NEWSHelnwein

a series of photographic pictures of people who have died a violent death He photographs the photographs of dead people and again and again photographs the photographs of the photographs ultimately to the point of dissolution.

They acquire over 100 works of art from Helnwein, amogst them "Head of a Child" (Kindskopf), "48 Portraits and Dresden, and comission Helnwein to paint their portraits for the State Russian Museum St. Petersburg.

"Epihany I" first exhibitied at Modernism Gallery San Francisco

directed by Hans Kresnik.

master pieces from the Ludwig Collection from antiquity to the present day.

HISTORY - Past, Present and Future page 33: "Scream"- ("Das Lied / The Song" watercolor, 1980) page 37: "Little Susie"- ("Lichtkind", photograph, grattage, 1972 )

Rock and Roll Currents in Contemporary Art Contemporary Arts Center, Cincinnati, Ohio Lakeview Museum of Arts and Science, Peoria, Illinois Nexus Contemporary Arts Center, Atlanta, Georgia Rock and Roll Hall of Fame and Museum, Cleveland

Austrian Artists of the Schömer Collection, Vienna in the Kunstverein, Augsburg, Germany.

a series of dark monochrome paintings with the faces of Arthur Rimbaud, Jim Morrison, Malcolm X, Mishima, Mayakovski, Rosa Luxemburg, Ulrike Meinhof and others.

Martin Muller, founder of Modernism San Francisco, detected Helnwein's work at Basel Art fair some years before. Since 1992 Modernism San Francisco represents Helnwein in the US

Jeanmaire erregt die Schweiz von neuem: Das Plakat zu "Jeanmaire - ein Stück Schweiz" zeigt den "Landesverräter" völlig nackt! Und noch bevor es hing, wurde das provokative Bild des österreichischen Kultkünstlers Gottfried Helnwein verboten. Die Hosen hat er ihm runtergelassen, den Brigadierhut durfte Jeanmaire behalten: Gottfried Helnwein, österreichischer Kultkünstler, in seinem Atelier in Burg Brohl bei Bonn mit dem Original zum Theaterplakat.

Helnwein briefs Roy Disney on the preparation of the Carl Barks museum retrospective and the publication of the book "Wer ist Carl Barks?" (Who is Carl Barks?), and discusses with him the influence of Walt Disney's aesthetics on the culture of the 20th century.

The police bans the poster from being displayed, the Swiss parliament discusses the scandal and the sunday-preacher of national Television dedicates his weekly sermon to condem Helnwein's painting

Helnwein paints a 6x4 m (18x12 feet) child's head for the apse of the early Gothic basilica. Ten days before the opening he has his children Amadeus, Ali Elvis and Mercedes paint large-format canvases which he then arranges in the basilica

Schwarzenberg receives Helnwein in his office at the The Prague Castle, seat of the president of the Czech Republic and discusses Helnwein's work

a series of 48 monochrome red paintings of women (oil on canvas) as a counterpart to Gerhard Richter's "48 Portraits" of 1971, which depict only men in monochrome grey. The cycle of paintings is first shown in the Galerie Koppelmann in Cologne, and later aquired by collector Peter Ludwig for the Ludwig Museum in Aachen.

Later some of the friends, amongst them Brian Eno, Alice Schwarzer and Alfred Biolek, rent a river-boat, originally built for King Faruk of Egypt and embarke on several journeys on the Nile. Hence the group called itself "The Nile-Society" (Nil-Gesellschaft)

He applies more and more layers of oil varnish to his realistic blue monochrome pictures till the subjects are almost indiscernible.

(The Persecution and Murder of Jean Paul Marat, Performed by the Drama Group of the Hospice at Charenton under the Direction of Monsieur de Sade) by Peter Weiss, directed by Hans Kresnik at the Staatstheater in Stuttgart.

Burroughs says about Helnwein: "It is the function of the artist to evoke the experience of surprised recognition: to show the viewer what he knows but does not know that he knows. Helnwein is a master of surprised recognition"

Keith draws on Ali Helnwein's hand

Heiner Müller says about Helnwein: "How does a friendly person like Helnwein stand making his - excellent - painting into a mirror of the terrors of this century? Or is it that he can't stand not doing it?"

When Wolfgang Sawallisch, the head of the Staatsoper, sees the radical costume design, he is so shocked that he immediately calls a press conference and announces the sacking of Gottfried Helnwein and director Hans Kresnik

Gottfried Helnwein, David Hockney, Clegg and Guttmann

A four-meter-high, hundred-meter-long picture lane in which Helnwein recalls the "Reichskristallnacht", the beginning of the Holocaust, on 9 November 1938. He confronts the passersby with larger-than-life children's faces lined up in a seemingly endless row, as if for concentration camp selection. Just days into the exhibit, these portraits were vandalized by unknown persons, symbolically cutting the throats of the depicted children's faces. Since then large scale installations in public spaces became an important part of his work

The play is given an enthusiastic reception by audience and critics and is later awarded the Theatre Prize of Berlin

The Deputy Mayor of Hamburg protests against the poster. A "German-Language Citizens' Initiative for the Protection of Human Dignity" lays charges against Helnwein and Zadek for pornography. The discussion about this image spreads beyond the borders of the country. The Mayor of the City of Vienna, Helmut Zilk, is enthusiastic about the poster and gives Helnwein his hearty congratulations

This was the first cultural debate of the German Green Party

Roland Recht, Chief Curator of Museums in Strasbourg, stated: "The Viennese Helnwein is part of a tradition going back to the 18th century, to which Messerschmidt's grimacing sculptures also belong, on which one of Freud's pupils wrote a long treatise. One sees, too, the common ground of these works with those of Arnulf Rainer or Nitsch, two other Viennese, who display their own bodies in the frame of reference of injury, pain, and death. One can also see this fascination for body language goes back to the expressive gesture in the work of Egon Schiele."

Helnwein plans an Installation in rememberence of "Kristallnacht" 50 years ago, in the city center of Cologne - between the Ludwig Museum and the Cathedral.

Performance at camp Kopal of the Austrian army, February, 1987. Helnwein uses tanks and real ammunition

"Death of Pinocchio" (Der Tod des Pinocchio), "God in Panic" (Gott in Panik), "Modern Sleep", "Burnt Angel" and others

"Knabe und Neger" (Boy and Negro), "Triumph der Wissenschaft" (Triumph of Science), "Nachgeburt der Venus" (The Afterbirth of Venus), "Das Lügengebet" (The Prayer of Lies).

Podium discussion "Violence, Sexuality, Antiquity" with Heiner Müller, Hans Neuenfels, Ernest Bornemann and Gottfried Helnwein.

Start of a series of photographic self-dramatisations using the themes of dying hero, SS man, martyr, sufferer, friend of children, and mummified corpse. "Gott der Untermenschen" (God of Sub-Humans), "Das stille Leuchten der Avantgarde" (The Silent Glow of the Avant-Garde), "Bete Herr, denn wir sind nah!" (Pray, Lord, for We Are Near!), "Eine Träne auf Reisen" (A Tear on a Journey), "Der Tod des Expertentums" (The Death of Expertise), "Partisanenliebe" (Partisan Love), "Blitzkrieg der Liebe" (Blitzkrieg of Love), "Geheime Elite" [Secret Elite], "Gefäss der Leidenschaft" (Vessel of Passion).

Catalogue with texts by Walter Koschatzky and Peter Gorsen

In doing so he combines photo-murals with abstract gestural and monochrome painting in oil and acrylic, also using reproductions of Caspar David Friedrich paintings and war documentary photographs. He assembles these to form what the critic Peter Gorsen calls "Bilderstrassen" (picture lanes). In doing this, Helnwein closely examines taboo subject matters and tackles terms such as "Untermensch" (sub-human), "entartete Kunst" (degenerate art), "lebensunwertes Leben" (life unworthy of life).

Helnwein declines, leaves Vienna and moves with his family to Germany

The film is awarded the Adolf Grimme Prize and in the same year wins the Eduard Rhein Prize and the Golden Kader of the city of Vienna for outstanding camera work.

Group show

Gottfried and Renate Helnwein were amongst the few people that Marlene invited to her home in Paris, and stayed in close contact with until the end of her life

"Gottfried Helnwein: Called the 'Razor Blade Rembrandt' or 'the Boris Karloff of Art', Helnwein is the man most Austrians love to hate. He schocks people. His paintings are scenes from every-day life, highly realistic, but there's a sharp, morbid streak in many of them. Children with razors, faces under extreme stress or in fear or in pain. Intensly human, often savage, but always stunning. I found him to be a sensitive, warm human being..."

But the painting is already part of a collection in the Smithsonian Institute in Washington D.C.

The exhibition is seen by more than a hundred thousand people

- the Austrian art-collector and patron Hans Dichand finances a campaign with large bill- boards of Helnwein's artwork throughout Austria against the destruction of the last great riverside meadowland woods in Europe by the Austrian power-station company Donau- kraftwerke AG.

Helnwein demands no tests and no age-restrictions as pre-requisites for his students. He wants the freedom to accept anybody, including children. The college rejectes this demand as being against university regulations and Helnwein declines the offer

1982, auf ihrer zweiten US-Tour, mit Iron Maiden als Support Act, promoten die SCORPIONS als Headliner ihre bahnbrechende LP "Blackout", das Album mit dem spektakulären Helnwein-Cover. Die Single "No One Like You" und die "Blackout"- LP erreichen die Top Ten in den USA. Es gilt als das beste Hard Rock Album des Jahres und wird mit Platin ausgezeichnet.

The self-portrait as a screaming blinded man is used for this cover story and later for the cover of the Scorpions' LP "Blackout".

He further accuses Elvis' physician of murder and criticizes the education system, referring to the high number of student-suicides. Helnwein calls upon students to simply stay away from school. The director of Austrian Radio (ORF) is appalled and cancels the show

Begin of the friendship with Wolfgang Bauer

R. Höpfinger and E. Regnier hand out sweets and toys bearing Helnwein pictures of wounded children to passers-by in Zürich.

Spurred into action by an interview in the Austrian newspaper "Kurier" in which the country's top court psychiatrist, Dr Heinrich Gross, admits killing children at Vienna's "Am Spiegelgrund" Pediatric Unit during the war by poisoning their food, Helnwein paints "Life not Worth Living" - a watercolour of a little girl "asleep" on the table, her head in her plate. The painting gets published in Austrias leading newsmagazine Profil and sparkes a nationwide debate that finally leads to Gross' appearing before a Vienna court . The judge rules Gross is mentally unfit to be tried.

"Unser Entenbischof" (Our Duck-Bishop), "Zwei amerikanische Ärzte behelligen eine Patientin" (Two American Doctors teasing a Patient), "Mulattin Erika in ihrem Haus" (Mulato-girl Erika in her House),"Das Wannenwunder von Watras" (The Bathtub Wonder of Watras), "Metallippe zum Lächeln" (Metal Lip for Smiling), "Das Grubenunglück" (Mine Disaster), "Korrekturspange" (Corrective Brace), "Assistent Assmann" (Assistant Assmann), "Hilfe für Mann ohne Kinn" (Help for Man with no Chin).