Erwin Wurm, Modernist Pickle (2016), via Art Observed

Currently on view at Lehmann Maupin’s Chelsea exhibition space, Austrian artist Erwin Wurm is presenting a concise summary of his recent work, installing a range of sculptures in his broad practice that explore the act of both participation and subversion in the landscape of modernity.  Including both quasi-participatory work alongside a series of more static pieces, the show allows Wurm to run through an impressive range of both his practice, and his broader critical project. (more…)

Erwin Wurm and Brigette Kowanz will represent Austria at the 2017 Venice Biennale.  Wurm previously was tapped for the 2011 Austrian Pavilion, where he installed Narrow House, a quite narrow cottage within the space.   (more…)

Erwin Wurm, One Minute Sculptures (Installation View), via Art Observed

Erwin Wurm’s One Minute Sculptures are a unique moment in the artist’s catalog, a comical application of the artist’s subversive wit.  Transferring his patently absurdist utilizations of domestic commodities and subjects onto the human form, the works take his nuanced eye for the more unique forms and signifiers mass production and late capitalism, and apply them towards an immediate interaction with the human body.  Through his works in the series, Wurm deconstructs use and value as essentially productive elements of consumption, and then turns the intersection of actor and object into an inherently useless situationism. (more…)

Erwin Wurm, Butter (Fridge) (2015), via Thaddaeus Ropac

Erwin Wurm returns to Thaddaeus Ropac’s Paris Marais location this month for an exhibition of new works, continuing his bizarre and occasionally disturbing interpretations of the materials of everyday life, broken down and perverted by momentary inversions and surreal inflections of force.  The show, titled Lost, enters further into the vocabulary of objects the Austrian artist has developed over the course of the past 20 years, narrowing his focus to the objects and landscapes of the domestic interior.   (more…)

Erwin Wurm is interviewed in The New York Times this week, as he prepares to open a show of his One Minute Sculptures at the MAK Centre’s Schindler House this week.  “What I like here is the minimal, nearly Japanese structure,” Wurm says. “He was escaping a powerful social structure in Austria, and my work also deals with questions of freedom: freedom of choice, free will, economic dependence.” (more…)

Erwin Wurm, Kiss (Abstract Sculptures) (2013), via Art Observed

Taking up the main room of Lehmann Maupin’s considerable Chelsea gallery, Austrian artist Erwin Wurm is presenting a series of recent sculptural works, continuing the artist’s irreverent and bizarre abstractions of both contemporary materials and the human form.  Short but sweet, Wurm’s show takes on his past approaches to figurative sculpture, and recasts it in an increasingly abstract, yet surprisingly cohesive series of sculptures, using the full body of his work to create new pieces that combine his aesthetic endeavors into more nuanced wholes.

Erwin Wurm, Synthesa (Installation View), via Art Observed (more…)

The artist – Erwin Wurm, Am I a House? at CAC Málaga

The first major exhibition in Spain of the work of Austrian artist Erwin Wurm is now on view at El Centro de Arte Contemporáneo de Málaga. The exhibition consists of video, sculpture and large-scale installation, including quotidian objects and buildings deformed so extremely that they remain almost unrecognizable. Wurm’s work addresses media saturation in contemporary society and exaggerated values, as well as political scandals and human rights.

Erwin Wurm, Am I a House? at CAC Málaga

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Artist Erwin Wurm in attendance at the Bass Museum of Art for his opening of Beauty Business. All photos on site for Art Observed by Caroline Claisse.

Erwin Wurm: Beauty Business held its opening reception at the Bass Museum of Art Wednesday night, along with several other Art Basel Miami Beach related events. The adjacent Collins Park displayed the Art Public sculpture park sector of the fair, and across the street Mr. Brainwash‘s 2nd annual “Under Construction” building takeover held its own party. Inside the Bass, crowds wandered through Wurm’s large gray architectural experiments and distorted sweater sculptures. Walls at each end of the ramp up to the exhibition space were dressed in sweaters themselves, covered in knit cotton with a neck hole and sleeves. Drinking Sculptures were arguably the main attraction and the most literally interactive. Wooden desks elevated or turned sideways invited viewers to open drawers and consume the bottles of vodka and whiskey stored within. One large wooden box on the floor had two holes in which to climb into and place one’s feet, shoulder width apart for a drink.

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Allora & Calzadilla, Umbrella and Bell (2011), front; Anish Kapoor, Untitled (2011), behind. At Lisson Gallery, booth J1. All photos on site for Art Observed by Caroline Claisse.

International collectors and art enthusiasts filled the Miami Beach Convention Center for the Wednesday preview of Art Basel Miami Beach 2011. While the maze of gallery booths could seem overwhelming, buyers were able to navigate through for a solid day of sales and works placed on reserve. Larger galleries such as Gagosian, David Zwirner, and Sprüth Magers sold several works and editions thereof. Speaking with Neil Wenman of Hauser & Wirth, “We’ve had a great response on the opening day. In particular for works by Thomas Houseago, Rashid Johnson, Paul McCarthy, Matthew Day Jackson, Richard Jackson—all works sold and all available editions.” Jenny Holzer’s new paintings at Sprüth Magers sold for upwards of $300,000, as well as Condos and Krugers at the booth. Lesser-known galleries were pleased to gain the exposure the fair offers; if not selling right away, interest was high and therefore also prospects for the remainder of the fair. Gallery Arratia Beer said the crowd was very engaged and informed, also saying, “The fair feels very international. It’s also good to see young internationals here too.” The newer Latin American presence was reportedly strong, both exhibiting and buying, as expected in Miami as opposed to the Frieze or FIAC fairs across the Atlantic earlier this year. Celebrities on hand included Julian Schnable, Eli Broad, Brett Rattner, Naomi Campbell, and Sean Combs/P. Diddy.

Larry Gagosian

Entrance D at the Miami Convention Center

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Portrait of Geoff Dyer Talking, Francis Bacon (1966) at FIAC, Paris

If Frieze opened willing to court the unavoidable media speculation about sales or the lack of them: FIAC, and the exhibitors it houses this year, have in the early stages proved characteristically reticent. Not to mention laconic. At least on the surface. This morning there was little sign that much of Paris and beyond would descend on the Grand Palais and the Cour Carrée du Louvre at noon.

Grayson Perry; Entrance To The Forest; 2002; Victoria Miro Gallery; London -Photos by ArtObserved

“The surprise is the business we are doing. Frankly, people are expressing more confidence in the art market than the government or Wall Street right now,” said Sean Kelly of Sean Kelly Gallery. The night of December 2nd, Vernissage attendees glittered and Piper Heidsieck champagne flowed.  More importantly, buyers were in attendance, asking questions and indeed, according to most of the galleries interviewed for this article, buying.  On Thursday afternoon, Douglas Baxter, President of Pace Wildenstein professed “We’ve met expectations.” Also on Thursday, when asked his feelings on sales from the night before, a representative at Cheim & Read insisted his artists have been selling well, pointing to Jack Pierson sculpture and a pile of William Eggleston’s photos.  Margherita Belaief of Peres Projects had the same confidence, “It’s hard to say so early but in general, Dash Snow’s pieces are selling strong.”  While hesitant to disclose precise numbers, the overall sentiment of the top galleries was optimistic.

However, it’s important to note while the larger known artists have been selling strong, some galleries have reported some difficulty selling lesser known artist pieces.  Alfons Klosterfelde at Klosterfelde was most direct: “People are asking more questions and really want to know the details,” but he said pointedly as of Thursday, “there have been less sales” and Klosterfelde remarked the pieces sold were from the gallery’s more known artists.

Photos and Writing by Faith-Ann Young

more pictures and story after the jump…

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Via Estuaire 2007

Once a center of naval activity, the newest and certainly most eye-catching bateau on France’s Loire estuary is armored with a shell of mirrors, reflecting the riverbank’s factories, natural marshes… and resident gigantic floating plastic duck? Florentijn Hofman’s “Canard du Bain”, a titanic incarnation of every child’s favorite yellow bath time friend is absurdly placed within a dingy, industrial habitat. A cartoon-like beacon, the river-bound sculpture injects a certain lightheartedness into the milieu. If it were not so innocent looking, its size would suggest that it could wipe out a nearby cluster of sailboats in a single gulp. (more…)