Gottfried Helnwein Info

Texts and Essays

TEATRO SAN MARTIN, Buenos Aires – 30. November 1999

Rodrigo M. Malmstens Theaterstück KLEINES HELNWEIN

KLEINES HELNWEIN

von RODRIGO M. MALMSTEN

Der Argentinier Rodrigo M. Malmsten hat, inspiriert durch die Bilder Gottfried Helnweins, das Theaterstück "KLEINES HELNWEIN" geschrieben.
Es wurde 2000 in Buenos Aires uraufgeführt

REUTERS City , International / Art – November 30, 1999

One Man Show, Robert Sandelson Gallery, 2000

THE SHOCK OF THE REAL

by John Hendry

A year or so back, an exhibition called Sensations caused a few upsets, first in London and then in New York. Central to the reaction was a large-scale portrait of a child-killer assembled from, if I remember correctly, the palm prints of children. So far, so bland. The shock element in art has been much talked about in the last five years but art that actually shocks has been thin on the ground during the same period.
Step forward then, Gottfried Helnwein.

NEWS , 23,1999 – 1. January 1999

Manfred Deix about Helnwein

by MANFRED DEIX

Helnwein ein Künstler von Weltformat.

Helnwein, Catalogue for Apokalypse – November 30, 1998

exhibition "APOKALYPSE" at Krems/Austria

by WOLFGANG BAUER

As long ago as 1963 a fellow-artist and I imagined the horrible future of free-lance artist.
The topic of our discussion was not so much finances as the necessity of letting go and totally abandoning oneself.
At the time I had the idea of inventing something like a "fitness training of geniuses".
In retrospect I must say that I know very few artists who have persevered in this imaginary training programme.
Gottfried Helnwein is one of them.

Helnwein, Catalogue for Apokalypse – November 30, 1998

exhibition "APOKALYPSE" at Krems/Austria

AGAINST HARMLESSNESS IN ART

by Peter Zawrel, Director of the Museum of Lower Austria

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.

Arkansas Art Center, The Collection – November 30, 1998

European Drawings

Special Collection: European Drawings

In addition to over 130 Signac drawings, the Arts Center has amassed a world-renowned collection of fellow Europeans' works on paper.

Das Versprechen der Fotografie, Prestel, München, New York – 30. November 1997

Die Sammlung der DG Bank

GOTTFRIED HELNWEIN

von Klaus Honnef, Curator for Photography, Rheinisches Landesmuseum, Bonn

Helnweins künstlerische Praxis beruht auf der Erkenntnis der grundsätzlich unterschiedlichen Seinsformen von Fotografie und Malerei. Einerseits schöpft er als einer der konsequentesten Multimedia-Künstler überhaupt die spezifischen Möglichkeiten der jeweils verwendeten Medien bis zu den Grenzen ihrer Horizonte aus -- neben Fotografie und Malerei die Zeichnung und die Performance -, spiegelt sie andererseits, aber auch gewissermassen ineinander, so dass sie sich gegenseitig erhellen und ihre Wirkung steigern.

Helnwein Monograph, the State Russian Museum, St. Petersburg – November 30, 1996

retrospective, the State Russian Museum, St. Petersburg

The Helnwein Passion

by Alexander Borovsky, Curator for Contemporary Art at the State Russian Museum, St. Petersburg

retrospective, the State Russian Museum, St. Petersburg

I'll never forget the sensation I had at the unveiling of Gottfried Helnwein's "Kindskopf" in the Russian Museum. And not just because this enormous canvas (six metres in height, four in breadth), well-known from reproductions, seemed to operate in a whole new way in the real, quasi-monumental space of the museum's "Concrete Hall", originally intended for the demonstration of gigantic sculptural compositions. I realised that I was looking at the inner content of this innovative picture from a whole new point of view.

Helnwein Monograph, the State Russian Museum, St. Petersburg – November 30, 1996

retrospective, the State Russian Museum, St. Petersburg

Helnwein: The Artist as Provocateur

by Peter Selz, Professor Emeritus, Department of Art History, University of California, Berkeley. Former Curator at the Museum of Modern Art in New York and founding director of the Berkeley Art Museum.

Much like Joseph Beuys, who opened new, unexpected, and far-reaching spheres for art,
Gottfried Helnwein has made works that extend beyond the art scene into the social and political realm.
Like his predecessor , he has moved beyond the realm of pure aesthetics, engaging his art into the everyday world. Furthermore his principal interest is not to express personal feelings and emotions, but to make statements that go beyond the individual.
He wants to see his work not trapped on the walls of museums and galleries, but revealed in the public domain.
He expects his work to intervene in the social sphere and to have a direct impact on the life of his time.

Helnwein Monograph, The State Russian Museum, St. Petersburg – November 30, 1996

Retrospective at the State Russian Museum, St. Petersburg

The Subversive Power of Art

by Klaus Honnef, Curator for photography and new media, Rheinisches Landesmuseum, Bonn

Retrospective at the State Russian Museum, St. Petersburg

Gottfried Helnwein - A Concept Artist before the Turn of the Millennium

Is it sheer coincidence that Gottfried Helnwein, the Austrian artist, created a portrait of both the German and the American? Coincidence, that he captured Warhol as a disturbing spectre on photograph, but painted Beuys? And that he then photographed the painted portrait of Beuys in the hands of Arno Breker, Adolf Hitler's favourite sculptor?
There are weighty reasons for considering Helnwein the legitimate heir to Beuys and Warhol.