helnwein archive

Wirtschaftsblatt – May 4, 2006

Gottfried Helnwein stellt im Lentos Museum aus

Immer streitbar und stets unbequem

by Christoph Pridun

Gottfried Helnwein stellt im Lentos Museum aus

Unter dem Titel "Face it" präsentiert Gottfried Helnwein eine Ausstellung im Lentos Museum. 40 seiner Arbeiten werden zu sehen sein und sein schaffen dokumentieren. Gottfried Helnwein ist untrennbar mit hyperrealistischen, oft unerhörten Darstellungen verbunden. Der gerne als "Schockmaler" oder "Provokateur" etikettierte Künstler präsentiertab morgen seine Werke im Linzer Lentos Museum. Es handelt sich dabei um die erste museale Schau des gebürtigen Wieners, seit er mitte der 80er-Jahre Österreich den Rücken gekehrt hat. Er ist seit damals in Irland und Los Angeles ansässig. Es werden rund 40 Arbeiten aus alles Schaffensperioden seit den frühen 70er-Jahren gezeigt. Dabei zieht sich das Sujet des menschlichen Gesichts als Leitmotiv durch das Gesamtwerk. Malerei und Zeichnung sind ebenso vertreten wie zum Teil malerisch bearbeitete digitale Fotografie.

Lentos Museum of Modern Art Linz – May 1, 2006

Opening 9 March 2006, Exhibition 10 March - 5 June 2006

Gottfried Helnwein: Face It

Opening 9 March 2006, Exhibition 10 March - 5 June 2006

Gottfried Helnwein: Face It
Opening 9 March 2006, Exhibition 10 March - 5 June 2006

In Spring 2006 an extensive show of work by Gottfried Helnwein is presented in the large exhibition hall of the Lentos Museum. Lentos thus organizes the artist's first museum show in Austria since he left the land of his birth in the mid-1980s Helnwein was born in Vienna in 1948. After spending years in Germany, Helnwein now lives in Los Angeles and Ireland.
In Austria Helnwein is still remembered as a "provocateur" and "shock artist", as which he established himself a quarter of a century ago. The name Helnwein then stood for hyperreal depictions of wounded and deformed people, often children, and for citations from pictures from popular culture,

The Wow Report – December 6, 2005

Manson and Von Teese wed at Gottdried Helnwein's castle in Ireland on Saturday.

The Bride Wore Purple

Manson and Von Teese wed at Gottdried Helnwein's castle in Ireland on Saturday.

On Saturday, after five solid years together and a full year's engagement (with a 7-carat antique European round-cut diamond ring to prove it), Marilyn Manson and Dita von Teese got married in front of 60 celebrity friends, including the likes of Lisa Marie Presley and CSI's Eric Szmanda. The event occurred over several days in and around a castle in County Tipperary, Ireland. Castle Gurteen, home of the couple's friend, Austrian artist Gottfried Helnwein, was said to have been lit by the great-grandchildren of Hitler's architect, Albert Speers. And Manson had promised "children in makeup, dressed in these wonderful 19th century outfits, serving absinthe frappe."

whatistheword.com – December 5, 2005

Rocker Manson weds Von Tesse in Gottfried Helnwein's Irish Castle

36-year-old Mason, who was born as Brian Warner married his 33-year-old girlfriend Heather Sweet, who goes by the stage name of Dita Von Teese at midnight in front of a select gathering of 60 guests at the home of a friend, Austrian artist Gottfried Helnwein, at Castle de La Poer in County Tipperary, the report said.

San Francisco Chronicle – December 26, 2004


by Steven Winn, Chronicle Arts and Culture Critic

Arts and culture
TOP 10
Gottfried Helnwein, "The Child" Palace of the Legion of Honor (July). In the first of two shows (the other at the Modernism Gallery in November), Helnwein's large format, photo-realist images of children of various demeanors boldly probed the subconscious. Innocence, sexuality, victimization and haunting self-possession surge and flicker in Helnwein's unnerving work.

San Francisco Chronicle – November 17, 2004


by Steven Winn, Chronicle Arts and Culture Critic

Gottfried Helnwein's work is on display at the Legion of Honor and at Modernism Inc.
Her lips are parted and colored a luscious deep red. The pancake makeup on her face gives off a marble-white glow. A jacket, adorned with braided gold epaulets at the shoulders, yawns open, exposing a wide expanse of skin down her chest. She appears to be about 8 years old.
There was a time, not so long ago, when the subject of Gottfried Helnwein's new, large-format digital prints at San Francisco's Modernism Gallery might have alarmed or even scandalized a viewer. Not anymore -- or at least not so reflexively...
Adults bring a trunkful of contradictory cultural baggage to any representations of children. That's what makes the work of Helnwein so powerful. In his show, "The Child," at the Legion of Honor, deformed infants and bandaged children stir feelings of pity, defiance and uneasiness about exploitation. There's an ambiguously disturbing painting of a girl aiming a gun into an open refrigerator and another of a bare-breasted mother and child surrounded by Aryan soldiers.
But the most haunting images, here and across town at Modernism, may be the ones of children who seem strangely oblivious to the adult gaze. Some of Helnwein's children peer right past the onlooker. Others sleep, dreaming of anything but us behind their silky eyelids. And some, like the enormous, half- shadowed "Head of a Child" at the Legion, see straight through us with cloudless, infinite blue eyes.

Artweek – October 1, 2004


by Colin Berry

Helnwein is the next generation's final ally, a skilled provocateur forcing us to confront the legacy we have bequeathed upon our children. Helnwein is our chronicler, our conscience, the antidote to our failing memories. He refuses to let us forget...

Gottfried Helnwein's first one-man exhibition at a major American museum is long overdue. 35 years in the making, "The Child" is a collection of more than fifty drawings, watercolors, photographs, and paintings (several monumental in size). It's also a show that shocks, and among the crowds thronging to see it, some patrons will be put off: the day I attended, a few seemed downright uncomfortable, if not hostile, toward the work. This is fine. Art should shock, and provoke, and make us feel queasy sometimes.
"The Child" achieves all three, but also startles us with aching beauty, bedazzles us with painterly skill, and injects a necessary perspective into the culture's collective conscience.

Yaso magazine, Japan – September 1, 2003

Interview, Yuichi Konno speaks with Gottfried Helnwein

My art is not an answer - it is a question.

by Yuichi Konno, Editor in chief

Interview, Yuichi Konno speaks with Gottfried Helnwein

"Children and lunatics cut the gordian knot which the poet spends his life patiently trying to untie." Jean Cocteau

"I think art always reflects the society and the time the artist lives in; it always tells you something about the condition of the culture.
This is the age of materialism and profit, accompanied by its favorite all-eating pet - the entertainment industry. Therefore in order not to sink into oblivion, in a desperate struggle to be heard and seen, many artists and curators try to compete with this multi-media-entertainment-Godzilla, trying to be just as loud and cheap and stupid. That's why 70% to 80% of all the contemporary art in our museums is crap.
It's true though that each time has its own aesthetic values and if you want to reach the people of today you have to develop an artistic language that they can understand. And that's what I try to do - my audience is the great love-affair of my life. I am obsessed with my public, and all I want to do with my art is touch them and move them and to hold them tight - and sometimes I want to kick their ass. That is all I care about.
But I also listen to them and take them and their responses serious, because they and other artists are the only ones that ever taught me anything."

University Press of Mississippi – April 1, 2003

Helnwein speaks with Carl Barks

by Donald Ault

Barks may be history's most widely read anonymous storyteller. When he wrote and drew the Donald Duck comic books in the 1950s, they had an estimated monthly readership of more than 10 million, and the only real person's name that appeared on the comic was Walt Disney. The lovingly drawn stories, encompassing uproarious comedy and rousing adventure, also expanded Donald's one-note animated-cartoon personality and introduced Donald's magnificent skinflint uncle, Scrooge McDuck.

FLAUNT MAGAZINE – March 19, 2003


by Dallas Clayton

Larger-than-life artist Gottfried Helnwein's exhibitions have been protested, banned, vandlized, and honored for the last 35 years.
If you are already familiar with Gottfried Helnwein then you proably knew more than I do about art, and I apologize on behalf of the commercially saturated masses.
Helnwein is a ridiculously talented artist. That is basically all you need to know. Anything you could imagine art doing for you, or to you, any feeling it might instill in you or emotion it might remove from you, he captures, then cripples, reformats, and pastes into the cleft pallet of a 20-foot-tall gray-scale rendition of a deformed fetus soaking in formaldehyde.
The essence of realism and ability that every art major ever clamored to grasp, he manages to expel onto canvas with apparent ease. He produces paintings, and photographs that you can't help but wish you could recreate with the same vision, depth, and intrigue. His art is without gimmick and his persona is without persona.
Helnwein is simply someone who enjoys creating, and has been doing a pretty damn good job at it for 35 years.