Arte de Gottfried Helnwein en el libro del CD HISTORY de Michael Jackson — Art of Gottfried Helnwein in the book of Michael Jackson’s HISTORY CD

Some of his art-works appeared in the cover-booklet of Michael Jackson‘s History album.

Algunas de sus obras de arte-aparecieron en el libro del álbum History de Michael Jackson.

Surely we’ve all seen these images that I present of the cover-booklet of History album, or at least some of them.

Seguramente todos hemos visto estas imágenes que presento del libro del CD History, o por lo menos alguna de ellas.

The purpose of this post is to give credit to their author. And for that, I offer here images that he has posted on his official website and some of his story from Wikipedia :S Because unfortunately on his official website biography is not very clear.

El objetivo de esta entrada es dar crédito al autor de las mismas. Y para ello presento aquí imágenes que él mismo tiene publicadas en su sitio web oficial, así como un poco de su historia tomada de Wikipedia :S  Ya que desafortunadamente en su web oficial la biografía no es muy clara.

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HELNWEIN’S ART-WORKS IN MICHAEL JACKSON’S “HISTORY” ALBUM 1995

ARTE DE HELNWEIN-trabaja en el álbum HISTORY de Michael Jackson de 1995

HISTORY – Past, Present and Future
page 33: “Scream”-(“Das Lied / The Song” watercolor, 1980)

HISTORY – Past, Present and Future
página 33: “Scream” –( “Das Lied / La canción” Acuarela, 1980)

page 37: “Little Susie”-
(“Lichtkind” – Light Child-, photograph, grattage – scratching-, 1972 )

Página 37: “Little Susie” —
( “Lichtkind” – Luz de Niño-, la fotografía, grattage –repujado, raspado-, 1972)

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Little Susie, HISTORY, Michel Jackson 1995
CD-Cover booklet – page: 37
Image: “Lichtkind” (Child of Light), 1972
silver print, grattage by Helnwein

Little Susie, HISTORY, Michel Jackson, 1995
Libro de CD-Cubierta – Página: 37
Imagen: “Lichtkind” (Niños de la Luz), 1972
Impresión en plata, grattage de Helnwein

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Scream, HISTORY, Michel Jackson 1995
CD-Cover booklet – page: 33
Image: “Das Lied” (The Song), 1981
watercolor by Helnwein, handwritten lyrics by Michael Jackson

Scream, HISTORY, Michel Jackson, 1995
Libro CD- Cubierta – Página: 33
Imagen: “Das Lied” (La canción), 1981
Acuarela de Helnwein, letras manuscritas de Michael Jackson

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01. August 1994

01. Agosto 1994

Budapest

Budapest

HELNWEIN WITH MICHAEL JACKSON AND LISA MARIE PRESLEY IN BUDAPEST

The filming of the of the “History”- video.

HELNWEIN con Michael Jackson y Lisa Marie Presley EN BUDAPEST
Durante el rodaje del video para promoción de HIStory (Teaser)

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Michael Jackson and Lisa Marie Presley 1994

Budapest

at the set for the “History”-video

photo: gottfried helnwein

Michael Jackson y Lisa Marie Presley 1994
Budapest
en el set para el video “History”
Foto: Gottfried Helnwein

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Michael Jackson and Lisa Marie Presley 1994

photo: gottfried helnwein

Michael Jackson y Lisa Marie Presley 1994
Foto: Gottfried Helnwein

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Lisa Marie Presley and Renate Helnwein 1994

Budapest

at the set for the “History”-video

photo: gottfried helnwein

Lisa Marie Presley y Renate Helnwein 1994
Budapest
en el set para el video “History”
Foto: Gottfried Helnwein

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Filming of Michael Jackson’s “History”-video in Budapest 1994

photo: gottfried helnwein

Filmación del video de Michael Jackson History

Budapest 1994

Fotografía: Gottfried Helnwein

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1988 MICHAEL JACKSON MEETS WITH HELNWEIN IN GERMANY

1988 MICHAEL JACKSON SE REÚNE CON HELNWEIN EN ALEMANIA

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Gottfried Helnwein and Michael Jackson 1988

Germany

Gottfried Helnwein y Michael Jackson 1988
Alemania

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Love-note from Michael 1988

1988 Nota con afecto de Michael

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Fuentes/Sources:

http://www.helnwein-museum.com/article473.html

http://www.helnwein.com/news/update/artikel_1174.html

http://www.helnwein.de/news/update/artikel_596.html

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Who is Gottfried Helnwein?
Brief biographical history

¿Quién es Gottfried Helnwein?

Breve historia biográfica

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ESPAÑOL:

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Gottfried Helnwein

De Wikipedia, la enciclopedia libre

Gottfried Helnwein (8 de octubre de 1948, Viena) pintor, fotógrafo y artista de performance austriaco-irlandés maestro del reconocimiento sorpresivo.

Helnwein estudió en la Universidad de Artes Plásticas en Viena (Akademie der Bildenden Kunste, Wien). Le fue otorgado el premio de Master Class (Meisterschulpreis) en la Universidad de Artes Plásticas en Viena, el premio Kardinal-Konig y el premio Theodor-Korner.

Sus primeros trabajos consistían principalmente de acuarelas hiperrealistas de niños heridos, así como performances —a menudo con niños— en lugares públicos. Helnwein es un artista conceptual, interesado principalmente en la ansiedad psicológica y sociológica, así como en temas históricos y políticos. Como resultado de esto, su trabajo suele ser considerado provocativo y controvertido. Helnwein ha trabajado como pintor, dibujante, muralista, fotógrafo, escultor y artista de performance, utilizando una gran variedad de técnicas y medios. También es conocido por su diseño de vestuario y escenografía teatral, tanto de ballet como de ópera. Entre ellas cabe mencionar Staatsoper Hamburg, Volksbuhne Berlin y la Ópera de Los Ángeles.

Cronología

En 1982 la Universidad de Ciencias Aplicadas le ofrece a Helnwein una docencia, la cual rechaza.

En 1985 Rudolf Hausner recomienda a Helnwein como su sucesor para el puesto de profesor de master class de pintura en la Universidad de Artes Plásticas en Viena, sin embargo Helnwein se muda de Viena a Alemania.

La película “Helnwein”, producida por la televisión Nacional de Alemania y Austria, recibe el premio de Adolf-Grimme como mejor Documental para televisión. También recibe los premios Eduard-Rhein y Goldenen Kader.

Además de su obra realista realizada durante éste periodo, Helnwein empieza a desarrollar estilos abstractos y expresivos de pintar.

En 1988, en recuerdo de La Noche de los Cristales Rotos (Kristallnacht), el principio del Holocausto, hace cincuenta años, Helnwein instala una exposición de cien metros en el centro de la ciudad de Colonia, entre el Museo de Ludwig y la Catedral de Colonia. Después de esto ha hecho exposiciones de gran envergadura en lugares públicos como una parte importante de su trabajo.

En 1990 empieza a centrarse en fotografías de cámara digital e imágenes generadas por computadora, las cuales combina con técnicas clásicas de pintura al óleo.

En 1994 diseña el escenario del teatro, el vestuario y el maquillaje para Macbeth  Una producción del Teatro de Coreografía de Johann Kresnik en Volksbuhne Berlín. A la obra de teatro se le fue otorgado el Premio Obra de Teatro de Berlín.

En 1997 se muda a Irlanda. Trabaja con el grupo alemán Rammstein en la sesión de fotos para el álbum Sehnsucht.

En este mismo año el Museo del Estado de Rusia en San Petersburgo organiza una exposición retrospectiva y publica una monografía del artista.

En 2000 el Museo de Arte Moderno de San Francisco, el Museo de Arte del condado de Los Angeles y otros museos americanos exponen las obras de Helnwein.

En el 2001 diseña la escenografía y el vestuario para Hamburgische Staatsoper, la ópera de Ígor Stravinski (The Rake’s Progress).

En 2002 establece su taller en Los Ángeles.

Estrena el Documental de Helnwein Novena Noche de Noviembre (Nenuter November Nacht) en el Museo de Tolerancia, Centro de Simon Wiesenthal en Los Angeles. Colabora con Marilyn Manson en el proyecto multimedia La Era Dorada del Grotesco

También hace vídeos y proyectos de cine con el actor Sean Penn.

En el 2004 hace la exposición El Niño en el Museo de Bellas Artes en San Francisco.

Colabora con Maximilian Schell para la ópera de Richard Strauss Der Rosenkavalier (El caballero de la rosa) en Los Ángeles.

Helnwein recibe su ciudadanía Irlandesa.

Gottfried Helnwein vive en Irlanda y en Los Ángeles.

Citas

La función del artista es evocar la experiencia del reconocimiento sorpresivo: mostrarle al espectador lo que él sabe pero no sabe que sabe.
Y Helnwein es un maestro del reconocimiento sorpresivo.
William Burroughs

 

Publicaciones selectas

El Niño, Obras por Gottfried Helnwein
Exposición por un Hombre 2004
Museos de Bellas Artes de San Francisco
Robert Fynn Johnson, Harry S. Parker(ISBN 0-88401-112-7)

Helnwein, Monografía
Gottfried Helnwein, Retrospectiva 1997
Museo del Estado de Rusia en St. Petersburg
Alexander Borovsky, encargado del Museo de Arte Contemporáneo
Klaus Honnef, Peter Selz, William Burroughs, Heiner Muller, H.C Artman.
(ISBN 3-930775-31-X) Koenemann, 1999 (ISBN 3-8290-1448-1)

Helnwein- Novena Noche de Noviembre, 2003
El Documental
Museo de Tolerancia, Simon Wiesenthal. Los Angeles
Johnathon Keats, Simon Wiesenthal

Gottfried Helnwein – Una expresión del dolor, 2005
Michelle Dana Missrie, Instituto de cultura Superior A,C. México

Referencias

William Burroughs hispano.helnwein.com

kristallnacht.helnwein.com

escenario, vestuario y maquillaje para Macbeth

exposición retrospectiva y monografía del artista

La Era Dorada del Grotesco

exposición El Niño

El caballero de la rosa

Robert Flynn Johnson, The Child – Works by Gottfried Helnwein

Ninth November Night (Novena Noche de Noviembre)

Una expresión del dolor

Enlaces externos

Website oficial

http://www.helnwein.net

www.geocities.com: Kleines Helnwein

www.inicios.es: Iniciarse sobre Gottfried Helnwein

Helnwein y la cultura cómica

www.helnwein.org

www.artisthelnwein.com

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Obtenido de http://es.wikipedia.org/wiki/Gottfried_Helnwein

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ENGLISH

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Gottfried Helnwein

From Wikipedia, the free encyclopedia

Gottfried Helnwein (born October 8, 1948 in Vienna) is an Austrian-Irish fine artist, painter, photographer, installation and performance artist.

Work

Helnwein studied at the University of Visual Art in Vienna (German: Akademie der Bildenden Künste, Wien). He was awarded the Master-class prize (Meisterschulpreis) of the University of Visual Art, Vienna, the Kardinal-König prize and the Theodor-Körner prize.

He has worked as a painter, draftsman, photographer, muralist, sculptor, installation- and performance artist, using a wide variety of techniques and media.

His early work consists mainly of hyper-realistic watercolors, depicting wounded children, as well as performances – often with children – in public spaces. Helnwein is concerned primarily with psychological and sociological anxiety, historical issues and political topics. As a result of this, his work is often considered provocative and controversial.

Viennese-born Helnwein is part of a tradition going back to the 18th century, to which Messerschmidt’s grimacing sculptures belong. One sees, too, the common ground of his works with those of Hermann Nitsch and Rudolf Schwarzkogler, two other Viennese, who display their own bodies in the frame of reference of injury, pain, and death. One can also see this fascination for body language goes back to the expressive gesture in the work of Egon Schiele.

Head of a Child

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.

In 2004 The Fine Arts Museums of San Francisco organized the first one-person exhibition of Gottfried Helnwein at an American Museum: “The Child, works by Gottfried Helnwein” at the California Palace of the Legion of Honor. The show was seen by almost 130,000 visitors and the San Francisco Chronicle quoted it the most important exhibition of a contemporary artist in 2004. Steven Winn, Chronicle Arts and Culture Critic, wrote: “Helnwein’s large format, photo-realist images of children of various demeanors boldly probed the subconscious. Innocence, sexuality, victimization and haunting self-possession surge and flicker in Helnwein’s unnerving work”.

Harry S.Parker III, Director of the Fine Arts Museums of San Francisco explained what makes Helnwein’s art significant: “For Helnwein, the child is the symbol of innocence, but also of innocence betrayed. In today’s world, the malevolent forces of war, poverty, and sexual exploitation and the numbing, predatory influence of modern media assault the virtue of children. Robert Flynn Johnson, the curator in charge, has assembled a thought-provoking selection of Helnwein’s works and provided an insightful essay on his art. Helnwein’s work concerning the child includes paintings, drawings, and photographs, and it ranges from subtle inscrutability to scenes of stark brutality. Of course, brutal scenes—witness The Massacre of the Innocents—have been important and regularly visited motifs in the history of art. What makes Helnwein’s art significant is its ability to make us reflect emotionally and intellectually on the very expressive subjects he chooses. Many people feel that museums should be a refuge in which to experience quiet beauty divorced from the coarseness of the world. This notion sells short the purposes of art, the function of museums, and the intellectual curiosity of the public. The Child: Works by Gottfried Helnwein will inspire and enlighten many; it is also sure to upset some. It is not only the right but the responsibility of the museum to present art that deals with important and sometimes controversial topics in our society”.

Comics and trivial art

Another strong element in his work are comics. Helnwein has sensed the superiority of cartoon life over real life ever since he was a child. A magazine interview brought out an explanation of his obsession with Disney characters. Growing up in dreary, destructed post-war Vienna, the young boy was surrounded by unsmiling people haunted by a recent past they could never speak about. What changed his life was the first German-language Donald Duck comic book that his father brought home one day. Opening the book felt like finally arriving in a world where he belonged:
“…a decent world where one could get flattened by steam-rollers and perforated by bullets without serious harm. A world in which the people still looked proper, with yellow beaks or black knobs instead of noses.” (Helnwein)

In 2000 the San Francisco Museum of Modern Art presented Helnwein’s painting “Mouse I” (1995, oil and acrylic on canvas, 210 cm x 310 cm) at the exhibition The Darker Side of Playland: Childhood Imagery from the Logan Collection.
Alicia Miller commented on Helnwein’s work in Artweek: “In ‘The Darker Side of Playland’, the endearing cuteness of beloved toys and cartoon characters turns menacing and monstrous. Much of the work has the quality of childhood nightmares. In those dreams, long before any adult understanding of the specific pains and evils that live holds, the familiar and comforting objects and images of a child’s world are rent with something untoward. For children, not understanding what really to be afraid of, these dreams portend some pain and disturbance lurking into the landscape. Perhaps nothing in the exhibition exemplifies this better than Gottfried Helnwein’s ‘Mickey’. His portrait of Disney’s favorite mouse occupies an entire wall of the gallery; rendered from an oblique angle, his jaunty, ingenuous visage looks somehow sneaky and suspicious. His broad smile, encasing a row of gleaming teeth, seems more a snarl or leer. This is Mickey as Mr. Hyde, his hidden other self now disturbingly revealed. Helnwein’s Mickey is painted in shades of gray, as if pictured on an old black-and-white TV set. We are meant to be transported to the flickering edges of our own childhood memories in a time imaginably more blameless, crime-less and guiltless. But Mickey’s terrifying demeanor hints of things to come…”.

Although Helnwein’s work is rooted in the legacy of German expressionism, he has absorbed elements of American pop culture. In the 70s he began to include cartoon characters in his paintings. In several interviews he claimed: “I learned more from Donald Duck than from all the schools that I have ever attended.” Commenting on that aspect in Helnwein’s work, Julia Pascal wrote in the New Statesman: “His early watercolor Peinlich (Embarrassing) – shows a typical little 1950s girl in a pink dress and carrying a comic book. Her innocent appeal is destroyed by the gash deforming her cheek and lips. It is as if Donald Duck had met Mengele”.

Living between Los Angeles and Ireland, Helnwein met and photographed the Rolling Stones in London, and his portrait of John F Kennedy made the front cover of Time magazine on the 20th anniversary of the president’s assassination. His Self-portrait as screaming bandaged man, blinded by forks (1982) became the cover of the Scorpions album Blackout. Andy Warhol, Muhammad Ali, William Burroughs and the German industrial metal band Rammstein posed for him;

 

Some of his art-works appeared in the cover-booklet of Michael Jackson‘s History album.

 

Referring to the fall of the Berlin Wall Helnwein created the book Some Facts about Myself, together with Marlene Dietrich. In 2003 he became friends with Marilyn Manson  and started a collaboration with him on the multi-media art-project The Golden Age of Grotesque and on several experimental video-projects. Among his widely published works is a spoof of the famous Edward Hopper painting Nighthawks, entitled Boulevard of Broken Dreams. This painting also inspired the Green Day song of the same name

Examining his imagery from the 1970s to the present, one sees influences as diverse as Bosch, Goya, John Heartfield, Beuys and Mickey Mouse, all filtered through a postwar Viennese childhood.

‘Helnwein’s oeuvre embraces total antipodes: The trivial alternates with visions of spiritual doom, the divine in the child contrasts with horror-images of child-abuse. But violence remains to be his basic theme, – the physical and the emotional suffering, inflicted by one human being unto another.’

 

Self portraits

The self-portrait for the artist’s blindfolded unbent head covered with blood occurs twice in Helnwein’s triptych The Silent Glow of the Avantgarde (1986). The middle panel shows an enlarged reproduction of Caspar David Friedrich’s The sea of Ice, a depiction of a catastrophe of 1823/24 which is generally interpreted as a romantic allegory of the force of nature overpowering all human effort . Helnwein compared the “quietly theatrical” ecstatic attitude of his self-portrait with the heroic pose of the figure of the suffering figure of Sebastian and generalizes both to the stigma of the artist in the 20th century, making him a kind of saviour figure. In addition, its poetic title sets the viewer onto the right track. The visual montage of the modern artist as Man of Sorrows with Friedrich’s landscape painting projects the dashed hopes of the romantic rebellion into the present, to the protest thinking of modernity, which has become introverted and masochistic, and its crossing of aesthetic boundaries. Is romanticism making a comeback? – No; actually, it had never left modernity. But its rebellion is confining and introverting itself in the “body metaphysics” of contemporary artists to its own flesh and blood. Thus, the comeback of romanticism leads for Helnwein, too, to stressing just one of its partial aspects, the stylizing in the form of a self-portrait of a protest introverted to martyrdom which historically was once linked in a contradictory way with social opposition, rebellion, and utopia.

References to the Holocaust

Mitchell Waxman wrote 2004, in The Jewish Journal, Los Angeles: “The most powerful images that deal with Nazism and Holocaust themes are by Anselm Kiefer and Helnwein, although, Kiefer’s work differs considerably from Helnwein’s in his concern with the effect of German aggression on the national psyche and the complexities of German cultural heritage. Kiefer is known for evocative and soulful images of barren German landscapes. But Kiefer and Helnwein’s work are both informed by the personal experience of growing up in a post-war German speaking country… William Burroughs said that the American revolution begins in books and music, and political operatives implement the changes after the fact. To this maybe we can add art. And Helnwein’s art might have the capacity to instigate change by piercing the veil of political correctness to recapture the primitive gesture inherent in art.”.

One of the most famous paintings of Helnwein’s oeuvre is Epiphany I – Adoration of the Magi, (1996, oil and acrylic on canvas, 210 cm x 333 cm, collection of the Denver Art Museum). It is part of a series of three paintings: Epiphany I, Epiphany II (Adoration of the Shepherds), Epiphany III (Presentation at the Temple), created between 1996 and 1998. In Epiphany I, SS officers surround a mother and child group. To judge by their looks and gestures, they appear to be interested in details such as head, face, back and genitals. The arrangement of the figures clearly relates to motive and iconography of the adoration of the three Magi, such as were common especially in the German, Italian and Dutch 15th century artworks. Julia Pascal wrote about this work in the New Statesman: “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, blonde Virgin. The Christ toddler, who stands on Mary’s lap, stares defiantly out of the canvas.” Helnwein’s baby Jesus is often considered to represent Adolf Hitler.

Works for the stage

Helnwein is also known for his stage and costume designs for theater, ballet and opera productions. Amongst them: “Macbeth” by William Shakespeare, (director, choreographer: Johann Kresnik), Theater Heidelberg, 1988, Volksbühne Berlin, 1995; “The Persecution and Murder of Jean Paul Marat, Performed by the Drama Group of the Hospice at Charenton, under Direction of Monsieur de Sade” by Peter Weiss, (director: Johann Kresnik), Stuttgart National Theatre, 1989; “Pasolini, Testament des Körpers”, (director: Johann Kresnik), Deutsches Schauspielhaus Hamburg, 1996; “Hamletmaschine” by Heiner Müller, (director: Gert Hof), 47. Berliner Festwochen, Berlin 1997, Muffathalle, München, 1997; “The Rake’s Progress” by Igor Stravinsky, (director: Jürgen Flimm), at Hamburg State Opera, 2001; “Paradise and the Peri”, oratorio by Robert Schumann, (director, choreographer: Gregor Seyffert & Compagnie Berlin), Robert-Schumann-Festival 2004, Tonhalle Düsseldorf; Der Rosenkavalier” by Richard Strauss, (director: Maximilian Schell) at Los Angeles Opera, 2005, and Israeli Opera Tel Aviv, 2006;”Der Ring des Nibelungen, part I, Rheingold und Walküre”, choreographic theatre after Richard Wagner, (director, choreographer: Johann Kresnik), Oper Bonn, 2006; “Der Ring des Nibelungen”, part II, Siegfried and Götterdämmerung, director, choreographer: Johann Kresnik), Oper Bonn, 2008, “The Child Dreams”, by Hanoch Levin, composer: Gil Shohat, directed by Omri Nitzan, Israeli Opera, Tel Aviv, 2009/2010

Chronology

1965 – 1969 Helnwein studied at the Vienna Higher College for Graphic Art (Höhere Grafische Lehr- und Versuchsanstalt, Wien).

1969 – 1973 he studied at the University of Visual Art in Vienna (Akademie der Bildenden Künste, Wien).

At that time he began to work on a series of hyper-realistic watercolour-paintings of bandaged and wounded children.

1971 First public Aktions in the streets of Vienna, often with bandaged children (Aktion Sorgenkind, Aktion Hallo Dulder, Aktion Eternal Youth, Aktion Sandra).

In the exhibition “Zoetus” at the Kunsthalle “Künstlerhaus” in Vienna unidentified people put stickers with the words “Entartete Kunst” (degenerate art) on Helnwein’s paintings.

At the opening of an one man show at Galerie D. in Moedling, near Vienna, the Major has Helnwein’s Artworks confiscated by the police.

1972 An exhibition at the “Galerie im Pressehaus” (Gallery of the House of the Press) is closed after 3 days because of strong protests and threats by the works council.

1979 Spurred into action by an interview in an Austrian tabloid in which the country’s top court psychiatrist, Dr Heinrich Gross, admitted killing children at Vienna’s Am Spiegelgrund Pediatric Unit during the war by poisoning their food, Helnwein painted Life not Worth Living – a watercolour of a little girl “asleep” on the table, her head in her plate. The painting was published in Austrias leading newsmagazine Profil and sparked a nationwide debate that finally led to Gross’ appearing before a Vienna court. The judge ruled Gross was mentally unfit to be tried.

1982 Helnwein was offered a chair by the University of Applied Sciences in Hamburg, which he declined.

1983 Helnwein met Andy Warhol in his factory in New York, who posed for a series of photo-sessions.

1984 German and Austrian National Television co-produced the film “Helnwein”, directed by Peter Hajek. In Los Angeles Helnwein meets Muhammad Ali, who appeared in his film. The film was awarded the Adolf Grimme Prize for best television-documentary and in the same year won the Eduard Rhein Prize and the Golden Kader of the city of Vienna for outstanding camera work.

1985 one man show at the Albertina, Vienna.

Rudolf Hausner, recommended Helnwein as his successor as professor of the master-class for painting at the University of Visual Art in Vienna, but Helnwein left Vienna and moved to Germany. He bought a medieval castle close to Cologne and the Rhine-river, where he lived and worked till 1997.

Besides his realistic work, Helnwein also began to develop abstract, expressive styles of painting during this period. He radically changes his way of working and now begins a series of large-format pictures consisting of several parts (diptychs, triptychs, poliptychs). In doing so he combines photomurals with abstract gestural and monochrome painting in oil and acrylic, also using reproductions of Caspar David Friedrich paintings and war documentary photographs which he assembles to form what Viennese art-critic Peter Gorsen calls “Bilderstrassen” (picture lanes).

1987 Der Untermensch, Gottfried Helnwein, self-portraits of from 1970 – 1987, one man show at the Musée d’Art Moderne in Strasbourg.

Aktion Gott der Untermenschen (God of Sub-Humans), Performance at Camp Kopal, St. Pölten of the Austrian Army, using tanks and ammunition

1988, In remembrance of “Kristallnacht”, the actual beginning of the Holocaust – 50 years earlier, Helnwein erected a 100 meter long installation in the city center of Cologne, between Ludwig Museum and the Cologne Cathedral. Just days into the exhibit, these portraits were vandalized by unknown persons, symbolically cutting the throats of the depicted children’s faces. Since then large scale installations in public spaces became an important part of his work.

1989 One-man show at the Folkwang Museum in Essen.

Torino Fotografia 1989, Biennale Internationale, Gottfried Helnwein, David Hockney, Clegg and Guttmann.

1989 Helnwein’s photographic work from 1970 to 1989 was published in a monograph by Dai Nipon in Japan. Text by Toshiharu Ito.

Helnwein met William S. Burroughs in Lawrence, Kansas.

Cooperation with German poet and playwright Heiner Müller and choreographer Hans Kresnik on a play about Antonin Artaud.

1990 One-man show in the Musée de l’Elysée, Lausanne. Installation “Neunter November Nacht”.

1990 Collaboration with Marlene Dietrich on the book Some Facts about Myself, for the occasion of the fall of the Berlin Wall. Her essay that gave the book its title was the last text that Marlene Dietrich wrote in her life.

1991 Installation Kindskopf (Child’s Head) in the Minoriten Church in Krems, Niederösterreichisches Landesmuseum (Museum of Lower Austria). Helnwein painted a 6×4 m (18×12 feet) child’s head for the apse of the early Gothic basilica.

Helnwein finished 48 Portraits, a series of 48 monochrome red pictures of women (oil on canvas) as a counterpart to Gerhard Richter’s “48 Portraits” of 1971, which depict only men in monochrome grey. The cycle of paintings was first shown at Galerie Koppelmann in Cologne, and later acquired by collector Peter Ludwig for the Collection of the Ludwig Museum in Cologne.

Helnwein began to focus on digital photography and computer-generated images which he often combines with classical oil-painting techniques.

1993 One-man show at Rheinisches Landesmuseum, Bonn.

Aktion-Reaktion, exhibition of the Austrian painters Arnulf Rainer, Hermann Nitsch, Günter Brus, and Helnwein, works from the Schömer collection, at the Foundation Fiecht, Austria.

1994 Stage design, costumes, and make-up for Macbeth, a production of Hans Kresnik’s Choreographic Theatre at Volksbühne Berlin. The play was awarded the Theatre Prize of Berlin.

Helnwein curated and organized the first Museum-exhibition of Disney-artist Carl Barks, the creator of the Donald Duck universe, Uncle Scrooge and Duckburg. The retrospective was shown in 10 European Museums and seen by more than 400 000 visitors.

1997 Moved to Ireland

In the same year the State Russian Museum in St. Petersburg organized a Helnwein retrospective and publishes a monograph of the artist.

German collectors Peter and Irene Ludwig donated 53 works of Helnwein to the collection of the State Russian Museum Saint Petersburg.

Photo-session with the German industrial metal band Rammstein. Their album “Sehnsucht (album)” is released with six different covers by Gottfried Helnwein.

2000 The San Francisco Museum of Modern Art shows Helnwein’s Mickey I, (1995, oil and acrylic on canvas, 83″ x 122″) in the exhibition The Darker Side of Playland: Childhood Imagery from the Logan Collection.

Helnwein’s Black Mirror, (Self-Portrait, polaroid, 1987) in the show Ghost in the Shell at the Los Angeles County Museum of Art.

2001 Stage and costume design for the Hamburgische Staatsoper of Igor Stravinsky’s opera The Rake’s Progress.

2002 Helnwein established a studio in Los Angeles.

2003 Premiere of the Helnwein documentary Ninth November Night, the Art of Gottfried Helnwein at the Museum of Tolerance, Simon Wiesenthal Center, Los Angeles. Director: Henning Lohner, Commentators: Sean Penn, Maximilian Schell, Jason Lee, Introductory text by Simon Wiesenthal. (Camera: Jason Lee, Darren Rydstrom, Bernd Reinhardt)

Collaboration with Marilyn Manson on the multi-media project “The Golden Age of Grotesque” and video productions like Doppelherz und Mobscene.

Installation and performance with Manson at the Volksbühne Berlin.

Collaboration with Sean Penn on the Music Video ‘The Barry Williams Show’ by Peter Gabriel

2004 The Child, Works by Gottfried Helnwein, one-man show at the California Palace of the Legion of Honor, San Francisco Fine Arts Museums. The exhibition is seen by 130,000 visitors. The San Francisco Chronicle calls the exhibition the most important show of a contemporary artist in 2004.

Collaboration with Maximilian Schell for the Richard Strauss opera “Der Rosenkavalier” at Los Angeles Opera, and Israeli Opera Tel Aviv.

Helnwein receives Irish citizenship.

2005 Helnwein one man show “Beautiful Children” at the Ludwig Museum Schloss Oberhausen and the Wilhelm-Busch-Museum Hannover. Helnwein retrospective at the National Art Museum in Beijing.

2006 “Face it”, one man show, Lentos Museum of Modern Art Linz

The council of the city of Philadelphia honors Gottfried Helnwein for his artistic contributions in keeping the memory of the Holocaust alive

2007 Governor Arnold Schwarzenegger acquired the painting “Death Valley (American Landscape I, 2002, oil and acrylic on canvas, 48 x 300 inches) for the Governor’s Council Room at the California State Capitol in Sacramento.

The Virtual Museum of Art at Second Life opened with a Helnwein retrospective. The VMOA is the first virtual Museum that is dedicated to the lifework of a living artist.

Participation in the exhibition “Rembrandt to Thiebaud: A Decade of Collecting Works on Paper”, De Young, Fine Arts Museums of San Francisco.

2008 Retrospective at Rudolfinum Gallery in Prague.

“I Walk Alone”, one man show at the Natalie and James Thompson Art Gallery, San Jose State University.

On the occasion of the infamous incest case of Amstetten in Austria, the German newspaper Sueddeutsche Zeitung writes: “Amstetten between discomposure and media-hype: A dungeon amidst the town, a father inflicting martyrdom onto his children – how we struggle to put the pieces of the incomprehensible together. The dungeon in Amstetten touches something deep inside the marrow of the Austrians, their dark side, mirrored in the poems of their authors and in the Images of Gottfried Helnwein, depicting people with forkes pusched into their eyes. Or Girls with blood running down their legs. Helnwein’s paintings are nightmares, that tell of the dungeons in our heads…”.

“The last Child”, Installation throughout the city of Waterford, Ireland

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

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Taken from: 

http://en.wikipedia.org/wiki/Gottfried_Helnwein

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SITIO WEB OFICIAL/ OFFICIAL WEBSITE

http://www.helnwein.com/

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Author: GiselaMJJ

Acerca de Gisela MJJ Aún sin "la última lágrima..." Aunque la realidad es que: "...Tu y yo nunca estaremos separados. Es solo una ilusión. Forjada por las mágicas lentes de la percepción..." MJ

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5 Comments

  1. Hola Gise!!

    Vaya que su trabajo es bueno, esos imagenes en el disco de History son muy… bueno te hacen sentir algo muy particular.

    Y la de Scream te transmite mucho, aun mas con las palabras de Michael plasmadas sobre la imagen.

    La canción de Little Susie me gusta mucho, contábamos el otro día Vivi, Maribel y yo acerca de ella y como bien dice Vivi es como la BSO de una película, aunque, no se porque me hace sentir algo extraña, me causa un fuerte deja vu, no como si la hubiera escuchado antes, más bien como su hubiera presenciado una historia similar a la que narra en otra vida. Pero bueno esas son mis ideas retorcidas jeje.

    Un beso Gise y gracias por la info… Jack

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    • ¡Ah! si… Eso provoca… Quizás porque desafortunadamente hay muchas pequeñas Susie en el mundo… Víctimas por uno u otro motivo 🙁

      En este caso en especial y hasta donde sé (No sé de dónde saqué esa información… Si hay días que con trabajos sé cómo me llamo :S jajaja)

      Decía que al parecer se la dedicó a la pequeña niña Susie Jaeger, quien fue asesinada a la edad de 7 años, por David Meirhofer (Un asesino serial) en Montana en el año 1973… Michael escribió esta canción muy pequeño (En los setentas, por lo que creo que esta información, a pesar de que no sé de dónde la saqué hace muchos años ya… es verídica -Por la temporalidad que si coincide-. Lo segundo: Lo de que la escribió en los años setentas si puedo confirmarlo)

      Aquí agregué algunos datos más:

      Michael Jackson Disco 2 History Past Present & Future, 1995 14. Little Susie

      Entonces, pues si, es como la banda sonora de una película… Pero desafortunadamente de la vida real 🙁

      Supongo que al tratar sobre un caso tan triste, es normal que te haga sentir rara, por decirlo de algún modo :S

      ¡un abrazo mi querida Jack!

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  2. Hola Gisela 😀

    Ya llegue de trabajar, tocaba turno de noche y antes de dormir, dije, voy a leer a mi querida Gisela, por cierto no llegue tarde a trabajar. 😀 😀

    Como bien dices al principio Gisela, sí conozco las fotos del álbum History, pero no conocia a Helnwein, un gran maestro-artista.

    Sus fotos son excelentes, pero no dejan de ruborizarme la piel sobre todo cuando se trata de personitas tan pequeñas, la foto de Scream sí, és una foto de las que me impacta.
    La Historya de la pequeña Susie, me causa tambien penita y por desgracia és la cruda realidad de la vida como tú bien dices.

    ¡Gracias por la informacion, Gisela!

    ¡Un besote muy grandote!

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  3. Este sr Helnwein es sueprcreativo, juega mucho con la condicion humana y sus enfermedades síquicas. La canción de little susie, para mí es demasiado triste, cruda y estrrujante, no sabia que Michael la escribió tan joven.
    Igual que Helnwein, Michael sabía desde muy joven como llegar a hasta el fondo de nuestro corazón y enfocar y sublimar nuestros pensamientos con musica a favor de “la no-violencia”.
    Y en un tema menos espiritual, “que bello se veia con ese uniforme” y que cara de “wacala” tenía siempre lisa marie, aunque trataba de disimularlo, se le notaba-
    Gracias Gisela, se te quiere.
    Gracias Michael por la excelencia de tu talento que nos legaste. Que Dios te siga bendiciendo

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