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THE MAGAZINE THE IMAGINARY INTERVIEW Kurt Schwitters, "En Morn 1947", collage. 86 GAZETTE DROUOT INTERNATIONAL I N° 23 © Centre Georges Pompidou, Musée National d'<strong>Art</strong> Moderne, Paris / DACS 2013
And yet at that time, you were spoilt for choice! I have always thought so, and that's why I was very open to Russian Constructivism and De Stijl, which both contributed to the rapid development of the Bauhaus. I mentioned Malevich five minutes ago, but I was also close to El Lissitzky. Between 1923 and 1932, I published my famous magazine Merz. Constructivism was a key element in it, as were all the new ideas. Even my work in the Twenties gained in structure under all these influences. I came to think that every form was the fixed, instant image of a process. Meaning? (Irritated) I don't believe it - you really have to have everything explained to you! Well, then, when you have a system, you arrive at the fixation of an idea, just as the developer brings out a photograph on the paper. Do you see? Obviously not. This is the adman talking to you. In 1924, I founded my own advertising agency, the Merz Werbezentrale, which was very successful. It provided an opportunity to launch new forms and highly original typographies. I really loved that period - I travelled all over Europe, really enjoyed life, and made a lot of money while building up a solid reputation as a highly eccentric businessman. Yet another occasion to recycle your Merz! You know, my greatest success between the wars was the Merzbau, a building I was never able to finish, and which was destroyed during an air raid in 1943. (Getting worked up) That was my ultimate aspiration - a place that brought together the art and non-art of a totally Merz world! Max Ernst used to say that it was an enormous abstract grotto. In fact, it was an autobiographical building, linking places that were each more astonishing than the next. (Looking at us with dismay) You seem to be out of your depth again… And then what happened during the Thirties? That was the end of the prosperous years… With the arrival of Hitler, my links with international modernism were broken, and I had to get out. Obviously, THE IMAGINARY INTERVIEW THE MAGAZINE Germany didn't forget about me, and I had the honour of taking part in an exhibition of "degenerate art" in 1937. If the circumstances had been less tragic, I would have said that this was an extraordinary event, because it contained everything that was significant in German art. Where did you go during the war? First Norway, then England. I was interned on the Isle of Man, alongside a lot of German artists and intellectuals. I tried to immerse myself again in the golden years of the Merz, but to my amazement, I was considered a has-been, as the British say, by the younger generation. (Sighing) For them, I was a pathetic relic of a distant avant-garde with middleclass attitudes. When things settled down, I was able to move to London with my son. I haven't really moved much since then, and I do the portraits of a few upstarts to earn a living, as I did when I was younger. Destiny is a bit of a joker, don't you think? I continued with my collages, of course, incorporating advertisements from American newspapers. At the beginning of the year, the MoMA in New York remembered the old celebrity I had become, and commissioned an entire wall of relief collages: I'm in the middle of working on it (with a mischievous glance): it's called the Merzbarn! Once a Merz, always a Merz, obviously! As you say… On reflection, maybe it's my biggest mistake. Because I've gone too far, I don't think I'll ever be part of the pantheon of great artists, despite Dada and all the success I achieved during the Twenties. Do you know why I relegated myself to the margin, despite myself? Because in the end, I'm anything but a professional anti-establishment man.… Interview by Dimitri Joannidès I "Schwitters in Britain", Tate Britain, Millbank, London, UK - Until 12 May. www.tatebritain.com W N° 23 I GAZETTE DROUOT INTERNATIONAL 87
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Les Florilèges FINEST FRENCH WINES
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Les Florilèges MODERN ART 24th to
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90 DISCOVERY EXHIBITIONS Between th
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www.pad-fairs.com PARTENAIRES PARTE
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© Private collection 783,563 The s
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The Spirit of the 19th century Date
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AUCTION IN PARIS WEDNESDAY, 10 th A
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Page 53 and 54: €1,461,800 Talbot Lago T 150 C, 1
Page 55 and 56: €198,000 Congolese reliquary Afri
Page 57 and 58: €82,300 Goossens, jeweller to Fre
Page 59 and 60: €41,852 Domínguez, Picasso-style
Page 61 and 62: €6,660,713 On 16 February in Pari
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Page 65 and 66: AUCTION RESULTS THE MAGAZINE €18,
Page 67 and 68: Celadon Jade €375,000 Dating from
Page 69 and 70: Joséphine Baker at Bobino €12,05
Page 71 and 72: Lucien Lelong €7,495 Perfect for
Page 73 and 74: "Portrait of Jacopo Boncompagni" by
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