ARTISTHelnwein

Here, Decadence is envisioned as a response to apocalypse, economic turmoil and the effects of late capitalism. Decadence Now!: Visions of Excess reaches back to the 1970s to examine pre-millennial rumblings of alienation, aestheticism, morbidity, pornography, intoxication and madness in the art of Robert Mapplethorpe, Cindy Sherman, Matthew Barney, Jake and Dinos Chapman, Gilbert and George, Keith Haring, Gottfried Helnwein, Damien Hirst, Jeff Koons, Yasumasa Morimura, Catherine Opie, Zhang Peng, Pierre et Gilles, Andres Serrano, Joel-Peter Witkin, David Wojnarowicz and many others.

cover art: blue child by Gottfried Helnwein

Two years after Beuy's death the Viennese artist Gottfried Helnwein created a striking and odd image bringing Breker and Beuys together. Helnwein posed the eighty-eight-year old Breker unconfortably holding Helnwein's portrait of Beuys in front of his chest. The older man with furrowed brow directs the glossy, skeletal image of Beuys-like an icon painting-away from his own gaze and toward that of the viewer.

cover: Night in Shangri-la, by Gottfried Helnwein

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

Jeder, der Rockmusik als Soziale Konstruktion versteht, ist hier richtig. Weiter ist Rum gut für alle Rock und Bluesinteressierten. Rum betrachtet die Welt von den 30er Jahren angefangen bis irgendwann im Jahre 2009. Es wird erklärt welchen Einfluss Robert Johnson auf Meshuggah hat und, daß der Weltenlauf die Deathmetalszene mitgestalltet. Rum zeigt anhand von Meinungen, dass Gottfried Helnwein, Elvis Presley, Nic Olivieri, Markus Lüppertz, Ian Frazer Killmister, Manfred Mörth, Tiger, Zoe Strobe, D.O.V. Sex'n einen Duft von Gemeinsamkeiten haben in allem was sie tun.

When we met, the first thing Gottfried Helnwein asked me was about my childhood. Did I have a happy childhood? Literally in those words. There is a linguistic realm that is home to theme members of my generation, which supplies an instant response when the question is posed: "Thanks to Commrade Stalin for our happy childhood!"...

... umstrittene österreichische Künstler Gottfried Helnwein hatte darauf die Entehrung des Brigadiers bildlich dargestellt - Jeanmaire war in voller Körpergrösse mit heruntergelassenen Hosen und nur mit seiner Dienstmütze bekleidet zu sehen.

Gottfried Helnwein's The Golden Age was a centerpiece of an exhibit that drew attention to a long career of subversive art. A novice to the milieu, I was there on the whim of a friend; I've recently discovered that indulging friends was proving even more treacherous than coping with fierce women. Yet I found consolodation in the fact that the Golden Age had me transfixed. It reminded me that the darkest of fantasies tread perilously close to our real lives, stalking them with dire warnings. In the picture a little girl gazes down upon her mother's thigh as though presiding over a very private, forbidden ritual.

Künstlern wie MODE 2, die FX CREW, 3 STEPS, ART FACADE, H02, HITOZUKI, SHOK-1, KACAO 77, GOTTFRIED HELNWEIN, VULCAN, 2501, SABER, CLYDE, TATS CRU, RON ENGLISH und viele mehr stellen ein weiteres Mal unter Beweis, dass es in der Welt der Wandmalerei in Mitten von Formen und Farben nur eine Grenze gibt, die des Himmels.

Affirmiert wurde dieser Uniformkult jedoch von dem Fotografen Gottfried Helnwein, der 2003 entsprechende Imagefotos für Marilyn Manson machte und an seine eigenen Werke thematisch anschloss.

Hinzu kam, daß ich Gottfried Helnwein überredet hatte, ein Plakat für die Aufführung zu entwerfen. Er bat darum, daß Eva und Ilse mal für einen Tag nach Wien kommen, wo er sie achthundertmal photographierte und anschließend eines der ...

... heute elaborierten Fragen im Stil Alexander Kluges. Die Diskussion reicht von Ovid und Kassandra über Richard Wagner, John Coltrane, Arvo Part und Peter Alexander bis zu Gottfried Helnwein, blinden Flecken, Produkten und Profiten.

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.