{"id":50,"date":"2008-09-24T18:13:00","date_gmt":"2008-09-24T18:13:00","guid":{"rendered":"http:\/\/elhombrejazmin.com\/?p=50"},"modified":"2023-07-04T13:25:55","modified_gmt":"2023-07-04T13:25:55","slug":"arte-en-confinamiento-ii","status":"publish","type":"post","link":"https:\/\/gracielagarcia.com\/en\/arte-en-confinamiento-ii\/","title":{"rendered":"Arte en confinamiento (II)"},"content":{"rendered":"
\n

El gesto del encierro tiene otra profundidad: no aisla a extra\u00f1os desconocidos; los crea, altera rostros familiares en el paisaje social, para hacer de ellos rostros extra\u00f1os que nadie reconoce ya.<\/p>\n<\/blockquote>\n

En los comienzos del siglo XX las mujeres pod\u00edan ser internadas en psiqui\u00e1tricos por varias razones, por prostituci\u00f3n, malas relaciones familiares, por tener un hijo ileg\u00edtimo, un amor desafortunado, un divorcio, un matrimonio sin hijos o incluso por viudedad. Al menos as\u00ed suced\u00eda en Alemania, donde se han rescatado m\u00e1s muestras del trabajo de los internos gracias a la labor del psiquiatra Hans Prinzhorn.
Para ello bastaba con que su padre, su hermano o su marido la condujeran a un centro psiqui\u00e1trico donde a menudo se les diagnosticaba esquizofrenia que en aquella \u00e9poca era llamada Dementia Praecox<\/em>.<\/p>\n

All\u00ed sufr\u00edan las duras \u201cterapias\u201d consistentes en aislamiento, ba\u00f1os de larga duraci\u00f3n, camisas de fuerza, sujeci\u00f3n con pa\u00f1os mojados, sobre-alimentaci\u00f3n involuntaria, \u201ccuras\u201d de sue\u00f1o, de malaria, de insulina, electroshocks… No es de extra\u00f1ar que necesitaran desesperadamente reafirmar su identidad. Es por ello que las creaciones que nos han quedado como testimonio suelen ser autorretratos, biograf\u00edas o representaciones de objetos cotidianos. Apenas pod\u00edan conservar pertenencias y su apego a lo poco que les rodeaba pod\u00eda constituir un v\u00ednculo a la \u201cmaterialidad\u201d del mundo.<\/p>\n

Barbara Suckf\u00fcll integraba en sus extra\u00f1os dibujos con escritura las siluetas de cucharas, tazas y platos que la rodeaban. Dicen los informes que Hedwing Wilms (Alemania, 1874-1915) apenas hablaba y sol\u00eda renunciar a la cena. Con grueso hilo de algod\u00f3n construy\u00f3 una vajilla textil que le recordaba a la que ten\u00eda antes de ser internada. Se compone de un conjunto de bandeja, jarra y taza, que no podemos evitar comparar con el trabajo de Meret Oppenheim.<\/p>\n

Sin embargo, lo que para Meret Oppenheim es una elecci\u00f3n est\u00e9tica para Hedwing Wilms es fruto de una limitaci\u00f3n. Una limitaci\u00f3n que puede dar como resultado creaciones ins\u00f3litas y po\u00e9ticas como \u00e9sta.

<\/p>\n\n\n

\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n<\/figure>\n\n\n\n


Hedwing Wilms
<\/p>\n\n\n\n

\n
\"\"<\/figure>\n<\/figure>\n\n\n\n


Barabara S\u00fcckfull<\/p>","protected":false},"excerpt":{"rendered":"

El gesto del encierro tiene otra profundidad: no aisla a extra\u00f1os desconocidos; los crea, altera rostros familiares en el paisaje social, para hacer de ellos rostros extra\u00f1os que nadie reconoce ya. En los comienzos del siglo XX las mujeres pod\u00edan ser internadas en psiqui\u00e1tricos por varias razones, por prostituci\u00f3n, malas relaciones familiares, por tener un […]<\/p>","protected":false},"author":2,"featured_media":3719,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[6,53,10,39,11,40,41],"tags":[162,163,164,20],"class_list":["post-50","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art-brut","category-arte-y-trauma","category-bordar","category-escritura","category-esquizofrenia","category-memoria-e-identidad","category-mujeres-en-psiquiatricos","tag-barabara-suckfull","tag-hedwing-wilms","tag-meret-oppenheim","tag-outsider-art"],"yoast_head":"\nArte en confinamiento (II) - Graciela Garc\u00eda<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/gracielagarcia.com\/en\/arte-en-confinamiento-ii\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Arte en confinamiento (II)\" \/>\n<meta property=\"og:description\" content=\"El gesto del encierro tiene otra profundidad: no aisla a extra\u00f1os desconocidos; los crea, altera rostros familiares en el paisaje social, para hacer de ellos rostros extra\u00f1os que nadie reconoce ya. 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