Published by Hatje Cantz. Edited with text by Christa Steinle. Text by Peter Weibel, Simon Baker, Markus Gabriel.
The iconic One Minute Sculptures of Austrian artist Erwin Wurm (born 1954) invite visitors to realize temporary sculptures by following the artist’s instructions and using objects at hand—levitating, holding your breath and thinking of Spinoza, throwing yourself away, or being a terrorist—for one minute. For a brief moment, long enough to lift the banality, the absurdity of this encounter between individual and object is raised to a philosophical level. Wurm’s constellations are social sculptures whose astonishing simplicity and stringency make them both alluring and unsettling.
This is the first publication to list all of the One Minute Sculptures that Wurm has realized around the world over a period of more than 20 years. It also features his latest work, created for the Austrian Pavilion at the 2017 Venice Biennale.
Published by Hatje Cantz. Edited and with text by Antonia Hörschelmann.
The popular Austrian artist Erwin Wurm (born 1954) established himself years ago on the international art scene with his One Minute Sculptures--photographs of people, often contorted, in staged, absurdist situations--and his comical sculptures that distort familiar objects, such as the “Fat Car.” In 2011, his “Narrow House,” a miniature version of his parents’ house in Austria, squeezed down to a sixth of its normal size and a width of six feet, was a big hit with visitors to the Venice Biennial. At the heart of his latest monograph is an as-yet unfinished group of works on a new theme titled De Profundis. In a range of media (including drawings), Wurm combines twenty-first-century representations of the body with the Gothic vocabulary of religious asceticism and abnegation.
Published by Hatje Cantz. Interview by Sara Weyns.
A master of deadpan sculpture and the absurd gesture, the Austrian artist Erwin Wurm (born 1954) is tireless and brilliant in his constant reinvention of sculptural convention. With each new work Wurm seems to think sculpture completely afresh, and always with materials readily to hand, such as cars, houses, or bodies: his One-Minute Sculptures(which marked his international debut) consisted of simple instructional drawings that invited viewers to themselves become sculptures by assuming bizarre poses. Wear Me Out showcases Wurm at his most inventive yet, and spans the full scope of his thinking, from outdoor sculptures such as the “fat” and “melting” houses to the artist’s latest work in furniture, drawings and--for the first time--clothing, developed in collaboration with the innovative Belgian fashion designer Walter Van Beirendonck, specifically for the artist’s 2011 exhibition at Gemeentemuseum in The Hague.
Published by Moderne Kunst Nürnberg. Edited by Hans Dünser. Preface by Hans Dünser. Text by Ingrid Adamer, Christian Denker, Robert Fabach, Wolfgang Hermann. Interview by Ingrid Adamer.
With each new work, Austrian artist Erwin Wurm (born 1954) seems to find the simplest, funniest ways to reinvent sculpture from scratch. In 2010, he charmed audiences worldwide with his “Narrow House,” which was exhibited at the Venice Biennale (where it was comically sited on a canal, next to one of the city’s massive palazzos), the Kunstraum Dornbirn and other international venues. A sculpture of a classic detached Austrian house with a gabled roof, loosely based on Wurm’s family home, “Narrow House” took visitors back in time to 1960s Austria. Naturally, Wurm added his own sculptural touch, and squeezed the whole house to a total width of just over three feet. Its fixtures and appliances--from the plumbing to the cutlery and the telephone--were all carefully modeled on 1960s design, and were likewise compressed, to a degree that visitors were just able to squeeze themselves in and pass through the structure. This volume documents this wonderful work and its installation with photographs and critical commentary, and also includes an interview with the artist.
Published by DuMont Buchverlag. Text by Helmut Friedel, Franz Schuh, Stephan Berg, et al.
Austrian artist Erwin Wurm has continually found inventive and witty answers to the question “what is sculpture?” Over the course of 25 years, Wurm has built up a multifaceted oeuvre that might be described as a research enterprise into the medium's expanded possibilities—but which is a lot more pointedly witty than such a description suggests. He became known to a wider audience in the late 1980s, through his absurdist one-minute sculptures, in which the artist or other performers (often volunteers solicited through newspaper ads) acted out strange feats in unusual settings—diving headlong into a crate, legs flailing, doing push-ups balancing on four teacups, or simply standing with asparagus stuffed in each nostril. Wurm has also garnered acclaim for his fascinatingly grotesque “fat sculptures” of overweight houses and bulging cars. Wurm's humor is akin to Roman Signer or Fischli and Weiss in its swiftness of impact and its almost childlike simplicity. Now among the most popular artists on the international art circuit, Wurm can transform all manner of objects and occasions into sculpture: physical actions, written or drawn instructions, even thoughts. With essays and plentiful reproductions, this hefty volume makes a definitive statement on Wurm's transformations of contemporary sculpture.
Published by Hatje Cantz. Text by Thierry Davila, Robert Fleck, Harald Kunde, Robert Pfaller, Roland Wäspe.
In his wonderfully ambiguous One Minute Sculptures, which are only humorous at first glance, the Vienna-based conceptualist, Erwin Wurm, takes a literal approach to sculpture while also taking the medium apart: anyone can be a piece of art for a minute by following his instructions. The non-human works by which he is best known, the overinflated and floppy Fat Car and Fat House, are likewise spirited, thoughtful critiques, in this case of consumer culture. Their strained poses, like those of his One Minute participants, raise immediate, simple questions concerning normality and the meaning or lack of it in both artistic conventions and human actions. Wurm's profoundly humane work is an eye-opener to social forces, and always playful. Those who know it look forward to each new piece. This informative monograph assembles many previously unpublished videos, sculptures, installations and performances.
Published by Hatje Cantz Publishers. Edited by Berin Golonu. Essays by Geraldine Barlow, René de Guzman and Ralph Rugoff.
Austrian artist-provocateur Erwin Wurm has gained an international reputation for challenging traditional notions of sculpture, photography, performance art, and drawing. His classic One Minute Sculptures invite audiences to participate in the creation of temporary sculptures by combining their bodies with a variety of common objects according to the artist's instructional drawings. Erwin Wurm: I Love My Time, I Don't Like My Time is a comprehensive survey that highlights more than 10 years of intelligent, elegant, and humorous production. It includes staged scenarios for the creation of select One Minute Sculptures; the photo series Instructions for Idleness (2001), How to Be Politically Incorrect (2002-2003), Thinking About Philosophy (2004), and Hotel Rooms (2001); a selection of video images from 59 Positions (1992), Flight Simulator (1998), and Adelphi Sculptures (1999); and other projects. The centerpiece is Wurm's I Love My Time, I Don't Like My Time (2003), the latest in the artist's Fat series, which explores the wild and dark potential of digital animation.
Published by Hatje Cantz Publishers. Edited by Peter Weibel. Essays by Peter Weiermair, Régis Durand and Christa Steinle, Maia Damianovic and Christine Marcel.
Erwin Wurm is a sculptor who does not mold clay, chisel stone, or carve wood. Instead, he provides objects such as pullovers, brooms, and boxes to spectators who are then meant to do something with these objects. The resulting situations, in which a person pulls on a pullover, or balances a broom, or puts a box over her head, are grotesque, unstable, and very temporary, and all that remains of them afterwards are photographs and videos of their short life. In dynamic works such as these, which Wurm collectively titles "One Minute Sculptures," the very concept of sculpture is challenged and expanded, continuing a line of inquiry begun with Marcel Duchamp's ready-mades and furthered by Bruce Nauman and Gilbert & George's performative sculpture works. Wurm is similarly concerned with reinvigorating the static, unchanging art object by introducing ideas of process, action, and the living body, but he adds an element of time to the mixture, insisting on spontaneity, brevity, and endless permutations. Fat Survival provides a broad survey of Wurm's oeuvre from the early 1990s to the present.