helnwein archive

San Fracisco Museum of Modern Art
In 'The Darker Side of Playland', the endearing cuteness of beloved toys and cartoon characters turns menacing and monstrous.
Much of the work has the quality of childhood nightmares. In those dreams, long before any adult understanding of the specific pains and evils that live holds, the familiar and comforting objects and images of a child's world are rent with something untoward.

In 1969 Helnwein painted a portrait of Adolf Hitler and was expelled from the art school on the grounds that any remainder of the National Socialist era was not only damaging to the school but to society at large. Repression of National Socialism had been official government policy, in which the Austrian people were complicit. Based on this situation, Helnwein developed a visual language of apocalyptic visions that can be understood all over the world.

Ich schätze seine unendliche zeichnerische Qualität, seinen enormen künstlerischen Witz. Vom malerischen Können muß man gar nicht reden, da ist er Weltklasse.
Außerdem ist Helnwein ein überaus intelligenter und unruhiger Geist. Seine Übermalungsexperimente sind hochklassig: Luxusbilder, Weltkunst.

Apokalypse is also the title of a show which brings one of Austria's most controversial figures back to his home country. Gottfried Helnwein's work will be featured in his first solo exhibit in Austria in the past ten years.

Oscar Bronner, und jetziger "Standard"- Herausgeber, über Gottfried Helnwein:
"Wir haben im Laufe der Zeit die wildesten Skandale dieses Landes penibel beschrieben, keiner dieser Berichte löst auch nur annähernd so eine Reaktion aus. Es ist interessant zu registrieren, dass ein Bilder stärker provoziert als ein Text, das Fiktion heftigere Reaktionen auslöst als ein Tatsachenbericht.
Der Grund dafür dürfte darin liegen, dass die Fantasie stärker angeregt und im Unterbewusstsein Schlummerndes angesprochen wird. Hier liegt noch ein weites Betätigungsfeld für Kummunikations-theoretiker."
Wenn ich heute diese Herausgeber-Briefe lese, so überfaellt mich Nostalgie. Über den Talenteschuppen profil und darüber, dass wir uns, obwohl es uns selbst nicht ganz leichtgefallen ist, mit Künstlern wie Helnwein oder Manfred Deix eingelassen haben. Ihre Power und die Aufbruchsstimmung rund ums profil haben einige Grenzen in diesem Land gesprengt.

The enigma of Helnwein's paintings always has to do with guilt and atonement, perpetrators and victims, accusation and remorse. He has never escaped the Christian world of ideas and images of his childhood, but instead has used it for his own artistic purposes.

Art viewers who consider themselves shockproof should take a look at German painter Gottfried Helnwein's show...

The eyes are plucked out because they are no longer needed, is the first thought the Gottfried Helnwein exhibition creates. Helnwein's most widely known work is probably the self-portrait made for the 1982 Scorpions record cover. In it recurs the same subject matter which Helnwein had put to use in dozens of works.

"I ask, I do not answer." - My works are questions, not answers, says the Austrian, Gottfried Helnwein, time and time again focusing on the most sore points of contemporary, general and private history.

The child has grown into a world famous artist. But he has carried his questions with him. Today opens a large retrospective exhibition of Helnwein's art in Waino Aaltonen Museum of Art in Turku. The exhibition contains aquarels, oil paintings, drawings and photographs. They have often caused controversies by dealing with subjects that are all too sensitive.