The disturbing Work of Helnwein comes to Ireland Helnwein is a headline artist who works in tight sound bites on a very large scale. The works brand themselves with proof of his technical know-how in various media and are endorsed by the coolest celebrities of his generation. So much for the cover-story, so what lies within? Headlines lure you into stories that make you want to cry, smile or help to change the world. But when they stop at your own skin, you can get a sinking feeling, a sense of the bigness and badness outside and the impossibility of change. ...

While it is a painting, Epiphany is typical in its almost interchangeable use of photography and painting: both played their part in the achievement of the eventual, quasi-photographic image. He is a fine photographer, and his photographic portraits of Kilkenny children (enlarged to an enormous scale) form one strand of his festival exhibitions. The careful adaptation of existing imagery is another trait, and his references extend back through fine art history as well as history itself... ...

Workmen finish one of a series of prints measuring 9.3 metres by 6.2 metres by Austrian artist Gottfried Helnwein.The prints of Kilkenny children will hang on buildings in Kilkenny as parts of its arts festival beginning on August 10th. ...

Faкeл: Кто для вас важнее, Адольф Гитлер или Дональд Дак?
Gottfried Helnwein: Конечно, Дональд Дак. Встреча с этим персонажем в возрасте четырех лет была моей первой встречей с великим искусством. Я родился в Вене, оккупированной советскими войсками, сразу после окончания войны. Кругом разбомбленные дома, врослые казались мне разбитыми и угнетенными. Не помню, чтобы в раннем детстве кто-то пел или смеялся. Мир вокруг меня казался немым черно-белым кино в замедленной перемотке. Я чувствовал себя так, будто приземлился на чужой планете, в мире, которому не принадлежу.
Однажды вернувшийся с работы отец бросил на пол передо мной едва ли не первый немецкий перевод комиксов о Дональде Даке. Открыв эту первую в моей жизни книгу комиксов, я открыл дверь в реальный мир. Робко вошел. Я чувствовал себя так, как человек, переживший взрыв на шахте. После долгого пребывания в темноте между жизнью и смертью я вошел в яркий свет Дакбурга, и мои глаза, не привыкшие к такому яркому свету, наполнились слезами. Я глубоко вздохнул, и мои пропыленные легкие наполнились свежим воздухом.
В этом мире все снова обрело свой смысл: люди снова выглядели нормально, у них были желтые утиные клювы или собачьи морды, и каждого из них можно было безо всякого вреда для их здоровья продырявить пулями или раскатать в лепешку гигантским катком. Это был мир красок, скорости, приключений, магии и удивления. Я никогда не отступал назад, в чистилище так называемого "реального мира", и с тех пор Дональд Дак стал для меня неограниченным источником вдохновения. ...

Das Eindringen des Horrors in den Alltag hat wohl kaum jemand so beklemmend dargestellt wie der österreichische Künstler Gottfried Helnwein. Auf seinen Bildern nimmt die Gewalt derart Besitz von der Normalität, dass sie zum alles vergiftenden Elixier des Grauens wird. Viele seiner Gemälde, Plakate, Fotografien und Federzeichnungen zeigen Versehrung und Verstümmlung von Menschen, klinische Folterszenen, brutalisierten Kindern mit apathischen Blick, mit verbundenen Köpfen und Händen, oder mit ausradierten Gesichtern. Dennoch schockiert nicht die Inhalte allein: So umfassend scheint vielmehr Helnweins Perspektive auf das Leben vom Gefühl der Qual durchtränkt, dass selbst motivisch harmlosen Porträts, von John F. Kennedy oder Mick Jagger etwa, noch die Gewalt aus jeder fotorealistischen Pore dringt. ...

Das Haus an der Dammtorstrasse zeigt einen Klassiker der Moderne: Jürgen Flimm inszeniert "The Rake's Progress", Ingo Metzmacher dirigiert, und Gottfried Helnwein schuf das außergewöhnliche Bühnenbild. Der Maler, Fotograf, Bildhauer und Bühnenbildner Gottfried Helnwein gestaltet Bühne, Kostüme und Masken - nach Jörg Immendorff ist er der zweite Maler, der sich an die Strawinsky Oper wagt. Im Gegensatz zu dem Düsseldorfer Neuen Wilden geht Helnwein allerdings mit dem fotografischen Auge eines Kameramannes und mit großem Feingefühl als Kostüm- und Maskenerfinder zu Werke. "Was Gottfried Helnwein da gemacht hat, ist gewaltig," sagt der amerikanische Bassbariton David Pittsinger, ein erfahrener Strawinsky-Interpret, der in der Inszenierung den Teufel Nick Shadow singen wird. "Die Kostüme hat er als Maler entworfen, die Farben entsprechen den Klangfarben der Musik und denen der Figuren im Libretto," schwärmt der Sänger, dessen Lehrer Richard Cross noch selbst mit Strawinsky gearbeitet hatte. ...

Helnwein is famously confrontational, and his bold conflations of Nazi and Christian iconography, in Epiphany and other prominently displayed pictures, predictably generated some friction. Yet, in a way, one shouldn't rush to condemn condemnations of, or expressions or resignation about, Helnwein's work, no matter how superficial or uninformed they turn out to be. Because, let's face it, a large part of its effectiveness had to do with its calculated, barbed ambiguity.
The point of the images is that they put it up to you as a viewer. Given that, one potential line of criticism is that they are designed solely to be provocative, like Marcus Harvey's portrait of Myra Hindley. But the abiding strength of Helnwein's work is that provocation is a means rather than an end; it is - however uncomfortable - morally grounded, if not necessarily in a way that will please all observers...
His beautiful photographs of Kilkenny children are, collectively, a recognisable derivative of his work Selection, which implicitly placed the viewer in the position of someone marking children for extermination. Strong stuff.
If that seems irrelevant in an Irish context, one could always point to Northern Ireland and to the scandals that have shaken the complacent authority of church and state in recent years.
What is more innocent, more open, more charming than the face of a child? Except that we are more than ever uncomfortably aware that the act of looking is not at all innocent, and Helnwein's children, with their closed, downcast eyes, decline to meet our collective gaze. Why? Perhaps because they insist on remaining within the orbits of their imaginations.
There is also, however, a slight unease arising from the uniformity of the images and the awareness that the subjects are being directed. Helnwein has a knack for throwing responsibility for what we are looking at back onto us, the viewers. ...

This was the moment when I sensed for the first time," Helnwein has since written, "[that] you can change something with aesthetics, you can get things moving in a very subtle way, you can get even the powerful and strong to slide and totter, anything actually if you know the weak points and tap at them ever so gently by aesthetic means." For the following three-and-a-half decades he has relentlessly pursued that goal, masterfully incorporating everything from painting to performance to photography, regularly causing art world outcry and public fury. Yet as his knockout exhibition at Modernism last October made clear, his art is successful less for its evident tendency to provoke than for its extraordinary ability to perplex. ...

When Austrian artist Gottfried Helnwein opened a show of his paintings recently, celebrities crowded his downtown studio.
Leonardo DiCaprio rubbed Elbows with Marilyn Manson. Beck chatted with Kevin Smith. Mena Suvari stopped for a photo op, and Sean Penn lent his cool.
For a recent transplant, Helnwein attracted much Hollywood. ...

“This is a very serious and somewhat disturbing exhibition,” said Mayor Meralee Goldman, who is supportive of the exhibit and was first approached by the Austrian artist.
“There is an important component of education to go along with this exhibit,” Human Relations Director Mary O’Gorman said. “This is a Holocaust Memorial, and the intent at times is to overwhelm.”
The exhibit is described as “an art event to focus the conscience of the viewer and, through media exposure, the conscience of the widest possible public” by the artist’s draft proposal. “An art installation a city block long...will rise into public view to cry out against not only one of history’s most tragic and horrific episodes of prejudice, but also against the current resurgence of the endangerment of children through intolerance around the world.” ...

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"Sogar Marlenes Stimme klang einsam"
Am Ende ihres Lebens schloss sich Marlene Dietrich von der Welt aus. Zu den sieben Freunden, die sie in ihrer Pariser Wohnung besuchen durften, gehörten der Maler Gottfried Helnwein und seine Frau Renate. Sie erzählen von ihrer Freundschaft zu der Diva, die am 27. Dezember 100 Jahre alt geworden wäre. ...

Flimm gewann für Bühne und Kostüme Gottfried Helnwein, der angeblich notorisch Drastik und Provokation sucht, zunächst aber ein ingeniöser Bildmacher ist. ein Maler, Grafiker und Fotograf. Das verbindet ihn mit William Hogarth, dem englischen Kupferstecher, dessen Bilderzyklen Strawinsky zur Oper inspirierten. Doch 250 Jahre später setzt Helnwein nicht bei Hogarth und seiner realistisch genauen Darstellung der Londoner Casinos, Lusthöllen und Irrenhäuser an. Helnwein arrangiert eine magische Zeitlosigkeit durch präzise Rekostruktion konkreter Stile und zugleich fantasiegeborener Kreationen. Selten erlebte man die plastische Wirkungskraft von Kostümen so intensiv wie in Helnweins schiefem, nach rechts sich neigendem Kubusraum, in den zur Linken drei Türen eingelassen sind und dessen hellweisse Flächen immer wieder Bildprojektionen dienen, Kostüme und Bilder sind von ausgesuchtem Antipsychologismus, von entwaffnend stereotyper Symbolik, so wie Audens und Kallmans Text, wie Strawinskys Musik. ...

Austrian born artist Gottfried Helnwein's work is also of exemplary value, beginning with bandage action events (documented by the artist appearing in cafe's and lying in the street with his "wounded" head and face bandaged). His work depicts physical injuries which are metaphors for far deeper existential, psychological and human tragedies. Medical injuries, facial deformities and abused children proliferate throughout his work evoking primary internal anxieties. The inhumane acts of violence (child abuse, war atrocities, state oppression) and frightening images of familial estrangement that are presented in his work, constitute events which are preferred forgotten, like the nazi era, or preferred left unspoken such as familial traumas like child abuse. Helnwein also conducts a probing analysis of the individual and the self through an abundance of self portraits, each obscured by hideous facial bandages, his facial muscles, lips and eyes are stretched apart, torturingly, by varied medical instruments, now made famous by the Rammstein covers. All his images in some way evoke associations with mutilation, anguish or internal alienation. The works (frequently paintings appearing remarkably like photographs), boldly put forward social unacceptabilities never before portrayed so lucidly and so confrontingly. The many intensities produced in the work are profoundly disturbing, the impressions - uncomfortably eerie, electrocuting the eyes with a rush of haunting spatiality. ...