Birke Gorm Shines at Gwangju Biennale 2026
By Darren Smith
March 11, 2026
Vienna-based artist Birke Gorm has emerged as one of the most compelling voices in contemporary sculpture and installation art. Born in 1986 in Hamburg, Germany, the Danish-German artist has built a distinctive practice centered on repurposed and discarded materials—items deemed “dead stock” or superfluous in capitalist systems. Her work transforms these overlooked remnants into powerful commentaries on consumption, resource use, labor, and societal waste.
Gorm’s approach draws from her background in fashion and textile design (BA from Design School Kolding, Denmark) and fine arts (MA from the Academy of Fine Arts Vienna). She examines the hidden narratives embedded in everyday materials, revealing their social and political impacts that linger long after production. Her sculptures and installations often feature hand-sewn figures, scrap metal, jute bags, electrical wiring, and other industrial discards, creating anthropomorphic or architectural forms that critique human production cycles while suggesting possibilities for revival and upheaval.
In a major milestone, Gorm was selected to represent Austria at the 16th Gwangju Biennale in South Korea in 2026. Her pavilion exhibition, titled “the evening and the morning and the night,” curated by Attilia Fattori Franchini and commissioned by Phileas – The Austrian Art Initiative, consists largely of discarded and repurposed materials. The project stood out among 35 submissions for its clear vision and sharp critique of resource exploitation and capitalism’s consequences. Gorm has described the honor as a meaningful exchange between Austria—her home for over a decade—and the international art scene.
Recent solo exhibitions further highlight her rising profile. In 2025, “let me stop you right there” at Overgaden in Copenhagen explored ephemeral materials, parenthood, and societal regulation through immersive installations. Earlier works, such as her “dead stock” presentation at Vienna’s MAK Museum of Applied Arts, scavenged industrial leftovers to probe the politics of consumption. Group shows include appearances at ShanghART in Shanghai and ongoing displays like “Work in Progress” at Dom Museum Vienna through 2026.
Critics praise Gorm for her material intelligence and ability to make the invisible visible. Featured in Frieze’s “Ten Artists to Watch in 2026,” her upcoming Biennale participation positions her for broader global recognition. As biennials continue to spotlight sustainable and critical practices, Gorm’s thoughtful reuse of materials feels timely and urgent.
For inaccuracies or corrections, contact Darren Smith.
