Staunch bleeding, then make more tea - or possibly Bovril this time. Patrol flat, work yet another shift at the window. Your eyes are unseeing, your mind empty, dangerously receptive to the more extreme and eccentric options that now begin to present themselves. How adults play, left to their own devices with everyday household objects. Wurm's sculptures nearly always involve the conjunction of the human body and an object, or a person and a place.
Sculpture always has a relationship to the body - even if it is the spectator's own.
Wurm's One Minute Sculptures raise predictable, rhetorical questions about the relationship between performance, sculpture and photography. This is less interesting than the strangeness of the images, the peculiarity of the conjunctions of people and things. Although Wurm's work can be likened to the body sculptures of Rebecca Horn, or to Lygia Clark's manipulable objects, or to any number of Fluxus artworks and conceptual instructions, they are closer, to my mind, to the ad hoc works of Richard Tuttle, say, or the sculptures of fellow Austrian Franz West. The objects Wurm uses are never merely props. The spontaneity and humour of Wurm's work borders on stupidity.