Gottfried Helnwein | ПРЕССА | избранные статьи | INTERVIEW WITH GOTTFRIED HELNWEIN IN RUSSIAN ART MAGAZINE Helnwein

№2. 2002 год
ТРЕХ ИЗВИЛИНАХ

Faкeл: Кто для вас важнее, Адольф Гитлер или Дональд Дак?
Gottfried Helnwein: Конечно, Дональд Дак. Встреча с этим персонажем в возрасте четырех лет была моей первой встречей с великим искусством. Я родился в Вене, оккупированной советскими войсками, сразу после окончания войны. Кругом разбомбленные дома, врослые казались мне разбитыми и угнетенными. Не помню, чтобы в раннем детстве кто-то пел или смеялся. Мир вокруг меня казался немым черно-белым кино в замедленной перемотке. Я чувствовал себя так, будто приземлился на чужой планете, в мире, которому не принадлежу.
Однажды вернувшийся с работы отец бросил на пол передо мной едва ли не первый немецкий перевод комиксов о Дональде Даке. Открыв эту первую в моей жизни книгу комиксов, я открыл дверь в реальный мир. Робко вошел. Я чувствовал себя так, как человек, переживший взрыв на шахте. После долгого пребывания в темноте между жизнью и смертью я вошел в яркий свет Дакбурга, и мои глаза, не привыкшие к такому яркому свету, наполнились слезами. Я глубоко вздохнул, и мои пропыленные легкие наполнились свежим воздухом.
В этом мире все снова обрело свой смысл: люди снова выглядели нормально, у них были желтые утиные клювы или собачьи морды, и каждого из них можно было безо всякого вреда для их здоровья продырявить пулями или раскатать в лепешку гигантским катком. Это был мир красок, скорости, приключений, магии и удивления. Я никогда не отступал назад, в чистилище так называемого "реального мира", и с тех пор Дональд Дак стал для меня неограниченным источником вдохновения.

Alexander Borovsky (Curator for Contemporary Art at the State Russian Museum, St. Petersburg)
Helnwein Monograph, the State Russian Museum, St. Petersburg | 1997
I'll never forget the sensation I had at the unveiling of Gottfried Helnwein's "Kindskopf" in the Russian Museum. And not just because this enormous canvas (six metres in height, four in breadth), well-known from reproductions, seemed to operate in a whole new way in the real, quasi-monumental space of the museum's "Concrete Hall", originally intended for the demonstration of gigantic sculptural compositions. I realised that I was looking at the inner content of this innovative picture from a whole new point of

Peter Selz (Professor Emeritus, Department of Art History, University of California, Berkeley. Former Curator at the Museum of Modern Art in New York and founding director of the Berkeley Art Museum.)
Helnwein Monograph, the State Russian Museum, St. Petersburg | 1997
Much like Joseph Beuys, who opened new, unexpected, and far-reaching spheres for art, Gottfried Helnwein has made works that extend beyond the art scene into the social and political realm. Like his predecessor, he has moved beyond the realm of pure aesthetics, engaging his art into the everyday world. Furthermore his principal interest is not to express personal feelings and emotions, but to make statements that go beyond the individual. He wants to see his work not trapped on the walls of museums and galleries, but revealed in the public domain. He expects his work to intervene in the social sphere and to have a direct impact on the life of his time.

Klaus Honnef (Curator for Contemporary Art at Rheinisches Landesmuseum, Bonn)
Helnwein Monograph, The State Russian Museum, St. Petersburg | 1997
Helnwein - A Concept Artist before the Turn of the Millennium. Is it sheer coincidence that Gottfried Helnwein, the Austrian artist, created a portrait of both the German and the American? Coincidence, that he captured Warhol as a disturbing spectre on photograph, but painted Beuys? And that he then photographed the painted portrait of Beuys in the hands of Arno Breker, Adolf Hitler's favourite sculptor? There are weighty reasons for considering Helnwein the legitimate heir to Beuys and Warhol.

12.Jun.1997
Russia
EXHIBITION IN THE STATE RUSSIAN MUSEUM, ST PETERSBURG
Gottfried Helnwein- Retrospective in the State Russian Museum, St Petersburg

The State Russian Museum St Petersburg

Peter Ludwig schenkte Museum Helnwein-Bilder -
Lothar Deeg
Kölner Stadt Anzeiger | 10.Oct.1996
"Anna aus, ich glaube, Kiel", war die unübersehbare Hauptfigur bei der Eröffnung der Ausstellung des österreichischen Malers Gottfried Helnwein im Russischen Museum in Sankt Petersburg.
Wenn Kunst aus dem Westen den Weg nach Russland findet - um dort zu bleiben -, stehen zwei den Petersburgern inzwischen wohlbekannte Namen dahinter:
Irene und Peter Ludwig, die dem Russischen Museum wieder eine Schenkung gemacht haben.
Mit jeder seiner exakt gezeichneten Hautporen und jeder Wimper ist dieses Kind Subjekt - und nicht nur einfach Objekt für einen Maler, der Gigantismus mit Detailversessenheit kombiniert.
"Menschlichkeit im Riesenmass", interpretierte Ludwig das Bild.
Wenn Kunst aus dem Westen den Weg nach Russland findet - um dort zu bleiben -, stehen zwei den Petersburgern inzwischen wohlbekannte Namen dahinter: Irene und Peter Ludwig, die dem Russischen Museum wieder eine Schenkung gemacht haben. Sie ist nicht so umfangreich wie 1995, als mit der Übergabe von zunächst 33 Werken berühmter Künstler aus den vergangenen zwei Jahrzehnten der Grundstock für die als globale kunsthistorische Lehrschau konzipierte "Sammlung Ludwig im Russischen Museum" gelegt wurde. Diesmal handelt es sich nur um drei Bilder.

1997
Studio Burg Brohl, Germany

Evgenija Nicolaevna Petrova (Chief Curator of the State Russian Museum, St. Petersburg)
from the exhibition catalogue | 1996
The works of Gottfried Helnwein are technically classified as hyper-realism (surpassing super-realism) and at first glance are practically indistinguishable from photographs. Though realistic in terms of technique, most of Helnwein's works are characterized by metaphorical implications.
Among his works, for example, is a painting of a man blindfolded with a bandage around his head. Featured in magazines and newspapers worldwide, looking at this painting may have caused people to feel its unheard cry.
Throughout most of Helnwein's work is the basic principle of realism laced with metaphor. Viewed in this light, this basic principle can be considered, in a sense, metaphorical under the guise of realism. On the contrary, photographs by Helnwein look like paintings with implications.
Included in all of Gottfried Helnwein's work, this basic principle demonstrates a reflection of the aesthetics of popular culture and irony, and represent Helnwein's major outlook on the world.
Gottfried Helnwein is endowed with perfect pitch and distinguished sense of contemporary issues.
As a painter whose art deals with issues confronting human society, Helnwein creates a new standard of measuring modernism.

Interesting article and many artworks

02.Apr.2002
Helnwein self-portrait, Russia (click on the self-portrait image!)

01.Jun.1997
The State Russian Museum St Petersburg
Retrospective
Marble Palace, State Russian Museum St Petersburg
Helnwein
Commemorating the retrospective of Gottfried Helnwein in St. Petersburg's Marble Palace in 1997, the State Russian Museum has published the most comprehensive anthology of the unconventional artist's work to date.
This is the first publication showing all aspects of Helnwein's complete works from the period between 1970 and 1997.
It includes his graphic works, watercolors, oil and mixed media paintings,
his photographic work, public actions and installations as well as his works for the theatre.
With texts by Heiner Müller, William S. Burroughs, H.C.Artmann, Klaus Honnef and Peter Selz.
424 pages, 580 illustrations.
Könemann Verlagsgesellschaft mbH,
Cologne, Germany
Helnwein


		20. Май 2002 Fakel art magazine, Russia INTERVIEW WITH GOTTFRIED HELNWEIN IN RUSSIAN ART MAGAZINE http://www.fakel.org, Interview with Gottfried Helnwein


		Faкeл: online №2. 2002 год ТРЕХ ИЗВИЛИНАХ


		HELNWEIN, В ТРЕХ ИЗВИЛИНАХ, Faкeл: Faкeл: Кто для вас важнее, Адольф Гитлер или Дональд Дак? Gottfried Helnwein: Конечно, Дональд Дак. Встреча с этим персонажем в возрасте четырех лет была моей первой встречей с великим искусством. Я родился в Вене, оккупированной советскими войсками, сразу после окончания войны. Кругом разбомбленные дома, врослые казались мне разбитыми и угнетенными. Не помню, чтобы в раннем детстве кто-то пел или смеялся. Мир вокруг меня казался немым черно-белым кино в замедленной перемотке. Я чувствовал себя так, будто приземлился на чужой планете, в мире, которому не принадлежу. Однажды вернувшийся с работы отец бросил на пол передо мной едва ли не первый немецкий перевод комиксов о Дональде Даке. Открыв эту первую в моей жизни книгу комиксов, я открыл дверь в реальный мир. Робко вошел. Я чувствовал себя так, как человек, переживший взрыв на шахте. После долгого пребывания в темноте между жизнью и смертью я вошел в яркий свет Дакбурга, и мои глаза, не привыкшие к такому яркому свету, наполнились слезами. Я глубоко вздохнул, и мои пропыленные легкие наполнились свежим воздухом. В этом мире все снова обрело свой смысл: люди снова выглядели нормально, у них были желтые утиные клювы или собачьи морды, и каждого из них можно было безо всякого вреда для их здоровья продырявить пулями или раскатать в лепешку гигантским катком. Это был мир красок, скорости, приключений, магии и удивления. Я никогда не отступал назад, в чистилище так называемого "реального мира", и с тех пор Дональд Дак стал для меня неограниченным источником вдохновения. HELNWEIN, В ТРЕХ ИЗВИЛИНАХ, Faкeл:


		Faкeл: online, HELNWEIN, №2. 2002 год ТРЕХ ИЗВИЛИНАХ


		THE HELNWEIN PASSION Alexander Borovsky (Curator for Contemporary Art at the State Russian Museum, St. Petersburg) Helnwein Monograph, the State Russian Museum, St. Petersburg \| 1997 I'll never forget the sensation I had at the unveiling of Gottfried Helnwein's "Kindskopf" in the Russian Museum. And not just because this enormous canvas (six metres in height, four in breadth), well-known from reproductions, seemed to operate in a whole new way in the real, quasi-monumental space of the museum's "Concrete Hall", originally intended for the demonstration of gigantic sculptural compositions. I realised that I was looking at the inner content of this innovative picture from a whole new point of THE HELNWEIN PASSION


		HELNWEIN: THE ARTIST AS PROVOCATEUR Peter Selz (Professor Emeritus, Department of Art History, University of California, Berkeley. Former Curator at the Museum of Modern Art in New York and founding director of the Berkeley Art Museum.) Helnwein Monograph, the State Russian Museum, St. Petersburg \| 1997 Much like Joseph Beuys, who opened new, unexpected, and far-reaching spheres for art, Gottfried Helnwein has made works that extend beyond the art scene into the social and political realm. Like his predecessor, he has moved beyond the realm of pure aesthetics, engaging his art into the everyday world. Furthermore his principal interest is not to express personal feelings and emotions, but to make statements that go beyond the individual. He wants to see his work not trapped on the walls of museums and galleries, but revealed in the public domain. He expects his work to intervene in the social sphere and to have a direct impact on the life of his time. HELNWEIN: THE ARTIST AS PROVOCATEUR


		THE SUBVERSIVE POWER OF ART Klaus Honnef (Curator for Contemporary Art at Rheinisches Landesmuseum, Bonn) Helnwein Monograph, The State Russian Museum, St. Petersburg \| 1997 Helnwein - A Concept Artist before the Turn of the Millennium. Is it sheer coincidence that Gottfried Helnwein, the Austrian artist, created a portrait of both the German and the American? Coincidence, that he captured Warhol as a disturbing spectre on photograph, but painted Beuys? And that he then photographed the painted portrait of Beuys in the hands of Arno Breker, Adolf Hitler's favourite sculptor? There are weighty reasons for considering Helnwein the legitimate heir to Beuys and Warhol. THE SUBVERSIVE POWER OF ART


		Kommersant Daily , Russian Newspaper, ( frontpage ) 12.Jun.1997 Russia EXHIBITION IN THE STATE RUSSIAN MUSEUM, ST PETERSBURG Gottfried Helnwein- Retrospective in the State Russian Museum, St Petersburg Kommersant Daily , Russian Newspaper, ( frontpage )


		BRIAN ENO AT THE OPENING OF THE HELNWEIN-RETROSPECTIVE The State Russian Museum St Petersburg BRIAN ENO AT THE OPENING OF THE HELNWEIN-RETROSPECTIVE


		EIN MÄDCHENKOPF FÜR SANKT PETERSBURG Peter Ludwig schenkte Museum Helnwein-Bilder - Lothar Deeg Kölner Stadt Anzeiger \| 10.Oct.1996 "Anna aus, ich glaube, Kiel", war die unübersehbare Hauptfigur bei der Eröffnung der Ausstellung des österreichischen Malers Gottfried Helnwein im Russischen Museum in Sankt Petersburg. Wenn Kunst aus dem Westen den Weg nach Russland findet - um dort zu bleiben -, stehen zwei den Petersburgern inzwischen wohlbekannte Namen dahinter: Irene und Peter Ludwig, die dem Russischen Museum wieder eine Schenkung gemacht haben. Mit jeder seiner exakt gezeichneten Hautporen und jeder Wimper ist dieses Kind Subjekt - und nicht nur einfach Objekt für einen Maler, der Gigantismus mit Detailversessenheit kombiniert. "Menschlichkeit im Riesenmass", interpretierte Ludwig das Bild. Wenn Kunst aus dem Westen den Weg nach Russland findet - um dort zu bleiben -, stehen zwei den Petersburgern inzwischen wohlbekannte Namen dahinter: Irene und Peter Ludwig, die dem Russischen Museum wieder eine Schenkung gemacht haben. Sie ist nicht so umfangreich wie 1995, als mit der Übergabe von zunächst 33 Werken berühmter Künstler aus den vergangenen zwei Jahrzehnten der Grundstock für die als globale kunsthistorische Lehrschau konzipierte "Sammlung Ludwig im Russischen Museum" gelegt wurde. Diesmal handelt es sich nur um drei Bilder. EIN MÄDCHENKOPF FÜR SANKT PETERSBURG


		MORE ARTICLES ABOUT HELNWEIN IN RUSSIA:


		PORTRAITS OF PETER AND IRENE LUDWIG FOR THE STATE RUSSIAN MUSEUM 1997 Studio Burg Brohl, Germany PORTRAITS OF PETER AND IRENE LUDWIG FOR THE STATE RUSSIAN MUSEUM


		METAPHORICAL PRINCIPLE OF GOTTFRIED HELNWEIN Evgenija Nicolaevna Petrova (Chief Curator of the State Russian Museum, St. Petersburg) from the exhibition catalogue \| 1996 The works of Gottfried Helnwein are technically classified as hyper-realism (surpassing super-realism) and at first glance are practically indistinguishable from photographs. Though realistic in terms of technique, most of Helnwein's works are characterized by metaphorical implications. Among his works, for example, is a painting of a man blindfolded with a bandage around his head. Featured in magazines and newspapers worldwide, looking at this painting may have caused people to feel its unheard cry. Throughout most of Helnwein's work is the basic principle of realism laced with metaphor. Viewed in this light, this basic principle can be considered, in a sense, metaphorical under the guise of realism. On the contrary, photographs by Helnwein look like paintings with implications. Included in all of Gottfried Helnwein's work, this basic principle demonstrates a reflection of the aesthetics of popular culture and irony, and represent Helnwein's major outlook on the world. Gottfried Helnwein is endowed with perfect pitch and distinguished sense of contemporary issues. As a painter whose art deals with issues confronting human society, Helnwein creates a new standard of measuring modernism. METAPHORICAL PRINCIPLE OF GOTTFRIED HELNWEIN


		Russian website Interesting article and many artworks http://www.obyava.ru/gottfried_helnwein.php


		RUSSIAN WEBSITE ABOUT HELNWEIN SELF-PORTRAITS 02.Apr.2002 Helnwein self-portrait, Russia (click on the self-portrait image!) RUSSIAN WEBSITE ABOUT HELNWEIN SELF-PORTRAITS


		Another Russian Website http://hela.sitecity.ru/album_0806190710.phtml


		THE HELNWEIN MONOGRAPH, St Petersburg, 1997 01.Jun.1997 The State Russian Museum St Petersburg Retrospective Marble Palace, State Russian Museum St Petersburg Helnwein Commemorating the retrospective of Gottfried Helnwein in St. Petersburg's Marble Palace in 1997, the State Russian Museum has published the most comprehensive anthology of the unconventional artist's work to date. This is the first publication showing all aspects of Helnwein's complete works from the period between 1970 and 1997. It includes his graphic works, watercolors, oil and mixed media paintings, his photographic work, public actions and installations as well as his works for the theatre. With texts by Heiner Müller, William S. Burroughs, H.C.Artmann, Klaus Honnef and Peter Selz. 424 pages, 580 illustrations. Könemann Verlagsgesellschaft mbH, Cologne, Germany Helnwein THE HELNWEIN MONOGRAPH, St Petersburg, 1997