ARTISTHelnwein

Gottfried Helnwein’s paintings of children are both touching and disturbing. The hyperrealistic character of his images serves to intensify this effect still further. The vulnerable and defenseless child serves as the central motif in his examination of the themes of pain, injury, and violence.

Tony Cragg, Gottfried Helnwein, Maria Lassnig, Hermann Nitsch, Arnulf Rainer, Hubert Scheibl, Erwin Wurm, Eduard Angeli, Gunter Damisch, Xenia Hausner, Kiki Kogelnik

Salzkammergut Festwochen 2024

The most complete monograph realized about the Austrian painter, photographer, filmmaker, performer and set designer, born in Vienna in 1948. The works of Helnwein show the bare truth where society instead hides and removes. What emerges by leafing through the pages of this monograph is the obsession that accompanies the artistic career of this notable Austrian artist, marked by the wish to breakdown the rhetoric of war, the constructions of self-absolution, the mystifications of religious institutions in whose pitfalls men periodically fall as if they had not committed the same mistake over and over again.

Erste museale Werkschau von Gottfried Helnwein in Österreich seit 1985. Der österreichische Künstler hat seit Mitte der 1980er Jahre zunächst in Deutschland gelebt hat und ist heute in Los Angeles und Irland ansässig. Die Ausstellung im grossen Saal des Museums zeigt Werke aus allen Schaffensperioden seit den frühen 1970er Jahren. Dabei steht das Thema des menschlichen Gesichts im Mittelpunkt, mit dem Helnwein sich in mehr als drei Jahrzehnten künstlerischer Arbeit auseinander gesetzt hat.

Fragt man nach einem verlässlichen Seismografen und obsessiven Forensiker unserer tiefsten menschlichen Abgründe, so führt an Gottfried Helnwein kein Weg vorbei. Wie kein Zweiter führt er uns in seinen Bildern seit mittlerweile fünf Jahrzehnten medienwirksam die Auswüchse menschlicher Gewalt vor Augen und konfrontiert uns mit unseren Trieben und Ängsten.

Henry A. Giroux turns the conventional wisdom on terrorism upside down, demonstrating the violence perpetuated by the United States itself, both overseas and woven into the very fabric of society at home. Giroux examines the effects of officially sanctioned torture, militarized police, austerity politics and the ongoing degradation of the education system - and how these impact young people in the US most of all.

" Es ist kein Zufall, dass unter all den grossen Retrospektiven, die wir (in der Albertina) gezeigt haben, von Gerhard Richter bis Georg Baselitz, diese Ausstellung von Gottfried Helnwein mit Abstand die am meisten die Menschen bewegende Ausstellung war, die die Menschen zum Teil zu Tränen gerührt hat. Ich habe es fast nicht glauben können. Aber Gottfried Helnwein trifft die Menschen ins Mark, er bewegt die Herzen. Und es freut mich natürlich, wenn man zeigen kann, dass Kunst nicht L’art pour l’art sein muss, sondern eine Botschaft haben kann, die die Menschen betrifft und berührt. " Klaus Albrecht Schröder Direktor, Albertina Museum Wien

Susan Crowley, Carmen Gaitán Rojo, Luis Alberto Ayala Blanco, Nicolás Alvarado, Marco Antonio Silva Barón

During a time of social upheaval abroad and labor protests in America, we should ask: why do citizens, especially young people, so seldom act to leverage their power, assemble for protests, and build organizations to reclaim the possibilities offered by a future in which democracy matters? Looking at a broad range of topics from youth and the promise of new media technologies, to declining funding of schools, the economic Darwinism of globalization, and the need for a formative democratic political culture--Henry Giroux's new book is a compelling account of the erosion in recent decades of the very idea of the social in America and in other societies.

Cover art: Gottfried Helnwein

cover: "I Walk Alone", mixed media, oil and acrylic on canvas by Gottfried Helnwein

catalogue

cover art: blue child by Gottfried Helnwein

cover: Night in Shangri-la, by Gottfried Helnwein

Cover - Gottfried Helnwein, Untitled (After Caspar David Friedrich), oil and acrylic, 1998

The cover for Giroux’s 2nd edition features another of the brilliant artworks by the Viennese artist Gottfried Helnwein (Aktion Sorgenkind). Featuring a blinded child on a rundown street, her hands are tied by a ribbon that reach beyond the page. This image is perfect for a text that spans nearly half a century of critical effort. This unseeing child is the counterpoint to the blinded Oedipus who also shaped by the rubble of his times, knew his fate and had it mapped out in advance. The ambiguity to the image is striking. Should we look upon it from the Western gaze, invariably we would scan from left to right, hence witnessing the child present yet puppeteered by a force that is invisible and beyond the pale.

The Austro-Irish artist Gottfried Helnwein is responsible for the artworks in this issue. With his hyper-realistic pictures, whose most common subjects are pain, injury and violence, Helnwein (born in 1948) is certainly one of the best-known and at the same time most controversial of German-speaking artists.

Cover: Gottfried Helnwein, The Murmur of the Innocents 3, 2009

Ripubblicato, presso Rizzoli, “Il violino di Auschwitz” della scrittrice catalana, scomparsa dieci anni fa. Un libro affascinante e coinvolgente che narra la storia (vera) di un liutaio ebreo costretto a mettersi al servizio di un comandante del terribile lager, appassionato amante della musica e degli strumenti che servono per la sua esecuzione. Desta, tuttavia, perplessità e varie obiezioni la nuova traduzione a firma di Margherita D’Amico, che appare chiaramente di seconda mano.

catalogue

COVER PAINTING Downtown (I) (2002} by Gottfried Helnwein

Exhibition Catalogue

The exhibition was organised and curated by Gottfried Helnwein

Cover: "The Disasters of War", oil and acrylic on canvas, 2007, by Gottfried Helnwein

catalogue

Catalogue cover: Gottfried Helnwein, Head of a Child 5, 1998

One man show Exhibition catalogue

"...When I look at a work of Art I ask myself: does it challenge me, does it touch, move or inspire me? Do I learn something from it, does it startle or amaze me - do I get excited, upset? That is the test any artwork has to pass: can it create an emotional impact on a human being even when he has no education or any information about art? I’ve always had a problem with art that you can only understand if you have a degree in art history, and I have a problem with theories in general. Most of them are bullshit anyway. Most critics and theorists have little respect for artists, and I think the importance of theory in art is totally overrated. Real art is self-evident. Real art is intense, challenging, enchanting, exciting and unsettling; it has a quality and magic that you cannot explain. Like the Blues, a poem of Rimbaud or Rembrandt's late self-portraits. Art is not logic, and if you really want to experience it, your mind and rational thinking will be of little help. Art is something spiritual that you can only experience with your senses, your heart, your soul. Think of Bob Dylan, Hendrix, Mozart, Howling Wolf, Goya, Bukowski or Robert Crumb - do you need to know the theories that some busybodies might attach to their art in order to experience it? Marcel Duchamp said: "The work of art is always based on the two poles of the onlooker and the maker, and the spark that comes from the bipolar action gives birth to something - like electricity." These two poles is all you need.

exhibition-cataogue ..A clarity of vision in his subject matter was emerging in Helnwein's art that was to stay consistent throughout his career. His subject matter was the human condition. The metaphor for his art, although it included self-portraits, was dominated by the image of the child, but not the carefree innocent child of popular imagination. Helnwein instead created the profoundly disturbing yet compellingly provocative image of the wounded child. The child scarred physically and the child scarred emotionally from within.

"Helnwein's meticulous Irish landscapes, which are the cornerstone of this Crawford show, are unashamedly aesthetic: gorgeous confections of pure, delicious spectacle. The typically epic but not inhuman scale imitates the subject matter. The tonal realism will make people go "Wow, are they paintings?" - thanks to the photorealist finish which seems free of the foibles of the human hand. Helnwein works with very small brushes - highlighting and subtly magnifying here, muting colours or creating shadows there; pushing some paintings towards momentary sleights of impressionism; and others towards seamless, burnished hyperreality. The bird's eye view suggests a kind of superhuman vision which can simultaneously take in the entire view with breath-taking clarity, like some bionic eagle." Mic Moroney, from the essay "Out of the Apocalypse into the Sublime - bursting into Irish Landscape: Citizen Helnwein"

Cover: painting "Mouse I" by Gottfried Helnwein

Inszenierung, Choreografie: Gregor Seyffert Bühne, Video, Licht, Kostüme und Maske: und Gottfried Helnwein Dichtung aus "Lalla Rookh" von Thomas Moore für Solostimmen, Chor und Orchester

On Sunday, November 9, at 7:00 p.m. the Museum of Tolerance commemorates the 65th anniversary of the infamous 1938 Nazi “Night of Broken Glass” (Kristallnacht) pogrom which targeted 1,000 synagogues in Germany and Austria and marked the beginning of the end of European Jewry. The commemoration is highlighted by the screening of a documentary by renowned Austrian artist, Gottfried Helnwein, 9th November Night, who has committed himself and his art to reminding the world of the Holocaust. The documentary is based upon his 1988 exhibit of seventeen children’s portraits that were displayed in commemoration of Kristallnacht in Cologne, Germany. Just days into the exhibit, these portraits were vandalized.. “The fury with which the neo-nazis reacted to these portraits is understandable inasmuch as it is the very same fury with which they have for years been fighting against The Diary of Anne Frank,” said famed Nazi hunter Simon Wiesenthal. “The murder of children rouses abhorrence and conflict in every human, whether they are motivated by ideology or insanity. The urge to destroy has survived; the portraits bear witness to its rage.”

How can one recount the Holocaust? That is certainly one of the major questions confronting any writer who tries to write on this theme. How is one to transform the horrific and inconceivable reality into fiction? How can one create a feeling of aunthenticity in the reader? How to disturb his emotional world without resorting to sentimental manipulation and how to avoid banality? ...

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.

Ingo Metzmacher, Jürgen Flimm, Gottfried Helnwein

The Book Bukowski in Pictures is the first pictorial biography of cult writer, Charles Bukowski. The writer's extraordinary private and public life is illustrated with hundreds of photographs, most published for the first time. Extracts from Bukowski's poetry and prose are sprinkled throughout, together with drawings, cartoons, manuscripts, rare broadsides and personal letters. It features powerful new portraits of Bukowski by leading photographers such as Gottfried Helnwein and Tony Lane, former art director of Rolling Stone, as well as work by R.Crumb. All photographs have detailed captions by biographer Howard Sounes who has also written a powerful introductory text with new revelations gleaned from Bukowski's recently declassified FBI file. The end result is a fascinating life in pictures that will be essential for all Bukowski fans.

catalogue essay by Wolfgang Bauer

Framed Visions analyzes the pivotal role American mass media and popular culture have played in shaping the political, social, and psychological identity of postwar Germans and Austrians. Through detailed readings of films, novels, plays, and poems of a variety of contemporary artists--including Rainer Werner Fassbinder, Wim Wenders, Elfriede Jelinek, Herbert Achternbusch, Monika Treut, Peter Handke, and Rolf Dieter Brinkmann. Gerd Gemunden reveals the paradoxical stance of this generation toward American politics and Hollywood aesthetics.

Monograph texts by Alexander Borovsky, Curator for Modern and Contemporary Art Peter Selz Klaus Honnef William Burroughs Heiner Müller

Catalogue Muffathalle, München 47. Berliner Festwochen, Berliner Arena Ausstattung: Gottfried Helnwein Regie: Gert Hof

catalogue text by Chikako Imai text by Evgenija Nicolaevna Petrova Chief Curator, State Russian Museum St Petersburg Alexander Borovsky, Curator for Modern and Contemporary Art,State Russian Museum, St Petersburg Günter Zehnder,Chief Curator, Rheinisches Landesmuseum, Bonn text by Andreas Mäckler.

catalogue Cover and page 2 and 3 : Helnwein, detail from: "Selection, Ninth November Night" Masterpieces of the Ludwig Collection from antiquity to present day.

copyright R.C.S. Libri & Grandi Opere S.p.A. I edizione "I Grandi Tascabili" marzo 1995

Cover: Gottfried Helnwein Tusche auf Papier, 1979

Dieser Katalog begleitet eine Ausstellung im Rahmen der Fototage 1993 in der Schirn in Frankfurt am Main Konzept und Redaktion: Michael Baumgarten

catalogue text by Gisela Fiedler-Bender and Georg Dolezal.

text by Andreas Mäckler.

hardcover text by William S. Burroughs, Heiner Müller and Reinhold Mißelbeck.

catalogue text by Peter Zawrel, Peter Gorsen and William S. Burroughs.

Ab Herbst 1991 erschien die ZSOLNAY KUNST EDITION mit von Markus Lüpertz, Gottfried Helnwein, A. R. Penck und Jörg Immendorff ausgestatteten Kassetten.

Gottfried Helnwein (works on paper 1969–1989), Folkwang Museum Essen/Kunsthalle Bremen/ Kunstverein Ludwigsburg, 1989, text by Hubertus Froning, H.C. Artmann and Heiner Müller.

group show catalogue

“Helnwein” ‘Ninth November Night’”, Ludwig Museum - Cologne/Musée de l’Elysée - Lausanne 1988, text by Reinhold Mißelbeck, Simon Wiesenthal, Charles-Henri Favrod and Heiner Müller.

Artist of inner Turmoil. Gottfried Helnwein's works from the 1980's are represented by the self-portraits in his "Black Mirror" series. However, these works reach far beyond the boundaries of the ordinary self-portrait. They reflect the inner wants and desperation which lies within the viewer's own self. Helnwein points out the new form of the modern self-portrait which involves the creator and viewer alike.

Einzelausstellung, Musée d’Art Moderne, Strasbourg texts by Peter Gorsen and Heiner Müller.

Material für den Sekundarbereich II: Malerei, Grafik, Fotografie. SELBSTPORTRAIT, Albrecht Dürer, Rembrandt, Angelika Kaufmann, Caspar David Friedrich, Vincent van Gogh, Max Beckmann, Salvador Dali, Arnulf Rainer, Gottfried Helnwein. Fotorealistischer Aufschrei, Gottfried Helnwein's Selbstportrait, 1983

one-man show and Performance

exhibition-catalogue Mittelrhein Museum, Koblenz Leopold Hoesch Museum, Düren Galerie Würthle, Wien,

Texte von Walter Koschatzky, Peter Gorsen, Klaus Hartung and H.C. Artmann.

softcover

Mit Fotos von Gottfdried Helnwein

Umschlagbild: Gottfried Helnwein.

texts by H.C. Artmann, Wolfgang Bauer, Barbara Frischmuth and Botho Strauss.

Primeiríssimo livro ilustrado da cooperativa, Textorama tem foto feita em 1990 por Gottfried Helnwein na capa e, no miolo, gravuras holandesas palosas do século XVIII.

( hardcover )

Catalogue

one-man show Ausstellungskatalog

Catalogue

Catalogue Gottfried Helnwein Franz Zadrazil Ulrich Gansert Franz Mölk Jochen Wahl Thomas Moog