Absurdity of the Ordinary: Exploring the Quirky Genius of Erwin Wurm’s World

Sculptures from the series “Mind Bubbles” (2023–24) by Erwin Wurm. Photo: Markus Gradwohl; © Erwin Wurm | Source: apollo-magazine.com

A plump and glistening pickle, presented proudly as a self-portrait; a thought bubble equipped with legs, as if ready to run away; and a house that dangerously narrows into a wedge to the point of vanishing – these are the peculiar sights that will confront you at an Erwin Wurm exhibition.

From September 13, 2024 – March 9, 2025, the halls of Albertina Modern in Vienna are home to Wurm’s sculptural statements that playfully challenge our perception of reality. The event also marks the celebration of Wurm’s 70th birthday and presents the first comprehensive retrospective of his multifaceted work.

The exhibit provides audiences with a timeline of Wurm’s evolving artistic journey, assembling key pieces from throughout his career – from early wood and dust sculptures to his most recent creations. Among the centerpiece works is Wurm’s famed series, “One Minute Sculptures,” which summons participants to become part of the artwork, subverting the traditional artist-viewer dynamic. Also featured is the Fat Car, a symbol of societal excess, and the Narrow House, a moving criticism of middle-class limitations. These works, alongside new pieces like Rural School, which evaluates outdated societal norms, provide a comprehensive look at Wurm’s provocative artistry.

Known for his humorous, yet socially charged creations, Wurm’s work has changed our understanding of sculpture. His thought-provoking installations revolutionize the sculptural medium by incorporating elements of performance, photography, and painting. Through contorted and oversized everyday objects—pickles, sausages, houses—Wurm disrupts the mundane with the absurd, illuminating the paradoxes of present existence.

“At some point I came to realise that everything surrounding me can be material for an artistic work, absolutely everything.”

Erwin Wurm posing in between his sculptures. | Source: artflyer.net/

Early Experiments and Evolution: Breaking the Mold

Born in 1954 in Bruck/Mur, Austria, Wurm has steadily risen to global prominence since the late 1980s, reshaping the realm of contemporary art. 

Early on, Wurm demonstrated a relentless pursuit of redefining art. Trained in both sculpture and painting, Erwin Wurm’s artistic journey took a pivotal turn when he arrived in Vienna to pursue his studies. He forged connections with like-minded peers and established a shared studio with three others. The studio, though modest in size (each artist was allocated a mere 25 square meters of space) provided Wurm with a dedicated corner for his creative endeavors.

Below their collective workspace was a carpenter’s shop that was abundant with old, unused wood, which Wurm was permitted to use. Given his limited financial resources, he couldn’t afford to buy materials or sophisticated tools. This constraint led him to utilize what was available in his surroundings.

With an eye for the potential in the mundane, Wurm began to assemble these wooden boards and plates, nailing them together to birth abstract figures. This practice of transforming found materials into compelling artistic forms laid the foundation for his innovative technique and demonstrated his ingenuity and resourceful spirit.

Erwin Wurm performing a ‘one minute sculpture’ in his studio in Limberg. | Source: artflyer.net

One Minute Sculptures: A Fleeting Moment in Time

Stepping away from traditional static forms, Wurm began to introduce elements of performance into his works.

Imagine balancing a pickle on your finger or standing with buckets on your feet for sixty seconds – these fleeting moments encapsulate Wurm’s exploration of the transient nature of art and life. Wurm’s iconic “One Minute Sculptures” blur the line between artist and audience, emphasizing that art is not just seen; it is an experience that demands to be felt. In these simple yet radical works, Wurm invites viewers to become active participants, transforming themselves into living sculptures.

Wurm’s ‘Fat Car’ series mocks the rich owners of luxury vehicles Uli Deck/EPA/Shutterstock | Source: telegraph.co.uk

Fat Sculptures: A Funny Commentary on Excess

In the early 2000s, Wurm introduced another groundbreaking series, the “Fat Sculptures.” These works feature everyday items, such as cars and houses, exaggerated to absurdly corpulent proportions. The Fat Car (2001), for instance, is an overblown, bulging version of a sleek convertible, symbolizing society’s obsession with wealth and consumption.

Wurm uses these inflated forms to critique material excess and the superficial nature of modern life. Exaggerated shapes offer a humorous yet penetrating commentary on greed and capitalism. Viewers not only laugh but consequently, reflect on the inherent irrationalities of their values.

Installation view, “Erwin Wurm: Narrow House”  (2015), Copyright: Contemporary Art Centre, Vilnius, Photographer: Andrej Vasilenko | Source: lehmannmaupin.com

Narrow House: Revisiting Conformity and Confinement

In contrast to his “Fat Sculptures,” Wurm’s “Narrow House” series explores themes of restriction and constraint. The Narrow House (2010) is a life-sized replica of the home he grew up in post-war Austria, compressed into an extremely thin structure. This work examines the narrow-mindedness and strict social norms of suburban life.

The claustrophobic spaces within The Narrow House invite viewers to think about the limitations imposed by conventional thinking and societal expectations. Through this work, Wurm cleverly translates autobiographical themes into a broader critique of the suffocating nature of conformist values.

Accessible Interactivity and the Mundane

A key aspect of Wurm’s work is its interactivity and use of everyday objects. His artistic process often begins with everyday items, which he transforms through minor yet significant alterations. This approach not only democratizes art by making it accessible but also invites viewers to see the extraordinary in the ordinary.

In Mind Bubble Walking Pink (2024) merges the whimsical with the profound, encouraging us to examine our daily routines and the constructs that frame our realities. This artwork features a series of abstract, bubble-like forms seemingly suspended in mid-air, interconnected by slender, elongated supports that evoke the image of a person walking. These bubbles, suggestive of passing thoughts or fleeting moments, create a dialogue between the tangible and the intangible.

Erwin Wurm, “Still Blue (Substitutes)” (2024) Aluminium, acrylic paint | Source: ropac.net

Enduring Legacy and Influence

As Wurm celebrates his 70th birthday, we observe his influence on contemporary art, fueled by humor and the defamiliarization of the mundane. His bold reimagining of sculpture has inspired countless artists to push the boundaries of traditional art forms.

With the power to intrigue, amuse, and provoke, the absurd becomes a tool to remind us that in a world where conformity often reigns. By distorting the everyday, Wurm opens up new paths of thought and expression, demonstrating the power of art in shifting perspectives and sparking conversations on the human condition.

His retrospective at Albertina Modern celebrates his past achievements and introduces new works that continue his legacy of innovation and critical thought. In more recent works, such as the “Skins” and “Substitutes” series, Wurm continues his quirky exploration of form and space. The “Skins” are narrow, ribbon-like sculptures that appear to be the peeled-off layers of a three-dimensional form, almost like ghostly remnants.

On the other hand, the “Substitutes” series offers a haunting view of clothing devoid of bodies, left behind as eerie relics. Wurm’s abstract use of garments evokes the notion of identity and presence, suggesting the impermanence of human existence. Both series illustrate Wurm’s mastery in playing with the boundaries of sculpture and perception. Through these pieces, Wurm continues challenging our perception of the familiar, demonstrating his commitment to innovation and constant reinterpretation of everyday elements.

“Humour is a side-effect of the method I use, of looking at our world from the perspective of the absurd, and sometimes the paradoxical,”

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