13:24, November 20, 2018
And for this defensive reaction, the director of Albertina fully understands. Not everyone is ready to "admit a meaningless world." For Erwin Wurm, on the other hand, she is a constant companion, clearly winking at each of her little quick work on paper. The drawing “is the artist’s daily bread,” said Wurm on Tuesday.
"We do it every day, sometimes it's stupid, sometimes a little better." Only a few of the leaves are drawings, and also watercolors are sketches and studies for sculptures, most are autonomous work. The curator Antonia Horshelman grouped them thematically in order to facilitate their reception.
Asthma is important, relying on its own experience, to which the artist reacted less to an existential panic than to a merciless look at the embarrassment of a being with mortality. Self-portrait dominates among many individuals, large detailed heads on small, roughly scribbled bodies. And other big men, only a few women, cover them up. Mahler, Brecht and Haneke, political princes and celebrities, asthmatics and hand carriers, faces with slippery eyes or ardent jaws, sang children whose mouths soon covered their whole face, the men looked at cucumbers and cucumbers from one ear to another,
The face, says Wurm, is what interests him most. "I am approaching people like landscapes." Furrows, mountains, deformations. However, they are not very personal works, not only because of the motives – “these are the works that I do only by myself, alone,” says the artist, who usually relies on teamwork and additional work for his sculptures.
"That's why I hate giving them." Approximately 400 pieces form the book of the artist, which was also the starting point of the show. The Albertina worm selected 50 pieces freely from the paper shown as a donation. So, at least, they stayed together and did not disappear somewhere in private ownership. What kind of work – Schroeder stressed that only the choice in the choice of quality is taken into account, but at first you do not want to betray. “This is not how the exhibition works,” says Schröder. "No subtitles and no clues." The work of Wurm – for Schroeder the embodiment of the absurd theater in art – must be split. Laughing people are treated with condescension.