Gottfried Helnwein

Gottfried Helnwein (born the October 8th 1948 with Vienna) is an Austrian artist.

Helnwein studies painting with the Académie of the Art schools of Vienna. It receives the price Kardinal König , the price Meisterschul as well as the price Theodor Körner . The documentary film Helnwein of 1984 (control of Peter Hajek, coproduction of Austrian television ORF and German ZDF) obtains the price Adolf-Grimme , the price Eduard Rhein and the Goldene Kader of the town of Vienna.

Helnwein is made known in the Seventies especially for its images hyperrealists of wounded children - the representation of the child remains the central subject of its work. It uses the techniques and average stylistics most various: in addition to the drawing, watercolour, painting with the acrylic resin and oil and techniques mixed, it is especially the Photographie, often in relation with the work of performance, which is its preferred means of expression. Since the Nineties, it concentrates more and more on digital photography and the installations large size in public space, having for the majority a matter socio-policy. It creates the stage sets for Maximilian Schell ( Los Angeles Opera ), Jürgen Flimm ( Hamburgische Staatsoper ), Hans Kresnik ( Volksbühne Berlin , Staatstheater Stuttgart , Deutsches Schauspielhaus Hamburg ), Gregor Seyffert ( Robert Schumann - Festival , Düsseldorf) and Gert Hof ( Hamlet maschine , of Heiner Müller, Berlin, Munich).

Chronology

In 1982, Helnwein declines the offer of a pulpit of professor at the University of design in Hamburg.

In 1985, expositon with the Albertina , Vienna.

Rudolf Hausner proposes Helnwein like its successor for the direction of the Meisterklasse , section painting, with the Academy of the fine arts of Vienna, but then selected Helnwein to elect residence in Germany.

In 1988, pointing out the Kristallnacht of 1938, Helnwein sets up the installation Nuit of November nine between the Ludwig Museum and the dome of Cologne.

Co-operation with Hans Kresnik for the setting in choreographic scene of the drama Macbeth according to Shakespeare, production to which will be allotted the Theaterpreis Berlin .

In 1989, exposure to the Folkwang Museum , Essen.

In 1997, Helnwein elects residence in Ireland.

The same year takes place so far the greatest retrospective with the Russian Musée of Saint-Pétersbourg .

In 2000, exposures to the San Francisco Museum off Modern Art and to the Los Angeles County Museum off Art .

In 2001, it creates with the Hamburgische Staatsoper the decorations for the opera Rake' S Progress of Igor Stravinski, put in scene of Jürgen Flimm.

In 2002, it establishes a workshop with Los Angeles.

In 2003, the first projection of documentary the Night of November nine to the Museum off Tolerance, Simon Wiesenthal Center , Los Angeles.

Projects of video and experimental cinema with Marilyn Manson (Helnwein and Manson assert a common movement, the Celebritarian corporation) and Sean Penn.

In 2004, the Child , retrospective with the San Francisco Fine Arts Museum .

Helnwein obtains Irish nationality.

In 2005, collaboration with Maximilian Schell for the opera Der Rosenkavalier of Richard Strauss, directed by Kent Nagano with the Los Angeles Operated .

Retrospective with the National museum of the Art schools of Beijing.

Gottfried Helnwein lives and works in Ireland and with Los Angeles.

Quotations

“Donald Duck learned to me much more than all the schools or I was. ”
Gottfried Helnwein

“the function of the artist consists of the evocation of the experiment of a recognition interfered astonishment: to show the spectator what it knows but has it does not know that it knows it. - Helnwein is Master in this recognition interfered astonishment. ”
William S. Burroughs

“How Helnwein, this pleasant person, does it support that its excellent painting becomes the mirror of the terror of century? Or doesn't it support quite simply that it is not it? Is it only about the mirror of a behavior of the century? BETTER A TERROR WITHOUT END IS WORTH THAN AN END WITH TERROR. This behavior results from its tabooing by the statistics. Just like Persée guillotine Gorgones using a mirror and when the head falls, it becomes its own head. In does the Christian era of the mirrors, how much heads a man have? ”
Heiner Müller

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