Home

Latest Issue

Author: Tony Zhou 

The 5th issue of CAET brings you a selection of exciting articles and stunning art works. The special section on Outsider Art in China is introduced by Shaun McNiff and features an interview with Guo Haiping who is the pioneer and leading figure of such work in China. 

CAET第五期为我们带来一些最激动人心的文章和令人惊叹的艺术作品。“中国 原生艺术”特别栏目由Shaun McNiff教授策划,重点是对中国这个领域的先锋代 表人物郭海平的采访。

Read More

Author: Shaun McNiff

A feature presentation of Outsider Art in China coordinated by Guo Haiping together with an exploration of Daniel Wojcik’s Outsider Art: Visionary Worlds and Trauma (2016). The introduction to the special section by Shaun McNiff places the Chinese art within a larger world context and discusses how Wojcik’s book furthers an understanding and appreciation of these artistic expressions. Emphasis is given to how the term “outsider” is misleading since, as Wojcik and Haiping show, each artist creates within a particular social context. The work is viewed positively as persons creating themselves through artistic expression and contributing to their communities – an approach which is also fundamental to the East Asian Taoist, Confucian and Chan Buddhist traditions. Chen Shushan interviews Guo Haiping who gives a history of the development of the Nanjing Outsider Art Studio and the program’s emphasis on cultural ecology and mutual help. Illustrations of the artists’ work are shown. Shaun McNiff interviews Daniel Wojcik – exploring how his involvement with grassroots and vernacular art took shape through folklore studies. The Chinese art shown in this issue is related to the larger international community with illustrations of the work of Sabato Rodia, Tressa Prisbey, Howard Finster and Ionel Talpazan.

中国艺术家郭海平通过《中国原生艺术》做了特别呈现,我们通过探讨美国教授Daniel Wojcik的《原生艺术:幻想世界与创伤》(2016) 进行了回应。对于 Shaun McNiff特别部分的介绍将中国艺术置于更大的世界背景之下,并讨论Wojcik的著作如何促进对这些艺术表达的理解与欣赏。正如Wojcik和郭海平呈现的,每位艺术家都在特定的社会背景下进行创作,我们强调了“原生”艺术这一术语会如何产生误导。这些作品被看作是积极向上的,因为通过艺术表达和贡献社区人们创造了自己,这也是东亚道教,儒家和禅宗佛教传统的基础。陈书山采访了郭海平,介绍了南京原生艺术工作室的发展历史以及该项目对文化生态和互助的重视。文章展示了原生艺术家作品插图。Shaun McNiff采访了Daniel Wojcik,探讨他如何通过民俗研究参与到基层和白话艺术的。在期刊的这一期显示的中国艺术与更大的国际社区有关,这在Sabato Rodia, Tressa Prisbey, Howard Finster, 以及 Ionel Talpazan的作品插图都有所呈现。

Authors: Chen Shushan

Chen Shushan: Can you tell our readers about your personal history and how you became involved with art, psychology, mental health and art therapy?

 Guo Haiping: I was born in Nanjing in 1962. That year marked the end of China’s three years of natural disasters during which time (according to the official figures) 37.5 million people starved to death. I probably would not have survived had I been born one or two years earlier. When I was four years old, China began the decade of “Cultural Revolution,” the so-called “ten years of catastrophe.” Mao Zedong – a figure of almost godlike importance in that era – encouraged people to rebel. His Selected Works was the most frequently read text during my primary and middle school years and the slogan “Do not forget the class struggle” was painted in all the streets. In 1979 I dropped out of school before graduation and became a factory worker. In retrospect, I cannot say with certainty whether my dropping out was a manifestation of a rebellious spirit, although I soon began to feel an unprecedented irritability. At this time I also met several young artists. Despite the fact that I had never heard of the concept of “art,” I was attracted to these people at first sight – and to what they did. Soon I followed them in making sketches and paintings and I began to read books introducing me to Van Gogh, Gauguin and several other artists; one of these books was Van Gogh’s diary, Lust for Life.

Authors: Shaun McNiff

Shaun McNiff: Can you tell our readers how you developed your interest in what we call outsider visual art?

Daniel Wojcik: I think my interest in what has been called outsider art/art brut/vernacular/self-taught art goes back to my experiences as a child – my parents took me to roadside attractions, dinosaur parks, underground gardens and other interesting and unusual locations. These were fascinating places of uninhibited and free-form creativity for me. For instance, I remember being amazed by Sabato Rodia’s enormous shimmering towers in Watts that he built by himself over a thirty-year period (Figure 2) and then later seeing Tressa Prisbrey’s glowing bottle village in Simi Valley. She actually was there – giving tours to visitors for 25 cents or something like that – and I wandered through her hand-built structures. This made an impression on me (Figure 3).

Author: Steve Harvey, Tony Y Zhou, E. Connor Kelly, Joan Wittig

This article reviews an arts based project that came to completion in Shanghai during September 2017. During this project, a group of people interested in creative arts therapies from the USA and China used physical storytelling (PS) drawn from both Eastern and Western perspectives to investigate the emotional climate of our contemporary world. In this project, participants introduced stories related to their current life experiences and a small group developed dance improvisations as an initial response to the stories. A larger group then used arts and poetry to express their reflections – leading to the development of metaphors that moved beyond the initial story material to express multiple personal and social aspects not apparent in the initial narrative. As this project was collaborative in nature, several common themes and images emerged. Although initial episodes introduced the theme of individual struggle, this expanded into a metaphorical exploration of general human struggle with larger social and natural forces. The final episode included movement, arts and fairy tale images that suggested a developing creative partnership between the East and West. 

 本文介绍了音乐治疗在中国医疗领域中的历史和发展现状。2013年一位西方受训的音乐治疗师加入到中国无锡的精神病医院,开始在该领域尝试建立出符合中国国情的医疗音乐治疗项目。该项目主要在探索如何建立起满足中国文化需要的音乐治疗;如何将西方的人本理念灌输到中国的精神病院;如何用当代音乐治疗理念来解释过去遗留在中国音乐治疗界的一些错误认知;如何再创造的使用西方常用的音乐治疗技术来帮助中国的病人达到康复的目的。该项目已持续有4年之久,获得了一些好的结果,项目仍然在持续中。此外,进行中西方文化融合的过程中产生的种种挑战也将在本文中被讨论到。本文回顾了2017年9月在上海完成的基于艺术的科研项目。在这个项目中,一群对美国和中国的创造性艺术治疗感兴趣的人使用东西方视角的身体故事(PS)来调查我们当代世界的情感环境。在这个项目中,参与者介绍了与他们当前生活经历相关的故事,一个小组开展了舞蹈即兴创作作为故事的初步回应。然后一个较大的团体使用艺术和诗歌来表达他们的反思 – 导致隐喻的发展超越了最初的故事材料,表达了在初始叙事中不明显的多个个人和社会面向。由于该项目本质上是协作性的,因此出现了几个共同的主题和意象。虽然最初的剧集引入了个人斗争的主题,但这些扩展为对具有更大社会和自然力量的一般性人类斗争的隐喻探索。最后一个环节包括了动作、艺术和童话意象,表明东西方之间正在发展创造性的伙伴关系。

Authors: Stephen K. Levine, Ph. D., D.S.Sc.

Zhang Huan, 張洹; born 1965, is an internationally known contemporary Chinese artist whose work has been exhibited in numerous galleries and museums both in China and in the West. He is best known as a performance artist in the West, making pieces involving his own body and that of others and often subjecting them to extreme conditions. However, even during this period of his work, Zhang Huan has always tried to show spiritual being manifesting itself through bodily suffering. In recent years his artwork has taken a more obvious spiritual turn, using ash from temple incense and often referring to Buddhist themes and images expressing the transitory character of human life.

张洹,生于1965年,是一位国际知名的中国当代艺术家,他的作品曾在中国和西方的众多画廊和博物馆展出。他对于西方最出名的是作为表演艺术家,经常通过让他自己和他人身体处于极端条件下,来创造作品。 然而,即使在他的这段工作期间,张洹也总是试图通过身体上的痛苦展示出精神上的主张。近年来,他的艺术作品采用了更加明显的精神转向,使用了寺庙香火中的灰烬,并经常提到佛教主题和表达人类生活短暂特征的意象。

Authors: Robert Landy

This article describes a journey by the author to China where he documents in words and photographs the lives of people from minority cultures, especially the Miao and the Dong. In further in reflecting on the journey, the author acknowledges the impact of his mentor – a refuge from mainland China in 1949 – and his own heritage as an American Jew descended from generations of East European Jews displaced by pograms and by the Holocaust.

本文描述了作者到中国的旅程。他用文字和照片记录了少数民族文化中人们的生活,特别是苗族和侗族。 此外,在回顾旅程时,作者承认他的导师-1949年来自中国大陆的难民以及他自己作为美国犹太人的后代所产生的影响,源于几代东欧反犹骚乱和大屠杀。

 At the end of 2018, a webinar series Creative Arts Education and Therapy – History, Applications and Frontiers will be launched by Inspirees Institute and CAET Journal in affiliation with the Chinese Group of Arts Therapy associated with the Chinese Psychological Society. This series aims to bring professionals in arts education and therapy together throughout the world in order to stimulate a critical dialogue and to facilitate the networking opportunities that will strengthen our profession in line with the mission of CAET. 

Some of the most influential and promising educators, therapists and scientists will present webinars in this series – including Robert Landy, Sue Jennings, Dick Swaab, Elissa White, Guo Haiping, Mitchell Kossak, et al. The complete series consists of 37 sessions in seven modules in education and therapy relating to different art forms of music, drama, dance, expressive art, poetry and play. The six seasons will run from December 2018 through January 2020 – making it (within this field) the biggest webinar series in the world.

 Some of the speakers from CAET webinar series will be selected to present at the CAET World Forum held live in both China and abroad from 2019. The revenues from this webinar series will be used to sponsor the open access publishing of CAET journal.

 At this point, 35 partner institutions have joined the CAET webinar series – including universities, training institutes, professional societies, hospitals, performing groups, museums and media – both in China and abroad. This will help us to build up the network for future international collaboration between China and the West.

 2018年底,亿派学院和CAET期刊,协同中国艺术治疗学组将推出一个在线讲座系列:“创造性艺术教育和治疗–历史、应用和前沿”。本系列旨在将全球艺术教育和艺术治疗专业的专业人士汇集起来,促进平等的交流对话以及专业社区的建立和学科发展, 这是与CAET的目标和使命是一致的。

 一些最有影响力和最有潜力的教育家、治疗师和科学家将在本在线系列讲座中进行报告, 包括Robert Landy, Sue Jennings, Dick Swaab, Elissa White, 郭海平, Mitchell Kossak等等。 整个系列一共37讲,七个模块,包含艺术教育和治疗中不同的艺术形式 – 音乐、戏剧、舞蹈、美术、诗歌和游戏等。系列总共六季,将从2018年12月一直持续到 2020年1月, 使之成为世界上迄今为止本领域最大的网络研讨会系列。

 此系列讲座的一些讲者将被选拔出席2019年起在中国和国外举办的“CAET世界论坛”。本系列讲座的收入将用于赞助CAET期刊的开放获取出版。

 到目前为止,有来自中国和海外的35 个机构成为了“CAET在线系列讲座”的合作伙伴,包括大学、培训机构、专业协会、医院、表演团体、博物馆和媒体。这些伙伴关系将有助于我们建立起中国与西方未来国际合作的桥梁。

Last Issues

Editorial Board

Call for submissions

征稿启示

The call for submissions to 2019.5.1(Summer Issue) ends at May 1, 2019.

The call for submissions to 2019.5.2(Winter Issue) ends at August 1, 2019.

2019年5.1期(夏季刊)投稿截止日是5月1日,5.2期(冬季刊)是8月1日。

Click here to download the submission file 点击下载征稿通知

News and Events

Blog

Authors