Vanessa Beecroft, VALIE EXPORT, Nan Goldin, Andreas Gursky, Ilse Haider, GOTTFRIED HELNWEIN, Birgit Jürgenssen, Marie-Jo Lafontaine,Tracey Moffatt, Thomas Ruff, Shirin Neshat, Anne & Patrick Poirier, Lois Renner, Eva Schlegel, Sean Scully, Cindy Sherman, Thomas Struth, és Rosemarie Trockel
2003. március 14 – június 1. ...

Gottfried Helnwein's extensive 1997 retrospective at the State Russian Museum in St. Petersburg gave visitors an overview of his work going back to his street actions in Vienna in the 1970s, his grimacing iconic self-portraits that suggest self-mutilation, and on to his menacing canvases depicting the evils of the Third Reich.
He has worked as a painter. draftsman, photographer, muralist, sculptor and performance artist. His work is consistently concerned with psychological anxiety.
In his new series of paintings, done in somber monochrome blues, he continues to work with singulae sense of suspense and mystery. ...

Seine Kunst arbeitet meistens mit dem Element des Schocks. Er zeigte offen den Zynismus einer Gesellschaft, die nicht mehr die Dinge so sieht, wie sie sind, sondern dessen Sichtweise durch bereits bekannte 'Bilder über Dinge' geprägt ist.
"Die Funktion des Künstlers besteht darin, die Erfahrung eines überraschten Erkennens wachzurufen: dem Betrachter zeigen, was er weiß, von dem er aber nicht weiß, dass er es weiß.- Helnwein ist ein Meister dieses überraschten Erkennens." (William Burroughs) ...

teatrenacional.com > Llistat d'obres de teatre > Kleines Helnwein, Rodrigo M. Malmsten ...

Zielsetzung: Der im Unterricht der Qualifikationsphase vertieft zu behandelnde thematische Schwerpunkt 1 "Bilder vom Menschen" gibt u.a. die Auseinandersetzung mit "Bildern der Entfremdung" und die Inszenierung der menschlichen Figur vor. Bezüge zu dem thematischen Schwerpunkt 2 sind insbesondere durch die für Helnwein charakteristische Einbindung der menschlichen Figur in Raumzusammenhänge gegeben. Eine Annäherung an das Werk Helnweins soll in kritischer Auseinandersetzung mit dem sich in den Arbeiten manifestierenden Menschenbild erfolgen. Möglichkeiten einer Übertragung der Strategien Helnweins auf den Unterricht sollen hinterfragt und Unterrichtsgänge in der Ausstellung vorbereitet werden. ...

...To this day, there is still controversy over when to operate on these fixed nasal deformities acquired during midfacial growth. The painting by Helnwein, entitled "Mean Child", depicts a terrified child who has just undergone a reconstructive operation to form a new nose from a frontal flap (Fig. 46). Blood drips from the tubes projecting from the reconstructed nose. A purulent scrap of granulation is seen in the left medial canthus, while a fresh scar from which the sutures have just been removed stretches from the angle of the mouth to the left ear. The flowered wallpaper in the background contains these words: disobedience allowed, taking pleasure in punishments, unchaste things, and other words which are connected with lines to the pathological alterations in the face. Do these harken back to the mediaeval belief that sickness is a punishment for greater or lesser human failings?

Artists:
George Grosz, Gottfried Helnwein, Albrecht Dürer, Rembrandt, Peter Paul Rubens, William Hogarth, Otto Dix, Velásques, Hans Holbein the Younger, Bernard van Orley, Vrubel, Jacob Jordaens, Juan Carreno de Miranda, George Catlin, Jan Provoost, Honoré Daumier , Heinrich Zille, Wilhelm Busch, , Gaetano Guilio Zumbo, Manfred Deix, Simone Martini, Cornelis Cornelisz van Haarlem, Marc Chagall, Chicotot, Laurence Sterne, Utamaro, Ferdinand Bol, Master of the Wenemaer Triptych, Liberale da Verona, Jules Lenepveu, Alexandrowitsch Wssjewoloshskij, and Ancient Egypt-, Phoenician-, Roman-, Greek- and Mayan -artists.
...

Art Direction: Gottfried Helnwein
Editing and primary director of photography:
Benjamin at the Barbarian Group
Second camera: Charles Koutris
Location: studio Helnwein, Los Angeles ...

Mag in der Insistenz und Extensität der Produktion Rainers Werk herausragen, die Abwendung von der Anthropologie, die als Negation doch auch mit ihr verknüpft ist, durchzieht die Kunst seit der Mitte des 20. Jahrhunderts. Zum Bestand der kanonisierten Kunst gehören mittlerweile die fotografisch dokumentierten Body-Perfomances der 60er und 70er Jahre (z.B. Bruce Naumann, Jürgen Klauke, Klaus Rinke), die Selbstporträts Gottfried Helnweins der 70er und 80er Jahre, die Video-Dummies von Tony Oursler. ...

Gottfried Helnwein, keine Frage, ist ein Künstler auf der Höhe der Zeit. Wie alle avancierten Künstler hat er sich nicht nur den Herausforderungen der neuen Techniken gestellt, vielmehr meistert er sie, indem er sie zur immer vollkommeneren Verwirklichung seiner künstlerischen Vorstellungen planvoll nutzt. Niemals verwendet er Technik um ihrer selbst willen oder um mit vordergründigen Effekten zu verblüffen. Er ordnet im Gegenteil die technischen Mittel den Zwecken seiner künstlerischen Ziele strikt unter. Für seine zeitgebundenen Aktionen zu Beginn seiner künstlerischen Praxis waren Fotografie und Film die einzig angemessenen Mittel, wenigstens einen Rest ihrer provokativen Wirkung mit dem Siegel der Authentizität zu erhalten. In diesem Fall war der eigene Körper das hauptsächliche Mittel des künstlerischen Aktes. ...

This was the moment when I sensed for the first time," Helnwein has since written, "[that] you can change something with aesthetics, you can get things moving in a very subtle way, you can get even the powerful and strong to slide and totter, anything actually if you know the weak points and tap at them ever so gently by aesthetic means." For the following three-and-a-half decades he has relentlessly pursued that goal, masterfully incorporating everything from painting to performance to photography, regularly causing art world outcry and public fury. Yet as his knockout exhibition at Modernism last October made clear, his art is successful less for its evident tendency to provoke than for its extraordinary ability to perplex. ...

Disney artist Carl Barks (1901-2000) created one of Walt Disney's most famous characters, Scrooge McDuck. Barks also produced more than 500 comic book stories. His work is ranked among the most widely circulated, best-loved, and most influential of all comic book art.
Although the images he created are known virtually everywhere, Barks was an isolated storyteller, living in the desert of California and preferring to labor without public fanfare during most of his career.
The influence of Barks's work on such filmmakers as George Lucas and Steven Spielberg and on such artists as Gottfried Helnwein has extended Barks's significance far beyond the boundaries of comics. ...

Helnwein's painting - both cheekily and totally in homage - appropriates the great paintings, "The Polar Sea" (1824) by the leading German Romantic landscape artist Casper David Friedrich. Helnwein here re-renders the painting in a gloomy, cinematic blue-black duochrome, and hugely magnifies it from its original scale (about 1 metre by 1 metre 30), although the foundered ship still seems dwarfed and pulverised by the splintering ice sheets. It remains a fine example of that particularly Germanic celebration of heroic humanity dashing itself against the majestic cruelty of nature.
Helnwein, in his wry title and borrowing of the image, is suggesting an uncomfortable paradigm behind Friedrich's painting - a perpetual sense of momentous revolution within nature, raw humanity and indeed artistic culture. These ideas pervaded Friedrich's work, as well as that of composer Richard Wagner and philosopher Friedrich Nietzsche - all of whose works were later so mistakenly absorbed into the "superhuman" aesthetic of Nazi ideaology and doctrine. ...

Faкeл: Кто для вас важнее, Адольф Гитлер или Дональд Дак?
Gottfried Helnwein: Конечно, Дональд Дак. Встреча с этим персонажем в возрасте четырех лет была моей первой встречей с великим искусством. Я родился в Вене, оккупированной советскими войсками, сразу после окончания войны. Кругом разбомбленные дома, врослые казались мне разбитыми и угнетенными. Не помню, чтобы в раннем детстве кто-то пел или смеялся. Мир вокруг меня казался немым черно-белым кино в замедленной перемотке. Я чувствовал себя так, будто приземлился на чужой планете, в мире, которому не принадлежу.
Однажды вернувшийся с работы отец бросил на пол передо мной едва ли не первый немецкий перевод комиксов о Дональде Даке. Открыв эту первую в моей жизни книгу комиксов, я открыл дверь в реальный мир. Робко вошел. Я чувствовал себя так, как человек, переживший взрыв на шахте. После долгого пребывания в темноте между жизнью и смертью я вошел в яркий свет Дакбурга, и мои глаза, не привыкшие к такому яркому свету, наполнились слезами. Я глубоко вздохнул, и мои пропыленные легкие наполнились свежим воздухом.
В этом мире все снова обрело свой смысл: люди снова выглядели нормально, у них были желтые утиные клювы или собачьи морды, и каждого из них можно было безо всякого вреда для их здоровья продырявить пулями или раскатать в лепешку гигантским катком. Это был мир красок, скорости, приключений, магии и удивления. Я никогда не отступал назад, в чистилище так называемого "реального мира", и с тех пор Дональд Дак стал для меня неограниченным источником вдохновения. ...

Shakespeare Survey is a yearbook of Shakespeare studies and production. Since 1948 Survey has published the best international scholarship in English and many of its essays have become classics of Shakespeare criticism. ...

『HELNWEIN』 Gottfried Helnwein (98Konemann)
良い子は見ないで下さい
スコーピオンズ『ブラックアウト』 やラムシュタイン『渇望Sehnsucht』のジャケットで有名、ヘルンバインの画集。70年代初期アクション時代から90年代コンピューター処理を経た作品までを網羅した一家に一冊のベスト本！25㎝×32㎝420ページ、重い！テーマは苦しみ、虐待、死、特に児童虐待と内容も重い！
年代順の作品解説、論考？、Ｈ・ミューラー、Ｗ・バロウズの寄稿文が英、独、仏語で載っている。リブロポートから昔出た『ヘルンバイン』を捜し求めるよりはこれを買ってください。私は渋谷パルコブックセンターで￥5000で購入したが、紀伊国屋ネット会員だともう少し安い。最新シリーズはwww.helnwein.comで。 ...

GOTTFRIED HELNWEIN
構成・解説　伊藤俊治
リブロポート
オーストリア＝ウィーンはヤバい芸術家を数多く輩出／排出している。シェーンベルク、ベルク、ウェーベルンら新ウィーン楽派の音楽、シーレ、ココシュカらの表現主義的な絵画、フックスらのウィーン幻想派。
そして、我らがヒーロー、ゴットフリート・ヘルンヴァイン。 ...

Artists in their pusuit to understand themselves and the world around them have been forced to face the pain of suffering.
Helnwein, in his important "American Madonna" (Epiphany IV) painting, depicts with provocation the conflict between men of power and the weak.
In this present day setting, the police are confronting a divine being. ...

Helnwein is famously confrontational, and his bold conflations of Nazi and Christian iconography, in Epiphany and other prominently displayed pictures, predictably generated some friction. Yet, in a way, one shouldn't rush to condemn condemnations of, or expressions or resignation about, Helnwein's work, no matter how superficial or uninformed they turn out to be. Because, let's face it, a large part of its effectiveness had to do with its calculated, barbed ambiguity.
The point of the images is that they put it up to you as a viewer. Given that, one potential line of criticism is that they are designed solely to be provocative, like Marcus Harvey's portrait of Myra Hindley. But the abiding strength of Helnwein's work is that provocation is a means rather than an end; it is - however uncomfortable - morally grounded, if not necessarily in a way that will please all observers...
His beautiful photographs of Kilkenny children are, collectively, a recognisable derivative of his work Selection, which implicitly placed the viewer in the position of someone marking children for extermination. Strong stuff.
If that seems irrelevant in an Irish context, one could always point to Northern Ireland and to the scandals that have shaken the complacent authority of church and state in recent years.
What is more innocent, more open, more charming than the face of a child? Except that we are more than ever uncomfortably aware that the act of looking is not at all innocent, and Helnwein's children, with their closed, downcast eyes, decline to meet our collective gaze. Why? Perhaps because they insist on remaining within the orbits of their imaginations.
There is also, however, a slight unease arising from the uniformity of the images and the awareness that the subjects are being directed. Helnwein has a knack for throwing responsibility for what we are looking at back onto us, the viewers. ...

Exhibition - catalogue
One man show, Butler House, Kilkenny
Installation in the Kilkenny city center
Introduction by Claire O'Donoghue
Essay by Mic Moroney

Ninety children from around the city and country were photographed by the artist here in the High Street and nine are displayed in central locations around the city, dramatically enlarged up to 9 metres high. This ongoing project, begun here, will continue in other cities and towns in Ireland as the artist intends to expand the work to include one thousand Irish children. These beautiful,confident and happy children from Kilkenny contrast starkly with some of his more disturbing imagery. The juxtaposition of historical photographs of the Nazi regime with religious imagery of the Madonna and Child in the "Epiphany" series can make uneasy viewing not only in Germany and Austria but also here in Kilkenny.
Amongst a number of possible readings of these works is the uncomfortable relationship between the church and oppression in its various forms. However, as the artist Nolde said, "harmless pictures seldom mean anything". Nolde was banned from painting by the Nazi regime. ...

Most of the city pictures emerge from a deceptively simple strand of Gottfried's work, the frank photography of children's faces. He photographed over ninety children in Kilkenny. Now these kids are immortalised, larger than life in their extreme youth, and dotted around the gable-ends and walls of their native town; there eyes closed in beautiful, breathless meditation. Mounted in a manner which is normally the preserve of billboard advertising, these are quietly awesome images of the city's youngest inhabitants. ...