Doch steht er bei weitem nicht allein in diesem Theater der Grausamkeit made in Austria. Seine Erbarmungslosigkeit gehört in eine lange Tradition künstlerischer Darstellung der österreichischen «Verlarvtheit». So nennt es der Maler und Aktionskünstler Gottfried Helnwein, so zeichnet es der Comic- König Manfred Deix, so monologisiert es Helmut Qualtinger alias Herr Karl, so textet es die Schriftstellerin Elfriede Jelinek - alle eingebettet als Militärberichterstatter vor Ort in diesem blutigen Aggressionskrieg gegen Verdumpfung, Verdummung und moralische Verderbnis. Auf dem Kommandoposten stehen noch immer Karl Kraus und Thomas Bernhard, hoch dekorierte Generäle an einer Heimatfront, um die mit Gift und Gas gekämpft wird. Sprachgift und Kunstgas gegen Gift und Gas der Geschichte. Schützengräben gegen jede Form von «Anschluss», in dem sich die Nazifratze immer von neuem ungehemmt entlarven will.
Pickel-Naturalismus. ...

If you are already familiar with Gottfried Helnwein then you proably knew more than I do about art, and I apologize on behalf of the commercially saturated masses.
Helnwein is a ridiculously talented artist. That is basically all you need to know. Anything you could imagine art doing for you, or to you, any feeling it might instill in you or emotion it might remove from you, he captures, then cripples, reformats, and pastes into the cleft pallet of a 20-foot-tall gray-scale rendition of a deformed fetus soaking in formaldehyde.
The essence of realism and ability that every art major ever clamored to grasp, he manages to expel onto canvas with apparent ease. He produces paintings, and photographs that you can't help but wish you could recreate with the same vision, depth, and intrigue. His art is without gimmick and his persona is without persona.
Helnwein is simply someone who enjoys creating, and has been doing a pretty damn good job at it for 35 years. ...

"Kleines Helnwein" is a play written and directedby the Argentinian poet Rodrigo M. Malmsten.
Inspired and based on the early paintings of Gottfried Helnwein
First performance: Teatro San Martin, Buenos Aires, 2000
.
Autor: Rodrigo M. Malmsten
Actuan: Martín Von Tumpling, Belén Blanco
Iluminación: Alejandro Le Roux
Música: Mariano Durand, Marcelo Vignolo
Producción: Julieta Almada
Dirección: Rodrigo M. Malmsten
Esta obra formó parte del evento: III Festival Internacional de Buenos Aires ...

We have seen something of the 'look' created via Manson's collaboration with artist Gottfried Helnwein -
While the Album remains a sealed box in musical terms, Manson will wax lyrical about the inspirations and influences that helped shape it. There are the people - as well as Calloway, he nods to Oscar Wilde and the loose collective of radical artists and agents provocateurs - collaborator Helnwein among them - who were dubbed the Viennese Actionists.
" The Grotesque Burlesque takes what we've done in the past and brings it to a completely different level. This is making everyone a part of your creation. It's realising that art is more than music, more than people listen to it, more than people who play it - it is the combination of all that.
Gottfried Helnwein is someone who knows how to artfully provoke. He would take some of his creations and he'd bring them out into the streets. It became an instance where people wouldn't know what was the show and what wasn't the show. That's such a beautiful thing. It's like being in the playground - you're not really sure who's on what team, or what the real objective is. ...

Wie ist die Zusammenarbeit mit Marilyn Manson entstanden?
GOTTFRIED HELNWEIN: Ich habe ihn vor einem Jahr kennen gelernt, seitdem arbeiten wir an verschiedenen Projekten. Unter anderem an Videos und Street Performances. Wir planen auch, gemeinsam eine Installation in Wien zu machen. ...

Art critic Klaus Honnef lauded Helnwein as "the legitimate air to Beuys and Warhol, " highlighting his ability to defy the artistic boundaries of the social and political realm."
After posing for a photographic portrait in 1990, William Burroughs said of Helnwein’s work, " You can’t show anyone anything he hasn’t seen already, on some level any more than you can tell anyone anything he doesn’t already know. It is the function of the artist to evoke the experience of surprised recognition to show the viewer what he knows but does not know what he knows. Helnwein is a master of surprised recognition. ...

Outside the Osbournes’ mansion last week, Manson and modernist Viennese artist Gottfried Helnwein premiered two paintings from a collection that will be used as The Golden Age Of Grotesque’s artwork and will travel with the singer. Inspired by the glamour of 1930s Hollywood, the grotesque of vaudeville and the erotic art movement in Weimar Berlin, the pieces are disturbing portraits of Manson wearing the classic Mickey Mouse ears hat.
"This is an image of innocence and an image of childish nightmares," Manson explained. "This is, to me, growing up in America, what I saw in entertainment and the contrasting extremes of beauty and ugliness. ...

Outside the Osbournes' mansion last week, Manson and modernist Viennese artist Gottfried Helnwein premiered two paintings from a collection that will be used as The Golden Age of Grotesque's artwork and will travel with the singer. Inspired by the glamour of 1930s Hollywood, the grotesque of vaudeville and the erotic art movement in Weimar Berlin, the pieces are disturbing portraits of Manson wearing the classic Mickey Mouse ears hat.
"This is an image of innocence and an image of childish nightmares," Manson explained. "This is, to me, growing up in America, what I saw in entertainment and the contrasting extremes of beauty and ugliness. ...

"Kids and guns is a big issue in society today, especially in America," explains Helnwein," One aspect of these pictures refers to the Columbine High School shootings, when Manson was blamed. And now the whole country is going to war. America worships guns. Every day you hear of child abuse. There are these cases with the Roman Catholic church. We're living in a crazy society. I believe a true artist will always reflect the state society is in." ...

Die Symboltiefe des Stücks versucht die Inszenierung in albtraumartig verrätselten Bildern szenisch einzufangen. Deren Motive erinnern bisweilen an die bedrückende Atmosphäre mancher Zeichnungen von Helnwein: die grausig auf dem Bett der Kaiserin herumlungernde Falkenfigur etwa, mit ihrer langen, gebogenen Schnabelnase, die surreal kahlen Räume, das klinisch von oben einfallende Licht sowie allerlei über die Bühne schleichende, zwielichtige Statistengestalten mit gipsernen Tiermasken ...