{"title":"Erwin Wurm","description":"\u003cp\u003eErwin Wurm (born 1954, Bruck an der Mur, Austria) is one of the most significant European sculptors of his generation. His practice extends across object, performance, photography, video, and instruction, consistently testing the limits of what sculpture can be. Best known internationally for the \u003cem\u003eOne Minute Sculptures\u003c\/em\u003e — works in which participants adopt absurd poses with everyday objects for sixty seconds — his earlier work of the late 1980s and early 1990s is less widely documented and increasingly sought after. Publications from this formative period, including exhibition catalogues from Kunstverein in Hamburg, Villa Arson, and related institutions, record a practice still in construction.\u003c\/p\u003e","products":[{"product_id":"erwin-wurm-kunstverein-hamburg-villa-arson-nice-1993","title":"Erwin Wurm — Kunstverein in Hamburg \/ Villa Arson, Nice, 1993","description":"\u003cp\u003eExhibition catalogue, 15 × 21 cm, 32 pages, staple-bound wrappers with black-and-white reproductions throughout. Good vintage condition: light handling wear, minor rubbing to covers, small inventory sticker to rear cover, and age-related toning consistent with a catalogue of this period.\u003c\/p\u003e\u003cp\u003ePublished in conjunction with exhibitions at Kunstverein in Hamburg and Villa Arson, Nice in 1993, this early catalogue documents works produced by Erwin Wurm between 1986 and 1992 — a formative period before the artist achieved broader international recognition. Appearing only a few years after his inclusion in Aperto at the Venice Biennale, the publication captures a practice still in development but already occupied with many of the concerns that would later define his career.\u003c\/p\u003e\u003cp\u003eThe photographs record an unusual sculptural vocabulary: sweaters stretched beyond utility, furniture modified by bodily pressure, clothing transformed into architecture, and simple actions translated into sculptural propositions. Bodies disappear into garments, objects absorb human presence, and sculpture begins to operate less as a fixed thing than as a temporary condition. Performance, photography, instruction, video, and object occupy the same territory.\u003c\/p\u003e\u003cp\u003eWhat remains striking today is how unresolved these works feel in the best sense. They belong to a moment before the canonisation of the \u003cem\u003eOne Minute Sculptures\u003c\/em\u003e, when Wurm was still testing the limits of what sculpture could be. Rather than illustrating a finished position, the catalogue records an artist constructing one.\u003c\/p\u003e\u003cp\u003eModest in scale and produced for two institutional exhibitions, the publication functions as a surviving document from an early chapter in contemporary European sculpture. Many of the works reproduced here would become touchstones within Wurm’s broader investigation of the body, absurdity, volume, and social behaviour.\u003c\/p\u003e\u003cp\u003eEarly Erwin Wurm catalogues from the late 1980s and early 1990s surface far less frequently than later museum publications and remain increasingly sought after by collectors interested in the artist’s formative years.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price.\u003c\/p\u003e","brand":"Kunstverein in Hamburg","offers":[{"title":"Default Title","offer_id":53771611144530,"sku":"WURM-KUNSTVEREIN-CAT-1993","price":55.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Wurm_Erwin._Kunstverein_in_Hamburg_Villa_Arson_1993_front.jpg?v=1781678961"}],"url":"https:\/\/thenewrare.com\/collections\/erwin-wurm.oembed","provider":"The New Rare","version":"1.0","type":"link"}