ארווין וורם
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Эрвин Вурм

source: isaik

Австрийн зураач, гэрэл зурагчин, уран барималч Эрвин Вурм (Erwin Wurm) нь 1954 онд мэндэлжээ. Тэрээр Венын Урлагийн Их Сургуулийг уран барималчийн мэргэжлээр тєгссєн бєгєєд єдгєє Вен болон Нью-Йорк хотуудад аж тєрдєг байна. Эрвин Вурм нь дэлхий даяар 150 удаа бие даасан vзэсгэлэнгээ гаргаж байжээ. Тvvний зураг тvс бvр нь санаанд багтамгvй ер бусын уур амьсгалыг мэдрvvлж, євєрмєц сэтгэлгээ, ургуулан бодох чадвар гэж юу байдгийг таниулах мэт давтагдашгvй сонин ажээ. Юмсыг арай єєр талаас нь хардаг хvмvvст энэхvv нийтлэл маань таалагдана гэдэгт итгэлтэй байна. Ингээд бvгдээрээ Эрвин Вурмын ертєнцєєр аялцгаая.
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source: taringanet

Erwin Wurm es un escultor austríaco nacido en Bruck/Mur en 1954 que vive y trabaja en Viena. Formado en la Academia de Artes Aplicadas de Viena y en la Academia de Bellas Artes de Viena entre los años 1979 y 1982.

En su obra aparecen tanto el propio artista, como otras personas que colaboran con él, en absurdas poses esculturales, en la mayoría de los casos con el empleo de objetos cotidianos. Sus imágenes no son otra cosa que la documentación de una performance. Con este proceder trata de revisar constantemente el concepto de escultura en dos aspectos: de un lado, reubicando los objetos para humanizarlos y, de otro, objetualizando el cuerpo humano.
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source: cromianet

Erwin Wurm, artista austriaco, non è famoso solo per aver fatto ingrassare abitazioni e automobili ma anche e soprattutto per le sue “one minute sculptures” dove a spettatori o volontari arruolati con annunci sul giornale viene chiesto di diventare statue per un minuto, relazionandosi in maniera bizzarra con oggetti quotidiani forniti dall’artista stesso.
Ciò che rimane di queste temporanee sculture viventi, che potrebbero ricordare le performances di Gilbert & George, sono le fotografie e i video che Wurm realizza nel mentre. Come dire, l’attenzione non è più catalizzata su un oggetto realizzato dall’artista ma sullo spettatore che diventa opera egli stesso. Spinge l’osservatore a mettere in discussione la definizione stessa della scultura, unendo ai criteri canonici di gravità, stabilità e staticità, anche quello del tempo.
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source: pool-magnet

sculptures

art and fashion have always been very close in their message. after all, both of these genres deal with reflecting contemporary topics, a search for limits, and the pictographic quest for the meaning of life. throughout the last years, an array of exciting projects and approaches has emerged from this – like the fruitful encounter of the french luxury brand hermès with austrian artist erwin wurm.

just like fashion, art is the result of a creative process. based on knowledge, perception, fantasy and intuition, contemporary events and feelings can be tailored to a person in the form of clothing, or can be interpreted within the framework of visual and plastic arts. the goal of these creative results is generally a kind of message, trying to shake up things, to call attention to something in our surroundings, make it visible, define or characterize it. both fields, fashion and arts, are incumbent on defining a form of unlimited creative freedom, which continuously lets new things emerge and is able to expand into ever new areas. surprising effects and provocation are especially important style elements for this – keyword: freedom of art.
the collaboration between the french luxury brand hermès and the austrian artist erwin wurm is mainly about personalities and genres, values and functions. hermès, always in exchange with the contemporary arts scene, was able to achieve an ideal fusion of serious, aesthetic, and sculptural humorous “language” together with wurm. outfits and poses of hermès’ (men’s) fashion are hereby entering a candid-spontaneous as well as quizzical dialogue. the portraits developed by the artist bear names such as the anarchist, the psychoanalyst, the hunter, the judge, the traveller, the mathematician or the purist.
erwin wurm has drawn international attention before through concepts like the “one minute sculpture” or his “fat” sculptures. while the one minute sculptures depicted people with everyday objects in bizarre poses, the “fat” sculptures turned supposed status symbols like a town house or a car into bloated, “fattened” monstrosities. wurm once stated that “humour is a weapon”. rarely has humour been this aesthetic and well-dressed before …

helmut wolf
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source: hpublicdeliveryorg

After Franz West we follow up with another well-known Austrian artist, Erwin Wurm. Since the late 1990s he is working on his on-going One Minute Sculpture series in which he or others pose with everyday objects, often within an art space.

The One Minute Sculptures redefine the concept of sculpture into one of dynamic act rather than static object. Wurm’s sculptures are wrought from the human body, choreographed into absurd, witty and often perilous, relationships with objects of everyday life – a man lying squeezed under a Barcelona chair, a banana peeping out of a man’s trousers, a man balancing two bottles of detergent on his toes, or two men balancing brief cases between their knees and chests. One Minute Sculptures can happen anywhere, anytime: on a street, at home, in a hotel. Riven with a sense of imminent failure, each sculpture exists for barely a minute, before gravity triumphs, everything collapses, and the only thing to remain is a video or, in this case, a photograph.

A One Minute Sculpture could be called a sculptural variant of situation comedy because they unleash a similar effect: usually funny, often embarrassing, occasionally flowing with pathos.

In his book The Artist Who Swallowed the World (Hatje Cantz) Wurm said: I am interested in the everyday life. All the materials that surrounded me could be useful, as well as the objects, topics involved in contemporary society. My work speaks about the whole entity of a human being: the physical, the spiritual, the psychological and the political.
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source: buzz2luxe

J’avais découvert le sculpteur performeur autrichien Erwin Wurm il y a quelques années au centre Georges Pompidou, amusé et étonné par son concept artistique de one minute sculpture. De courtes performances loufoques qui interrogent le spectateur sur la mince frontière entre vie et art. Un des rares artistes, selon moi, qui a su injecter un peu d’humour dans l’art contemporain, sans tomber dans la bêtise ou le grotesque. Il donne une valeur à ce que l’on rejette ou ce que l’on cache habituellement : le ridicule ou l’échec. Avec le sens du jeu, il apporte un vrai pouvoir de subversion. Ses derniers travaux interrogent sur la société de consommation. Comme il le souligne : « Malgré une apparence de démocratie, nous vivons sous une forme de dictature économique de plus en plus forte. Les inégalités se creusent et nous vivons les uns les autres dans des réalités de plus en plus éloignées. Mon travail est très lié à ce constat. J’ai été élevé dans les années 1960-1970 et le monde d’aujourd’hui est de plus en plus dominé par l’argent, que ce soit le monde du travail, celui de la mode ou même de l’art. J’en fais partie et par conséquent je pose des questions. »
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source: mistermotleynl

De Oostenrijkse Erwin Wurm is de koning van de ironische performance-achtige installaties. In zijn werk werpt hij een humoristische blik op de verhoudingen tussen het scheppen van kunst en het theoretische debat over kunst.

Wurm rekent in zijn werk af met het pathetische kunstbegrip van filosoof Theodor Adorno. De kunst van Wurm is namelijk niet passief, maar draait om de wisselwerking tussen bezoeker en kunst(enaar). Hij woont en werkt in Vienna en New York. Hij verwierf bekendheid met zijn ?One Minute Sculptures? (1997) en ?Outdoor Sculptures? tentoongesteld op verschillende plaatsen (Appenzell, Cahors, Taipeh, 1998-2000): echte mensen die een of andere scene opvoeren in een vaak vervreemdende context, een beetje in de traditie van Gilbert en George. Ondanks de performance-achtige elementen in het werk van Wurm beschouwt hij zichzelf als beeldhouwer.