Selektion - Ninth November Night
Art Installation By Gottfried Helnwein in The Israeli Opera
Helnwein Gottfried, set and costume desginer
"The discovery of Hanoch Levin's play "The Child Dreams" was a shock and an epiphany for me. Never before was the work of another artist so close to my own inner pictures. It was as if this play was dedicated to all the children that had appeared in my work and to all those that are yet to come."
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".
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
'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."
References to the Holocaust
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.
William Burroughs said of Helnwein:
Well, the world is a haunted house, and Helnwein at times is our tour guide through it. In his work he is willing to take on the sadness, the irony, the ugliness and the beauty. But not all of Gottfried's work is on a canvas. A lot of it is the way he's approached life. And it doesn't take someone knowing him to know that. You take one look at the paintings and you say "this guy has been around." You can't sit in a closet - and create this. This level of work is earned.