Seven pictures hang on the walls of the Small Theater in Haar. Partly with clearly defined shapes and strong colors, but partly also abstract and with a thinner application of paint. You can’t tell by looking at them that these pictures were painted by mentally ill people. Art as therapy – that is what Hugo Kroiss’ film “Raw Vision” is about, which deals with the work of the day care center “Seelen-Art” in Haar. “Raw Vision” accompanies the work of artists with experience in psychiatry and is intended to contribute to the destigmatization of the mentally ill. The film premiered in small groups almost two years after its completion in the Small Theater.
Hugo Kroiss creates a contrast by juxtaposing shots of dreary everyday street life with colorful art. He puts anonymity and isolation, such as when traveling on the S-Bahn, into an interplay with the openness and transparency that is evident in art. “It takes a lot of courage to reveal so much about yourself,” says Matthias Riedel-Rüppel, director of the small theater. Art requires a certain willingness to exhibitism. And that’s exactly what the artists show in the film: personal stories and experiences. “Raw Vision” gives an insight into the soul of the artist.
Art therapist Sabine Schlunk says: “Art is seen here as a healing force.” It is balm for the soul, adds her colleague Tini Polt. It is not about the patient knowing that he is doing art here. Rather, it should be conveyed to him that he has a means of expression. In this way he can develop courage and self-confidence and possibly loosen certain “inner knots”. “It is simply a satisfactory result when something emerges on a white canvas that you like yourself,” says artist Tom Hobelsberger in the film about the importance of art therapy.
“That has become my passion. A way of expressing myself, to process certain things,” reports artist Lars Wessel. He suffers from bipolar disorder, which he says also gives him creativity. Axel Bittner, also known as Ramino, calls his art “naively creative”. This is basically representational, but combined with abstract forms. Colorful motifs and buildings adorn his pictures. One could draw a comparison with the works of Friedensreich Hundertwasser.
Cabaret artists like Sigi Zimmerschmied and Django Asül also have their say in the film. You have to take away people’s fear of being different, says Zimmerschmied. Any form of integration is desirable. At least one has to sound out the possibility, so the cabaret artist. Django Asül appeals to the audience: “Rush at the art that you like. It will definitely do you good.”
“Art is a food”
Following the premiere and a performance by the First General Forensics Band, Matthias Riedel-Rüppel invited them to a talk on the stage. District assembly president Josef Mederer (CSU), the member of the Green Parliament Claudia Köhler, director Hugo Kroiss and Peter Brieger, medical director of the Isar-Amper-Klinikum, discussed art therapy based on the film. Mederer was enthusiastic about how creative people can be if you just let them. The main goal of art therapy must be to enable people to lead a meaningful life again. “Art is a food. A means to life,” said the district council president.
Brieger emphasized that art breaks through borders and creates transcendence, much like being crazy. Claudia Köhler welcomed the processing of taboo topics such as mental illnesses in films. Kroiss built bridges. “You feel connected to the artists in the film,” said Köhler. Politicians must provide the necessary funds to promote institutions such as Seelen-Art and to ensure their existence, said the budget spokeswoman for the Green parliamentary group. Kroiss, in a jacket with a hat and rainbow mask, expressed the desire to create places for artists with mental illnesses despite the pandemic. “The goal must be: inclusion.”