ARTISTHelnwein

one-man show at the Butler House and large Installations in the medival city center of Kilkenny

Fall of the Angels. It's a slow fall. Its actually a fall in extreme slow motion. Its so slow that the motion seems frozen, like a glacier that's constantly flowing and moving, though not perceptible to our eyes, because for us, who live short and fast, glaciers appear to be static and eternal. That former angel seems to be suspended between hell and heaven, It has not hit the bottom yet - and it probably never will - but it's getting closer ....constantly. Gottfried Helnwein

"In Gottfried Helnweins porträthaftem Fotobild, das auf einem Gemälde basiert, betet ein kleiner Junge zu seinem Gott, und wer intensiv hinschaut, entdeckt plötzlich, dass die Hände des Jungen aus diletantisch gefertigten Protesen bestehen, Wie eine optische Mine ist der Schock im anheimelnden Kitschbild verborgen. Helnwein ist ein Meister in der Entlarvung von verlogener Bildrethorik." Gabriele Honnef-Harling - Mit mehr als 170 000 Besuchern war die Ausstellung "Der (im-)perfekte Mensch" die bestbesuchte Sonderausstellung des Deutschen Hygienemuseums Dresden seit 1990. Hygiene-Museum, Dresden - 20, 12. 2000 - 12. 8. 2001 Martin Gropius-Bau, Berlin - 16. 3. - 2. 6. 2002 Kunsthalle, Villa Kobe, Halle, (Saale) - 28. 2. - 14. 4. 2002

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.

2001

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