"Meine Arbeit war eigentlich immer ein Versuch mit dem, was auf mich einwirkt, zurecht zu kommen oder zu darauf zu reagieren und manchmal auch sich zu wehren oder zurückzuschlagen. Ich wollte einfach alles erleben und ausprobieren und habe mir auch eine große Reihe von Feinden gemacht. Ich habe nie in dem Sinn karrierestrategisch gedacht. Ich arbeite mit vielen verschiedenen Medien sehr eklektizistisch. Ich glaube, das ist die einzige Form, in der man als Künstler heutzutage mit so viel Information umgehen kann. Ich mache Fotografie, Malerei, Bühnenbilder, Videos. Jetzt arbeite ich mit Sean Penn an einem Filmprojekt. Diese Grenzüberschreitung ist für mich immer ganz wichtig gewesen. Für mich gibt es diese Barriere zwischen verschiedenen Medien oder Stilen nicht so sehr". ...

"Ich habe mich immer mit dem Thema Schmerz und Gewalt beschäftigt, mit dem Holocaust, der deutsch-österreichischen Vergangenheit und mit dem Thema Kindesmisshandlung." Gottfried Helnwein.
Wahrscheinlich hat der Schauspieler Sean Penn ja Recht: Die Welt gleiche einem Gespensterhaus, sagte er einmal, und Gottfried Helnwein sei darin unser Reiseführer. Der 1948 in Wien geborene Künstler hat die Schrecken der Wirklichkeit immer wieder in alptraumähnlicher Weise aufs Papier und die Leinwand gebracht - und sie oft auch an Kindern gezeigt. Mit entstellten, vernarbten Gesichtern sehen sie uns an. Diese malträtierten Kinder wirken ohnmächtig gegenüber der Gewalt, die man ihnen antut. ...

Hannover. SS-Offiziere besichtigen Maria und das Jesus-Kind. Die Weisen aus dem Morgenland? Das fotorealistische Gemälde hat dem Künstler viel Ärger eingebracht, mit den Nachfahren eines der Offiziere. Verhindern konnten sie das provokante Werk aber nicht. ...

-- and the exhibit's defacement by vandals shortly after it was unveiled.
Directed by Henning Lohner and featuring on-camera appearances by Helnwein collectors Sean Penn and Jason Lee, the documentary short is largely the product of the passion and persistence of Malibu producer Gisela Guttman. When she struggled to find a venue in Los Angeles willing to show Helnwein's large-scale installation, she decided to make a documentary instead.
The art installation, which revolves around a series of pictures of small children, was vandalized after its initial showing in Germany.
"The one thing I wanted to do is just be sure that people can see the entire installation, I just really wanted to bring it to Los Angeles, no matter how," Guttman said. "The power of those images really comes across on-screen, and that's what I wanted people to see and to think about." ...

"Ninth November Night," the Holocaust remembrance documentary which debuted in Malibu last August in its New Malilbu Theatre engagement to qualify for Academy Award consideration, will be a featured entry in the AFI Film Festival Saturday (Nov. 13) and Sunday (Nov. 14.)
Produced by Malibu artist and curator Gisela Guttman with director/composer Henning Lohner, the film concerns Austrian painter Gottfried Helnwein's lifelong dedication to artworks perpetuating awareness of Holocaust attrocities.
The documentary recently was a prize-winner at the Ojai Film Festival and is invited to the Nagoya Film Festival to be held next June as part of the World Expo in Japan as well as to the Calgary (Canada) Festival which honors films of humanitarian outreach. ...

Gottfried Helnwein’s exhibit titled The Child at San Francisco’s California Palace of the Legion of Honor testifies that the past cannot be erased from the minds of those who had lived through it, not even from the consciousness of those yet to be born: Helnwein was born three years after the death of Hitler, and yet his watercolor painting depicting the "Fuhrer" with two little girls in white dresses communicates not only sarcasm but horror and revulsion. For Hitler is not the painting’s main subject but rather these girls that have already undergone a dehumanizing initiation, these children whose gaze makes their parents shrink.
What you will see in the halls of the Legion of Honor will make you shudder.
Undoubtedly, Helnwein anticipates that reaction, and, yes, he deliberately makes you go through this ordeal, but just as undoubtedly (and therein lies his strength) Gottfried Helnwein puts himself through the same ordeal.

...

Austrian-born and educated and now living Los Angeles, Helnwein employs a hyperrealist manner that will remind Americans of Gerhard Richter but, if anything, works to opposite effect. Rather than re-confirm post-modernist cynicism, Helnwein rekindles post-war anguish. This selection, going back more than three decades, emphasizes his preoccupation with the image of the child, from early Nitsch- and Schwarzkogler-influenced photo-actions (with the requisite bandages) to recent large portrait-like heads and depictions of Christ-child-like babes attracting odd, menacing crowds. A perverse streak runs through the images, but it’s not pederasty: tinged with surrealism, it’s an enduring shame and anger at the Nazi past – and the artist’s suspicion that Naziism hasn’t been eradicated. ...

In the film "Ninth November Night," painter Gottfried Helnwein describes his first encounter with Jewish people during his childhood in Austria after the war, a bleak and dark period, one, he says, with no singing, no laughter. He was nine years old when he saw the two people walking down the street, very close together, walking quickly, looking down the whole time.
Helnwein became intrigued and wanted to know who they were. He asked everyone, all the adults, "Who are they?" But no one wanted to answer. Finally, someone said the word, one that he remembers the person had great difficulty saying-"Jews." ...

The film tells the story of famed Austrian painter Gottfried Helnwein, obsessed with a mission to use his art to preserve the memory of Holocaust persecutions. ...

Like Sylvia Plath, artist Gottfried Helnwein has a near-schizoid attitude toward Germany's National Socialists, producing images of that period ranging from the truly horrible to those bordering on an eerie reverence. Here his work Epiphany I, Adoration of the Magi (1996), in which the central female figure has a Plath-like intensity. ...