director of the Center for Contemporary Arts, and Savine Faupin and Christophe Boulanger, respectively conservator and adjunct-conservator of the art brut collection of the museum. A transdisciplinary study of the notions of myths, individual and private, and of the term "personal mythologies" (concepts and expression respectively present in Jacques Lacan, Carl Einstein and Harald Szeemann) is underway.
The LAM has launched a seminar under the joint direction of Anne Boissiere, professor of aesthetics at the University of Lille III and Director of the Center for Contemporary Arts, and Savine Faupin and Christophe Boulanger, respectively conservator and adjunct-conservator of the art brut collection of the museum. A transdisciplinary study of the notions of myths, individual and private, and of the term "personal mythologies" (concepts and expression respectively present in Jacques Lacan, Carl Einstein and Harald Szeemann) is underway.
It is noteworthy that after having apprehended art brut as a category, the LAM refocuses its discourse on the conceptual effectiveness of art brut, which echoes the position of the CrAB, the aim being to test not only the concept of art brut, but more generally that of art. For its part, the Christian Berst gallery also organizes conferences and meetings that attempt to question what happens to art brut today. Finally, we must also mention a seminar that was organized earlier then all these initiatives, led by Lise Maurer of the GREC (Groupe de recherche et d'études cliniques) "De la trinité en déroute au sinthome", which although having an essentially psychoanalytic approach, nonetheless did convene guests from different fields of research.
It is noteworthy that after having apprehended art brut as a category, the LAM refocuses its discourse on the conceptual effectiveness of art brut, which echoes the position of the CrAB, the aim being to test not only the concept of art brut, but more generally that of art. For its part, the Christian Berst gallery also organizes conferences and meetings that attempt to question what happens to art brut today. Finally, we must also mention a seminar that was organized earlier then all these initiatives, led by Lise Maurer of the GREC (Groupe de recherche et d'études cliniques) "De la trinité en déroute au sinthome", which although having an essentially psychoanalytic approach, nonetheless did convene guests from different fields of research.
Emanating from different places and charged with divergent issues, these initiatives have the need to cross views in common. More than ever, art brut has this imperative: the need to think together, outside of categories, outside of disciplinary boundaries, beyond geographical and theoretical boundaries. It is in this sense that the CrAB works and began a collaboration with the Osservatorio Outsider Art in Palermo, in order that the emulation will not be reduced to a dithering close togetherness, in order that the rives de l'art brut ("the banks of art brut"), to use the header of the Animula Vagula weblog, are not confined to mere derives ("deviations").
Emanating from different places and charged with divergent issues, these initiatives have the need to cross views in common. More than ever, art brut has this imperative: the need to think together, outside of categories, outside of disciplinary boundaries, beyond geographical and theoretical boundaries. It is in this sense that the CrAB works and began a collaboration with the Osservatorio Outsider Art in Palermo, in order that the emulation will not be reduced to a dithering close togetherness, in order that the rives de l'art brut ("the banks of art brut"), to use the header of the Animula Vagula weblog, are not confined to mere derives ("deviations").
added july 2012
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