something about me...hm...ok, First of all I am 18 years old and I'm from Germany. I finished school some weeks ago and I'm going to study in autum. I love good Vampire movies like Nosferatu, Shadow of the Vampire and other Horrormovies. My favourite artists are Royo, Helnwein and Manson...and I like realy like E.A Poes stuff... ...

Next: At least you was kind enough to make me laugh... Untermenschen...hmmm... I don’t know why but it reminds me of some Helnwein’s photographs. I love his works. And you?
- "Gode blesse" ...

신착도서안내 : 사진,조각 (9월25일)
관리자
디자인도서관 2003년 9월 25일 신착도서 안내입니다.
일주일동안 신착자료코너에 비치할 예정이오니 많은 이용 바랍니다. (참고도서 제외) ...

Integendeel. Zijn foto's en schilderijen schokken en worden soms zelfs smakeloos genoemd.
Maar de esthetiek mag zich niet in een conventioneel kader laten drukken. Daarin groeit het niet. Daarin moet het zichzelf uiteindelijk onderwerpen aan cliché-vorming.
Helnwein is misschien wel een nieuwe hoop. Oordeel zelf maar. ...

One-man show ...

The bizarre and squirm-inducing self-representations of Austrian conceptual artist Gottfried Helnwein - the guy who likes to puncture his cheeks with surgical instruments - are so disturbing that municipal councils have sought to ban his work.
But these are depictions of pain that make sense, given the intellectual and moral framework of Helnwein's personal and political past.
The odd bureaucrat might question his motivations, only to be instantly shouted down by a chorus of art critics and intellectuals who can think of thousands of cogent, intelligent reasons why Helnwein's work matters. Still, the few members of the bod-mod community who actually talked to me took the moral high ground.
Logic alone indicates that one person's Pamela Anderson is someone else's Lizard Man (Eric Sprague, a man who has, over the last few years, obsessively pursued his desire to become a human lizard via tattoos, teeth-filing, etc.)
In a free society, the body's canvas is something an adult person should have complete mastery over. ...

...

Dans mon récit, j’ai l’intention de présenter des œuvres de Gottfried Helnwein dans lesquelles il aborde le sujet du nazisme. Cependant, même si le rapport au nazisme dans l’œuvre d’Helnwein est au cœur de ma propre curiosité, il n’est pas nécessairement au centre du travail de l’artiste. D’après ma compréhension, la référence au thème du nazisme dans l’œuvre d’Helnwein fait partie d’un contexte plus vaste de sa vision du monde, que je vais présenter. Si on ignore la totalité de son œuvre et si on se concentre uniquement sur ces nombreux travaux où il parle du nazisme, on risque d’avoir une vision partielle de plusieurs niveaux d’analyse qui sont inhérents à sa pensée. Je vais traiter non seulement les sujets qu’il a choisis d’aborder, mais aussi le contexte historique de sa création qui est aussi significatif en regard de ses choix. Pour des raisons de clarté et afin de mettre en relief mon intérêt personnel pour la représentation controversée du nazisme dans l’art contemporain, je vais traiter séparément les œuvres au sujet du nazisme, sans ignorer naturellement le contexte de leur création. ...

Hay de decidirse a creer” (Aira. 51), telenovelas rasas que, en la Buenos Aires de Iris Nieves, “al mismo tiempo que eran de una extravagancia demente, debían ser muy banales, muy esquemáticas, simplificaciones brutales de la realidad, a la medida del más amplio de los públicos” (ib.), Bandagen-Aktionen y hielmos de vendas echándoselas de parificadas por idolatría de lo sobrante sobresaliente y sacrificio de fisonomía en estrictura uniforme, divinamente previsible autosuficiencia de la epidermis (v. Gottfried Helnwein, Marlene, acuarela sobre cartón, 1983) arrugada y rajada en corola de brochazo florecido sin arte ni parte mientras el hombrecito espera el autobús clavándose un Crazy Red 13 (Jolie de Vogue - Nail Polish, Laboratorios de Cosméticos Vogue, Bogotá) de lápiz tan amargo cuanto la mancha del girasol azteca que tiene encima (v. Helnwein, Artaud’s Song, óleo y pastel, 1989), a fin de enganchar la dolorosa cantilena del espinazo, claro está, obscurísimo, espejeante, otro reflejo succionado por faz definida en gasa alquitranosa, ocultos los bulbos oculares, sin tenedor edípico, la gula de sí brillando apenas en el fiel salivar de una tarántula metálica metida en la boca, quizás dispositivo quirúrgico cuya función habitual debería consistir en mantener separados los tejidos, doble erina en el lugar repugnante de lo que ni se come ni se saca, freno o bocado al borde de motes engolados, orzuelo oral, no el tumorcito del párpado sino esa especie de cepo que se utiliza para cazar fieras por los pies (v. Helnwein, Black Mirror V, Cibachrome, 1987). ...

GOTTFRIED HELNWEIN - THE CHILD
"Helnwein's subject matter is the human condition. The metaphor for his art is dominated by the image of the child, but not the carefree innocent child of popular imagination. Helnwein instead creates the profoundly disturbing yet compellingly provocative image of the wounded child. The child scarred physically and the child scarred emotionally from within."
Robert Flynn Johnson, Fine Arts Museums of San Francisco ...

The central theme in Gottfried Helmwein’s artistic work is the human being. As a victim but also as a perpetrator. No other German-speaking artist of the post-war generation has so hauntingly dealt with the National Socialistic legacy and such issues as fascism, violence and intolerance.
Helnwein has developed his own provocative, disturbing and to some extent shocking visual language in which its passion above all is dedicated to the weakest of the victims: the children.
His pictures are a constant silent appeal against collective denial and repression.
William Burroughs said about Helnwein's work: "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."
The Art of Gottfried Helnwein continues a powerfull artistic tradition, whose foremost protagonists are Francisco de Goya, Pieter Breughel, Hieronymus Bosch, Matthias Gruenewald, Egon Schiele and Francis Bacon. ...

Marilyn Manson revient avec un nouvel album très controversé. The Golden Age of Grotesque a failli être censuré par sa maison de disque mais finalement l'album sera dans les bacs !
Aux critiques faites sur son choix de travailler avec le contesté Gottfried Helnwein, Marilyn Manson rétorque que la dernière chanson de l'album vient d'être mixée et que l'artwork et sa collaboration avec Gottfried Helnwein étaient maintenant achevés.
Découvrez sans plus attendre le fruit de cette collaboration, avec le clip vidéo de This Is The New Shit !
Attention les yeux ! ...

He and Helnwein created a series of controversial photographs, most of which were deemed by the label as too risque to be album art, including one of Manson dressed in Nazi regalia and clutching a gun as a young girl looks on. ...

"leid macht stark"
weitere werke findet man hier.
16.08.03 14:38
  ...

I am not one for visual art but Gottfried Helnwein has me Alt+Tab-ing ever so frequently from my blogging window to Death of Pinocchio. I can't help but pick up another new slash or that particular swatch of colour (not that there's all that much) as my gaze follows the disarray that is pastel and coloured pencil. Apparently there's more from where that came from so I guess I'm in for a treat. An erratic consistency of all his art has me reflecting on how closely it apparently is to my life. Distorted up close but glows an eerie sense of purpose, all in all, I finally have myself created by someone else. ...

Wie authentisch kann, wie inszenatorisch muss Portraitfotografie sein? Und was sagt sie über die Person aus, die hinter dem Objektiv steht? Für Andy Warhol war die Kamera gleichermaßen Medium der Kontaktaufnahme und der Distanzierung. Sein gesamtes Oeuvre zehrt von dieser fotografischen Ambivalenz.
Eine Darstellung des Pop-Art-Künstlers zählt zur Serie der großen Charakterköpfe, die der Wiener Gottfried Helnwein ganz für sich sprechen lässt - während gegenüber davon die Fotos von Jochen Gertz nicht ohne ihren Begleittext auskommen. ...

10 -StellaComedy.com
9 - Gottfried Helnwein.
8 - Mt Egypt.
7 - BobandDavid.com
6 - Illegal Art.
5 - Watching Mr. Show DVD for the 562nd time.
4 - The Fuse.
3 - #3.
2 - Kid America Television Show
1 - 104.7 FM. ...

...

Wie? : Städtische Museen Z./ Kunstsammlung, mein derzeitiges langzeit praktikum. Mit der Mentorin am Kopierer vorbei. Da liegt ein Poster. Blau. Bandagierter Typ. „Gottfried Helnwein, gruselig was, brrrrr – sieht furchtbar aus...“
Ich: „ Ochhh also...mhhmnaja.“
(interesse geweckt- reminds me: nitsch, schwarzkogler...) reserach net: helnwein.de, com or whatever. Riesen-source! Runtergereapt. In ruhe zu hause geschaut. Begeistert. Hat mit m. manson gearbeitet, stones auch klar, ist ein freund vom deix, etc etc. alles sehr großartig- und die bilder? Die bilder herrjeh ja: von wenig subtil – sehr subtil, immer hyperrealistisch auf diverse punkte gebracht, fein selbstinszeniert, ohne großes geheimnis, und trotzdem mysterienvoll – so gesehen, no worshshipping, but interesse for helnwein. The great dictator of ditschital print. ...

Blending Art and Music:
With the The Golden Age of Grotesque, Manson has attempted something not seen since Disney's unusual masterwork, Fantasia. Fantasia, the collaboration between Walt Disney and Leopold Stokowski, was Disney's first attempt to combine low art (his animation) with high art (classical music).
Manson's collaboration with world renown artist Gottfried Helnwein can be viewed in the same way: a combination of low art (rock music) with high art (painting). Manson was well aware of this, as he mentioned to NY Rock, "We grew up with the idea that entertainment is some lesser form of art, less valuable, less sincere, less worthy of our attention. I don't agree with it at all." ...