Transcript of a lecture during the conference 'Is contemporary art history', Institute of Fine Arts, New York, 28th february 2014.
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Art therapy is widely used and effective in the treatment of patients diagnosed with Personality Disorders (PDs). Current psychotherapeutic approaches may benefit from this additional therapy to improve their efficacy. But what is the patient perspective upon this therapy? This study explored perceived benefits of art therapy for patients with PDs to let the valuable perspective of patients be taken into account. Using a quantitative survey study over 3 months (N = 528), GLM repeated measures and overall hierarchical regression analyses showed that the majority of the patients reported quite a lot of benefit from art therapy (mean 3.70 on a 5-point Likert scale), primarily in emotional and social functioning. The improvements are concentrated in specific target goals of which the five highest scoring goals affected were: expression of emotions, improved (more stable/positive) self-image, making own choices/autonomy, recognition of, insight in, and changing of personal patterns of feelings, behaviors and thoughts and dealing with own limitations and/or vulnerability. Patients made it clear that they perceived these target areas as having been affected by art therapy and said so at both moments in time, with a higher score after 3 months. The extent of the perceived benefits is highly dependent for patients on factors such as a non-judgmental attitude on the part of the therapist, feeling that they are taken seriously, being given sufficient freedom of expression but at the same time being offered sufficient structure and an adequate basis. Age, gender, and diagnosis cluster did not predict the magnitude of perceived benefits. Art therapy provides equal advantages to a broad target group, and so this form of therapy can be broadly indicated. The experienced benefits and the increase over time was primarily associated with the degree to which patients perceive that they can give meaningful expression to feelings in their artwork. This provides an indication for the extent of the benefits a person can experience and can also serve as a clear guiding principle for interventions by the art therapist.
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In this essay I will discuss the specific nature of art practices in which the artist and his audience are moving away from the more traditional relationship in which the artist merely displays his art in museums or public spaces. They consist of intimate and personal processes made possible by the grace of the artistic space that is separating itself from the coded space around it. In these practices the public takes on a different role than that of the passive spectator. The involvement of the public in what art is and can be becomes part of the experience. This turns art into something to be a part of rather than something that is simply handed over to you. More specifically, these art practices allow for a time and site-specific situated form of co-ownership, through which the artistic environment created by the artist becomes the condition for experiencing new ideas and insights. In relation to theatre, the French philosopher Jacques Rancière (1940-) writes in The Emancipated Spectator (2015) about “a theater without an audience” that “no longer tempts with its images but teaches the audience something that turns them into active participants rather than passive voyeurs”. (Rancière 2015: 9-10) These practices are not new. New is perhaps the shift of focus from public participation in processes of interaction towards developing a theatrical space that not only makes other types of expression possible, but also taking on other roles and with that, other perspectives. This notion will therefore be the main focus of this text.
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For environmental governance to be more effective and transformative, it needs to enhance the presence of experimental and innovative approaches for participation. This enhancement requires a transformation of environmental governance, as too often the (public) participation process is set up as a formal obligation in the development of a proposed intervention. This article, in search of alternatives, and in support of this transformation elaborates on spaces where participatory and deliberative governance processes have been deployed. Experiences with two mediated participation methodologies – community art and visual problem appraisal – allow a demonstration of their potential, relevance and attractiveness. Additionally, the article analyzes the challenges that result from the nature of these arts-based methodologies, from the confrontational aspects of voices overlooked in conventional approaches, and from the need to rethink professionals’ competences. Considering current environmental urgencies, mediated participation and social imaginaries still demonstrate capacities to open new avenues for action and reflection.
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About "Men on the line', a 1972 performance.
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Empirical studies in the creative arts therapies (CATs; i.e., art therapy, dance/movement therapy, drama therapy, music therapy, psychodrama, and poetry/bibliotherapy) have grown rapidly in the last 10 years, documenting their positive impact on a wide range of psychological and physiological outcomes (e.g., stress, trauma, depression, anxiety, and pain). However, it remains unclear how and why the CATs have positive effects, and which therapeutic factors account for these changes. Research that specifically focuses on the therapeutic factors and/or mechanisms of change in CATs is only beginning to emerge. To gain more insight into how and why the CATs influence outcomes, we conducted a scoping review (Nstudies = 67) to pinpoint therapeutic factors specific to each CATs discipline, joint factors of CATs, and more generic common factors across all psychotherapy approaches. This review therefore provides an overview of empirical CATs studies dealing with therapeutic factors and/or mechanisms of change, and a detailed analysis of these therapeutic factors which are grouped into domains. A framework of 19 domains of CATs therapeutic factors is proposed, of which the three domains are composed solely of factors unique to the CATs: “embodiment,” “concretization,” and “symbolism and metaphors.” The terminology used in change process research is clarified, and the implications for future research, clinical practice, and CATs education are discussed.
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Ebifananyi at The Uganda Museum, an exhibition relating to my doctoral research, following up on an earlier exhibition in Antwerp, Belgium and in Kampala part of KLAART18, a ‘public art festival which celebrates public art for and in the city’. The visitors of the show in Antwerp were welcomed with a letter from co-curators of the exhibition Bas Vroege and Joachim Naudts. Here they were welcomed by me: Dear Visitor,You are most welcome to a temporary exhibition about photographs. ‘Ebifananyi’, the Luganda word that is used to signify photographs as well as other likenesses, gives you the opportunity to see a variety of historical photographs made in Uganda. It also invites you to reflect on what you see.In 2011 Canon Griffin and I set up History In Progress Uganda, a platform that digitizes and shares historical photographs. With the help of numerous Ugandan photographers, history enthusiasts and artists I produced eight books with the same title of the exhibition. Each book presents a collection of historical photographs and contemporary responses to it. Last year an exhibition took place in FoMu, the photo museum in Antwerp, Belgium. It presented the content of these books to the Belgian audience. The conditions of this museum cannot be reproduced in Uganda.We here present to you both two- and three dimensional documentation of that show. Photographs are always made from a particular viewpoint and the way they look depends on the technology that was available to the photographer.It is not unusual for photographs to show what someone wants someone else to see rather than to be neutral documentation. They can be used as tools of identification and to estrange people from each other. It is my hope that the photographs that were added to the permanent museum display will make you wonder, cause recognition, show beauty and give you a valuable experience,Andrea Stultiens[See]
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Deze publicatie is een voortvloeisel van het Time line Gallery project. In dit project bundelden ontwerpbureau DesignArbeid, het lectoraat Image in Context van Academy Minerva en kunstruimte Sign de krachten om jonge kunstenaars in staat te stellen om in door henzelf gevormde teams de mogelijkheden van de publieke ruimte begin 21 eeuw te onderzoeken en zichtbaar te maken. De straat als galery waarin projecten in een tijdslijn na elkaar eigen vormen van counter public space (Klug ..) kunnen realiseren. De kunstenaars zetten zich uiteen met actuele kwesties waarvoor nieuwe vormen van uitwisseling en participatie werden ontwikkeld: de klimaatcrisis tastbaar in het stijgende water, de rol van de vrouw binnen de studentenvereniging, vervreemding in het publiek domein, ons koloniaal verleden zichtbaar in onze publieke ruimte, propaganda achter grote stadsevents, het gemak waarmee ons fakenews op de mouw gespeld kan worden en de wijze waarop publiek en privaat domein in elkaar overlopen.De vraag die voor ons allen leidend is: Hoe kunnen kunstenaars en ontwerpers interventies doen die eraan bijdragen dat we als autonoom denkende mensen weer verbinding krijgen met wat Bruno Latour (2019) het Aardse noemt. Het Aardse als zijnde een concept dat ons helpt om de richting aan te geven waarheen we ons moeten bewegen in een bewustzijn dat de wereld niet meer bestaat uit een omgeving waar mensen zich in bevinden, maar uit een krachtenveld, een ecologie, waar we onderdeel van zijn. De onderzoekers van het lectoraat zoeken de conceptuele invalshoeken die ons helpen om zichtbaar te maken welke mogelijkheden de kunst heeft om het hoofd te bieden aan de vele vormen van propaganda en disciplinering in het begin van de 21 e eeuw die dit onmogelijk willen maken. Daarom vindt u in deze publicatie naast een schets van de verschillende interventies die de deelnemende kunstenaars ontwikkelden, ook de verschillende conceptuele perspectieven waar de onderzoekers uit het lectoraat mee werken.De hier gepresenteerde artistieke praktijken zijn een moment in de ontwikkeling van de kunstenaars, het gevolg van een scala aan ontmoetingen die eraan vooraf zijn gegaan en de consekwentie van een dynamiek die ze op een geven moment met elkaar in gang hebben durven zetten. Zonder de moed tot handelen was er nooit iets gebeurd. De gepresenteerde concepten zijn de diepe gronden waar een onderzoeker pas na verloop van tijd op durft te gaan bouwen. Deze concepten kunnen iets teweegbrengen. In de ontmoetingen kan het concept zich gronden en verbreden en kunnen de artistieke praktijken nieuwe betekenislagen krijgen. Samen helpen ze ons reflecteren op de nieuwe rollen van kunstenaars en ontwerpers in de openbare ruimte als publiek domein.
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