The defining premise is classical and correct: “Sculpture,” says Erwin Wurm “is work on volumes,” by which he precisely formulates the categorial axiom to which pre-modern sculpture and three-dimensional art can be reduced. If we wish to understand concepts, make them vividly tangible or extend them, we are required to use our powers of thought, which leads Wurm in the majority of his works to visual reflections on various questions concerning modern sculpture and to the following conclusion: “So you can say that gaining or losing weight is also work on volumes in a certain sense. And you can draw the conclusion that gaining and losing weight is sculpture.” ...

KIRSTEN CLAUDIA VOIGT “ALL IS SCULPTURE”

FRIEDERIKE MAYROCKER ERWIN WURM: “THE ARTIST MADE OF JAM”

HELMUT FRIEDEL “THE SCULPTURAL CONCEPT OF ERWIN WURM”

FRANZ SCHUH “ON THE STATE OF THE NATION”

GERTRUD KOCH INDEFATIGABLE: ERWlN WURM'S

VlDEOGRAPHIES OF FAILURE AND SUCCESS"

JEROME SANS “55 QUESTIONS”

ERWIN WURM/JEROME SANS “THE AUTO-REVERSE INTERVIEW (10 YEARS LATER)”

STEPHAN BERG “THE RIDICULOUS HUMAN TRAGEDY”

DAS LACHERLICHE LEBEN EINES ERNSTEN MANNES

GLUE YOUR BRAIN

GULP

IDIOT

YES BIOLOGICAL

LIQUID REALITY

DIE DlSZlPLIN DER SUBJEKTIVlTAT

MENTAL STATUS

MISCONCEIVABLE

MY TIME, THEIR TIME

THE PSYCHOLOGICAL GROUND

BANG BANG

APPENDIX