January 2009
Michal Szyksznian speaks with Gottfried Helnwein
celebritarian.pl
Poland
CELEBRITARIAN: In common notion, America is seen as the land of freedom.
But at the same time it seems to enforce definite canons and models
on the
world, and put the hand of censorship on the unconventional expression of the
individual. I know that you enjoy living in LA, because it gives
you freedom.
What kind of freedom does LA have to offer?
HELNWEIN: LA is a strange place. A few blocks from my studio
the streets are filled with thousands of homeless people, huddling on sidewalks
or
staggering through the streets -- and from time to time some lost soul is
gesticulating franticly and shouting at invisible enemies. I live and work
in the so
called "artist
district" in
downtown Los Angeles - an innocent little island with old warehouses and brick
buildings that look like left-overs from a noir movie
set, inhabited by artists,
photographers, musicians, skinny girls with nice tatoos, freaks, and Japanese
students from SCI-Arc (The Southern California
Institute of Architecture) placed
in the former Santa Fe Rail Road freight-depot, a concrete block one-quarter
of a mile long.
The heart of the artist district is the "Groundworks" cafe
in a red-painted building across the old, run-down "American Hotel" where
Bukowski once wrote
the screenplay for "Barfly". The air is heavily
polluted from all these diesel trucks that blow their unfiltered exhaust gases
through their erected chrome-pipes
into the air of downtown. When I touch my
paintings my hands gets black from the layers of black dust, that sets on everything
all the time.
But that's only one ride in the theme-park that is LA. There is
also little Tokyo, Chinatown, Mexico, Russia, Armenia, Korea-town, etc.
All together more
than 140 different ethnic groups and 224 different languages.
Here you can find any religion that people ever dreamed up - from the Church
of Satan to the
Chassidic Jews wearing huge fur hats and tight caftans, like
their ancestors wore in Galicia 200 years ago, walking with their children
on Shabbat under
palm trees in the Californian sun.
In South Central, black
kids loiter at street corners with a magnum in their waistband, controlling
the drug-trade. And in the heavily gated communities of
the rich, private police
officers in smart, black uniforms protect all the precious miracles that plastic
surgery is creating these days. And all these different
people live here in
some kind of peaceful anarchy. And of course there is that industry which has
fabricated dreams for the whole world since 100 years:
Hollywood.
LA is a city
without a center, and it has no memory - there is no past and no future, only
the here and now. It is like a raw wound that nobody cares to
bandage. I never
felt so free in my life. I think it's a freedom that comes from the fact that
nobody gives a shit.
CELEBRITARIAN: It seems that stereotypical thinking and censorship
increase the will of crossing the boundaries. I think that these things are
necessary for the artist to intensify his expression.
What do you think?
HELNWEIN:
Most societies are ruled by mediocre people that have no vision and no imagination.
Most rulers are scared of creation and creative people.
Artists are funny people.
All they want is to touch and move, challenge and surprise others. Dictators
hate surprises more than anything else. All they want is
to turn their territory
into a neat little toy prison camp and play with their little toy people.
Push them around, rip a leg or a head off now and then or throw
them into the
garbage when they are tired of their stupid, little doll faces.
And it's actually
not very hard to convince humans that it is the smartest and safest for them
to become puppets and leave all that boring thinking and decision
making to
the wisdom of God - or to his deputies: the Führers,
leaders, Popes, Presidents,
Duces, Cesars, Chairmen, and General Secretaries.
Isn't it interesting that
Stalin for example - lord over the life and death of hundreds of million slaves,
the biggest war-machinery, armies of secret police and an
enormous network
of Gulags - was scared of the poems of a lady named Anna Akhmatova? Deep inside
tyrants know that a seemingly innocent song or
poem can have the potential
power to spark off the final big fire that will turn his empire into ashes.
Hitler
tried to destroy every artistic expression by franticly burning books and paintings,
looting all museums, declaring art "degenerate", and
in typically
German bureaucratic nerd-fashion he even created a Goverment-agency
called "Reichskulturkammer" which handed out official certificates
to artists that
explicitly forbade them to paint or write poetry.
I smelled a little bit of that breath of death, when I had my first exhibition
in a museum in Vienna 1971, when somebody stuck labels on each of my paintings
with the words "degenerate art" on it.
I need censorship as much as I need an asshole on my elbow.
CELEBRITARIAN: Someone destroyed
the photographs of children from your "Kristallnacht" installation.
How do you feel about it?
HELNWEIN: If I put an installation, a work of art, into a public space,
I start a process that I can't control entirely anymore.
I have to be willing to let go,
and accept that the emotions and reactions
that it might trigger will become part of that work.
Sometimes as an artist you put your finger on a spot that hurts and then you
have to be able to confront the screams.
And exactly that happened with my
"Ninth November Night" Installation
(in remembrance of "Kristallnacht"). It was 100-meter-long wall of
pictures with 4 meter high children's faces lined up
in front of the cathedral
of Cologne, and one night somebody came along and cut all the throats of the
children. I was startled at first and uncertain of what to
do with the cut
up sheets of vinyl, but then I decided to just roughly patch them up with tape
and include the injury. And although it was originally un-
intended by me, this
attack added another dimension to that work of art and made it more powerful.
CELEBRITARIAN: Some people consider an artist as someone who should be above ideology, above
politics or even above morals. But art is often a
social commentary or political
statement. Should art be about politics or morals? Or should it be the art
for art's sake?
HELNWEIN: Too many people have already racked their brains
over the question what art should or shouldn't do.
Within living memory, self-appointed
"authorities"' and "experts" have
always tried to define, regulate, control and organize art and to set goals,
rules and limits for artists. Huge libraries have
been wasted with the junk
of theoreticians, critics, and moralists. But art and artists don't need that
crap, nor do people.
“There is no must in art because art is free”,
Wassily Kandinsky said.
Every artist has to make his lone decisions - free-climbing
without safety rope and
with a good chance of slipping and falling, sometimes
deep. Real art will always challenge the society the artist lives in to some
degree, and at times it will
upset some people.
CELEBRITARIAN: You started your artistic adventure as an Actionist. What is special about
making a happening? And what is your favourite Aktion
you've initiated?
HELNWEIN: At the age of 18 I finally realized that that I
was here to be an artist, and there was no way for me to escape that.
As a kid I always despised the
idea of being a painter. I had this concept
of boring old guys with beards and berets standing in front of an easel and
painting abstract canvases all day long.
Being a member of the Rolling Stones seemed to me the ideal form of existence
as an artist. But that was unrealistic. So I started little paintings and drawings
of wounded and bandaged children with cheap watercolor paints, colored pencils
and inks, and at the same time I began my actions with children in public
spaces.
My
first performance was with Sandra (6 years old). She was considered a problem
child by her parents, and I think her mother had a hard time coping with
Sandra's
wicked sense of humor. For example, one time, as protest for the punishment
of being locked in her room, she cut up all her mothers clothes into
tiny little
pieces, arranged them in a neat pile in the middle of the room and called her
mum with the innocent voice of an angel. Another time she set fire to
her parent's
apartment. She was one tough and mean little lady, but I liked her instantly.
She had the pride of a Latino street gang leader. When she looked at
you, her
piercing little eyes had a very clear message: "don't mess with me".
I
asked Sandra if she would like to participate in some art performances with
me. "What's in it for me?" she replied with the cool of a Yakuza
negotiating
business. "What do you want?", I asked her. "A
bicycle" she
said. So we had a deal. I bandaged her and she would stand or lie on the street
or sidewalk at
different locations in Vienna, in the stream of irritated pedestrians.
Sometimes she would walk slowly like a sleepwalker and bump into people. She
took
these actions serious and was very dedicated but always with a cool head
- no emotions involved. I also did a series of photographs with bandages, strings
and
surgical instruments and I was careful not to hurt her, but she was acting
with a professional curiosity and encouraged me to try more extreme distortions
of
her face.
Sandra was my first model and she appeared in photographs, short-films
and my early watercolors of the "Beautiful Victim" series. I had
great respect for her.
We never talked much, but there was always an almost
telepathic communication and understanding. I wish collaborations with grown-ups
would be that easy.
CELEBRITARIAN: You and Manson did a series of magnificent
works for "The Golden
Age of Grotesque" album. I know that there were some
problems with the
album cover.
HELNWEIN: Manson is an exceptional, creative being. We did some experimental
stuff together in the last few years. It was exciting and inspirational for
both of us. From a series of performance pieces we chose the images of Manson
as a black and as a white Mickey. I admit they were not the type of Mickeys
a kid wants to see when it wakes up in the night. We thought they were perfect
for the cover of the "Golden Age of Grotesque" album, but the people
from the
record company freaked out. Only over their dead body, you know?
So Manson decided to use another image from the same series which I also
like a lot: a
blurred apparition - red eyes and metal teeth.
CELEBRITARIAN: Art and entertainment: are they in opposition
to each other? Is there a line that connects them? The split between "high" and
"low" art
seems to be disappearing these days...
HELNWEIN: "High" and "low" are completely arbitrary and
artificial distinctions that some bloated assholes invented to
make life more complicated. Comics
are considered "low", but when
Roy Lichtensein comes and picks out one panel of that comic, projects and paints
it on a canvas then it's suddenly "high" art?
Give me a break. The
only thing that I care about in art is quality, intensity. Is a work of art
capable of touching and moving me?
Does it cause an emotional
impact on me? Does it startle, surprise, upset,
excite me? Does it make me think? Does it inspire me? Does it stimulate my
imagination? Does it change the way
I view the world to some degree?
CELEBRITARIAN: What artists are your biggest inspiration?
HELNWEIN: Francisco de Goya, Pieter Breughel, Matthias Gruenewald, Carl Barks,
Shakespeare, Fernando Pesoa, Francis Bacon, Manson, Captain
Beefheart, Caravaggio,
Jimi Hendrix, Kafka, Franz Xaver Messerschmidt, Caspar David Friedrich, Rembrandt,
Leonardo Da Vinci, Walt Disney, Bukowski,
E.A.Poe, E.T.A. Hoffmann, Rolling
Stones, Max Beckmann, David Lynch, Blind Willie McTell, Hans Christian Anderson,
Goethe, Bach, Norman Rockwell,
Robert Crumb, Deix, Wilhelm Busch, Burroughs,
H.C.Artmann, Jack White, Beck, Marlene Dietrich, Hieronymus Bosch, Tolstoi,
Alexandre Dumas,
Stendhal, Donald Duck, Christoph Ransmeyer, Elfriede Jelinek,
Mozart, Artaud.
CELEBRITARIAN: "Modern Sleep" series: this girl is not sleeping. She's got
her eyes open and she's conscious. Her look isn't childish, she seems to be
more alienated, more adult. Why did you called it "Modern Sleep"?
HELNWEIN: I never explain or interpret my work. My work isn't giving answers, it's asking questions.
CELEBRITARIAN: You are creating your works on a big canvas and gigantic installations.
How can artists communicate with people who know nothing
about art? What kind
of visual language is needed?
HELNWEIN: it's easy to communicate to people "who know
nothing about art" as you put it, but it's almost impossible to communicate
to people who think
they already know everything about art. Allow me to quote
Kandinsky again:
"And the academics that find fault with or praise a work of art based
on their analysis of the already existing methods of procedure, are the most
detrimental
misleaders, erecting a wall between the artwork and the naive onlooker.
From this standpoint (which unfortunately, as a rule, is the only possible
one) the art-
critic is the greatest enemy of art."
CELEBRITARIAN: As a beginner-painter I have some nice ideas but I just cannot find the way
to bring them to the two-dimensional image. I'm trying to
find a connection
between thoughts and canvas which could help me to make my concept clear and
readable. It is the hard part. How do you transport
your ideas into canvas?
HELNWEIN: That's the part I usually worry the least about,
I never cared much about methods and techniques. I pick up whatever tools or
techniques are
available (and often I mix or apply them in unorthodox ways).
And of course I experiment and always try to improve and refine my technique
and explore new
methods, but that is the easy part. The only thing that really
counts, that what it's all about -- the basic IDEA. What is it I want to express,
what is it I want to cry
out. What is it that needs to be thrown into this
world?
CELEBRITARIAN: "The American Prayer": Donald Duck - why is this character such a great inspiration for you?
HELNWEIN: I was born in Vienna after the war. It was a dark
place and I was a stranger, whose spaceship was stranded on this unknown planet
with no
possibilities of ever leaving again.
Not only did I loose my orientation through the impact of the crash, but also
my memory, because I had forgotten who I was
and where I came from. There was
only one thing I was certain of: that this was an alien world in whose merciless
embrace I was now caught. It was like the
after-math of a sloppy end of the
world, where the few people that had survived, now continued cautiously to
vegetate amongst the ruins, hoping to remain
unnoticed by the Eternal Judge.
I
spent lots of my time in cold churches where I encountered art for the first
time, and stared in awe and fascination for hours at all these tortured and
blood-
bathed saints that squirmed in ecstasy while their bodies were spiked
with arrows or nailed against crosses; or the pale Madonnas with their cold
and strange
beauty, ripping their dresses open and revealing a big, floating
heart pierced by tiny swords. These were the images that haunted me in the
sleepless nights of
my childhood.
That all ended one day when I opened my first
Donald Duck comic book. It was like seeing the daylight again for someone who
had been trapped underground
by a mine-disaster for many days. I squinted because
my eyes hadn't gotten used to the dazzlingly bright sun of Duckburg yet, and
I greedily sucked the fresh
breeze into my dusty lungs that came drifting over
from Uncle Scrooge's money bin. I was back home again, in 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 decent, with yellow
beaks or black knobs instead of
noses. And it was here that I met the man who
would forever change my life - a man who, as the Austrian poet H.C. Artmann
put it, is the only person today
that has something worthwhile saying: Donald
Duck.
After all these years of cultural and aesthetic absence, a great culture
had finally embraced me. What a joy it was to dive into the thirteen trillion
dollars of tycoon
Scrooge McDuck, and to burrow thorough it like a gopher,
to toss it up and let it hit me on the head. Donald was my savior. He rescued
me from a world that
was like a bad silent movie in slow motion and opened
the door to a 3-dimensional universe of colors, infinite imagination, miracles
and wonders.