ARTISTHelnwein

exhibition-catalogue Albertina, Wien - 10. 10. 2000 - 18. 10. 2000 Galerie Suppan, Wien - 23.10. - 25.11. 2000

(excerpt) Other works in the exhibition present the dark side of cartoon characters. The prevailing narrative structure of many cartoons is a cycle of one's character's unrelenting attacks on another. Yet the violence of these scenarios is subverted and humor achieved by the lack of any permanent injury to the victim and the gleeful nonchalance of the adversary even during the most aggressive assault. Static representations of wounded or menacing cartoon characters can expose the violence and eliminate the humorous punch line. In Gottfried Helnwein's painting Mickey (plate 24), Mickey Mouse's physical features, which usually contribute to his appeal become a thin veneer of looming attack. Blown up to a monster scale and rendered in an austere gray palette, Mickey's smile is deceptive.

Sept. 1-Jan. 2, 2001 Over 30 playful but nightmare-inducing works (including a mutilated Rug Rat by Heidi Zumbrum and a monstrous Mickey by Gottfried Helnwein) drawn from the collection of L.A. contemporary art patrons Kent and Vicki Logan. Other artists are David Levinthal, Laurie Simmons, Yoshitomo Nara and Hung Tung-Lu. Curator: Heather Whitmore Jain, SFMOMA. Catalogue: 44 pp., with essay by Jain and an interview of the Logans by Janet Bishop, SFMOMA.

Helnwein's 'Mickey' , 1995, oil and acrylic on canvas, 83" x 122" , Vicki and Kent Logan Collection, in the San Francisco Museum of Modern Art.

Catalogue: Helnwein Robert Sandelson Gallery. London Text by Robert Flynn Johnson, Curator in Charge, Achenbach Foundation for Graphic Arts, Fine Arts Museum of San Francisco

catalogue Antico Monastero di Santa Chiara "E’ sicuramente importante dimostrare, per la prima volta nell’Europa Occidentale, la comune fede in un unico Signore risorto" Mons. Michel Berger

group show

Die Ausstellung präsentiert vierzig ausgewählte Statements großer Photographen des 20.Jahrhunderts: von Cartier-Bresson, Lebeck, Chargesheimer bis zu Klauke und Helnwein wird jeweils eine bedeutende künstlerische Position gezeigt. Die Ausstellung konzentriert sich nicht auf das Einzelbild, sondern komponiert ganze Werkgruppen zu großformatigen Tableaus und unterstreicht so den "journalistischen Aspekt" in der Photographie dieses Jahrhunderts. Einen Abschluß findet dieser Jahrhundertrückblick in drei künstlerischen Positionen, die in sehr persönlicher Weise Stellung zur gesellschaftlichen Situation beziehen: Jürgen Klaukes "Self Performance" (1972/73), Philip Pococks Berliner Szenen (1982) sowie Gottfried Helnweins "Poems" (1998).

Helnwein In the Dominican church, Krems Museum of Lower Austria Catalogue HELNWEIN APOKALYPSE Museum of Lower Austria Text by Peter Zawrel Chief Curator, Lower Austria County Museum of Art

February 1999 - on tour till 2001 started at the Ansel Adams Center for Photography, San Francisco catalogue: Harry N. Abrams, Inc. New York, ISBN 0-8109-4358-1