For the past twenty-four years the Academy of Motion Picture Arts and Sciences and the Academy Foundation, in association with the UCLA Film and Television Archive, has presented a series of film programs featuring the outstanding documentaries of the previous year.
The film, NINTH NOVEMBER NIGHT, was considered by the Academy’s Documentary Screening Committee to be one of the outstanding documentaries of 2004. It is our wish to include a screening of "Ninth November Night" in this prestigious series on the evening of Wednesday, November 30, 2005. ...

one man show ...

(LITTLE ROCK, AR) – The Arkansas Arts Center presents the fourth event of the à la cARTe fundraising party series in honor of the contentious artist Gottfried Helnwein on November 17, 2005.
Coordinated by the Arkansas Arts Center Young Patrons, the à la cARTe series is comprised of five parties, each celebrating one of five eccentric and important artists – Andy Warhol, Dale Chihuly, Vincent Van Gogh, Gottfried Helnwein and Diego Rivera. ...

In one large painting, a girl sits on the edge of a bed in a barren room, staring into space. A giant blue rabbit with sightless insect eyes stands before her, clad in some sort of military garb. Despite their proximity, the two figures seem to occupy different dimensions. The frightful effect of the rabbit figure appears to register more in us than in the child whose vision we may be spying on.
The vaguely erotic menace of the rabbit figure flares in another untitled picture in which a sort of Mad Hatter figure, all in yellow and masked, leans in to touch a sleeping girl with a gloved hand.
For all the pictures' realism and their echoes of Lewis Carroll, they evoke psychological rather than literal monstrosity: the betrayal of innocence by imagination as well as reality. ...

Help us find visual, aural, metaphors that will let others understand the importance of engagement in this process. Look at Helnwein's painting under Visual Sociology. I left it up. What was Helnwein saying? Why was he willing to offend. Why do Beau and Michael want to shake us up? How are those things related? Why did one of my students make a giant box that when opened had a lovely smiling face inside that said "F^&* the Patriot Act"?? Isn't that a lot like what Helnwein and Kiefer and Beuys were doing? Maybe saying "wake up and look at what you're doing?" ...

Arno Breker holding a Picture of Joseph Beuys, 1988
silver print ...

A virtuoso and a visionary with one eye behind the veil of the world, the other reflecting endless horror, beauty, loss, humour and melancholy - all with a steady hand. The position is supreme, the means are penetrating and the message as deep as it gets. To me the strange silent directness in Helnweins work is unrivaled, no other artist today tells the dim story of the world in a more disturbing and moving way. His work, views and perspectives are completely congruent and appeals to me in a very direct and personal way. ...

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- five reasons to have a party! Young Patrons will host a series of Fall events, serving up famed artists from the Arkansas Arts Center Collection. ...

Ausstellungskatalog

Aucune disposition d'âme n'a occupé si longtemps l'Occident. Les Grecs l'appelaient la bile noire (melangkholia, qui donnera le mot mélancolie). Aristote s'étonnait que cette humeur réputée néfaste touche la plupart des hommes d'exception. Elle est par tradition cause de souffrance et de folie, et sa désignation comme "maladie sacrée" implique une dualité. Les artistes de l'Antiquité la représentèrent sous la forme d'êtres pensifs, tête inclinée posée sur la main, regard perdu où se devine une sourde douleur. Au fil des siècles, l'image du mélancolique changera peu - 'le Portrait du Dr Gachet', de Van Gogh, ou la sculpture hyperréaliste de l'Australien Ron Mueck ('Big Man', 2000) respectent cette iconographie. Devenue saturnienne, puis reclassée dans la grande famille des dépressions, la mélancolie a toujours inspiré les artistes qui, pour en être victimes dans les périodes de doute et d'impuissance, connaissent son charme mortifère. Avec plus de 200 oeuvres, l'exposition se propose de vous introduire à cette richesse encore mal connue et met en évidence le rôle essentiel joué par la mélancolie dans les différentes formes de la création artistique en Europe, de Dürer à Goya en passant par Bruegel, Bosh, Arcimboldo, Watteau, La Tour, Füssli, Delacroix, Rodin, Munch, Baudelaire, Artaud, De Chirico, Picasso, Hopper... ...

The Museo de Arte Contemporáneo de Monterrey presents the exhibition Austrian Contemporary Art and Post-war Painting: The Essl Collection, a seminal encounter with the most commanding pictorial propositions engendered in the second half of the 2Oth century.
Gottfried Helnwein digresses from fleeting contemplation with his Self-portrait: the canvas on display prompts an immediate, impulsive reaction... ...

ゴットフリート・ヘルンバイン（1948年10月8日ウィーン生まれ）は、オーストリア系アイルランド人の画家、写真家、兼パフォーマンスアーティスト。
ヘルンバインはウィーン美術アカデミー絵画科（Akademie der Bildenden Künste, Wien）で学ぶ。同大学にてマスタースクール賞（Meisterschulpreis）、後にカーディナル（枢機卿）ケーニヒ（王）賞、テオドル・ケルナー賞を受賞。
彼の初期の作品は主として傷ついた子供達を描いた超リアリスティックな水彩画、同時に彼は公共の場で実際に子供達を交えてそういったパフォーマンスを披露することも度々あった。ヘルンバインは概念的なアーティストであり、主として心理学的、社会学的な不安感や、歴史的問題、政治的話題を取り上げてきた。結果として彼の作品はしばしば挑発的と受けとめられ、物議をかもしてきた。彼は様々な手法と媒体を用い、画家、デッサン家、写真家、壁画家、彫刻家、そしてパフォーマンスアーティストとして作品を残してきた。ヘルンバインはまた、劇場、バレイ、オペラといった、舞台製作や衣装デザインでも知られている。その中にはハンブルク国立歌劇場、ベルリン・フォルクスビューン劇場やロサンゼルスオペラ座等がある。 ...

大象墓场就是记忆和碎片最后要去的地方。所以没有召唤也没有连接。
2004-2-14
天真的恶意，撕裂皮肤：Gottfried Helnwein
主页：::URL::http://www.helnwein.com/
Gottfried Helnwein 为一般人所知也许皆因为他在2002年到2003年为曼森所进行的一系列题为The Golden Age的VISION设计。曼森永远诡异的面容被设计成了黑白的米老鼠形象。扭曲变形的彩色人面封面和CD所附带的“CHILDREN AND GUN”的彩页，似乎怀着恶意和颠覆在向一切冷冷微笑。就是这样一种恶毒的温柔成为了Helnwein的作品的基调。
1Wounded children ,Nazi
Gottfried Helnwein 出生于维也纳。1969年到1973年在维也纳的the Academy of Fine Arts学习绘画。他吸收了日常生活中比如漫画、广告、电影的美学元素，在这段时间创作了部分超现实主义画作。而这些早期的画作很清楚的表明了他的艺术观，他所想要表达的东西。缠着绷带的孩子，幼稚儿童脸上的撕裂之后再次缝合的伤口。如同爬虫类一样冰冷而无机质毫不感觉痛楚的眼神。画者那种权威而细致的表现伤害的冷静让当时的大众无法接受。71年到73年， Helnwein的作品展览无一不受到抵制。维也纳的一家画廊展出他的画作，结果不到三天就被迫关闭。甚至维也纳附近一座城市的市长下令将 Helnwein的作品没收。当时他的反对者喊出的理由是这些作品是“the Nazis'' term for degenerate art”。因为他对待伤口、死亡、折磨与伤害是带着那样一种天真的热情态度来描写，所以人们忍受不了吗？这个世界有许多无法言说的东西。战争总是扯出人类最黑暗的那一面。而Helnwein就是那样微笑着用他的画笔来揭露出人性。是他的作品是纳粹的垃圾，还是人们始终无法正视内心深处涌动的黑暗冰冷。 ...

Die Ludwiggalerie im Schloß Oberhausen mag bereits die zweite Präsentationsstätte von Gottfried Helnweins Ausstellung "Beautiful Children" sein, doch sie ist erste Wahl, was die Präsentation betrifft. In den großen Räumen verteilen sich rund drei Dutzend Werke, darunter eine kleine Auswahl von "Klassikern" der siebziger Jahre des vergangenen Jahrhunderts, als der Wiener Maler mit seinen typisch deformierten oder verbundenen Gesichtern bekannt wurde, und Reprisen älterer Schlüsselwerke wie etwa die in ihrer Brutalität berückend originalgetreue Micky Maus ("Midnight Mickey"), die hier in einer Version aus dem Jahr 2001 vertreten ist.
Doch das sind Bilder, die längst in die popkulturelle Walhalla eingegangen sind. Deshalb ist es erfreulich, daß diese erste größere deutsche Einzelausstellung seit vielen Jahren den Schwerpunkt eindeutig auf neue Projekte legt: auf "The Golden Age" etwa, wo der Popstar Marilyn Manson in wechselnden Masken das Modell für Helnweins Kamera abgibt ...

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Austrian born artist Gottfried Helnwein so often finds himself in the eye of the storm, it must feel like home. He is known for highly charged paintings and photographs of suffering children, Nazi themes, and then also magnificent bucolic landscapes. His fans outnumber his detractors, though, and he has won many admirers and collectors both in his adoptive home of Los Angeles, and around the world. Among them, California Governor, Arnold Schwarzenneger, actor Sean Penn, and musician Marilyn Manson, who is a frequent subject.
He identifies strongly with the oppressed, and society's most vulnerable members: children. "When I see how kids grow up , how they are neglected and mistreated , how they get polluted with drugs, junk food, insane television and bad schools, it's terrible, - and dangerous, because they are our future. Children are sacred - we need to protect, support and encourage them." ...

After further examining his work on my computer, I left . . . heart racing several beats faster, fingers tingling. Helnwein reminded me how to feel. It was like the first time I saw a Fellini film or slipped into Tom Ford attire. There was a sense of confidence instilled, a confidence in being human, the confidence to find power through mistake, the confidence to admit to cease yearning for perfection. Rather, redefining perfection to the state of recognizing my humanity, my possibility. ...

PHANTASMAGORIA - The Visions Of Lewis Carroll ...

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