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2001-2000
2000
Los Angeles County Museum of Art
Robert A. Sobieszek
Curator of Photography, Los Angeles County Museum of Art
GHOST IN THE SHELL
Photography and the Human Soul, 1850-2000
Historian Peter Selz has compared Gottfried Helnwein's tortured, screaming, and bandaged self-portraits to Messerschmidt's sculptural self-portraits, but the artist has said, " The reason why I took up the subject of self-portraits and why I have put myself on stage was to function as a kind of representative. There is nothing autobiographical, no therapy, and it says nothing about me personally. I am always available as a model." ...
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01.12.2001
Frankfurter Rundschau
Roland Mischke
Letzte Tage einer Diva
Gottfried Helnwein über Marlene Dietrich
"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.
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16.11.2001
Arkansas Arts Center
Donald W.Reynolds Center for Drawing Research and Education
Townsend Wolfe
Magic Vision
exhibition catalogue
Artists in their pusuit to understand themselves and the world around them have been forced to face the pain of suffering. Helnwein, in his important "American Madonna" (Epiphany IV) painting, depicts with provocation the conflict between men of power and the weak. In this present day setting, the police are confronting a divine being.
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09.11.2001
CDU-Fraktion, Frankfurt am Main
Elisabeth Haindl
Kulturpolitische Sprecherin
Initiative der CDU-Fraktion sicherte Fotosammlung der DZ-Bank für Frankfurt am Main
Die Sammlung beinhaltet mehr als 5.000 Objekte von über 400 renommierten Künstlern aus dem In- und Ausland, darunter Joseph Beuys, Christian Boltanski, Cindy Sherman, Gottfried Helnwein und Andy Warhol
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18.08.2001
The Irish Times
Chris Dooley
South East Correspondent
POLICE INVESTIGATES KILKENNY ART ATTACKS
Gardaí [the Irish police] are investigating attacks on two images by the controversial Austrian artist, Gottfried Helnwein, displayed as part of the Kilkenny Arts Festival.
A spokesman for the festival said they were "disappointed and saddened" that the images had been attacked. He said Mr Helnwein's work had provoked a strong reaction throughout the festival. "There have been a lot of positive comments but there has been negative reaction as well." The images have been a major talking point since before the festival began. A former mayor of the city, Mr Paul Cuddihy, initially objected to a painting being hung on the City Hall for fear it might be misinterpreted as lending support to Nazism. After meeting Mr Helnwein at his studio in Co Tipperary, however, Mr Cuddihy said the artist's work was "astonishingly good". Kilkenny Arts Festival said the artist had a long and acknowledged record of taking a firm stand against Nazism and fascism.
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17.08.2001
RTCinteractive entertainment
Ireland
Helnwein mural damaged in Kilkenny
A controversial mural by Austrian artist, Gottfried Helnwein has been damaged at the Kilkenny Arts Festival. Huge canvases of his work, depicting images of Nazi soldiers staring adoringly at modern Madonna and Child figures, were displayed on various buildings in Kilkenny during the festival. One of the murals hanging at the front of Kilkenny castle had paint thrown at it sometime during the night. Another picture by Mr Helnwein, featuring a young Kilkenny girl, was also partially damaged in another part of the town.
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10.08.2001
Kilkenny, Ireland
Helnwein at the Kilkenny Arts Festival 2001
one-man show at the Butler House and large Installations in the medival city center of Kilkenny
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07.08.2001
The Irish Times
frontpage
EYE TO EYE WITH THE FACE OF A KILKENNY CHILD
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.
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05.08.2001
The Sunday Times
Cover story
Medb Ruane
Ireland
SHOCK ART
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.
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01.08.2001
The Kilkenny Arts Festival 2001
Ireland
Claire O'Donoghue
Curator
Gottfried Helnwein
The Kilkenny Arts Festival 2001
Exhibition - catalogue One man show, Butler House, Kilkenny Installation in the Kilkenny city center Introduction by Claire O'Donoghue Essay by Mic Moroney Ninety children from around the city and country were photographed by the artist here in the High Street and nine are displayed in central locations around the city, dramatically enlarged up to 9 metres high. This ongoing project, begun here, will continue in other cities and towns in Ireland as the artist intends to expand the work to include one thousand Irish children. These beautiful,confident and happy children from Kilkenny contrast starkly with some of his more disturbing imagery. The juxtaposition of historical photographs of the Nazi regime with religious imagery of the Madonna and Child in the "Epiphany" series can make uneasy viewing not only in Germany and Austria but also here in Kilkenny. Amongst a number of possible readings of these works is the uncomfortable relationship between the church and oppression in its various forms. However, as the artist Nolde said, "harmless pictures seldom mean anything". Nolde was banned from painting by the Nazi regime.
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01.08.2001
arcadia
Brian O' Doherty
The Strange Case of Mademoiselle P.
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10.07.2001
terra
cultura
KLEINES HELNWEIN: EL LADO MÁS OSCURO DE LA SOCIEDAD EN EL GREC
Una sociedad intolerante formada por padres que abusan de sus hijos y líderes políticos que ejercen de dictadores es lo que podremos ver en Kleines Helnwein, el espectáculo que el argentino Rodrigo M. Malmsten presenta en el Grec. Inspirada en la estética del pintor austriaco Gottfried Helnwein, autor de obras que denuncian una sociedad oscura e hipócrita, para Kleines Helnwein Malmsten ha escrito un texto fragmentario, no realista, en el que el espectador advierte que el personaje que es una víctima se convierte en verdugo.
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20.06.2001
Die Welt
Doris Banuscher
Die Premiere von Strawinskys"The Rake's Progress
Lang anhaltender Applaus, Bravorufe, nicht ein einziges Buh ertönte. Die Premiere von Strawinskys"The Rake's Progress" in der Inszenierung von Jürgen Flimm an der Hamburgischen Staatsoper fand eine tolle Resonanz beim Publikum . Musikalischer Leiter war Ingo Metzmacher und der international bekannte Künstler Gottfried Helnwein begeisterte mit seiner Ausstattung.
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13.06.2001
Der Tagesspiegel
Sybille Mahlke
Der Wüste lebt
Kleines Welttheater: Strawinskys Oper "The Rake's Progress" in Hamburg, illustriert von Helnwein.
Die Regie Jürgen Flimms fügt sich triftig in den Dialog zwischen kammermusikalischem Orchesterklang und Bühnenbild , weil Helnwein die Erzählung leitet. Fern vom schweren Musikdrama,nimmt die Inszinierung die Stilexkursionen Strawinskys und Audens auf, wenn im Bordell Rokoko-Damen auf Glatzköpfe in gepolstertem Blouson-Look treffen und die Chefin Mutter Goose ostinat auf dem Teufel reitet. In Helnweins Bildergeschichte macht sie ihrem Namen Ehre mit einem Donald Duck auf dem Kopf.
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10.06.2001
Staatsoper, Hamburg
Helnwein Stage design and costumes for Strawinsky's Opera "Rake's Progress"
Dirtector: Jürgen Flimm, Conductor: Ingo Metzmacher
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. (Stuttgarter Zeitung, 16. Juni 2001)
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23.02.2001 - 02.09.2001
Museum of Modern Art, Ostende
catalogue
Gottfried Helnwein
Installation at the St Joseph church in Ostend, Belgium
Between Earth and Heaven
New Classical Movements in the Art of Today
Fall of the Angels. It's a slow fall. Its actually a fall in extreme slow motion. Its so slow that the motion seems frozen, like a glacier that's constantly flowing and moving, though not perceptible to our eyes, because for us, who live short and fast, glaciers appear to be static and eternal. That former angel seems to be suspended between hell and heaven, It has not hit the bottom yet - and it probably never will - but it's getting closer ....constantly. Gottfried Helnwein
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25.01.2001 - 07.03.2001
Museum of Fine Art, Budapest
painting - Austrian artists now
Malerei - österreichische KünstlerInnen jetzt
mehr...
2001
www.templum.com.mk
Macedonia-online
templum publishing house
Gottfried Helnwein
Постои заблуда дека кое било човечко лице во кое било време, помалку или повеќе, изгледа исто, како лице на некоја статуа. Всушност, човечкото лице е менливо од миг до миг како екран на кој се отсликуваат слики, однатре и однадвор. Видов шест слики на иста тема за помалку од една минута - толку различни една од друга што тешко можеше да се препознае дека станува збор за иста личност. Сликите и фотографиите на Готфрид Хелваин ја проблематизираат оваа заблуда, покажувајќи ја различноста на лицата, што секое лице е можно да ја направи. И со намера да ја "нападне" основната заблуда, тој мора да ја потенцира до претерување, и тоа преку искривување, со завои и метални инструменти што го вклештуваат лицето во невозможен облик. Сликите на измачување и лудило ги има во изобилство. А сето тоа е резултат на исклучителното искуство и специфичната перцепција. Како може еден автопортрет да се отслика со толку скулптурално смирено лице, кое всушност е облеано со сиот ужас што нè опкружува? Измачувањето, болеста, стравот и омразата што станаа секојдневица на она што Поуп го нарекува "банкет на животот". Овие ужаси секогаш говорат од лицата велејќи: "Ова е тоа што го мислам... и ова... и ова... и ова... Погледни подобро и ќе видиш". Не можеш да му покажеш никому нешто што веќе не видел, ниту пак можеш некому да му кажеш нешто што веќе не го знае. Функцијата на уметникот е да ги привикува искуствата на изненадувачко препознавање: да му го покаже на гледачот она што веќе го знае ама не знае дека го знае. Хелваин е мајстор на вчудоневидувачкото препознавање. (Вилјам Бароуз) Субверзивната сила, во светлото на културниот критицизам кој верува дека светот е на пат да ја заживее својата реалност на целосна манипулација и симулација, промовирани со сите сили од агендата на моќните медиуми, е задача што и` припаѓа на уметноста и што е од клучно значење. Таа го обликува човечкиот фактор. Но уметноста ќе с изврши својата задача единствено ако биде способна да ја скрши моќта на системите и ако успее да ја тргне магијата нивните агенди ги раководат луѓето. Галерија на слики
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2001
www.guelman.ru
Helnwein - self-portrait
Это переосмление автопортрета Хёльнвайна(1973г)..
Автор: D.Green Работа поступила 26/2/2001 и уже получила 274 баллов
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2001
Hannibal
Ridley Scott
Helnwein-self-portraits were the inspiration for Hannibal Lecter's mask
Part three in the Hannibal Lecter Trilogy. Having escaped the asylum in "Silence of the Lambs," Dr Lecter goes into hiding in Florence, Italy. Back in America, Mason Verger, an old victim of the doctor's, seeks revenge. Disfigured and confined to a life-support system, he plans to draw Lecter out of his hiding place, using the one thing he truly cares for: Clarice Starling.
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