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Time after time

Museum And Gallery

Philosophy students

Born in 1954, Wurm started out working cheap, using whatever materials he had handy. His earliest piece here, the 1992 video 59 Positions, shows him and a friend huddling inside sweaters that they stretch over their bodies in screwball ways, putting their legs into sleeves and so on, to adopt 59 different poses. Mixing clowning and seriousness, he studies the nature of sculpture by seeing how many ways he can vary his presentation of basic objects and by throwing performers into the mix.

He soon hit on his signature idea, the One Minute Sculpture, which began with videos in 1997 and spawned a body of large-format photographs. (It also inspired the video for the Red Hot Chili Peppers’ song “Can’t Stop” in 2002.) These are documents of brief goofy feats of derring-do choreographed by Wurm: a woman lying on the floor with the leg of a chair balanced on her eye; a man on all fours balanced atop coffee cups; a woman holding bottles between her arms and legs; a man balanced on a broom; a woman crushed under a suitcase; two legs of a chair balanced on carrots; a man with a film canisters stuck in his eye sockets, pens plugging his nose and ears, and a stapler in his mouth.

You are invited to have a gallery attendant snap a Polaroid of you improvising your own One Minute Sculpture on platforms Wurm has installed for this purpose. If you send him the photo with $100, he’ll even sign it to make it an official Erwin Wurm artwork. This is one of the oldest and most tired conceptual jokes in the book.

And that’s my problem with this show. Wurm riffs on questions artists have been asking for a century. What makes something art? Who decides? He represents a more knowingly absurd version of those fashion photographers who persuade their subjects to hop into the air or stand in a lake or lie in a tub full of milk. But his art hasn’t the wicked deconstructionist wit of something like Ben Vautier’s Total Art Matchbox from the mid 1960s, a carton of matches with text instructing you to “use these matches to destroy all art . . . and as I Ben signed everything work of art — burn — anything — keep last match for this matchbox.” Neither do his clothing pieces and stunts have the vulnerability and menace of Yoko Ono’s 1964 Cut Piece, in which she sat on a stage with a pair of scissors and invited audience members to snip off her clothes, piece by piece, till she was naked.

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