erwin wurm leaves a physical mark on deformed domestic objects
 
erwin wurm leaves a physical mark on deformed domestic objects
feb 04, 2016

erwin wurm leaves a physical mark on deformed domestic objects

erwin wurm leaves a physical mark on deformed domestic objects 
triple seat (fauteuil white), 2015
polyester, wood, acrylic paint | 15 kgs | 60 x 87 x 96 cm (23,62 x 34,25 x 37,8 in) | ed. 1 of 5
all images courtesy galerie thaddaeus ropac, paris/salzburg | photo by eva würdinger

 

 

 

in its paris marais gallery space, galerie thaddaeus ropac presents a series of new sculptures by erwin wurm that continues his ongoing interest in the materiality and profanity of everyday objects. the exhibition ‘lost’ sees a selection of vintage furniture pieces and domestic items sculpted either larger than life — giving the work a surreal feeling — or true to their actual size. a body lotion dispenser, a clock, a chaise lounge and a refrigerator are situated throughout the space, evoking associations and emotions in the viewer of a ‘lost’ time, or a memory sourced from a particular historical or social context.

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butter (fridge), 2015
polyester, acrylic paint | 25 kgs | 155 x 84 x 82 cm (61,02 x 33,07 x 32,28 in) | ed. 1 of 5
photo by eva würdinger

 

 

 

materiality plays a significant role in each artwork’s realization, primarily developed to correlate with the form of everyday objects, and the recollection of the tactile perception of their surfaces. for instance, the yellowish tint of acrylic paint applied to the surface of ‘butter’ (a fridge) and the creamy white hue of ‘body’ (body lotion dispenser) suggests what would normally be the content of the object.

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snow (chaise longue), 2015
polyester, iron, acrylic paint | 20 kgs | 41 x 180 x 77 cm (16,14 x 70,87 x 30,31 in) | ed. 1 of 5
photo by eva würdinger

 

 

 

the objects begin with a clay model formed by wurm, which he then leaves his physical imprint on — sitting on them, walking over them, or leaning into them. finally, the artworks are cast in bronze or polyester. having removed their purpose, these everyday objects are stripped of their primary functions. wurm develops a tension between the representation of an everyday object, its deformation by his own body, and the materiality of the work itself.

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horse (sideboard), 2015
bronze, black patina, iron | 300 kgs | 65 x 203 x 63 cm (25,59 x 79,92 x 24,8 in) | ed. 1 of 5
photo by eva würdinger

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stand (fauteuil beige), 2015
polyester, wood, acrylic paint | 15 kgs | 72 x 70 x 85 cm (28,35 x 27,56 x 33,46 in) | ed. 1 of 5
photo by eva würdinger

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body (body lotion dispenser), 2015
polyester, wood, acrylic paint | 20 kgs | 129 x 78 x 100 cm (50,79 x 30,71 x 39,37 in) | ed. 1 of 5
photo by eva würdinger

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afterglow (lamp), 2015
iron, plastic, styrofoam, spatula, light bulb, cable | 10 kgs | 189 x 128 x 60 cm (74,41 x 50,39 x 23,62 in) | ed. 1 of 5
photo by eva würdinger

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installation view at galerie thaddaeus ropac
photo by charles duprat

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installation view at galerie thaddaeus ropac
photo by charles duprat

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installation view at galerie thaddaeus ropac
photo by charles duprat

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installation view at galerie thaddaeus ropac
photo by charles duprat

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