Zaha Hadid’s final art installation celebrates a revolutionary artist

Thomas Page
By Thomas Page, for CNN
4 minute read
Updated 8:54 AM EDT, Thu June 16, 2016
Late architect Zaha Hadid's design for the Kurt Schwitters retrospective in Zurich is a curvy interior full of troughs and hollows that she worked on for a year and a half before her death.
Late architect Zaha Hadid's design for the Kurt Schwitters retrospective in Zurich is a curvy interior full of troughs and hollows that she worked on for a year and a half before her death.
Galerie Gmurzynska
The space at Galerie Gmurzynska, within Dada's founding building, maintains the principals of Schwitters' work while adopting Hadid's signature curvilinear forms.
The space at Galerie Gmurzynska, within Dada's founding building, maintains the principals of Schwitters' work while adopting Hadid's signature curvilinear forms.
Galerie Gmurzynska
Patrick Schumacher, senior designer at Zaha Hadid Architects said that the installation attempts to "forge a new super-organism" out of shapes from the architect's previous endeavors.
Patrick Schumacher, senior designer at Zaha Hadid Architects said that the installation attempts to "forge a new super-organism" out of shapes from the architect's previous endeavors.
Galerie Gmurzynska
Schwitters had a prominent influence on Hadid, as both were artists who "did not compromise or adapt to outside pressures," according to the gallery's CEO.
Schwitters had a prominent influence on Hadid, as both were artists who "did not compromise or adapt to outside pressures," according to the gallery's CEO.
Galerie Gmurzynska
German Schwitters was most famous for his collages, called Merz Pictures, which incorporated fragments from packaging and newspapers and paved the way for Pop Art. "Untitled (Oval)", 1925/26.
German Schwitters was most famous for his collages, called Merz Pictures, which incorporated fragments from packaging and newspapers and paved the way for Pop Art. "Untitled (Oval)", 1925/26.
Courtesy Galerie Gmurzynska
But the artist's life work were the "Merzbau" he created at his home in Hanover (pictured) and later in Norway. The Merzbau were a sort of giant, walk-in composition, an architectural-sculptural hybrid that incorporated everyday objects in jagged, straight lines.
But the artist's life work were the "Merzbau" he created at his home in Hanover (pictured) and later in Norway. The Merzbau were a sort of giant, walk-in composition, an architectural-sculptural hybrid that incorporated everyday objects in jagged, straight lines.
courtesy Galerie Gmurzynska
The name "Merz" is a fragment in itself, a random cut off from the German word "Kommerz", commerce -- perhaps a dig at the 20th century's new materialism. "The Double Picture Merz picture", (Assemblage), 1942. Relief, oil and gilded wood on canvas on gilded wood.
The name "Merz" is a fragment in itself, a random cut off from the German word "Kommerz", commerce -- perhaps a dig at the 20th century's new materialism. "The Double Picture Merz picture", (Assemblage), 1942. Relief, oil and gilded wood on canvas on gilded wood.
Courtesy Galerie Gmurzynska
Schwitters was a pioneering Dadaist, an avant-garde, anti-establishment movement that began life in 1916 at this building in Zurich. Fittingly, it's the same complex as <a href="http://www.gmurzynska.com/" target="_blank" target="_blank">Galerie Gmurzynska</a> where his retrospective is celebrated.
Schwitters was a pioneering Dadaist, an avant-garde, anti-establishment movement that began life in 1916 at this building in Zurich. Fittingly, it's the same complex as Galerie Gmurzynska where his retrospective is celebrated.
Courtesy Galerie Gmurzynska
In 1922 Schwitters met El Lissitzky (1890-1941), an important figure in the Russian avant-garde whose innovative techniques influenced much of 20th century graphic design. For this fragmented double portrait of Schwitters made in 1924/5, El Lissitzky layered up photographic negatives during the printing process.
In 1922 Schwitters met El Lissitzky (1890-1941), an important figure in the Russian avant-garde whose innovative techniques influenced much of 20th century graphic design. For this fragmented double portrait of Schwitters made in 1924/5, El Lissitzky layered up photographic negatives during the printing process.
courtesy Galerie Gmurzynska
Schwitters spent much of his later life in the Lake District in northwest England, where in 1948 he constructed this "Merz Barn" in a remote woodland. He set about creating it after his life's work, the original Merzbau in Hanover, was destroyed in World War II. After it was badly damaged in a storm, <a href="http://www.gmurzynska.com/" target="_blank" target="_blank">Galerie Gmurzynska</a> has provided a $35,000 grant to save it.
Schwitters spent much of his later life in the Lake District in northwest England, where in 1948 he constructed this "Merz Barn" in a remote woodland. He set about creating it after his life's work, the original Merzbau in Hanover, was destroyed in World War II. After it was badly damaged in a storm, Galerie Gmurzynska has provided a $35,000 grant to save it.
Littoral Arts Trust
Dada at 100: Zaha Hadid celebrates Kurt Schwitters with a final project

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