Helnwein ( presse )
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Gottfried Helnwein : Selektion - Ninth November Night
Kölner Stadtanzeiger, Cologne
hue
Gottfried Helnwein’s photography project “Ninth November Night," a spectacular work of art that recalls the destruction of the synagogues during the so-called “Reichskristallnacht,” was itself the target of an attack.
On Monday night an unknown person destroyed all seventeen child portraits with knife slashes. The portraits had been set up between the Museum Ludwig and the Dome of Cologne.
Helnwein had financed the project himself. ... +
Gottfried Helnwein, PORTRAITS DESTROYED BY KNIVES

Gottfried Helnwein : Neunter-November-Nacht
Frankfurter Allgemeine Zeitung
Roland Mischke
Helnwein-Installation between Cologne Cathedral and Ludwig Museum
The lane of pictures between Ludwig Museum and the Dome of Cologne is one hundred meters long. Each panel is 4 meters high. There are thousands of people daily passing by the rear platform of the cathedral and by far the majority of them, only accustomed to the language of billboard-advertising, are baffled, indignant and shocked at the pale children’s faces, printed on large sheets of vinyl. The city council and museums of Cologne receive dozens of calls daily, finding themselves forced into a position of explanation and justification.
The Installation had barely been set up, when the first damage occurred: At night the large-sized child portraits, which had been made to appear distorted and old by the use of makeup, were slashed with knives; one picture was stolen. ... +
Gottfried Helnwein, "Ninth November Night", Installation between Ludwig Museum and the Dome of Cologne.

Gottfried Helnwein : Beautiful Victim I
The Washington Post
Jo-Ann Lewis
Baumgartner Galleries is introducing the work of Gottfried Helnwein, a young Viennese artist who shares what seems to be an Austrian obsession with highly detailed realism - with a surrealistic edge. Trained at the Austrian Academy, and now in the process of moving to New York, Helnwein makes figurative drawings and watercolors that are occasionally gruesome, sometimes haunting and always ambiguous. Spatial and narrative ambiguity are, in fact, the central expressive devices in Helnwein's art. ... +
Gottfried Helnwein, One-man show Baumgartner Galleries, Washington 1981

Gottfried Helnwein : Lebensunwertes Leben
Profil
Vienna
With an open letter and the picture of a dead child lying with its head in a plate of poisoned food "Lebensunwertes Leben" (Life Unworthy of Life) he protests against Austria's number one forensic psychiatrist, the former euthanasia doctor, Dr. Gross, who admitted in an interview that in the Nazi era he had poisoned hundreds of children and called this method of killing humane. ... +


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