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Background: In 1945 the artist and art collector J. Dubuffet coined the term Art brut for original works by psychiatric inmates that had been created outside of traditions and art movements. In the following decades these works were at the center of negotiation processes in which not only psychiatrists but also exhibition organizers, gallery owners etc. increasingly became involved., Objective: Based on the evaluation of four exemplary pairs of psychiatrists and artist patients (H. Müller-Suur-P. Goesch; M. in der Beeck-E. Spießbach; J. Porret-Forel-A. Corbaz; L. Navratil-R. Limberger), this study explores the field of tension between art and psychiatry after 1945., Material and Methods: The results of the subproject "Normal#Crazy Art. Works from a Psychiatric Context between Diagnostics and Aesthetics after 1945" of the German Research Foundation (DFG) research group "Normal#Crazy" (FOR 3031) are based on the evaluation of archival material, estates, interviews with contemporary witnesses and contemporary media., Results: It is shown that different attitudes of the psychiatrists towards "their" artist patients strongly influenced their entry into the art world. In this context, impulses from beyond psychiatry were important in order to expand purely diagnostic views of the works with other approaches., Discussion: The renewed interest in the individual creativity of patients after 1945 can be understood as a reaction to their dehumanization under fascism and National Socialism; however, the focus on the pathologized personality of artist patients could obscure alternative perspectives on their art, just as the disposal of their works by psychiatrists could hinder their dissemination., (© 2024. The Author(s).)

Modulation or stimulation of the nerves supplying the lower urinary tract is a possible treatment option for dysfunction of the lower urinary tract, pelvic floor and rectum if conservative or minimally invasive treatment approaches fail. This overview shows the possibilities and limitations of sacral neuromodulation, sacral deafferentation with sacral anterior root stimulation and conus deafferentation.Sacral neuromodulation (SNM) is a procedure for the treatment of refractory pelvic floor dysfunction of various origins (idiopathic, neurogenic or post-operative), such as overactive bladder, non-obstructive retention and faecal incontinence. A particular advantage of SNM is the possibility of prior test stimulation with a high prognostic value. The procedure is minimally invasive, reversible and associated with relatively low morbidity rates.Following the introduction of MRI-compatible SNM systems, there has been renewed interest in the treatment of neurogenic bladder dysfunction. A recent meta-analysis reports similar success rates as in the idiopathic patient population.Sacral deafferentation with implantation of a sacral anterior root stimulator (SARS/SDAF) is an excellent therapeutic option for patients with spinal cord injury, which can significantly improve the quality of life of those affected and, in addition to treating neurogenic lower urinary tract dysfunction, can also have a positive effect on neurogenic bowel dysfunction, neurogenic sexual dysfunction or autonomic dysreflexia. If conservative or minimally invasive treatment fails, it is crucial for the success of this procedure to consider SDAF/SARS at an early stage in order to avoid irreversible organic damage.Conus deafferentation (KDAF) is a less invasive surgical treatment option for patients with spinal cord injury for whom sacral deafferentation would be indicated but who would not benefit from the simultaneous implantation of a sacral anterior root stimulator. In principle, these patients also have the option of being subsequently treated with an extradural implant and thus utilising the advantages of anterior root stimulation. Indications for KDAF are autonomic dysreflexia, therapy-refractory detrusor overactivity, recurrent urinary tract infections, urinary incontinence and spasticity triggered by detrusor overactivity. With KDAF, we have a safe and efficient procedure with great potential for improving the spectrum of paraplegiological and neuro-urological treatment., Competing Interests: Die Autorinnen/Autoren geben an, dass kein Interessenkonflikt besteht., (Thieme. All rights reserved.)

This paper explores the life and art of Svyatoslav Voinov (1890–1920), a modernist painter and a drawing artist from St. Petersburg, barely remembered today but nevertheless a remarkable example of both art and spirituality of his time. Both paintings and drawings of Voinov lay bare a distinctive character of the period when symbolism and modernism crossed ways. His art offers a glimpse on a unique creative atmosphere of the period of the Russian Revolution and the Civil War (1917–1922), the time when his most significant work was done. Voinov’s art is typical for religious currents in the Russian art of early 20th century. It is closely linked to their preceding formative period but was also influenced by the modernist discovery of the aesthetic value of Russian icons. Voinov’s art is rooted in a complex synthesis of traditional icon-painting and symbolism grafted with newer expressionistic and futuristic trends, such a synthesis being typical for quite a few Russian artists of the period. What makes Voinov and his art unique is that he aspired to cross the boundaries of purely secular spirituality and offered an original and effective example of how modern visuality can work together with ancient tradition of icon painting. Voinov transcends the contours of narrative formulas of religious themes and boldly moves towards the theology in paint. The drawings and compositional sketches of Svyatoslav Voinov were examined by the author in the collections of the State Russian Museum (St. Petersburg, Russia). Some of the drawings are published here for the first time. Статья посвящена творчеству Святослава Владимировича Воинова (1890–1920), петербургского живописца и графика, малоизвестного сегодня, но яркого представителя искусства 1910‑х годов. Цель статьи – вернуть забытое имя оригинального религиозного художника эпохи модернизма, на основе архивных материалов реконструировать его художественное мировоззрение и рассмотреть ряд наиболее значительных произведений с помощью комплекса традиционных искусствоведческих методик в контексте религиозного направления конца XIX – первой трети XX веков. Задачи статьи – проанализировать живопись и графику Святослава Воинова, выявить специфику художественных процессов, которые на рубеже XIX–XX вв. шли в русском искусстве на пересечении символизма и модернизма, наметить специфическую ситуацию в искусстве эпохи Гражданской войны (1917–1922), в период которой были созданы наиболее значительные произведения художника. Святослав Воинов является представителем религиозного направления в отечественном искусстве начала ХХ века и продолжает традиции предшествующего периода его развития. Но он и прокладывает новые пути, связанные с модернизмом и произошедшим во второй половине XIX – начале XX веков открытием эстетической ценности древнерусской иконы. В статье рассматриваются факты биографии художника, культурный и общественный контекст его творчества, живописные и графические произведения, хранящиеся в Государственном Русском музее. Искусство Воинова основано на сложном синтезе искусства иконы, символизма и новейших направлений: футуризма, экспрессионизма, что в целом характерно для ряда отечественных мастеров рубежа XIX–XX вв. Уникальность творчества Святослава Воинова в том, что оно выходит за рамки сугубо светского религиозного искусства. Предлагая оригинальный и актуальный на тот момент пример синтеза древних церковных традиций и современной визуальности, выработанной к началу ХХ века, Воинов преодолевает границы сюжетного решения религиозной темы и устремлён к богословствованию в красках.

The article analyses public art within the framework of the cultural approach – as a form of visualization of the city’s cultural code. The author examines the variants of public art comprehension existing in the Russian academic discourse and identifies the two most common approaches to the interpretation of art in the public space. According to the first approach, public art is interpreted as “commissioned” art, which is an instrument of the state’s ideological policy, and is therefore evaluated negatively. According to the second approach, public art is understood in a less evaluative and more meaningful way, emphasizing the variability of artistic practices existing within it, their focus on communication with society, participation of residents, and reflection of locally significant meanings. The article emphasizes the commemorative functions of public art and comprehends its role in the actualization of the city’s cultural memory and representation of urban identity. The author explores what historical, cultural, and mythological narratives are depicted on the murals in Veliky Novgorod, created within the framework of the All-Russian Street Art Festival “Pages of History” (2019–2023). The article proposes to categorize Novgorod murals into the following thematic groups: 1) genius loci; 2) historical subjects; 3) myths and legends; 4) cultural heritage; 5) natural objects; 6) modern heroes. Art in Veliky Novgorod’s public spaces, especially located in typical Soviet districts, serves to individualize the urban environment and create new points of attraction for the city dwellers. Murals have become part of new excursion routes that run both through the symbolic city center and the city outskirts. The author argues that the subjects represented on the murals are authentic for Veliky Novgorod, contribute to the formation of local identity, enhance the imagery of the urban environment, and emphasize the uniqueness of the Novgorod cultural landscape.

Often located in places difficult to access – caves, rock shelters, and deserts – prehistoric paintings and engravings were first generally known to the wider public in the 1930s through reproductions presented in publications and exhibitions in major European and American cities. The German anthropologist Leo Frobenius (1873–1938) played a decisive role in this diffusion by creating the world’s largest collection of prehistoric art facsimiles: about 5,000 so-called “original” copies faithfully reproducing the size, shapes, and colors of the paintings. The copies were made throughout the world primarily by professionally trained young women artists who accompanied Frobenius on his expeditions. These watercolors brought these rarely seen and distant images into the larger world. In numerous exhibitions, rock art – converted into two dimensions, in rectangular form, and hangable on a wall – was presented to the public like recognized masterpieces. This article explores the history of the collection and today’s exhibition concepts.