DOCSLIB.ORG

Hessisches Staatstheater Wiesbaden Lohengrin Israeli Opera Tel A

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Hessisches Staatstheater Wiesbaden Lohengrin Israeli Opera Tel A Festive Opening Opera Israel Sat. 28 April, 16.00 h, Colonnades Tue. 1 May, 19.30 h, Großes Haus Wed. 2 May, 19.30 h, Großes Haus Hessisches Staatstheater Wiesbaden Israeli Opera Tel Aviv ‘You Shall Not Query Me’ Tosca A composition for eight brass instruments by An opera in three acts by Giacomo Puccini Ernst August Klötzke In Italian with German surtitles World premiere Musical direction David Stern The Wiesbaden Music Academy Brass Players Direction, set and costume design by Hugo de Ana Direction Joachim Tobschall Opera Opening premiere A feast for the eyes and ears: an opulent, half-cinematic produc- tion of Giacomo Puccini’s Roman operatic thriller ‘Tosca’ staged Sat. 28 April, 17.00 h, Großes Haus and designed by the Argentinean director Hugo de Ana and fea- Thu. 17 May, 17.00 h, Großes Haus turing such internationally renowned performers as Michèle Crider, Kamen Chanev and Ko Seng Hyoun. David Stern, musical Hessisches Staatstheater Wiesbaden director of the Israeli Opera, personal- ly assumes the musical direction of this Lohengrin brilliant production. A romantic opera by Richard Wagner Musical direction Marc Piollet Directed by Kirsten Harms The use of dynamic film projections from With surtitles onstage and behind the scenes opens The son of King Percival is sent on a boat drawn by swans to aid up new perspectives and impressions and protect the Duchess of Brabant. He asks but one thing in of Rome during the Baroque period. All return for his service: she may never ask him who he truly is. She video clips were filmed on location at ori- agrees, yet she is cleverly manipulated by Telramund and Ortrud ginal sites in Rome. to violate his condition. He is forced to bid her farewell. At the start of the Internationale Maifestspiele 2012, audiences Opera Israel are invited to the premiere of ‘Lohengrin’ by Richard Wagner, Fri. 4 May, 19.30 h, Großes Haus whose works have helped shape the development of modern musi- cal theatre more than any other composer. In Wagner’s biography, ‘Lohengrin’ represents a point of interface between traditional Israeli Opera Tel Aviv opera and a newer, more trendsetting form of musical drama. The Child Dreams Australia An opera in four parts by Gil Shohat Libretto by Gil Shohat and Omri Nitzan Sa. 19 May, 20.00 h, Concert-Shell, Kurpark Based on the play by Hanoch Levin In Hebrew with German surtitles Co-Opera – Opera on the Move Musical direction David Stern Directed by Omri Nitzan The Marriage of Figaro Set and costume design by Gottfried Helnwein Commedia per musica by W. A. Mozart A holistic work of art comprised of literature, music, theatre, In English | Please wear weather-appropriate clothing! painting and movement based on a play by the renowned Israe- li playwright Hanoch Levin. ‘The Child Dreams’ is a visionary and Musical direction Brian Chatterton touching allegory of children’s fates in Directed by Tessa Bremner a world characterized by war, emigrati- Can you perform opera in the Australian on and the desire for peace. The libretto outback? Of course! For years, the group was developed by composer Gil Shohat Co-Opera has successfully toured through and director Omri Nitzan. The famous the most remote areas of Australia with Austrian painter Gottfried Helnwein desi- its unconventional opera productions. In gned the set and costumes for this pro- May, Wiesbaden audiences will have the duction. opportunity to see a guest performance of Co-Opera’s version of ‘Heartfelt, touching music.’ ‘The Marriage of Figaro’ – a unique open-air opera experience. (Opera Today) Opera China Dance Italy Dance Canada Tue. 22 May, 19.30 h, Großes Haus Wed. 9 May, 19.30 h, Großes Haus Fri. 25 May, 19.30 h, Großes Haus Wed. 23 May, 19.30 h, Großes Haus Thu. 10 May, 19.30 h, Großes Haus Sat. 26 May, 19.30 h, Großes Haus European premiere Celebrating the 20-year partnership between Büchner Year 2012 Year of Chinese Culture in Germany 2012 the regions Emilia-Romagna – Hessen Les Grands Ballets Chongqing Sichuan Opera Theatre Aterballetto Canadiens de Montréal The Chalk Circle Come un respiro (Like a Breath) / Leonce und Lena A Sichuan opera based on the play ‘The Caucasian Les Noces (The Wedding) A ballet by Christian Spuck Based on the comedy Chalk Circle’ by Bertolt Brecht Choreographed by Mauro Bigonzetti Music by by Georg Büchner Music by Johann Strauß, In Chinese with German surtitles Georg Friedrich Händel and Igor Stravinsky Alfred Schnittke and others Artistic direction Shen Tiemei Text adaptation by Yang Xiao ‚With its performance of ‘Come un respiro’ (Like a Breath) and ‘Les Georg Büchner’s satirical comedy about the conditions in absolu- Directed by Ou Yangming Noces’ (The Wedding), Aterballetto, Italy’s largest contemporary tist German towns is one of the greatest German-language come- With its reworking of Bertolt Brecht’s ‘Caucasian Chalk Circle’ ballet company of international repute, is presenting two repre- dies of all time. For this production, FAUST award winner Christian the famous company Chongqing Sichuan Opera Theatre from sentative works by its world-famous head choreographer, Mauro Spuck took it upon himself ‘to reinvent this linguistic caricature southwest China presents a Chinese tale as a Sichuan opera full Bigonzetti. You are invited to this glo- for the body and movement.’ His idea of magnificent sounds and colors. This style of opera, which has rious evening of ballet, which is whole- quickly evolved into an outstanding, been bringing stories to life with a mix heartedly committed to the beauty and internationally acclaimed work of con- of song and performance for more than articulateness of dance. temporary ballet. 200 years, is known to many for its vita- ‘A completely perfect and breathtaking ‘A masterpiece. (…) The opening night lity and dynamic style. The most notable performance: Bigonzetti is a master of audience members were beside them- characteristics of Sichuan opera include poses with a keen sense of elegance.’ selves with enthusiasm about the intel- unique solos, a refined and individualized (Hannoversche Allgemeine Zeitung on ligent choreography in this expertly dan- performance style, the use of dance and ‘Come un respiro’) ced world premiere.’ (Ruhr Nachrichten, acrobatics as well as impressive costu- Essen) mes and masks. Opera gala Dance Concert-/Dance-Performance Ireland Sun. 27 May, 19.30 h, Großes Haus Mon. 14 May, 19.30 h, Großes Haus Wed. 30 May, 19.30 h, Großes Haus Thu. 31 May, 19.30 h, Großes Haus Hessisches Staatstheater Wiesbaden Hessisches Staatstheater Wiesbaden German premiere Turandot Ballet Fabulous Beast Dance Theatre Dublin Dramma lirico in three acts by Giacomo Puccini Bluebeard’s Secret Rian In Italian with German surtitles A ballet by Stephan Thoss By Michael Keegan-Dolan (choreography Musical direction Wolfgang Ott Music by Henryk Górecki and Philip Glass and staging) and Liam Ó Maonlaí (music) Directed by Cesare Lievi Musical direction Wolfgang Ott Directed and choreographed by Michael Keegan-Dolan This year’s operatic gala at the Internationale Maifestspiele pro- Musical direction Liam Ó Maonlaí Stephan Thoss’ Wiesbaden ballet ‘Bluebeard’s Secret’ received mises a celebration of superb voices. With Lise Lindstrom, Hui two nominations for the German theatre award DER FAUST in 2011 Eight dancers from around the world and five of Ireland’s top He and Marcello Giordani in the main roles of Puccini’s last opera, – one for ‘Best Choreographer’ (Stephan Thoss) and one for ‘Best musicians unite with Ó Maonlaí and Keegan-Dolan to create an ‘Turandot,’ the most exceptional talents of the international opera Dance Performer’ (Giuseppe Spota). Giuseppe Spota was distin- expressive cultural hybrid. ‘Rian’ taps into healthy life-enhancing scene will be featured in Wiesbaden this year. guished with the much sought-after performance award for his traditions with influences from faraway places to evoke a timeless interpretation of the enigmatic charac- vision of the real indescribable nature of ter of Bluebeard. In this production, Cho- things. ‘Rian,’ the show that premiered reographer Stephan Thoss portrays an in the autumn of 2011 and was met with archetypical relationship-pattern: Inside standing ovations in Dublin and London, her husband’s castle, Bluebeard’s young is making its Germany debut in Wiesba- wife Judith opens door after door to den. reveal a series of eerie discoveries that ‘…a heart-lifting and ingenuous Irish threaten their relationship… dance night that could beat all for pure ‘This kind of dance theatre is addictive.’ delight.’ (The Arts Desk, London) (Die Deutsche Bühne, Cologne) Schauspiel Theatre Theatre Switzerland Sun. 6 May, 19.30 h, Großes Haus Sat. 12 May, 19.00 h, Großes Haus Sat. 19 May, 19.30 h, Großes Haus Mon. 7 May, 19.30 h, Großes Haus Sun. 13 May, 19.00 h, Großes Haus Sun. 20 May, 19.30 h, Großes Haus Thalia Theater Hamburg Deutsches Theater Berlin Schauspielhaus Zürich Hamlet About Life Platonow By William Shakespeare (Lea’s Wedding. Tacking Thread. Simon.) By Anton Chekhov In a new adaptation by Feridun Zaimoglu A trilogy by Judith Herzberg Translated into German by Werner Buhss and Günter Senkel Directed by Stephan Kimmig Directed by Barbara Frey Directed by Luk Perceval ‘About Life’ is one of the most unique productions featured at this For his interpretation of ‘Hamlet’ by William Shakespeare, direc- year’s Internationale Maifestspiele. Stephan Kimmig is the first Barbara Frey has staged Chekhov’s early masterpiece ‘Platonov’ tor Luk Perceval dared to make a casting decision that is just as director to unite Dutch author Judith Herzberg’s trilogy in one with a magnificent ensemble of performers, including Michael spectacular as it is self-explanatory: he chose two actors to por- evening of theatre, thus enabling the family story told in the plays Maertens, Friederike Wagner and Lambert Hamel.
Load more

Recommended publications
  • Fotografando Sombras Um Olhar Sobre As Imagens Obscuras De Gottfried Helnwein
    PONTIFÍCIA UNIVERSIDADE CATÓLICA DE SÃO PAULO PUC-SP Lidia Zuin de Moura Fotografando sombras Um olhar sobre as imagens obscuras de Gottfried Helnwein MESTRADO EM COMUNICAÇÃO São Paulo 2014 PONTIFÍCIA UNIVERSIDADE CATÓLICA DE SÃO PAULO PUC-SP Lidia Zuin de Moura Fotografando sombras Um olhar sobre as imagens obscuras de Gottfried Helnwein MESTRADO EM COMUNICAÇÃO Dissertação apresentada à Banca Examinadora da Pontifícia Universidade Católica de São Paulo, como exigência parcial para obtenção do título de MESTRE em Comunicação e Semiótica, sob a orientação do Prof. Dr. Norval Baitello Junior. São Paulo 2014 2 Fotografando sombras Um olhar sobre as imagens obscuras de Gottfried Helnwein Lidia Zuin de Moura Resumo Esta pesquisa visa investigar e compreender as estratégias discursivas empregadas nas construções das imagens de Gottfried Helnwein, fotógrafo e pintor hiperrealista austríaco. Suas obras unem o tema do nazismo e da violência numa estética soturna que dialoga com personagens da cultura pop. A pesquisa se divide em três eixos: 1. O contexto histórico e cultural vivido por Helnwein e a relação do público com suas imagens; 2. Os universos culturais que exerceram influência sobre Helnwein: Barroco e Tenebrismo, sombra junguiana, Acionismo Vienense, Pop Art, Hiperrealismo; 3. Análise das séries The Murmur of the Innocents (2009-2013), The Disasters of War (2007-2011), Epiphany (1993-1998) e The American Paintings (2000-2003), focando-se especialmente nos motivos da criança, da cultura pop, do nazismo e da religiosidade. O quadro teórico e metodológico constitui-se a partir das teorias da imagem de Vilém Flusser e de Aby Warburg, considerando-se também os conceitos de imagem arquetípica de C.
    [Show full text]
  • Edward Hopper and the Discourse of Anti-Urbanism
    Social & Cultural Geography, Vol. 3, No. 2, 2002 Fear of the city 1882–1967: Edward Hopper and the discourse of anti-urbanism Tom Slater Department of Geography, King’s College London, Strand Campus, London WC2R 2LS, UK This paper traces the extent to which some of the major cityscape representations of the American ‘Realist’ painter, Edward Hopper, have contributed to the production and articulation of the discourse of anti-urbanism in American culture. Following an introduc- tory background to this discourse, the paper discusses the development of Realism in American art, and how the urban representations that emerged were a response to the rapidly changing, early twentieth-century American city. A brief biographical account of Edward Hopper is presented to explore the intertextual inuences behind his anti-urban sentiments, and how these translated into the unique form of Realism for which Hopper is renowned. This sets the stage for a reading of four key Hopper works that are suggestive of the anti-urban discourse: Night Shadows, Nighthawks, Approaching a City and Sunday. The powers of representation and the artist’s popularity have fed into the discourse of anti-urbanism—a discourse that has a material effect on urban life in America. Key words: discourse, anti-urbanism, cityscape, Edward Hopper, representation. Introduction The ‘celebrated thinkers’ to which they refer include Thomas Jefferson, Ralph Waldo Emer- But when in American history has there not been a son, Henry David Thoreau, Edgar Allan Poe, fear of the city … ? (Kazin
    [Show full text]
  • Die Zeit Steht Still
    DIE ZEIT STEHT STILL In ihren Bildern und Fotografien friert Mercedes Helnwein schöne, vermeintlich dahingeworfene und absurde Momente ein. Quen of the underground Wir sprachen mit ihr über das Aufwachsen mit ihrem berühmten Vater, Künstler Gottfried Helnwein, über inszenierte Zufälligkeit und die verlorene Schönheit vergangener Moden. Mercedes Helnwein all artworks by MERCEDES HELNWEIN 66 67 Es gibt schlechtere Karrierehighlights, als eine von the way thanks to my parents. Lots of freedom to explore Damian Hirst aufgekaufte Ausstellung. Und dennoch what interested us as kids — and maybe most importantly könnte Mercedes Helnwein, 36, nichts ferner liegen, als freedom to be who we were. strategische Karriereplanung oder ehrgeizige Künstler- posen. An ihre Ölkreidezeichnungen, Fotografien und Had I grown up with a stockbroker dad, who considers art Filme geht sie noch immer so neugierig und spielerisch frivolous or incomprehensible voodoo, or at best strictly an heran, wie sie es von frühster Kindheit von ihrem Vater investment, the journey would have been very different. I Gottfried Helnwein gelernt hat, dessen überdimensionale probably would have had to dye my hair green as a teenager hyperrealistische Kinderportraits oder Fotografien von and do a lot of things to rebel and distance myself from that Marilyn Manson als schaurige Mickey Mouse zu seinen world. It would have been more of a struggle. wohl bekannstesten Werken zählen. Kids and Guitars In Wien geboren, später in Deutschland und Irland auf- Would you share some childhood memories of growing up gewachsen zählt die auch für Modemarken wie Orla surrounded by your father’s work? Do you remember what Kiely tätige Künstlerin mittlerweile Los Angeles zu ihrem art meant to you as a child? Zuhause.
    [Show full text]
  • International Art Exhibitions 2011.01
    International 01 Art Exhibitions 2011 International 29.01.2011 > 24.04.2011 Art Exhibitions 2011 Gottfried Helnwein 1 Inferno of the Innocents Crocker Art Museum Crocker Gottfried Helnwein’s art addresses Opposite Page themes of inhumanity, violence and Untitled (Payton 4) the virtue of personal expression. This 2005, Mixed media exhibition features 70 major paintings (oil & acrylic) on canvas and photographs from throughout 160 x 106 cm Helnwein’s career. Highlights include 1 his iconic portraits of performer Marilyn The Last Child Manson, works from his recurring Helnwein abseiling down theme, ‘The Child,’ and his most recent an 80ft tall installation in series, ‘Disasters of War.’ For over forty Wexford, Ireland years, the artist has pursued a singular, 2008 radical vision realised in monumental 2 paintings and photographs. With stark The Golden Age 1 and probing psychological intensity, he (Marilyn Manson) critiques not only the past, but present- 2003, Pigment print day veneers, jolting us from the comfort 301 x 195 cm of complacency. Such confrontations Courtesy of Helnwein are informed by his upbringing in the Studio, Los Angeles post-war Vienna – an experience that 3 Sacremento fueled the artist’s passion for truth and The Disasters of War 19 tolerance. Today, Helnwein immerses 2007, Mixed media himself in our everchanging cultural (oil & acrylic) on canvas landscape, working between his studio 152 x 162 cm in Los Angeles and his castle in County In memory of Francisco Tipperary in Ireland. 3 de Goya 4 The Murmur of the Innocents 1 2009, Mixed media (oil & acrylic) on canvas 198 x 290 cm Private Collection 2 4 www.crockerartmuseum.org International 11.02.2011 > 29.05.2011 Art Exhibitions 2011 Picasso 1 Peace & Freedom Louisiana Museum of Modern ArtLouisiana Louisiana Museum of Modern Art is Opposite page intrigued by Picasso (1881-1973).
    [Show full text]
  • Heads Press Release 2011 -- Statement
    Heads Curated by Peter Selz March 3 – April 30, 2011 Thursday March 3, 2011; 5.30-7.30 pm Dolby Chadwick Gallery is pleased to announce Heads, a group exhibition curated by Peter Selz. This exhibition brings together a diversity of works that manifest the show’s title – and organizing theme – in unique and compelling ways. Artists exhibiting include Stephen DeStaebler, Edwige Fouvry, Sherie’ Franssen, Lucian Freud, Ann Gale, Patrick Graham, Gottfried Helnwein, Alex Kanevsky, Jim Morphesis, Nathan Oliveira and Irving Petlin. “The human head has been the inspiration for artists since time immemorial. And with its multifarious range of expressions remains an inexhaustible object for the painter and sculptor, open to unlimited formal investigation and infinite expressive interpretation. An increasing search for veracity led, in the early 19th century, to the invention of photography, creating doubt about the very survival of representational painting. Perhaps Susan Sontag was right when asserting that "a photograph is a powerful instrument for depersonalizing the world" and painters and sculptors persisted in analyzing and revealing the human face. The Cubists shattered and dismembered the face of the sitter and re-assembled it in a new rational order on a flat two-dimensional surface. The Surrealists, open to the irrational aspects of human thought and feeling, found ways to convey the dream and erotic associations in their work. Most striking is René Magritte's transformation of a woman's face into a map where her eyes are replaced by breasts, the nose by the navel, and the mouth by the vulva in his painting, Rape (1934).
    [Show full text]
  • Swihart Thesis
    THESIS MALICIOUS INNOCENCE Submitted by Sam Swihart Department of Art and Art History In partial fulfillment of the requirements For the Degree of Master of Fine Arts Colorado State University Fort Collins, Colorado Spring 2016 Master’s Committee: Advisor: Erika Osborne Marius Lehene Emily Moore Matthew Cooperman Copyright by Sam Swihart 2016 All Rights Reserved ABSTRACT MALICIOUS INNOCENCE My work represents an exploration of warfare through the lens of children both in and out of the combat zone. Because warfare is such a multifaceted enigma, many of its aspects become overlooked in favor of grandiose narratives that speak towards its glorification or abhorrence. In the past, art was used to ennoble warfare as a kind of sport for the aristocracy, while legitimizing conflict through the actions of the ruler and state. However, beginning in the nineteenth century, there was a shift in propaganda that focused more intensely on the role of the individual soldier. By the twentieth century the focus had shifted largely away from the valor of individuals, instead focusing ever more on the abject qualities of modern warfare. These narratives all share a common theme that is primarily focused on the actions of individual soldiers or units, their heroism, and the horrors they endured. Yet children often play an ancillary role in many of these narratives, either providing a source for pity, or showing desperation while emphasizing the loathsomeness of an enemy. For this reason, I have chose to tackle the subject from a different angle – that of the child’s involvement both in play as well as combat.
    [Show full text]
  • 1 the SUBVERSIVE POWER of ART Gottfried Helnwein
    THE SUBVERSIVE POWER OF ART Gottfried Helnwein - A Concept Artist before the Turn of the Millennium. Klaus Honnef In the light of a cultural criticism which believes that the world is on its way to a reality of total manipulation and simulation, promoted with all the force of an agenda by powerful media systems, the task falling to art is of central importance. It embodies, as it were, the human factor. Given the barrage of simulated and virtual images also to be found in art, the claim to show the world "as it is", an aspiration already pursued by emperor Frederick II of Staufen in his famous bird book, and equally important for seventeenth century Dutch painters and for empirical sociology two centuries later, seems fairly presumptuous. But art will only fulfil its task - should it still be willing to set itself any - if it is able to break the power of the systems and to lift the spell which their agendas are casting over people, causing their reactions to move in a perpetual cycle of virtual behaviour, as analysed by the media philosopher Vilém Flusser. Art must do without the means of physical violence, and the means of rhetoric are fuelling the imagery of the mass media. But artists are not left helpless. For they command the dangerous weapon of subversion. Handled with intelligence, it turns into the stone used by David, capable of bringing down the Goliath of the world of systems. It was not by accident that in the second half of the twentieth century Joseph Beuys and Andy Warhol became key figures of art, forming a bridge between a gradually fading modernity and the emerging, as yet formless continent of the new.
    [Show full text]
  • AM Success Release Final
    Art Miami + CONTEXT Art Miami Fairs Boast Strong Attendance and Sales During Miami Art Week Miami’s Longest Running Contemporary Art Fair Sees Million-Dollar Acquisitions in Blue-Chip and Contemporary Works MIAMI, FL – December 9, 2016 - Celebrating its 27th edition, Art Miami was the first major event to kick off Miami Art Week, where it continued to hold its reign as the leading international contemporary and modern fair. Along with sister fair CONTEXT Art Miami, the two shows ran from November 29th through December 4th and reported significant sales of blue-chip and contemporary artists with impressively strong attendance of prestigious art collectors, connoisseurs, advisors and notable museum professionals. There were more than 78,500 attendees at Art Miami and CONTEXT Art Miami throughout the week and 10,500 guests at the VIP Preview, which was sponsored by Christie’s International Real Estate and benefited the Pérez Art Museum Miami. On the third day of the fair, Nick Korniloff, Founder of Art Miami LLC, announced that they have signed a multi-year agreement with Resorts World International to host the 28th edition of Art Miami and CONTEXT Art Miami, kicking off Miami Art Week 2017 at the former Miami Herald site (One Herald Plaza at NE 14th Street on Biscayne Bay) in downtown Miami, offering ample on-site VIP and general parking. On December 3rd, Art Miami held the inaugural private cocktail reception and dinner benefit to present The Art Miami Lifetime Visionary Award to collector and Chairman of the Related Companies, Jorge M. Pérez at db Bistro Moderne.
    [Show full text]
  • Gottfried Helnwein LA Times 5.31.05
    OPERA REVIEW Strange but true Gottfried Helnwein's wondrous staging of 'Der Rosenkavalier' is eccentric and anachronistic -- yet utterly faithful to its spirit. May 31, 2005 | Mark Swed | Times Staff Writer First things first: There is no overt lesbian sex in the new Los Angeles Opera production of "Der Rosenkavalier." Hardly a hint of it. Those who have been objecting to the company's advertisement featuring two attractive women, moist lips apart and microseconds away from plunging deeply into a sensual kiss, have little to fear. Maximilian Schell's production, which opened Sunday night at the Dorothy Chandler Pavilion, is not chaste, exactly, but it won't shock the typical "Rosenkavalier"-goer. At least it won't shock anyone who doesn't mind Bugs Bunny popping into the Marschallin's boudoir along with all the other weirdos. For The Record Los Angeles Times Wednesday June 01, 2005 Home Edition Main News Part A Page 2 National Desk 1 inches; 44 words Type of Material: Correction "Der Rosenkavalier" -- A headline on a review in Tuesday's Calendar section about an L.A. Opera production referred to it as Gottfried Helnwein's staging of the opera "Der Rosenkavalier." Helnwein is the set designer and costume designer; the work is directed by Maximilian Schell. The second thing you should know about this "Rosenkavalier" is that it is terrific. Richard Strauss' opera sounds great and looks sensational. It is excellently sung, sumptuously conducted by Kent Nagano and, thanks to Gottfried Helnwein, wondrously strange. Helnwein -- the Austrian artist (painter, photographer, performance artist, filmmaker, hobnobber with the stars) who has a studio in downtown L.A.
    [Show full text]
  • Press Release “Gottfried Helnwein – Seep of Reason”
    Kunst Bonn 2021 Bonn Kunst - Sammlung © Gottfried Helnwein, VG Bild VG Helnwein, © Gottfried Sammlung Gottfried Helnwein, The Murmur of the Innocents 71, 2019, Private Gottfried Helnwein is known for his hyper-realistic images and his photo portraits of celebrities such as Mick Jagger, Michael Jackson, Andy Warhol, Arnold Schwarzenegger, Marilyn Manson and the band Rammstein. In his provocative images, he articulates themes of violence and abuse in a way that is as captivating as it is shocking. Children in particular, whose innocence, naivety and tenderness he focuses on, are his projection screen. Violence essentially takes place in the associative gaze of the viewer, who allows himself to be captured by the bandaged, but also physically tortured children as well as adults. Helnwein is a skilfully staging artist who visibly incorporates adaptations and quotations from art history. Above all, the culture of European Romanticism provides him with iconographic motifs and subjects, especially its black side, with its abysses of the soul lost in nightmares, in the disturbing and in its own dramaturgy of fear and cruelty. Moreover, it is also the landscapes of longing that show another side of sensibility and which, in Helnwein's work, pointedly thematise the apocalyptic. This iconographically charged trace in Helnwein's work is to be traced in the exhibition, for it leads logically from quotations by Caspar David Friederich (Eismeer), to Johann Heinrich Füssli, Arnold Böcklin, to the emphatically Christian in early Romanticism and to Richard Wagner's "Gesamtkunstwerk". From Wagner and Nietzsche, a stringent arc develops to Hitler's propaganda machinery, the staged epic mass marches of the SS and culminates in Helnwein's great admiration for Carl Barks, whereby he even fits Mickey Mouse into the context of Nazi rule.
    [Show full text]
  • Reinterpreting Collections
    01 Issue # 12/11 Freely distributed, non - commercial, digital publication REINTERPRETING COLLECTIONS Installation view Strange and Close, Van Abbemuseum, 2009. Photograph by Malte Roloff. Works on display: Hüseyin Alptekin Self-Heterotopia, Catching Up with Self (1991 - 2007) and Harun Farocki Respite (2007). CONTENTS 02 Marjatta Hölz Introduction 16 Viola Rühse Banksy's quirky and overhyped take on the collection of Bristol City Museum and Art Gallery 05 Subhadra Das Disposal?: A democratic exhibition at UCL Museums & Collections 20 Khadija Carroll La and Alex Schweder La ...(excerpting collections) from a history of interventions 08 Malte Roloff and Iris Ströbel Rewind and Fast Forward: PLAY 24 Marjatta Hölz Interventions and participation in curating art collections. Interview with Stella Rollig 12 Annette Schemmel Bridging the gap: About 'decollecting', a curatorial research on artistic, 32 Valentine Meyer Interview with Jean Hubert Martin institutional and private collecting 02 Issue # 12/11 1 Filippo Tomaso Marinetti, The Futurist FRESH BREEZE Manifesto, 1909. 2 cf. James Putnam, Art and Artifact, in the depots — The Museum as Medium, Thames and Hudson, New York, CURATORIAL 2001, p. 28. 3 cf. "ICOM Code of Ethics for Museums," accessed February CONCEPTS FOR 12, 2011, http:// icom.museum/file admin/user_upload/ pdf/Codes/code 2006_eng.pdf, p. 6. REINTERPRETING COLLECTIONS Marjatta Hölz "Museums, cemeteries!"1 the Futurists exclaimed at the beginning of the last century. In spite of their debatable chauvinist tendencies, their protest was, together with that of the Dada movement a few years later, a precursor of institutional critique. Nonetheless, their works also ended up in museums. Discourse and interactive projects have taken hold of museums only since the 1960s.
    [Show full text]
  • GOTTFRIED HELNWEIN Select Solo Exhibitions 2014 Gottfried Helnwein
    GOTTFRIED HELNWEIN Select Solo Exhibitions 2014 Gottfried Helnwein, Daelim Contemporary Art Museum, Seoul, Korea 2013 Retrospective. Albertina Museum, Vienna, Austria 2013-2012 Fe, esperanza, y caridad. Museo Nacional de San Carlos, San Carlos, Mexico. 2012 Gottfried Helnwein. Friedman Benda, New York, NY 2011 Inferno of the Innocents. Crocker Art Museum, Sacramento, CA Retrospective. Santralistanbul, Museum for Contemporary Art, Main Gallery, Istanbul, Turkey Undeniably Me: Gottfried Helnwein. Galerie Rudolfinum, Prague 2010 Gottfried Helnwein: I Was a Child. Friedman Benda Gallery, New York, NY Ninth November Night. Tel Aviv, Israel 2009 Gottfried Helnwein. Friedman Benda Gallery, New York, NY The Disasters of War II. Modernism Gallery, San Francisco, CA Gottfried Helnwein. Central European House of Photography, Bratislava, Slovakia Gottfried Helnwein. The Murmur of the Innocents. Modernism Gallery, San Francisco, CA Fotografica Bogota 2009. Gottfried Helnwein: Installation in the city of Bogota. Museo de Arte Colonial, Bogota, Columbia 2008 Angels Sleeping. Galerie Rudolfinum, Prague, Czech Republic The Disasters of War II. Modernism Gallery, San Francisco, CA Prints. Greyfriars Municipial Art Gallery, Waterford City, Ireland The Last Child. Waterford Fringe Festival, Waterford, Ireland Ninth November Night. City of Philadelphia, PA I Walk Alone. Natalie and James Thompson Art Gallery, San Jose State University, San Jose, CA 2007 The Disasters of War. In memory of Francisco de Goya. Modernism Gallery, San Francisco, CA Angels Sleeping. Greyfriars Municipial Art Gallery, Waterford Fringe Festival, Waterford, Ireland Galerie Marenzi, Leibnitz, Austria 2006 Face it! Lentos Museum of Modern Art, Linz, Germany Los Caprichos. Modernism Gallery, San Francisco, CA Fenton Gallery, Cork, Ireland Galerie Brockstedt Berlin, Germany Helnwein – Diary of the Artist Against Violence.
    [Show full text]