Kurt Schwitters, Merz 370

schwitters

The radical experimental art of Kurt Schwitters stands out in its singularity, although aligned at different times in his career with different groups of artists, there is always a sense when examining his work that he was out on his own in terms of his originality and shear invention. Restlessly exploring materials and processes to make his work; this drawing alone, Merz 370 Blue Spark, 1922, collage of cut coloured paper 20.6 x 17.1cm involves sticking, overlapping, scratching, angling, pealing, tearing, and everything else you might imagine a collage of the time to contain. The avant-garde nature of this simple collage cuts a swathe through the work of his contemporaries who more often than not relied on a veil of knowing criticality via; politics, shock, melodrama, flamboyance or a sort of contrived eccentricity to make their work stand out. Schwitters achieved his goal with economy, here the simple alignment and misalignment of papers, slightly different shades of brown and grey is unselfconscious and confidently different. His Oeuvre incorporated; painting, sculpture writing and performance, including singing and sound poetry. He was an innovator to the point of inventing a completely new art form so ahead of its time that even now, contemporary artists, curators and thinkers organise whole exhibitions and conferences in an attempt to unpick his ideas and examine his legacy. Some of the most critically engaged international exhibitions of the late twentieth and early twenty-first centuries have had Schwitters’ Merz at their centre. Yet considering his continuing impact his profile remains in lots of ways modest compared to other influential artists, one could argue that now, a decade and a half into the twenty first century that his influence is far greater than that of Duchamp who every artist worth his salt has been falling all over since the 1950’s. Schwitters’ project continues in the work of many contemporary artists and curators around the world. It also lives on in the Lake District where he ended his career. Go to Elterwater, visit the merz barn where he carried out his last big experiment and listen to the brilliant Ian Hunter tell his stories of Schwitters, including one of him performing his Ursonata on pub tables in Ambleside of all places.

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