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1988
Gottfried Helnwein, NUIT DU NEUF NOVEMBRE, Catalogue
Heiner Müller
MIROIR NOIR
Un récit de Stephen King. Un lycéen américain de 12 à 13 ans est fasciné, dans l'ennui de sa petite ville, par des documents relatifs aux camps de concentration allemands, comme le sont ses compagnons de classe par Superman. La formule de sa fascination est THEY JUST DID THOSE THINGS.
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1988
Heiner Müller
Selektion - Ninth November Night
BLACK MIRROR
Wie hält ein freundlicher Mensch wie Helnwein es aus, seine exzellente - Malerei zum Spiegel der Schrecken des Jahrhunderts zu machen?
Oder hält er es einfach nicht aus, das nicht zu tun? Reflektiert sein Spiegel nur die Jahrhunderthaltung, LIEBER EIN SCHRECKEN OHNE ENDE ALS EIN ENDE MIT SCHRECKEN, die aus der Überbewertung des Todes kommt, Folge seiner Tabuierung durch Statistik. Perseus, der die Gorgo im Spiegel guillotiniert, und wenn der Kopf fällt, ist es der eigene. Wie viel Köpfe hat ein Mensch / Mann in unserem Zeitalter der Spiegel? |
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1988
Heiner Müller
Selektion - Ninth November Night
BLACK MIRROR
English translation
A story by Stephen King. An American schoolboy, twelve or thirteen years old, fascinated in his small-town boredom by documents on the German concentration camps - the way his classmates are by Superman - the formula of his fascination: THEY JUST DID THOSE THINGS...
How does a friendly person like Helnwein stand making his - excellent - painting into a mirror of the terrors of this century? Or is it that he can't stand not doing it? Does his mirror just reflect the attitude of the century? TERROR WITHOUT END IS BETTER THAN AN ENDING IN TERROR. It comes from the over-evaluation of death, a consequence of "statistics" making it taboo. Perseus guillotines the Gorgon in the mirror -, and when the head falls, it is his own. How many heads does a person/man have in our age of mirrors? |
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1988
Heiner Müller
Selektion - Ninth November Night
BLACK MIRROR
English translation
A story by Stephen King. An American schoolboy, twelve or thirteen years old, fascinated in his small-town boredom by documents on the German concentration camps - the way his classmates are by Superman - the formula of his fascination: THEY JUST DID THOSE THINGS...
How does a friendly person like Helnwein stand making his - excellent - painting into a mirror of the terrors of this century? Or is it that he can't stand not doing it? Does his mirror just reflect the attitude of the century? TERROR WITHOUT END IS BETTER THAN AN ENDING IN TERROR. It comes from the over-evaluation of death, a consequence of "statistics" making it taboo. Perseus guillotines the Gorgon in the mirror -, and when the head falls, it is his own. How many heads does a person/man have in our age of mirrors? |
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Helnwein, Black Mirror
by Heiner Müller
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A son arrêt de bus quotidien, il reconnaît un visage qu'il a déjà vu sur des photos, coiffé de la casquette noire avec la tête de mort et vêtu de l'uniforme noir des SS. Par chantage, le jeune garçon pousse l'assassin, dont l'identité n'a pas encore été décelée, à parler : HOW DID YOU DO THOSE THINGS. Pour sauver sa propre vie, l'assassin se met à parler. La curiosité du jeune garçon se transforme en un besoin d'expérience véritable : les deux héros fondent une Société du Crime et nettoyent la petite ville des chiens, des clochards et de tous autres « êtres médiocres »... Comment Helnwein, cette aimable personne, supporte-t-il que son excellente peinture devienne le miroir de la terreur de siècle ? Ou bien ne supporte-t-il tout simplement pas qu'elle ne le soit pas ? S'agit-il uniquement du miroir d'un comportement du siècle ? MIEUX VAUT UNE TERREUR SANS FIN QU'UNE FIN AVEC TERREUR. Ce comportement résulte de sa tabouisation par les statistiques. Tout comme Persée guillotine les Gorgones à l'aide d'un miroir et lorsque la tête tombe, elle devient sa propre tête. Dans notre ère des miroirs, combien de têtes un homme a-t-il ?
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A story by Stephen King. An American schoolboy, twelve or thirteen years old, fascinated in his small-town boredom by documents on the German concentration camps - the way his classmates are by Superman - the formula of his fascination: THEY JUST DID THOSE THINGS...
At his daily bus stop, he recognises a face he has seen in photographs, under a black cap with skull insignia and above a black SS uniform. They boy blackmails the unidentified murderer to tell HOW DID YOU DO THOSE THINGS. The murderer tells to save his life. Curiosity becomes the urge for real experience: the two of them found Murder Inc. and rid the small town of dogs, tramps, and other "unworthy life". ... How does a friendly person like Helnwein stand making his - excellent - painting into a mirror of the terrors of this century? Or is it that he can't stand not doing it? Does his mirror just reflect the attitude of the century? TERROR WITHOUT END IS BETTER THAN AN ENDING IN TERROR. It comes from the over-evaluation of death, a consequence of "statistics" making it taboo. Perseus guillotines the Gorgon in the mirror -, and when the head falls, it is his own. How many heads does a person/man have in our age of mirrors? |
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Heiner Müller, Frankfurt am Main, 1988
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First publication:
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Gottfried Helnwein, NUIT DU NEUF NOVEMBRE, Catalogue
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DER UNTERMENSCH
Gottfried Helnwein
Edition Braus, Heidelberg and J&V Verlag, Wien, January 1988, ISBN 3-925835-07-5. Published for the exhibition "Der Untermensch", Gottfried Helnwein, Self-portraits, Musée d’Art Moderne, Strasbourg, 1987 |
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Further publications:
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"NINTH OF NOVEMBER NIGHT" Installation by Gottfried Helnwein, between Ludwig Museum and the Dome of Cologne.
Catalogue
Museum Ludwig, Cologne, September,17 - November, 30, 1988 Musee' De L' Elysee Lausanne, June, 22 - August, 30, 1990 |
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HELNWEIN
Helnwein - The Monograph
Published for the Helnwein - Retrospective at the Marble Palace of the State Russian Museum St. Petersburg. Edition with English text - ISBN: 5900872556 Edition with Russian text - ISBN: 3-930775-31-X Palace Edition, St. Petersburg, 1997 . Second edition: Koenemann, Cologne, 1998 Texts in English, German and French. ISBN: 3829014481 |
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texts by Alexander Borovsky, Curator for Modern and Contemporary Art, State Russian Museum St. Petersburg
Peter Selz Klaus Honnef William Burroughs Heiner Müller |
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| 1988 | Gottfried Helnwein, NUIT DU NEUF NOVEMBRE, Catalogue | Heiner Müller | |
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INSTALLATION "NINTH OF NOVEMBER NIGHT" BETWEEN LUDWIG MUSEUM AND THE DOME OF COLOGNE
