Gottfried Helnwein

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Gottfried Helnwein (2009)
Gottfried Helnwein in his studio, Burgbrohl Castle (1996)

Gottfried Helnwein (born October 8, 1948 in Vienna ) is an Austrian - Irish artist. He is one of the best known, but also most controversial German-speaking artists after the Second World War . He was best known for his hyper-realistic pictures of wounded and bandaged children. In all of his work he deals with the topics of pain, injury and violence, and also touches on taboo and irritating topics of recent history. In particular, the subject of National Socialism is dealt with in his works; But the focus of his work is above all the representation of the child.

Life

Gottfried Helnwein was born the son of a civil servant at the Post Office in Vienna, where he spent his childhood and youth. From 1965 to 1969 he attended the higher graphic federal teaching and research institute in Vienna and from 1969 to 1973 studied painting in the master class of Professor Rudolf Hausner at the Academy of Fine Arts Vienna . During this time he worked with a wide variety of techniques and stylistic devices. In addition to the drawing , the watercolor -, acrylic - and oil painting and various mixing techniques which photograph an important medium for him - often associated with performance -Work.

His first exhibitions in Vienna from 1970 onwards repeatedly triggered violent protests, exhibitions were closed and works were confiscated by the police. In 1985, the year of his first Albertina exhibition, Professor Rudolf Hausner proposed him as his successor to lead the painting master class. However, the majority of the professors rejected this proposal. At the end of 1985, Helnwein and his family moved to Germany, where he lived and worked at Burgbrohl Castle in the Eifel from 1985 to 1997 . In the late 1980s he began to incorporate installations in public spaces into his work. In 1997 he moved with his family to the south of Ireland and bought a castle, Castle Gurteen de la Poer , in County Waterford . In 2002 he set up a studio in Los Angeles. Since then he has lived and worked alternately in Ireland and Los Angeles . He received Irish citizenship in 2004.

plant

The child

Helnwein, Head of a Child

The art historian Peter Gorsen spoke of the "abused child" as an original picture invention by Helnwein, which broke up the childish imaginations that we have grown dearly:

“In addition to sketches of ballet-dancing rabbits and puss in boots, strangled and stuffed ducks, there are studies or rather wishful drawings of battered children's heads, whose mouths are horribly disfigured by braces and rosy scars, but at the same time disobedient, resistance, and revolt by their sneering, grimacing grimaces to signal something like childlike autonomy in the depraved adult world. The smirking of the abused child, a grotesque picture puzzle , into which martyrdom and subversion of human creatures have flowed equally, is entirely Helnwein's invention. It reveals itself in the many metamorphoses of the phantasm of the injured body as an obsessive basic pattern of his imagery and actionist representations, as a metaphor of an inviolability and invincibility present in the innermost part of man. "

These are images that have their roots deep in Helnwein's childhood experiences:

“At some point I realized that art was the only option for me. Maybe it's a defect, but from early childhood I always saw violence around me and the effect of violence: fear. "

- Gottfried Helnwein

In 2004, at the suggestion of US collector Kent Logan, curator Robert Flynn Johnson dedicated a comprehensive solo exhibition to this central aspect of Helnwein's work entitled: “The Child - works by Gottfried Helnwein” at the Palace of the Legion of Honor, San Francisco Fine Arts Museum . The exhibition attracted 127,000 visitors, and the San Francisco Chronicle named it the most important exhibition by a contemporary artist in 2004.

Actions

“At the same time as the portraits of injured and abused children painted from 1969 onwards, the bandaged child is shown in the action in 1971/72 as the most important and allied martyr figure next to the artist . It embodies the innocent, defenseless, sacrificed, exposed to violence.
(...) Helnwein can be differentiated from Viennese Actionism when he does not level the child's body into an aesthetic material (as in the “Material Actions” by Günter Brus , Hermann Nitsch and Otto Muehl ), but instead acts as a symbolic substitute for defenseless, sacrificed people confers. The moralist and do-gooder Helnwein counters the sexualistic understanding of the child in Freud's (incorrectly) receiving “Viennese Actionism” with the sexless salvation figure of the child. "

- Peter Gorsen

Self-portraits

Helnwein's oeuvre encompasses absolute opposites: the trivial, such as Disney culture, alternates with visions of doom of the soul, the divinity of the child contrasts with horror images of child abuse . His main theme remains violence, the physical and mental suffering that one person inflicts on another. The artist varies this theme within two complexes that run through his work over many years.

In a complex, Helnwein deals with himself as an artist. The bandaged person, tortured with surgical instruments, screams out his torment. Helnwein draws the artist portrait of a person reduced to suffering. He stands in the late medieval tradition of the Man of Sorrows . Helnwein goes one step further than Nauman , whose video clown torture portrays the artist as the smiling fool of the world. Helnwein is not only concerned with himself as an outsider to society. According to Peter Gorsen, the artist as a martyr was given a central role in Helnwein's work because it became a projection surface for world events. Regarding the autobiographical content of his self-portrait, the artist said in an interview: "I don't mean myself at all, I use myself because I am available as a model at all times: what I mean is simply a 'person'." - of the suffering, injured, subjugated, tortured person, for whom only the desperate cry remains.

The Viennese art historian, director of the Albertina , Klaus Albrecht Schröder describes the self-portrait , which Helnwein has varied several times, with the head bandaged, the eyes blinded by surgical clips and the torn screaming mouth as a self-evident metaphor for the elementary human condition of today's existence.

On the occasion of the exhibition Melancholy - Genius and Madness in Art ( Neue Nationalgalerie , Berlin , Galeries nationales du Grand Palais , Paris , 2006) Moritz Wullen writes in his essay Black Box - The Black Interior of Melancholy Consciousness in the Imagery of the 20th Century : “In a photographic staging by Gottfried Helnwein, the artist rises, rotten black and monumental like the memorial of a final insight: 'That is despair, this disease in the self, the disease to death. The desperate one is terminally ill. Death is not the last of the disease, but death is always the last ... "

Roland Recht, director of the Musée d'Art Moderne in Strasbourg, sees Helnwein as part of a tradition in Austrian art that goes back to the 18th century, which also includes artists such as Messerschmidt , Schiele , Rainer , Nitsch and Schwarzkogler who worked in present their own body as a place of injury, pain and death in their work.

Trivial Aesthetics and Comics

Mouse I from Helnwein in SFMOMA

Another aspect of Helnwein's work is his commitment against authoritarian education, the arms race, pollution of the environment and psychiatry. Helnwein used the motifs and forms of popular culture with partly caricaturing, partly grotesquely alienating intent. His penetrating hypernaturalism worries, borders on ironic exaggeration. The Brecht - Benjamin maxim “Do not tie in with the good old, but with the bad new” already determined its beginnings in the early 1970s. For him, working across borders with the means of photography, comic strips , science fiction and realistic painting became a natural consequence.

In the 1970s, Helnwein rejected the artistic tradition of bourgeois society and believed in the primitive power of trivial art as a counter-aesthetic concept.

Helnwein describes his early childhood in post-war Vienna as bleak and gloomy. It was brightened up on the day when his father brought him a bundle of the first German Mickey Mouse booklet: “When I opened the first booklet, I felt like someone who had been buried in a mine accident and now after the days the darkness came out again ... I was back at home in a sensible world, in which one could be flattened by road rollers and punctured by 100 bullets without suffering any damage; I was in a world where people looked decent again, with yellow beaks and black knobs for noses. Here I met the man who was supposed to change my life, of whom the Austrian poet HC Artmann once said that he is the only person who still has something to say to us today: Donald Duck . "

Although Helnwein's work is rooted in the Austrian tradition, elements of American popular culture flow into his pictures from the start. Disney cartoon characters have appeared in his work since 1977. Helnwein keeps claiming that he learned more from Donald Duck or from his creator Carl Barks than in any of the schools he attended.

In one of his first paintings, Embarrassing , he shows a little girl who looks like a doll from the 1950s in a pale pink dress. The face of the child depicted is horribly distorted by a scar that extends from the mouth to the ears, the eyes look into space with an expressionless, glassy look. In his bandaged hands he is holding a comic booklet (with a Wastl story) tightly.

“It is as if Donald Duck had met Mengele ”, the writer Julia Pascal comments on this picture in the British magazine “ New Statesman ” in April 2006. In the article “ Nazi Dreaming ” she writes: 'Helnwein is fascinated by the relationship between E and U art. He met and photographed the Rolling Stones in London and his portrait of John F. Kennedy was the cover of TIME magazine on the occasion of the 20th anniversary of the assassination attempt on the president. Andy Warhol and Muhammad Ali sat as models for him. ... If you look at his pictures from the 1970s to the present, you see influences as diverse as Bosch , Goya , John Heartfield , Beuys and Mickey Mouse , and all of that filtered through a childhood in post-war Vienna '.

In 2000, the San Francisco Museum of Modern Art showed the Helnwein painting of a monstrous, grinning Mickey Mouse (Mouse I) in the exhibition The Darker Side of Playland - Childhood Imagery from the Logan Collection .
Alicia Miller writes in Artweek :

“Much of the work in this exhibition is made up of what childish nightmares are made of. In such dreams, long before adults know about the specific pains and evils that life holds in store, the familiar and beloved objects and images of the child's world are destroyed by something uncanny. For children who do not yet understand what to really fear, these dreams convey an inkling of the pain and disruption that threatens their world. Probably nothing illustrates this as much as Gottfried Helnwein's Mouse . His portrait of Disney's favorite mouse takes up an entire wall of the museum. Depicted from an oblique angle, Mickey's otherwise lively, unspoilt face looks somehow sneaky and suspicious. His broad smile, which includes a row of shimmering teeth, looks more like baring teeth or a suggestive grin. This is Mickey as Mr. Hyde , who is now revealing his other hidden self in an extremely disturbing way. Helnwein's Mickey is painted in various shades of gray, as if we were looking at him on an old black and white television. We are led back to the flickering edge of our own childhood memories, to a time that was innocent in our imagination, when there was no crime and no guilt. But Mickey's threatening demeanor gives us an inkling of what is to come. "

- Alicia Miller: The Darker Side of Playland . Artweek, California, August 20, 2000

National Socialism

Epiphany I at the Kilkenny Arts Festival

Looking back, Helnwein judges his Catholic upbringing as a catastrophe. His aim has always been to largely combat and undermine the repressive system. He despised the conventional school system; his longing and striving were for art alone. He left school and went to the Höhere Graphische Bundes-Lehr- und Versuchsanstalt in 1965 - the training, however, proved to be traditional and conformist. In rebellion against these restrictions, Helnwein cut his hand with a razor blade and painted a portrait of Hitler with his own blood . The school administration reacted in horror, confiscated the sheet, and the young artist understood for the first time the power of a picture. Shortly afterwards he was expelled from school. In a personal interview as part of the series "The Success Story", broadcast on ATV on May 9, 2010, Helnwein said that he likes the myth that he painted the portrait of Hitler with his own blood, but that it is simply not true .

When the Viennese forensic doctor Heinrich Gross was asked in an interview with the Austrian daily Kurier in 1979 whether it was true that he had killed hundreds of children by injections during the Nazi era , he protested against these allegations and replied as far as he knew , no one was injected to death, the children were merely mixed with poison in their food, and they fell asleep peacefully. Helnwein then published a watercolor in the Viennese news magazine Profil with the title Unworthy of Life , which shows a child who collapsed dead over his meal, with his head in a plate. In the accompanying, satirical letter, he thanked the former Nazi psychiatrist for helping the children to heaven in such a humane way. It was only through this action that a broad public discussion about the past of the euthanasia doctor was triggered.

In 2004 Mitchell Waxman wrote in the Jewish Journal in Los Angeles: “The strongest images dealing with the subject of National Socialism and the Holocaust come from Anselm Kiefer and Gottfried Helnwein, and although Kiefer's work differs significantly from Helnwein's, they are both equally shaped by the personal experience of growing up in a German-speaking country in the post-war period. "

One of Helnwein's pictures is Epiphany I (1996) with which he delves deep into the collective memory of the most famous birth of Christianity . This Austrian Catholic nativity scene has no wise men from the Orient who offer presents . Mary and the child are five respectful SS - officers surrounded, apparently in admiration of the idealized cheesy blond Holy Virgin . The Christ Child standing on Maria's lap stares defiantly out of the canvas. Helnwein's Jesusknabe is Adolf Hitler.

Installations

"Ninth November Night" Gottfried Helnwein

To commemorate the November pogroms on the night of November 9, 1938, Helnwein installed the 4-meter-high and 100-meter-long installation Ninth November Night between Museum Ludwig and Cologne Cathedral in Cologne in 1988 .
Thousands of passers-by were forced to walk past the long line of larger-than-life photos of children, which were lined up like a selection . The photographs showed children's faces, painted roughly white, most of them with their eyes closed. The first panel of this picture wall was labeled “Selektion” and the last panel was a schematic drawing from an anti-Semitic textbook that was supposed to show the difference between the buttocks shape of an Aryan and that of a subhuman . Reactions ranged from dismay to outrage, and one night strangers cut the pictures with knives.
Part of Helnwein's artistic strategy is not to allow the viewer to be neutral towards his works.

Stage sets

Since working with the Austrian choreographer Johann Kresnik on the choreographic staging of Macbeth for the Heidelberg Theater in 1988, Helnwein has regularly designed sets and costumes for opera, dance and theater productions.

Among others: Macbeth by William Shakespeare , (Choreography: Johann Kresnik), Volksbühne Berlin , 1995; Oedipus von Sophocles , (Choreography: Johann Kresnik), Theater der Stadt Heidelberg , 1989; The persecution and murder of Jean Paul Marat portrayed by the acting group of the Hospice in Charenton under the guidance of Mr. de Sade , by Peter Weiss , (director: Johann Kresnik), Staatstheater Stuttgart , 1989; Pier Paolo Pasolini , Testament of the Body , (Director: Johann Kresnik), Deutsche Schauspielhaus Hamburg , 1996; Hamlet machine by Heiner Müller , (Director: Gert Hof ), 47th Berliner Festwochen, Berlin 1997, Muffathalle, Munich, 1997; The Rake's Progress by Igor Stravinsky , (Director: Jürgen Flimm ), Hamburg State Opera , 2001; Das Paradies und die Peri , oratorio by Robert Schumann , (direction, choreography: Gregor Seyffert & Compagnie Berlin), Robert Schumann Festival 2004, Tonhalle Düsseldorf ; Der Rosenkavalier by Richard Strauss , (director: Maximilian Schell ), Los Angeles Opera, 2005, Israeli Opera Tel Aviv, 2006; The Ring of the Nibelung , Part I, Das Rheingold und Die Walküre , Richard Wagner , Choreographisches Theater (direction, choreography: Johann Kresnik), Bonn Opera , 2006; The Ring of the Nibelung, Part II, Siegfried , Götterdämmerung , Bonn Opera, 2008; The Child Dreams based on a play by Hanoch Levin , composer Gil Shohat , Israeli Opera Tel Aviv, 2010;

In the late 1990s, the Argentine writer Rodrigo M. Malmsten wrote the play Kleines Helnwein , which is based on Helnwein's early pictures of injured children. The world premiere took place in 2000 at the Teatro San Martin in Buenos Aires.

chronology

  • 1966 First actions in a small group, cuts his face and hands several times with razor blades, wood engraving tools and ski edges. First blood and bandaging actions.
  • 1968 Helnwein and his friend Manfred Deix walk for several days from Venice to Vienna without eating or sleeping .
  • 1969–1973 studied painting at the Academy of Fine Arts Vienna . Works on a series of drawings and hyper-realistic paintings of wounded and bandaged children. (Watercolors: Immaculate Child , Embarrassing , Common Child , Beautiful Victim , The little man crows with pleasure . First oil painting: Mother, you here ? , In memory of the fact that the same academy 50 years earlier rejected Adolf Hitler as a student he paints the picture Führer, we thank you! )
  • 1970 First photographic self-portraits with bandages and surgical instruments; Photo campaigns with children.
  • First solo exhibition at the Night Gallery in the Atrium, Vienna
  • Action burns The Academy : Helnwein staged with three fellow students an anarchist theatrical uprising at the Academy of Fine Arts, where all the fire extinguishers are activated countless specially designed paint bombs thrown and posted window and thrown into the yard. When the entire building complex was filled with artificial smoke, panic broke out. The reason for the action was the refusal of the professors to give student representatives a say in the entrance exams. Professors are locked up and serious property damage is done. Helnwein and his colleagues are picked up. The Minister for Science and Art, Hertha Firnberg, declared this act to be a political action. The investigation and proceedings will then be suspended.
  • 1971 First actions in public in Vienna, often with children - on the street and in coffee houses in Vienna (Aktion Sorgekind, Aktion Hallo Dulder , Aktion Ewige Jugend , Aktion Sandra , Aktion Alt Wien ).
  • In an exhibition in the Künstlerhaus Wien, unknown people put stickers with the description Degenerate Art on Helnwein's pictures.
  • At the opening of an exhibition in Galerie D in Mödling near Vienna, Mayor Karl Stingl had pictures of Helnwein confiscated by gendarmes for allegedly pornographic content
  • 1972 A solo exhibition in the gallery of the Pressehaus in Vienna is canceled after three days due to violent protests against Helnwein's work, which led to strike threats.
  • 1973 First cover for the Viennese political and culture magazine Profil on the subject of "Suicide in Austria", on which a little girl can be seen cutting her wrists. Violent reactions from the public, many readers cancel their subscriptions.
  • 1974 White children campaign with 15 bandaged children in the pedestrian zone Kärntner Straße in Vienna.
  • ZDF film Helnwein's eye test , director: Heinz Dickmann.
  • 1981 First encounter and beginning of friendship with the Austrian poet HC Artmann .
  • 1982 The Hamburg University of Applied Sciences , Department of Design, offers Helnwein a chair. As a condition, Helnwein states the freedom to be able to admit anyone to the class without an entrance examination and without age restrictions, including children. Since the statutes of the university do not allow this, Helnwein rejects the offer.
  • Helnwein's portrait of John F. Kennedy appears on the cover of Time on the 20th anniversary of the President's death.
  • 1983 Helnwein insulted the inventor of the neutron bomb, Sam T. Cohen , on the radio show Teestunde ( ORF ) , criticized the educational system at schools and art colleges, pointed out the high number of student suicides and suggested that young people simply stay away from school. The director of the ORF will cancel the program.
  • 1984 ZDF and ORF jointly produce a documentary about Gottfried Helnwein (directed by Peter Hajek ). The film script is based on an idea by Gottfried Helnwein. Parts of the film are shot in Los Angeles, where Helnwein meets Muhammad Ali , who simulates a sparring with Helnwein's three-year-old son Ali in the film. The film "Helnwein" opens the Austria Week at the 34th International Film Festival in Berlin. As a result, the documentary received the Eduard Rhein Prize and the Goldene Kader of the City of Vienna. In 1985 Peter Hajek received the Adolf Grimme Silver Prize for this .
  • 1985 Solo exhibition in the Albertina , Vienna
  • Rudolf Hausner suggested Helnwein as his successor to lead the master class for painting at the Academy of Fine Arts Vienna . The rector and a large part of the professors protest against this proposal. After initial interest, Helnwein finally declined the offer and moved to Germany.
  • Helnwein acquires Burgbrohl Castle in the Eifel, where he lived and worked with his family until 1997.
  • 1988 In memory of the so-called “ Reichspogromnacht ” in 1938, Helnwein erected the 100-meter-long installation Ninth November Night between Museum Ludwig and Cologne Cathedral in Cologne . Helnwein confronts the passers-by with oversized pale children's faces in seemingly endless rows, as if lined up for a concentration camp selection. The first damage occurred after just a few days: Unknown people slashed the children's portraits at the level of the throats.
  • Helnwein's poster for Peter Zadek's production of Lulu by Frank Wedekind in the Hamburg Schauspielhaus triggers a storm of indignation. Hamburg's Senator for Culture Ingo von Münch described the picture as misogynistic, while the Hamburg Senate's women's representative, Eva Rühmkorf, claims that Helnwein crossed the boundaries of art. A “German-speaking citizens' initiative for the protection of human dignity” is filing criminal charges against Helnwein and Zadek for pornography. Alice Schwarzer, on the other hand, defends the poster. The Mayor of Vienna , Helmut Zilk , is enthusiastic about the poster and congratulates Helnwein.
  • 1990 Solo exhibition in the Musée de l'Elysée Lausanne and outdoor installation November Ninth Night .
  • In Japan , Dai Nippon published a monograph that summarized Helnwein's photographic work from 1970 to 1989, text by Toschiharu Ito .
  • Collaboration with Marlene Dietrich on the book Some Facts about Myself on the occasion of the fall of the Berlin Wall . The essay that gave the book its title was the last text Marlene Dietrich wrote in her life.
  • 1994 Helnwein curates and organizes the first museum exhibition of the Disney illustrator Carl Barks , the creator of Duckburg and several of his residents. The retrospective entitled And the Duck Became Man - Carl Barks' graphic work was shown in ten museums between 1994 and 1998 and was seen by more than 400,000 people.
  • He designed 6 cover pictures for Rammstein , each showing a band member, for the album Sehnsucht .
  • 1997 Helnwein moves with his family to Ireland and buys a castle in County Tipperary , where he has lived and worked ever since.
  • 1998 The Cologne collector Leo Fritz Gruber donates Helnwein's photographic cycle Poems to the Museum Ludwig in Cologne , which was shown for the first time in 1999 in the exhibition Moment und Finiteness .
  • Helnwein is suing in court against Jeanette Schweitzer, an ex-Scientologist who claims that "the Austrian artist describes himself as a clergyman and uses forced hypnosis to destroy people's psyche in order to put them under his mind control". He wins in the first instance before the Frankfurt Regional Court through the judgment of the 3rd Civil Chamber of May 24, 1995, in which the defendant is asked to refrain from making and disseminating these allegations. In response to the appeal of the defendant, the first instance judgment by the Frankfurt Higher Regional Court on June 20, 1996 was confirmed in one point and reversed and rejected in three other points. Helnwein then submitted a constitutional complaint to the Federal Constitutional Court in Karlsruhe. On November 10, 1998, the seven judges of the First Senate of the Federal Constitutional Court decided unanimously to allow Helnwein's complaint and to reverse the judgment of the Frankfurt Higher Regional Court and refer it back to the Frankfurt Higher Regional Court. On August 24, 2000, Helnwein's lawyers declared the withdrawal of the suit before the Frankfurt Higher Regional Court.
  • In 2002 he established a studio in Los Angeles.
  • Helnwein receives Irish citizenship.
  • On December 3, 2005, Marilyn Manson married his long-time girlfriend Dita Von Teese (real name: Heather Renée Sweet). The ceremony takes place in Gottfried Helnwein's Irish castle. The couple is married by the surrealist writer and film director Alejandro Jodorowsky , Helnwein is the best man. The evening will be musically accompanied by Max Raabe and his palace orchestra, and Vogue reports exclusively on the event in its February 2006 issue under the title The bride wore purple .
Der Untermensch 2006 in the Lentos Art Museum Linz
  • Helnwein curates and organizes, together with the German comic expert Carsten Laqua, the first large Carl Barks retrospective in Austria in the Caricature Museum Krems . The Donald Duck exhibition ... And the duck became human - Carl Barks' graphic and poetic work is seen by around 100,000 visitors.
  • 2008 On the occasion of the Josef Fritzl incest in April 2008, which caused a stir around the world, the Süddeutsche Zeitung wrote : “The Amstetten dungeon touches something deep inside the Austrians, their dark side, which is reflected in the poems of their authors. And in Gottfried Helnwein's pictures, where people can be seen holding forks in their eyes. Or girls who have blood running down their legs. Helnwein's pictures are nightmares, they are about dungeons in the mind ... "
  • 2009 Helnwein - The Silence of Innocence , a film by Claudia Schmid (116 min.), Was selected as a contribution to the 24th Munich International Documentary Film Festival 2009.
  • 2010 - Helnwein is responsible for the visual design of the opera The Child Dreams , which is based on a play by the Israeli writer Hanoch Levin , the composer is Gil Shohat , the world premiere took place at the Israeli Opera Tel Aviv. At the same time, Helnwein's installation Selektion ( Ninth November Night ) was shown for the first time in Israel in front of the opera house .
  • 2011 - In the center of the Undeniable Me exhibition, the Rudolfinum Gallery in Prague juxtaposes Gerhard Richter's 48 Portraits with Gottfried Helnwein's picture cycle of the same name for the first time.
Helnwein and Richter in Prague
  • 2013 - retrospective at the Albertina in Vienna. The exhibition is seen by 250,000 people, making it the most successful exhibition by a contemporary artist in this museum
  • 2016 - wax figure at Madame Tussauds . On September 20, Helnwein unveiled his image with a skull headband in the wax museum in Vienna's Prater . The figure was placed between Einstein and Freud , next to it is a table from the Helnwein studio. Splashes of paint on the wall come from him, the pictures are reproductions. Albertina director Schröder gave the laudation for the "Master of Terror".

Exhibitions (selection)

  • 1971: Künstlerhaus Vienna, “Zoetus” group exhibition
  • 1972: Gallery in the Pressehaus, Vienna, solo exhibition
  • 1979: Albertina , Vienna , solo exhibition
  • 1979: Galleria Bon à Tirer, Milano, solo exhibition
  • 1981: Baumgartner Galleries, Washington, solo exhibition
  • 1982: Galerie Lucien Bilinelli, Brussels, solo exhibition
  • 1983: Munich City Museum , solo exhibition
  • 1983: Kunsthalle Darmstadt , “Heads and Faces” group exhibition
  • 1984: Museum of Modern Art in Vienna , "1984 - Orwell and the Present", group exhibition
  • 1985: Albertina, Vienna, “Gottfried Helnwein - Works from 1970–1985”, solo exhibition
  • 1986: Freie Volksbühne Berlin, solo exhibition
  • 1987: Musée d'Art Moderne et Contemporain de Strasbourg , “ Der Untermensch - Gottfried Helnwein, Self-Portraits 1970–1987”, solo exhibition
  • 1987: Kunsthalle Bremen , “ Der Untermensch ”, installation and performance
  • 1987: Leopold Hoesch Museum , Düren, solo exhibition
  • 1987: Villa Stuck , Munich , solo exhibition
  • 1987: Kunstforum Länderbank, Vienna, “The damaged world - Realism and realisms in Austria”, group exhibition
  • 1987: Museum for Photography and Contemporary Art, Bremen, solo exhibition
  • 1989: Museum Folkwang , Essen , solo exhibition
  • 1989: Torino Fotografia '89 Biennale Internazionale, joint exhibition with Clegg & Guttmann and David Hockney .
  • 1990: Musée de l'Elysée , Lausanne , solo exhibition
  • 1990: Kunstverein Ludwigsburg, solo exhibition
  • 1990; Museum St. Ingbert , St. Ingbert , solo exhibition and outdoor installation "Ninth November Night"
  • 1991: Lower Austrian State Museum, Minorite Church, Krems , solo exhibition and installation “Kindskopf”
  • 1991: Koppelmann Gallery in Cologne, “48 Portraits”, solo exhibition
  • 1992: Munich City Museum , "Faces", solo exhibition
  • 1992: Goethe-Institut , Center culturel allemand, Paris , solo exhibition
  • 1992: Museum Pfalzgalerie Kaiserslautern , solo exhibition
  • 1992: Foundation Fiecht in Austria, "Action-Reaction - Rainer , Nitsch , Brus and Helnwein"
  • 1992: Kunstmuseum Thun , Thun , solo exhibition
  • 1992: Modernism Gallery, San Francisco, solo exhibition
  • 1992: IV. PaperArt , International Biennale of Paper Art, Leopold-Hoesch-Museum in Düren , installation
  • 1993: Ludwig Forum for International Art , Aachen “Artist Portraits”, group exhibition
  • 1993: Josef Albers Museum, Quadrat Bottrop , Modern Gallery, solo exhibition
  • 1993: Rheinisches Landesmuseum in Bonn , solo exhibition
  • 1994: Municipal Museum in Schleswig, solo exhibition
  • 1994: Center International d'Art Contemporain de Montréal, Quebec, solo exhibition
  • 1994: Middle Rhine Museum Koblenz , Koblenz , solo exhibition
  • 1994: Kunstverein Augsburg, “The Decade of Painting, Works from the Schömer Collection”, group exhibition
  • 1995: Houston Center for Photography, "Faces", solo exhibition
  • 1995: Museum Ludwig Cologne , "Celebrities - Celebrities", photographic portraits from the Gruber collection in the Museum Ludwig, group exhibition
  • 1995: Ludwig Museum Schloss Oberhausen , “Attempts to mourn, masterpieces from the collection of Ludwig, from antiquity to today”, group exhibition
  • 1995: Phoenix Museum of Art in Arizona; Contemporary Arts Center in Cincinnati, Ohio; Lakeview Museum of Arts and Sciences in Peoria, Illinois; Nexus Contemporary Arts Center in Atlanta, Georgia; Rock and Roll Hall of Fame and Museum in Cleveland, Lowe Art Museum, University of Miami, "It's only Rock 'n'Roll - Rock and Roll Currents in Contemporary Art", group exhibition
  • 1996: Otaru Art Museum, Japan, solo exhibition
  • 1996: Opening of the Museum Ludwig in Beijing , group exhibition
  • 1996: San Francisco Museum of Modern Art , "Photographic Works from the Collection of the Museum", group exhibition
  • 1997: State Russian Museum Saint Petersburg , solo exhibition
  • 1998: Wäinö Aaltonen Museum in Turku, Finland, solo exhibition
  • 1998: Kent Gallery, New York, "A Delicate Balance", group show curated by Jerry Kearns
  • 1998: Exit Art, New York, “Choice”, young artists exhibit for the first time - selected by Ida Applebroog , Damien Hirst , Cindy Sherman , and Gottfried Helnwein
  • 1998: Ludwig Museum , Oberhausen Castle , “Gods, Heroes and Idols”, group exhibition
  • 1999: Modernism Gallery, San Francisco, "20 Years of Modernism, Modern Masters and Contemporary Art", group exhibition
  • 1999: Lower Austrian State Museum, Dominican Church, Krems, “Apocalypse”, solo exhibition and room installation
  • 1999: Ansel Adams Center, San Francisco, “Innovation / Imagination: 50 years of Polaroid Photography”, group exhibition
  • 2000: Achim Moeller Fine Art, New York, "Cross Currents in Modern Art - Tribute to Peter Selz", group exhibition
  • 2000: Los Angeles County Museum of Art , "Ghost in the Shell, Photography and the Human Soul, 1850–2000", group exhibition
  • 2000: San Francisco Museum of Modern Art , "The Darker Side of Playland: Childhood Imagery from the Logan Collection", group exhibition
  • 2000: Robert Sandelson Gallery, London, solo exhibition
  • 2000: Museum Ludwig Cologne, "Moments and Finiteness - The Century Shaped by Photography". 40 important photographers of the twentieth century, Gruber Collection, group exhibition
Helnwein "Poems"
  • 2001: Josef-Haubrich-Kunsthalle , Cologne, “Berlin Wall - Art for a Europe on the Move”, group exhibition
  • 2001: Museum of Modern Art, Ostend, Belgium, "Between Earth and Heaven, New Classical Movements in the Art of Today", installation
  • 2001: Arkansas Arts Center , Little Rock, Magic Vision, group show
  • 2001: Albertina and Museum of Fine Arts, Budapest, “Austrian Artists now”, group exhibition
  • 2001: Kilkenny Arts Festival, Ireland, Butler House, solo exhibition and installation
  • 2002: San Jose Institute of Contemporary Art, "Portrait Obscured", group exhibition
  • 2002: Museum Kunst der Gegenwart, Essl Collection , Klosterneuburg, “In the Blink of an Eye - Photo Art”, group exhibition
  • 2002: Kunstmuseum Stuttgart , “Masterpieces of Photography: Face to Face. Portrait photography from the collection of the DG-Bank ”, group exhibition
  • 2003: Freie Volksbühne , Berlin, “The Golden Age of Grotesque”, exhibition and performance with Marilyn Manson
  • 2003: Museum of Tolerance , Simon Wiesenthal Center , Los Angeles, “Ninth November Night”, documentation on the installation “Ninth November Night” and the themes of violence, fascism and the Holocaust in Gottfried Helnwein's work.
  • 2003: Modernism Gallery, San Francisco, "Paradise Burning", solo exhibition
  • 2003: Regina Miller Gallery, Purnell Center of the Arts, The Carnegie Mellon University , The University of Arizona Museum of Art, Tucson, Western Washington University, Western Gallery, Arthouse at the Jones Center, Austin, Contemporary Arts Center New Orleans, “Comic Release - Negotiating Identity for a New Generation “, group exhibition
  • 2004: Fine Arts Museums of San Francisco , Palace of the Legion of Honor, "The Child - Works by Gottfried Helnwein", solo exhibition
  • 2004: Center for Art and Media , Karlsruhe, “Masterpieces of Media Art from the ZKM Collection”, group exhibition
  • 2004: Crawford Municipal Art Gallery in Cork, Ireland, “Irish and other Landscapes”, solo exhibition
  • 2005: Museum of Modern Art - Ostend, Belgium, “Soul”, installation
  • 2005: Museum Ludwig, Oberhausen Castle and Wilhelm Busch Museum , Hanover, “Beautiful Children”, solo exhibition
  • 2005: The University of Denver's Victoria H. Myhren Gallery, Denver Art Museum, "In Limbo - from the collection of Kent and Vicki Logan and the Denver Art Museum", group exhibition
  • 2005: The Katherine K. Herberger College of Fine Arts at Arizona State University, "The other Mainstream - Selections from the Collection of Mikki and Stanley Weithorn", group exhibition
  • 2005: Kunsthalle Wien and Kunstforum Wien , “Superstars: On the principle of prominence in art. From Warhol to Madonna ”, group exhibition
  • 2005: Museo de Arte Contemporáneo de Monterrey Mexico, "Austrian Contemporary Art and Post-War Painting - The Essl Collection", group exhibition
  • 2006: Lentos Museum of Modern Art , Linz, “Face it”, solo exhibition
  • 2006: Tiroler Landesmuseum Ferdinandeum , Innsbruck, “Figure and Reality: How Austria's Painters Transform the World”, group exhibition
  • 2006: The Eleventh International Biennial of Photography and Photo-Related Art, Mackey Gallery, Houston, solo exhibition
  • 2006: 21c Museum, Louisville, Kentucky, "Looking Now", group exhibition
  • 2006: Denver Art Museum , "Radar, The Kent and Vicki Logan Collection," group exhibition
  • 2006: Modernism Gallery San Francisco, “ Los Caprichos ”, solo exhibition
  • 2006: Galeries nationales du Grand Palais , Paris, The Montreal Museum of Fine Arts , “Il était une fois Walt Disney”, group exhibition
  • 2006: Fenton Gallery, Cork, Ireland, solo exhibition
  • 2006: Hunsaker / Schlesinger Fine Art, Bergamot Station, Santa Monica, “The Likeness”, group exhibition
  • 2006: Temple Bar Gallery, Dublin, “A Moment in Time”, a critical exploration of contemporary painting by international and Irish artists, group exhibition
  • 2007: Fine Arts Museums of San Francisco, “Rembrandt to Thiebaud: A Decade of Collecting Works on Paper”, group exhibition
  • 2007: The Dayton Art Institute, "Life as a Legend", group exhibition
  • 2007: Contemporary Art - Essl Museum , “Passion for Art - 35 Years of Essl Museum”, group exhibition
  • 2007: Ludwig Museum Budapest, Museum of Contemporary Art, “Concept Photography - Dialogues & Attitudes”, group exhibition
  • 2007: The Virtual Museum of Art in Second Life , opening, retrospective
  • 2007: Stadtgalerie, Leibnitz, solo exhibition
  • 2007: Fotoforum West, Innsbruck, solo exhibition.
  • 2007: Modernism Gallery San Francisco, "The Disasters of War, Part I", solo exhibition
  • 2007: Fotomuseo, National Museum of Photography, Bogotá, Fotográfica Bogotá
  • 2007: Waterford Greyfriars Municipal Art Gallery, Ireland, "Angels Sleeping", solo exhibition
  • 2007: Cressman Center Gallery, University of Louisville, "Body Anxious"
  • 2007: Fine Arts Museums of San Francisco, De Young, "Rembrandt to Thiebaud: A Decade of Collecting Works on Paper."
  • 2008: Natalie and James Thompson Art Gallery, San Jose State University, "I Walk Alone", solo exhibition
  • 2008: State Gallery Rudolfinum , Prague, "Modern Sleep", solo exhibition
  • 2009: Alpen-Adria Galerie / Stadtgalerie, Klagenfurt, "The early works 1972–1992", solo exhibition
  • 2009: Albertina, Vienna, "Art after 70"
  • 2009: Modernism Gallery, San Francisco, "The Disasters of War, Part II", solo exhibition
  • 2009: Friedman Benda Gallery, New York, solo exhibition
  • 2009: Albertina, Vienna, Body and Language - Seven artists with works from the Albertina collection
  • 2009: Albertina, Vienna, Modern Masterpieces - From the Albertina Collection and the Batliner Collection
  • 2010: "Ninth November Night", installation, Tel Aviv , Israel [19]
  • 2010: Friedman Benda Gallery New York, "I was a Child", solo exhibition
  • 2011: Sacramento Art Museum, California, "Inferno of the Innocents", solo exhibition
  • 2012: Museo Nacional De San Carlos, Mexico City, "Faith, Hope and Charity", solo exhibition
  • 2012: Galería Hilario Galguera, "Song of the Aurora", solo exhibition
  • 2013: Preiss Fine Arts, Vienna, "Black Mirror"
  • 2013: Albertina Museum, Vienna, retrospective
  • 2015: Museum of Contemporary Art, Belgrade, solo exhibition

Awards and grants

  • 1970: Master School Award, Academy of Fine Arts Vienna
  • 1971: Cardinal König Prize
  • 1974: Theodor Körner Prize
  • 2005: Double platinum record for the cover artwork by Sehnsucht , Rammstein
  • 2006: Helnwein is honored by the City of Philadelphia for his artistic contribution to keeping the memory of the Holocaust alive
  • 2006: Governor Erwin Pröll appoints Gottfried Helnwein as honorary ambassador for Lower Austria
  • 2007: Goose Egg Nugget Award of the Carl Barks Society, for the significant artistic contribution to the legacy of the comic artist Carl Barks
  • 2009: Steiger Award for Art
  • 2015: Nomination by Die Presse as Austrian of the Year in the international success category
  • 2015: Honorary Member of iSTAN, the International Stage Art Network,

Literature (selection)

Movies

  • Helnwein's eye test, a painter seeks his audience. Documentation, Germany, 1974, 45 min., Script and direction: Heinz Dieckmann, production: ZDF , [20]
  • Helnwein. Documentation, Austria, 1984, 45 min., Based on an idea by Gottfried Helnwein, book and director: Peter Hajek , production ORF and ZDF , premiere: 34th Berlin International Film Festival 1984. Contributor: Muhammad Ali . The film was awarded the Eduard Rhein Prize and the Goldene Kader of the City of Vienna for excellent camera work [21] . In 1985 Peter Hajek received the Adolf Grimme Silver Prize for this .
  • November ninth night. A documentation about Gottfried Helnwein and his installation to commemorate the Reichskristallnacht between Cologne Cathedral and Museum Ludwig, USA, 2003, 23 min., Book: Gottfried Helnwein and Henning Lohner , director: Henning Lohner, commentators: Sean Penn , Maximilian Schell , Jason Lee , Premiere: Museum of Tolerance , Simon Wiesenthal Center , Los Angeles, November 10, 2003. [22] .
  • Double heart. Music video , USA, 2003, 25 min., A film by Marilyn Manson , art director: Gottfried Helnwein, location: Studio Helnwein, Los Angeles, bonus DVD of the album The Golden Age of Grotesque , [23]
  • Gottfried Helnwein, a portrait. Documentation, Austria, 2006, 45 min., Script and director: Claudia Teissig, production: ORF , 3sat , first broadcast: May 3, 2006, table of contents by 3sat
  • Gottfried Helnwein - The silence of innocence. Documentary about Gottfried Helnwein, Claudia Schmid, Germany, 2009, 116 min. German cinema release: June 17, 2010, [24] .
  • Gottfried Helnwein and the Dreaming Child. Documentation about Gottfried Helnwein's work on the visualization of Hanoch Levin's piece The Child Dreams for the Israeli Opera in Tel Aviv. Lisa Kirk Colburn, Red Fire Film, USA, 72 min, 2011. [25] .

Web links

Wikiquote: Gottfried Helnwein  - Quotes
Commons : Gottfried Helnwein  - Collection of images, videos and audio files

Individual evidence

  1. ↑ Biography Gottfried Helnwein
  2. ^ Academy: Helnwein as a professor - a shock? Herbert Hufnagel, Kurier, Vienna, February 13, 1985
  3. ↑ Peter Gorsen, "Gottfried Helnwein, the artist as aggressor and damned moralist", Albertina, Vienna, 1985 [1]
  4. ↑ Helnwein, Gottfried / Spiecker, Oliver: Painting means fighting back. Gottfried Helnwein in conversation with Oliver Spiecker, Berlin 2013, p. 36
  5. ^ Robert Flynn Johnson, "The Child - Works by Gottfried Helnwein", Fine Arts Museums of San Francisco, 2004
  6. ↑ "The Child - Works by Gottfried Helnwein", Fine Arts Museums of San Francisco, July 31 - November 28, 2004. "Dark and detached, the art of Gottfried Helnwein demands a response ...", Kenneth Baker, San Francisco Chronicle , August 9, 2004
  7. ^ "The Child" - Works by Gottfried Helnwein, Summary of reviews and texts , Fine Arts Museums of San Francisco, 2004
  8. ↑ Peter Gorsen, "The Art of Transformation of the Doppelganger - for Self-Portrait with Gottfried Helnwein", Der Untermensch , Edition Braus, Heidelberg, 1988 [2]
  9. ↑ Gregory Fuller, “End times mood - gloomy images in the golden age”, DuMont, Buchverlag, Cologne, 1994
  10. ↑ "The superficial is the abysmal - Helnwein's contribution to a hagiography of the 20th century" , "The damaged world" - Realism and Realisms in Austria , Kunstforum, Vienna, 1987
  11. ↑ Moritz Wullen, Head of the Department for Exhibitions at the National Museums in Berlin, Black Box - The Black Interior of Melancholy Consciousness in the Imagery of the 20th Century , Exhibition Catalog Melancholie - Genius and Madness in Art , Neue Nationalgalerie, Berlin, Galeries nationales du Grand Palais, Paris, 2006 Archived copy ( Memento of January 21, 2012 in the Internet Archive )
  12. ↑ Roland Recht, "Les Autoportraits de Gottfried Helnwein: Une imagerie de la terreur", " Der Untermensch ", Gottfried Helnwein, self-portraits 1970–1987, Musée d'Art Moderne, Strasbourg, 1987 [3]  ( page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice.@1@ 2Template: Dead Link / www.helnwein.fr  
  13. ↑ Peter Gorsen: The artist as a martyr - The suggestive montages of Gottfried Helnwein . Frankfurter Allgemeine Zeitung, April 8, 1987
  14. ^ Peter Selz, "Helnwein - The Artist as Provocateur", Helnwein , monograph, The State Russian Museum, St. Petersburg, Palace Edition, 1997 Archived copy ( Memento from September 8, 2008 in the Internet Archive )
  15. ↑ Gottfried Helnwein, Memories of Duckburg , ZEIT-magazin, May 12, 1989 Archived copy ( Memento of December 7, 2011 in the Internet Archive )
  16. ↑ Klaus Honnef, "The Subversive Power of Art - Gottfried Helnwein - A Concept Artist Before the Turn of the Millennium", "Helnwein", monograph on the retrospective in the State Russian Museum St. Petersburg, Palace Edition, 1997
  17. ^ "Nazi dreaming, Julia Pascal on the man set on reminding Austria of the past it would rather forget.", New Statesman UK, April 10, 2006
  18. ↑ SFMOMA "explores The Naughty and the Nice", Third Logan Rotation Probes the Darker Side of Playland , Press Release, July 17, 2000 [4]  ( page no longer available , search in web archives )  Info: The link was automatically marked as defective . Please check the link according to the instructions and then remove this notice.@1@ 2Template: Toter Link / www.gottfried-helnwein.us  
  19. ↑ Alicia Miller: "The Darker Side of Playland: Childhood Imagery from the Logan Collection", Artweek, November 1, 2000 [5]
  20. ^ Peter Selz, "Helnwein - The Artist as Provocateur", Helnwein , monograph, The State Russian Museum, St. Petersburg, 1997
  21. ↑ Gottfried Helnwein, "Life unworthy of life", open letter to the Nazi euthanasia doctor Heinrich Gross, Profil, Vienna, 1979 [6]
  22. ^ Mitchell Waxman, "Helnwein Epiphany, " Jewish Journal, Los Angeles, 2004
  23. ↑ "Evil is always relative", Arno Widmann, Frankfurter Rundschau, October 27, 2013
  24. ↑ Roland Mischke, "Äfflinge und Tschandalen", Frankfurter Allgemeine Zeitung, October 11, 1988 Archived copy ( memento of December 7, 2011 in the Internet Archive )
  25. ↑ Peter Pachnike and Gisela Vetter-Liebenow, "Gottfried Helnwein - Beautiful Children", solo exhibition, Ludwig Museum Schloss Oberhausen and Wilhelm Busch Museum Hannover, 2005
  26. ↑ Rodrigo M. Malmsten: Kleines Helnwein , ( official website)
  27. ↑ a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac Biographie Helnwein
  28. ↑ Gerd Winkler, Gerd Winklers Kunstwetterlage , "Ogottogott!", Pardon , September 1, 1972 Archived copy ( Memento from December 7, 2011 in the Internet Archive )
  29. ^ "Falk forces art out - Helnwein exhibition canceled", Profil, Vienna, October 10, 1972 Archived copy ( Memento from December 7, 2011 in the Internet Archive )
  30. ^ Oskar Bronner, "Boundaries in this country blown up", Profil , Vienna, May 31, 1999 [7]
  31. ↑ Erwin Melchart, “The shock that rips out of everyday life”, Kronen Zeitung, Vienna, November 10, 1974 Archived copy ( memento of December 7, 2011 in the Internet Archive )
  32. ↑ HC Artmann, "one person creates the sum of his observations in this world of blunders and demons", Helnwein, monograph, Orac Pietsch Verlag, Vienna, 1981
  33. ^ "Muhammad Ali kisses Ali Helnwein", press comments on Helnwein , the film by Peter Hajek, ORF / ZDF, 1984 Archived copy ( Memento from February 12, 2012 in the Internet Archive )
  34. ↑ Roland Mischke: Äfflinge and Tschandalen . Frankfurter Allgemeine Zeitung, October 11, 1988 Archived copy ( Memento from October 6, 2007 in the Internet Archive )
  35. ^ Rolf Michaelis: The Kiel affair - in murderous dances . Die Zeit, February 19, 1988 Archive link ( Memento from September 28, 2007 in the Internet Archive )
  36. ↑ Ailing over-woman . Der Spiegel, February 15, 1988 ( Memento from December 7, 2011 in the Internet Archive )
  37. ↑ Dagmar Deckstein, “Unter Alice's protective coat”, Stuttgarter Zeitung, February 19, 1988 Archived copy ( Memento from December 7, 2011 in the Internet Archive )
  38. ^ A letter from Helmut Zilk, Mayor of the Federal Capital Vienna, February 15, 1988 [8]
  39. ^ Roland Gross: Character sacrifice . Frankfurter Allgemeine Zeitung, November 16, 1989 Archive link ( Memento from August 11, 2011 in the Internet Archive )
  40. ↑ Helnwein, Dietrich: Some Facts about Myself . Edition Cantz, Stuttgart, 1990, ISBN 3-89322-226-X Archive link ( Memento from August 22, 2007 in the Internet Archive )
  41. ↑ Who is Carl Barks , catalog for the retrospective And the duck became human - the graphic work by Carl Barks , Neff Verlag, 1993, ISBN 3-8118-5341-4 [9]
  42. ↑ Lothar Deeg : A girl's head for Saint Petersburg . Kölner Stadt Anzeiger, October 10, 1996 Archive link ( Memento from August 17, 2011 in the Internet Archive )
  43. ↑ Peter Reichelt: Helnwein and Scientology (HAS): Lies and Treason . 1997 archive link ( memento from September 24, 2015 in the Internet Archive ).
  44. ↑ Peter Reichelt: Helnwein and Scientology - Lies and Treason - An organization and its secret service , Mannheim 1997, 489 pages, ISBN 3-923801-93-9 ; Helnwein applied for an injunction against numerous statements in this book on July 7, 1997 at the Berlin Regional Court (16 O 407/97). On July 14, 1997, he withdrew this application.
  45. ↑ http://www.pewid.ch/SCI/mark2.html , accessed August 15, 2009.
  46. ^ Federal Constitutional Court, decision of the First Senate of November 10, 1998, 1 BvR 1531/96, www.helnwein.com Archived copy ( memento of December 7, 2011 in the Internet Archive )
  47. ↑ Press release, Dr. Kersten Rook, Lawyers Grams and Weber, Bielefeld, February 2, 2000, www.helnwein.de Archived copy ( Memento from December 7, 2011 in the Internet Archive )
  48. ↑ Christoph Dallach, Jörg Böckem: I am America's nightmare , Interview with Marilyn Manson, Der Spiegel, May 5, 2003 Archived copy ( Memento from December 7, 2011 in the Internet Archive )
  49. ^ Nothing / Interscope Records, Marilyn Manson, "The Golden Age of Grotesque", May 13, 2003 Archive link ( Memento of March 27, 2008 in the Internet Archive )
  50. ^ "The Making of Marilyn Manson's mOBSCENE-Video", Henry Ford Theater, Los Angeles, April 10, 2003 Archived copy ( Memento of December 7, 2011 in the Internet Archive )
  51. ↑ Installation and Performance with Marilyn Manson, Volksbühne Berlin, April 15, 2003, www.helnwein.net archive link ( Memento from December 7, 2011 in the Internet Archive )
  52. ↑ Kenneth Baker, Chronicle Art Critic: Dark and detached, the art of Gottfried Helnwein demands a response , San Francisco Chronicle, August 9, 2004 [10]
  53. ↑ Mark Swed: Strange but True , Los Angeles Times, May 31, 2005 ( Memento of December 8, 2006 on the Internet Archive )
  54. ^ Gottfried Helnwein - Beautiful Children , Ludwig Museum Schloss Oberhausen, Ruhr-Guide.de, [11]
  55. ↑ Hamish Bowles: The bride wore purple ( February 22, 2009 memento in the Internet Archive ) Vogue, February 14, 2006.
  56. ↑ Julia Pascal: Nazi Dreaming . New Statesman, London, April 10, 2006. ( Memento of May 18, 2013 in the Internet Archive )
  57. ↑ Thomas Kliemann: Dance of the Angels of Death and the Battle for Gold , General-Anzeiger, December 9, 2006 archive link ( Memento from May 11, 2008 in the Internet Archive )
  58. ↑ Jochen Schmidt: Kresnik choreographs the ring , Die Welt, February 18, 2008 archive link ( Memento from December 7, 2011 in the Internet Archive )
  59. ↑ Martin Lhotzky: Honor your great masters , Frankfurter Allgemeine Zeitung, June 5, 2007 [12]
  60. ↑ Sueddeutsche Zeitung, "Before an Abyss", Holger Gertz , April 29, 2008 [13]
  61. ↑ Helnwein - The Silence of Innocence , a film by Claudia Schmid, (Germany 2009, 116 min.) German cinema release: June 17, 2010 Archived copy ( memento of December 7, 2011 in the Internet Archive ), The Transcript [14]
  62. ^ The Israeli Opera, Helnwein's Realization for the Opera The Child Dreams , www.helnwein.com Archived copy ( Memento from November 10, 2009 in the Internet Archive )
  63. ↑ Installation 48 Portraits, Gottfried Helnwein and Gerhard Richter at Galerie Rudolfinum, Prague, www.helnwein.com Archived copy ( Memento from November 9, 2011 in the Internet Archive )
  64. ↑ Madonna with the Child and the SS , Berliner Zeitung, Arno Widmann, October 6, 2013 [15]
  65. ^ Retrospective at the Albertina Museum , www.helnwein.com
  66. ↑ Helnwein image at Madame Tussauds orf.at, September 21, 2016, accessed September 22, 2016.
  67. ↑ Helnwein in the Albertina, 2013
  68. ^ Rammstein album "Sehnsucht" released with 6 different covers by Gottfried Helnwein, 2003 Archived copy ( Memento from March 22, 2010 in the Internet Archive ).
  69. ^ Resolution of the city council of Philadelphia, No. 060769, October 19, 2006, archived copy ( memento of April 28, 2012 in the Internet Archive ).
  70. ↑ Brigitte R. Winkler: Erwin Pröll: Helnwein has blue-yellow blood in his veins. Courier, June 25, 2007 [16] .
  71. ^ "Goose Egg Nugget Award 2007, in Recognition of Significant Artistic Contributions to the Disney Duck Genre and the Carl Barks Legacy". [17] .
  72. ↑ Presentation of the Steiger Award 2009, Jahrhunderthalle Bochum, March 28, 2009 Archived copy ( memento of December 7, 2011 in the Internet Archive ).
  73. ↑ diepresse.com - Austria 15 . Retrieved September 12, 2015.
  74. ^ The International Stage Art Network, is a joint venture between the International Theater Institute ITI and the Central Academy of Drama CAD Beijing. [18] .
personal data
SURNAME Helnwein, Gottfried
BRIEF DESCRIPTION Austrian-Irish artist
DATE OF BIRTH October 8, 1948
PLACE OF BIRTH Vienna