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Museums
1997
Helnwein
The Helnwein Retrospective at the State Russian Museum St. Petersburg
Alexander Borovsky
Curator for Contemporary Art at the State Russian Museum, St. Petersburg
The Marble Palace and St. Michaels palace
Helnwein Monograph, the State Russian Museum, St. Petersburg texts by: Alexander Borovsky Curator for Contemporary Art at the State Russian Museum, St. Petersburg Статья А.Д.Боровского - THE HELNWEIN PASSION 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. HELNWEIN: THE ARTIST AS PROVOCATEUR Klaus Honnef Curator for Contemporary Art at Rheinisches Landesmuseum, Bonn THE SUBVERSIVE POWER OF ART Evgenija Nicolaevna Petrova Chief Curator of the State Russian Museum, St. Petersburg THE METAPHORICAL PRINCIPLE OF GOTTFRIED HELNWEIN
mehr
2000
Los Angeles County Museum of Art
GHOST IN THE SHELL
Robert A. Sobieszek
Curator of Photography, Los Angeles County Museum of Art
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." ...
mehr
2004 - 2005
Fine Arts Museums of San Francisco
California Palace of the Legion of Honor
GOTFRIED HELNWEIN: THE CHILD - One man show, Fine Arts Museums of San Francisco, California Palace of the Legion of Honor
Robert Flynn Johnson
Curator in Charge, Achenbach Foundation for Graphic Arts, Fine Arts Museums of San Francisco
..A clarity of vision in his subject matter was emerging in Helnwein's art that was to stay consistent throughout his career. His subject matter is the human condition. The metaphor for his art, although it included self-portraits, is dominated by the image of the child, but not the carefree innocent child of popular imagination. Helnwein instead created the profoundly disturbing yet compellingly provocative image of the wounded child. The child scarred physically and the child scarred emotionally from within. . "Children and lunatics cut the Gordian knot, which the poet spends his life patiently trying to untie." Jean Cocteau
mehr
2007
Lentos Museum of Modern Art, Linz
Wien
FACE IT
Gottfried Helnwein Solo Show
Gottfried Helnwein's latest exhibition, "Face It", is the artist's first show in his native Austria since 1985. A retrospective of 40 works from the 1970s to the present, it is more shocking than the Royal Academy's infamous "Sensation" of 1997. Helnwein aims to disturb not with, say, an elephant-dung Madonna, as Chris Ofili did then, but with a far more controversial Virgin. Of all his paintings, the most disturbing is Epiphany (1996), for which he dips into our collective memory of Christianity's most famous birth. This Austrian Catholic Nativity scene has no magi bearing gifts. Madonna and child are encircled by five respectful Waffen SS officers palpably in awe of the idealised, kitsch-blonde Virgin. The Christ toddler, who stands on Mary's lap, stares defiantly out of the canvas. Helnwein's baby Jesus is Adolf Hitler. (Julia Pascal, New Statesman, UK, "Nazi Dreaming", April 10, 2006)
mehr
2006 - 2007
The Denver Art Museum
Kent and Vicki Logan donated over 200 artworks to the Denver Art Museum's Modern and Cpontemporary Art department.
RADAR
Exhibition catalogue
The Logan Collection
Gottfried Helnwein's Epiphany (Adoration of the Magi) is a strange takeoff on a traditional New Testament theme in art. The work depicts a Madonnalike mother displaying her baby to attentive Nazi officers, Painted in hyperrealist grisaille with chiaroscuro effects, the work resembles an old documentary photograph made huge. The eerie, sinister overtones are unmistakable. Who is this mother? What do these officers want with her and her child? What kind of official paper might the officer on the left hold in his hand and what might be its result? Helnwein, characteristically, presents us with an ambiguous, haunting image and leaves us to wonder about its meaning... With its huge size, hyperrealist style, and disturbing content, this unsettling work bestows a psychological anxiety accompanied by a strong magnetic pull. Confronting it, we tend to stare-entranced by both its beauty and its seductive, malevolent overtones...
mehr
2003
Museum of Tolerance / Simon Wiesenthal Center
Los Angeles
Commemoration of the 65th anniversary of the infamous Nazi “Kristallnacht” 1938 and premiere of the Helnwein documentary
SURVIVORS, ACTIVISTS, DIPLOMATS AND CELEBRITIES JOIN AT MUSEUM OF TOLERANCE TO COMMEMORATE
On Sunday, November 9, at 7:00 p.m. the Museum of Tolerance commemorated the 65th anniversary of the infamous 1938 Nazi “Night of Broken Glass” (Kristallnacht) pogrom. The Wiesenthal Center's observance of the 65th anniversary of "Kristallnacht" was highlighted by the presentation of the work of Gottfried Helnwein and the screening of "Ninth November Night," a documentary about the artist's commitment to remind the world of the Holocaust.
mehr
2001
Museum of Modern Art, Ostende
catalogue
Between Earth and Heaven
Gottfried Helnwein
Installation at the St Joseph church in Ostend, Belgium
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
mehr
2001
Museum of Fine Art, Budapest
painting - Austrian artists now
Malerei - österreichische KünstlerInnen jetzt
mehr
1999 - 2000
Museum Ludwig, Cologne
Catalogue, Salon Verlag
Augenblick und Endlichkeit
The Gruber Collection, Cologne
Das von der Photographie geprägte Jahrhundert
Die Ausstellung präsentiert vierzig ausgewählte Statements großer Photographen des 20.Jahrhunderts: von Cartier-Bresson, Lebeck, Chargesheimer bis zu Klauke und Helnwein wird jeweils eine bedeutende künstlerische Position gezeigt. Die Ausstellung konzentriert sich nicht auf das Einzelbild, sondern komponiert ganze Werkgruppen zu großformatigen Tableaus und unterstreicht so den "journalistischen Aspekt" in der Photographie dieses Jahrhunderts. Einen Abschluß findet dieser Jahrhundertrückblick in drei künstlerischen Positionen, die in sehr persönlicher Weise Stellung zur gesellschaftlichen Situation beziehen: Jürgen Klaukes "Self Performance" (1972/73), Philip Pococks Berliner Szenen (1982) sowie Gottfried Helnweins "Poems" (1998).
mehr
1999
Museum of Lower Austria
Fall of the Angels
Center-piece of the "Apokalypse"- Installation at the Dominican Church, Krems
mehr
1999
Museum of Lower Austria
APOKALYPSE
Helnwein Installation and one-man show
Helnwein In the Dominican church, Krems Museum of Lower Austria Catalogue HELNWEIN APOKALYPSE Museum of Lower Austria Text by Peter Zawrel Chief Curator, Lower Austria County Museum of Art
mehr
1999
The San Francisco Fine Arts Museums
The San Francisco Fine Arts Museum acquires "Epiphany II"
"Epihany" III (Adoration of the Shepards) 1998, 210 x 310 cm, 83 x 122 Inch (Oil and acrylix on canvas)
mehr
1998
Helnwein- retrospective in Finland
One-man show at the Wäinö Aaltonen Museum of Art, Turku, Finland
"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 retrospective exhibition of this controversial artist was opened yesterday in Wäinö Aaltonen Museum of Art and is open until 22nd of November. Helnwein says he became an artist because, being born after the war, he had so many questions to ask. He also stresses that the same questions must be asked again and again. "I, as probably every artist does, have only one theme which I incessantly vary. The use of diverse techniques is but a means of getting closer to one's original goals."
mehr
1998
Evgenija Petrova
Chief curator, State Russian Museum St Petersburg
THE LUDWIG MUSEUM IN THE RUSSIAN MUSEUM
The State Russian Museum St. Petersburg
Palace Edition
The Ludwig Donation
"Child's Head", 1991, Oil and acrylic on canvas, 650x403.5 Pg. 278 The early stages of this monumental head can be seen in Helnwein's widely varied portrayals from the seventies of suffering children, but above all in the Cologne installation of anonymous children's portraits "9th November Night" from 1988. The human face, in particular the child's face, is of great fascination for Helnwein and consequently accounts for one of his central pictorial subjects. The monumental face of a little girl which is introduced here is, as it were, representative of all children. In our adult society oriented towards profit and success, children can almost be described as a fringe group, their interests indeed being observed in a comparatively modest fashion. Against this background, this monumentalizing of the face in connection with the hyperrealistic style of painting is to be understood as an oppressive irritation of our customary experience of perception. Originally the child's head was shown in a Minorite church in Krems, Stein; in fact it was placed at the focal point of a huge early Gothic room which lent the picture a positively sacral tone.
mehr
1998
Museum Ludwig, Cologne
The Gruber-Collection, Cologne
Collector Fritz Gruber donates the "Poems"-Installation to the Ludwig Museum, Cologne
exhibition: the Gruber collection in the Ludwig museum in Cologne
mehr
1997
Kommersant Daily
Russia
Exhibition in the State Russian Museum, St Petersburg
Frontpage
Gottfried Helnwein- Retrospective in the State Russian Museum, St Petersburg
mehr
1996
Kölner Stadt Anzeiger
EIN MÄDCHENKOPF FÜR SANKT PETERSBURG
Lothar Deeg
Peter Ludwig schenkte Museum Helnwein-Bilder
"Anna aus, ich glaube, Kiel", war die unübersehbare Hauptfigur bei der Eröffnung der Ausstellung des österreichischen Malers Gottfried Helnwein im Russischen Museum in Sankt Petersburg. Wenn Kunst aus dem Westen den Weg nach Russland findet - um dort zu bleiben -, stehen zwei den Petersburgern inzwischen wohlbekannte Namen dahinter: Irene und Peter Ludwig, die dem Russischen Museum wieder eine Schenkung gemacht haben. Mit jeder seiner exakt gezeichneten Hautporen und jeder Wimper ist dieses Kind Subjekt - und nicht nur einfach Objekt für einen Maler, der Gigantismus mit Detailversessenheit kombiniert. "Menschlichkeit im Riesenmass", interpretierte Ludwig das Bild.
mehr
1996
Palacio Galveias
Lisboa
A Decada da Pintura, 1980 a 1990
Antonio Rodrigues
Pintura Austriaca Contemporanea, Coleccao Schoemer
mehr
1996
The National Chinese Museum for the Arts
Beijing
Ludwig Museum für Internationale Kunst, Chinesisches Kunstmuseum, Beijing
Museum Ludwig
Exhibition and catalogue of the art works donated by the Collectors Peter and Irene Ludwig to China
Helnwein's painting "Dresden" is part of the Ludwig collection donated to the Chinese Museum for the Arts in Beijing.
mehr
1995
Ludwig Institut, Schloss Oberhausen
Germany
Installation "Ninth November Night" at Ludwig Institut, Schloss Oberhausen, 1995
mehr
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