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Human beings are constantly consuming and using, and waste is constantly being produced, and waste is constantly advancing with human history. We see many spiritual and artistic values in waste, which inspires us to look beyond the superficial to discover the deeper meaning of things in our art practice.

The artist presents trash as trash in a very different way. Dieter Roth archived his daily trash in his installation Flat Waste (1975-76/1992), which is both a diary and a self-portrait, and which offers the viewer the opportunity to delve into his personal trash library.
Thompson, Michael. Junk Theory,(1979): The Creation and Destruction of Value. Oxford: Oxford University Press, Print

The artistic life of waste is not over and I believe there are many more ways to use it for artistic purposes

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Waste Material - Lean how to make new things

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Dadaism and Pop Art

(1) Pop Art follows Dadaism's artistic techniques, such as painting, screen printing, collage, installation, and the collection of existing works.
(2) Both Dadaism and Pop Art have a tendency to weaken technique. Dadaism was a 'counter-art' and therefore naturally discarded the techniques traditionally considered essential to art making. Pop art's abandonment of the manual techniques that were essential to artistic communication and their replacement by machine techniques reflects a tendency to weaken or even deny technique in 'postmodern' art.
(3) Both Dada and Pop Art break down the boundaries between art and life.

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The Dadaist school of painting was a bourgeois literary school that emerged in Europe in the early 20th century. The artists of this school rejected traditional art, abandoned the traditional language and rules of art, and made extensive use of abstract collage, ready-made objects and waste materials to create works that had the purpose of mocking and parodying art. The main artists of the Dada School are Toussaint, Arp, Picabia and Civitas.(Wikipedia）

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Dada was a philosophical and artistic movement of the early 20th century, practiced by a group of European writers, artists, and intellectuals in protest against what they saw as a senseless war- World War I. The Dadaists used absurdity as an offensive weapon against the ruling elite, whom they saw as contributing to the war.

But to its practitioners, Dada was not a movement, its artists not artists, and its art not art.

Key Takeaways: Dada

The Birth of Dada

Dada was born in Europe at a time when the horror of World War I was being played out in what amounted to citizens' front yards. Forced out of the cities of Paris, Munich, and St. Petersburg, a number of artists, writers, and intellectuals found themselves congregating in the refuge that Zurich (in neutral Switzerland) offered.

By mid-1917, Geneva and Zurich were awash in the heads of the avant-garde movement, including Hans Arp, Hugo Ball, Stefan Zweig, Tristan Tzara, Else Lasker-Schuler, and Emil Ludwig. They were inventing what Dada would become, according to writer and journalist Claire Goll, out of literary and artistic discussions of expressionism, cubism, and futurism that took place in Swiss coffeehouses. The name they settled on for their movement, "Dada," may mean "hobby horse" in French or perhaps is simply nonsense syllables, an appropriate name for an explicitly nonsensical art.

Banding together in a loosely knit group, these writers and artists used any public forum they could find to challenge nationalism, rationalism, materialism, and any other -ism that they felt had contributed to a senseless war. If society was going in this direction, they said, we'll have no part of it or its traditions, most particularly artistic traditions. We, who are non-artists, will create non-art since art (and everything else in the world) has no meaning anyway.

The Ideas of Dadaism

Three ideas were basic to the Dada movement-spontaneity, negation, and absurdity-and those three ideas were expressed in a vast array of creative chaos.

Spontaneity was an appeal to individuality and a violent cry against the system. Even the best art is an imitation; even the best artists are dependent on others, they said. Romanian poet and performance artist Tristan Tzara (1896-1963) wrote that literature is never beautiful because beauty is dead; it should be a private affair between the writer and himself. Only when art is spontaneous can it be worthwhile, and then only to the artist.

To a Dadaist, negation meant sweeping and cleaning away the art establishment by spreading demoralization. Morality, they said, has given us charity and pity; morality is an injection of chocolate into the veins of all. Good is no better than bad; a cigarette butt and an umbrella are as exalted as God. Everything has illusory importance; man is nothing, everything is of equal unimportance; everything is irrelevant, nothing is relevant.

And in the end, everything is absurd. Everything is paradoxical; everything opposes harmony. Tzara's "Dada Manifesto 1918" was a resounding expression of that.

"I write a manifesto and I want nothing, yet I say certain things and in principle I am against manifestos, as I am against principles. I write this manifesto to show that people can perform contrary actions together while taking one fresh gulp of air; I am against action: for continuous contradiction, for affirmation too, I am neither for nor against and I do not explain because I hate common sense. Like everything else, Dada is useless."

Dada Artists

Important Dada artists include Marcel Duchamp (1887-1968, whose "ready-mades" included a bottle rack and a cheap reproduction of the Mona Lisa with a mustache and goatee); Jean or Hans Arp (1886-1966; Shirt Front and Fork); Hugo Ball (1886-1947, Karawane, the "Dada Manifesto," and practitioner of "sound poetry"); Emmy Hennings (1885-1948, itinerant poet and cabaret chanteuse); Tzara (poet, painter, performance artist); Marcel Janco (1895-1984, the bishop dress theatrical costume); Sophie Taeuber (1889-1943, Oval Composition with Abstract Motifs); and Francis Picabia (1879-1952, Ici, c'est ici Stieglitz, foi et amour).

Dada artists are hard to classify in a genre because many of them did many things: music, literature, sculpture, painting, puppetry, photography, body art, and performance art. For example, Alexander Sacharoff (1886-1963) was a dancer, painter, and choreographer; Emmy Hennings was a cabaret performer and poet; Sophie Taeuber was a dancer, choreographer, furniture and textile designer, and puppeteer. Marcel Duchamp made paintings, sculptures, and films and was a performance artist who played with the concepts of sexuality. Francis Picabia (1879-1963) was a musician, poet, and artist who played with his name (as "not Picasso"), producing images of his name, art titled with his name, signed by his name.

Art Styles of the Dada Artists

Ready-mades (found objects re-objectified as art), photo-montages, art collages assembled from a huge variety of materials: all of these were new forms of art developed by Dadaists as a way to explore and explode older forms while emphasizing found-art aspects. The Dadaists thrust mild obscenities, scatological humor, visual puns, and everyday objects (renamed as "art") into the public eye. Marcel Duchamp performed the most notable outrages by painting a mustache on a copy of the Mona Lisa (and scribbling an obscenity beneath), and promoting The Fountain, a urinal signed R. Mutt, which may not have been his work at all.

The public and art critics were revolted-which the Dadaists found wildly encouraging. Enthusiasm was contagious, so the (non)movement spread from Zurich to other parts of Europe and New York City. And just as mainstream artists were giving it serious consideration, in the early 1920s, Dada (true to form) dissolved itself.

In an interesting twist, this art of protest-based on a serious underlying principle-is delightful. The nonsense factor rings true. Dada art is whimsical, colorful, wittily sarcastic, and at times, downright silly. If one wasn't aware that there was, indeed, a rationale behind Dadaism, it would be fun to speculate as to just what these gentlemen were up to when they created these pieces.

Kristiansen, Donna M. "What Is Dada?" Educational Theatre Journal 20.3 (1968): 457-62. Print.

McBride, Patrizia C. "Weimar-Era Montage Perception, Expression, Storytelling." In "The Chatter of the Visible: Montage and Narrative in Weimar, Germany." Ed. Patrizia C. McBride. Ann Arbor: University of Michigan Press, 2016. 14-40. Print.

Verdier, Aurélie, and Claude Kincaid. "Picabia's Quasi-Name." RES: Anthropology and Aesthetics 63/64 (2013): 215-28. Print.

Wünsche, Isabel. "Exile, the Avant-Garde, and Dada Women Artists Active in Switzerland During the First World War." In "Marianne Werefkin and the Women Artists in Her Circle." Brill, 2017. 48-68. Print.

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Dadaism as a movement and Dada art itself were amusing and absurd, but grew out of fear and anger over the senseless loss of life of World War I.

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American Pop Art emerged slightly later than the British, and inherited the spirit of Dadaism in its artistic pursuit, using a large amount of waste, merchandise posters, film advertisements, and various newspaper pictures as collage combinations, hence the title of Neo-Dadaism. (Wikipedia)

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Waste can be used as a subject for artistic creation. In the middle of the last century, some artists have experimented with the use of waste as material in their work

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Fashion is one of the world's most polluting industries. But a small town in Italy called Prato has made a fortune from turning old waste into new clothes, especially knitwear and wool. Could Prato represent a model for sustainable fashion? By Sofia Bettiza Edited by Sofia Bettiza Photographed .
https://www.youtube.com/watch?v=7i0QMnz4ExY

I think this approach should be widely disseminated around the world as it can contribute to sustainable development.

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Recycling fashion: The town turning waste into clothes- BBC News

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 Benjamin Benmoyal's hand-knitted garments from recycled cassette tapes

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"Utopia" clothing. “ It Was Better Tomorrow”

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"Utopia" clothing. “ It Was Better Tomorrow”

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He drew inspiration from the Fauvist architecture of his native Paris to achieve a 'utopian and optimistic visual concept', hand-woven on a loom from discarded video tapes and cassettes using recycled yarn and Tencel (a fibre made from wood pulp).
An energetic design that embodies a reflection on waste.

Natasha Sheedy.(2019). Dezeen . November 5,  Leave a comment

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The jacket and trousers are made from fishing nets and recycled nylon from factory waste. The work of the participating designers presents a creative exploration of the waste problem and possible solutions. Curator Gemma Curtin says: "This is not just an exhibition, this is a movement, and we are all actively involved in building our future."
From: https://www.econyl.com/blog/stella-mccartneys-summer-2019-collection/

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"We are excited to announce that-thanks to innovative fabrics like sustainable viscose, Eco Alter-Nappa and ECONYL® recycled nylon-the Summer 2019 collection marks our most sustainable to date, as part of our ongoing commitment to greener fashion" is highlighted on Stella McCartney website.

Bringing together strength and softness, celebrating the bold and the feminine, Summer 2019 encapsulates the laid-back attitude of the quintessential Stella McCartney woman.

An ECONYL® outfit, is part of Stella McCartney's 2019 Summer Collection.
During the catwalk in Paris, under the gold of the Opéra Garnier, Claire Bergkamp, heads Stella McCartney's Sustainability Program in London, immortalizes the dress and writes "Made with ECONYL® recycled nylon. Part of our movement towards circularity".

Masculine meets feminine as cargoes and flight suits are borrowed from the boys. A football shirt in a soft, fine-gauge knit falls loosely, a structured shirt is constrained to emphasize the body and a shell suit is presented in pale blue ECONYL® recycled nylon.

Stella McCartney goal is to create a business that is restorative and regenerative by design, striving to incorporate as many circular materials as possible into her collections.

As mentioned on her website, by 2020 Stella McCartney's goal is to stop using virgin nylon. To do this, the designer is switching all of her current nylon to ECONYL® regenerated nylon.
Not only Falabella GO bags are made with ECONYL® yarn, the designer is now lining all Falabella's with ECONYL® regenerated nylon and she also uses ECONYL® in her outerwear.

ECONYL® yarn takes recycled materials to a whole exciting new level by turning waste into resource. To make ECONYL®, waste such as industrial plastic, waste fabric and fishing nets from oceans is recycled and regenerated into a new nylon yarn that is exactly the same quality as virgin nylon.

"Our planet has a waste and overconsumption problem, wreaking havoc on our environment. Single-use and disposable items, particularly from plastic, are ending up in landfills, with over 300 million tons of plastic produced every year. It is vital that we act now."
Stella McCartney, 2017, Sustainable Brands

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Stella McCartney's Summer 2019 Collection - Econyl

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"We are excited to announce that-thanks to innovative fabrics like sustainable viscose, Eco Alter-Nappa and ECONYL® recycled nylon-the Summer 2019 collection marks our most sustainable to date, as part of our ongoing commitment to greener fashion" is highlighted on Stella McCartney website. Bringing together strength and softness, celebrating the bold and the feminine, Summer 2019 [...]

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On display at the Design Museum, London, October 2021
A discussion around waste design. The exhibition highlights the seriousness of the waste problem

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We live in the age of waste. In its exhibition "Waste Age: What can Design do?", the Design Museum in London asks the essential question of what contribution designers can make to leaving our throwaway culture behind us once and for all. Until the 20th of February, the carefully curated exhibition therefore illuminates a possible path of design towards the circular economy. Visitors are invited to discover what is possible in the fields of designer fashion, construction, food, packaging as well as technology.

By now, most people are aware that waste is a huge problem of our time. The exhibition "Waste Age: What can Design do?" provides answers to the central question of how we can meet this challenge. A new generation of designers is challenging the status quo and thus rethinking our relationship to objects of everyday use. They are striving for a future in which sustainable materials and a circular economy are the way out of the waste age.

Source & Copyright by Design Museum London

Whether fashion, food, electrical appliances, building materials or packaging. The designers find the lost value of everyday objects in our rubbish, showing how they can be reprocessed into new valuable resources. Visitors to the exhibition will also have the opportunity to discover furniture made from food or plastic waste, CO2-negative fashion, novel materials made from food scraps and many other highlights.

The exhibition includes numerous new exhibits that drastically make the terrifying effects of waste tangible for the viewer. For example, a large-scale installation by Ibrahim Mahama is made entirely of electrical waste from Ghana. Many other designers are also reinventing our relationship with waste. Formafantasma, Stella McCartney, The Ellen MacArthur Foundation, Lacaton & Vassal, Bethany Williams, Fernando Laposse, Natsai Audrey Chieza and Phoebe English also contributed designs to the exhibition.

The Design Museum's DNA - Vision, Goal, Mission, Values ​​& Commitments

It is not without reason that the Design Museum London is the place where "Waste Age: What can Design do?" is exhibited. Embedded in the museum's DNA are a clear vision, a strong purpose, a great mission, important values and landmark commitments:

Vision: Everyone appreciates design

Goal: Make the effects of design visible

Mission: Reinforce the public perception of design by connecting design and people's lives and passions. Reflect the role of the designer in social, technological and environmental change. Represent the design community by inviting designers to think publicly together

Values: Collaboration, welcoming, resourcefulness and looking forward

Obligations: Creating equality, diversity and inclusion in order to design a sustainable future
"We have to face up to the waste problem - we can no longer ignore what happens to things when we get rid of them," says curator Gemma Curtin.

Instead of looking at objects as things that have a finite life, we should rather perceive them as objects with many different lives. Everyone can contribute to reducing their own waste: Calculate, track and reduce your biological footprint. We can also inform and educate ourselves about the problem of waste. This includes recycling electronic objects or repairing (or having repaired) more instead of throwing them away.

Until the 20th of February, it is still possible to visit the exhibition, which is truly a campaign for sustainable change. It shows us that we should all play an active role in shaping our desired future. You can find all the information about the exhibition here.

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Design Museum London: Waste Age - What can designers do?

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We live in the age of waste. In its exhibition "Waste Age: What can Design do?", the Design Museum in London asks the essential question of what contribution designers can make to leaving our throwaway culture behind us once and for all.

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Tree Column, 3d printed mycelium column from used coffee cups

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We live in an age of waste and waste disposal has become a major problem in social life. How can waste be designed into something valuable and meaningful? How to design for the relationship between people and everyday things. More and more designers are faced with this question.

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The Duisburg Landscape Park covers a total area of 200 hm2. In 1985 the century-old A.G. Tyssen steelworks closed down and in 1989 the government decided to transform it into a park and make it part of the Emsche Park.

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Industrial Monument // Industrial heritage circuit | Landschaftspark Duisburg-Nord

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Here the industrial monument is being explained. At the centre of an area of about 180 hectares, stands the decommissioned Thyssen ironworks in Duisburg-Meiderich.

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Waste in a sense represents the negativity of industrial civilisation, a sense that is an unavoidable reality for people

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Lithuanian freelance illustrator a.bran   【scars over stars】

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Lithuanian freelance illustrator a.bran   【scars over stars】

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She has transformed an otherwise desolate house into a cityscape
a.bran has transformed what was a grey dilapidated house into an art installation and the house has been turned into a public artwork, providing a haven for those who are homeless. The original dull house has been painted pure white as a backdrop for the graffiti, contrasting with the black roof. From a distance, it can be seen standing there, attracting visitors and photographers alike.
https://www.designboom.com/art/abran-scars-stars-lithuania-street-art-festival-08-23-2017/

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designboom | architecture & design magazine

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lithuanian freelance illustrator, a.bran, has transformed an abandoned house into a bright urban space with his 'scars over stars' piece. the intervention was completed for the EDIT street art festival in the port-city of klaipėda in late june.

all images © paulius sadauskas

the house serves as a public artwork which has been used as a shelter by homeless people in unpopular neighborhood. a.bran transformed the formerly grey and dilapidated structure into a work of art. his playful drawings bring sunshine and positive messages to a white backdrop. the bright piece now stands out from far away, drawing visitors and photographers to the site. the project serves as another successful component of the EDIT street festival, an annual traveling exhibition which creates works in different cities. this year, a.bran gives back to his hometown of klaipėda and brings a new layer of meaning to an under appreciated area of the city.

the large scale of the drawings make them easily visible to passerby

each facade is unique and contrasts with the old brick materials, weaving history with the modern addition

the playful style combines a graffiti aesthetic with a.bran's signature cartoons and vibrant colors

a hydraulic lift was used to help artists reach the highest points of the house

the drawing was outlined and later painted with bright colors

the graphic patterns and bright colors stand out against the crisp white wall

inspiring messages such as ' dream big ' decorate the facade

the dull home was painted a crisp white to serve as a backdrop for the painting which contrasts with the dark wood roof

a team of artists helped a.bran complete the project which required painting all facades of the house

the home stands out from far away and draws visitors to the site which is an unpopular location of the port-city

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a.bran transforms abandoned house in lithuania with colorful graffiti

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lithuanian freelance illustrator, a.bran, has transformed an abandoned house into a bright urban space with his 'scars over stars' piece. the intervention was completed for the EDIT street art festival in the port-city of klaipėda in late june.

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The space is cluttered and dilapidated as a statement of the past, giving people a sense of sadness at the end of an era. Through the renovation of the old houses they take on a new emotional meaning, not only as memories, but also as a reuse of abandoned houses and a new haven for some people

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In this passage, waste takes on a symbolic meaning, symbolising the cultural spirit of a bygone era and the spirit of environmental protection

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[Celebrity Forum] Wang Min'an: On Garbage

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[Celebrity Forum] Wang Min'an: On Garbage

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"In the plane one sees the dream of mankind to fly, but in the wreckage of the plane as rubbish one sees the tragedy of a chilling event from the past. As the ashes of a commodity, rubbish is a relic of mankind, a tiny pearl left out of the sea of human memory, but it contains the vast secrets of the whole sea. One can reach the deep core of history with the help of relics/trash. Isn't the so-called archaeology a search in the rubbish? In this sense, rubbish is the very first historical document."

Minan, W. (2014). What is Contemporary. Published by New Star Press. 1st edition. 154 pp.

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Abstract

This article deals with the relationship between garbage and city, with special emphasis on the relationship between garbage and the modern commodity. With regard to the latter, the same material thing takes the form of commodity and garbage successively in its lifetime. Garbage is the corpse of commodity, so the number of commodities decides the quantity of garbage. A different relation of commodity to waste has existed in the countryside in China, where the circulation of waste products enters into a different relationship with the production of material life. By contrast, the modern city is a machine that treats garbage: on the one hand, it carries the commodity continually from the external space of the city to the inner space of the city, and on the other hand, it transports garbage from the inner space of the city to the external space of the city. The city forms its distinctive structure through the processing of garbage.

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Abstract This article deals with the relationship between garbage and city, with special emphasis on the relationship between garbage and the modern commodity. With regard to the latter, the same material thing takes the form of commodity and garbage successively in its lifetime.

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Industrial waste products are more representative. They were formerly commodities of some kind, industrial products as well as everyday objects. Those that began to lose their value after human production and life. These are obsolete products

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A selection of photographs by photographer Roi Dimor. The creation of art about waste is always in our hands.

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Introduction to reading about my waste padletd

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Introduction to reading about my waste padletd

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My padlet is divided into four sections, starting with a discussion of the significance of waste in art; waste creation by pre-waste artists; modern designers and waste design; and a summary of what to do with waste.
To read: left to right, top to bottom in order.

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The scrap composite art of pop artist Robert Rauschenberg（1925-2008）.
He believes that anything that has value - cardboard, asphalt, taxidermy, etc. - can be part of his work.
https://www.tate.org.uk/art/artists/robert-rauschenberg-1815

Such works can evoke a sense of everyday experience

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Postmodernist art, which emerged after the 1950s, provided landscape architects with a language of artistic ideas and forms to draw upon. From the beginning of Dadaism to Neo-Dadaism, from the artistic exploration of objects to the direct application of waste in the creation of art, things and actions that express artistic ideas are used as creative materials.

from：Zhejiang University Huzhou Leisure Agriculture Industry Research Institute

Schwitters makes collages from a wide range of scraps, unused product wrappers and cut-out productions from old newspapers, and feels the novelty in this unique approach.

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Kurt Schwitters 1887-1948. German painter, sculptor, typographer and writer. Born in Hanover. Studied at the School of Arts and Crafts in Hanover 1908-9 and at Dresden Academy 1909-14. Influenced by Expressionism and Cubism 1917-18. In 1918 created his own form of Dada in Hanover called 'Merz', using rubbish materials such as labels, bus tickets and bits of broken wood in his collages and constructions. Friendship with Arp, Hausmann and van Doesburg. Published the first edition of Anna Blume (a collection of poems and prose pieces) in 1919 and the magazine Merz 1923-32. First one-man exhibition at the Galerie Der Sturm, Berlin, 1920. Began in 1923 to build fantastic Merz constructions in his house in Hanover (the first 'Merzbau'). Spent the summers in Norway from 1931 and emigrated in 1937 to Lysaker near Oslo. Fled to England in 1940, spent seventeen months in internment camps, then lived 1941-5 in London. Moved in 1945 to Ambleside in the Lake District. In the last months of his life, he began a further Merz construction in an old barn at Langdale. Died at Kendal.

Kurt Schwitters was one of the most engaging mavericks of the art of the 20th century. His art is invariably grouped with Dada, although personal clashes prevented him from being admitted formally to membership, and by nature he would never be fully committed to any collective movement, even one of protest: his lack of interest in politics set him apart from the main group of German Dadas, as did his residence in Hanover rather than Berlin. Yet paradoxically Schwitters was intrinsically a Dada: the Dada poet Tristan Tzara wrote that Schwitters was "one of those personalities whose inner structure was always Dada by nature. He would still have been Dada even if the Dada call had not been sounded." By 1918, at the age of 31, he had discovered that he was not at heart a painter, but that for him the essence of art lay in the combination of existing materials. In 1919 he named his personal form of collage "Merz," to signal that his pictures were distinct from Cubism, Expressionism, or even Dada, and over time he extended the name to all his activities, including poetry and performance.
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By David Galenson - April 17, 2013

by Ed Stok

Kurt Schwitters - Merzbild - Rossfett (1919)

by Arifa Akbar in The Independent, Sunday 27 January 2013

Kurt Schwitters, the pioneering German Dadaist now acknowledged as the founder of performance art, was hopelessly misunderstood in his lifetime, at least when it came to the general public.

Even before he came to Britain – fleeing Nazi Germany in 1940 – his epic sound poem, Ursonate or Ur Sonata, comprised solely of abstract sounds was being pilloried in the national press. The BBC's response in 1947 didn't help. When two reporters turned up to his solo exhibition at London Gallery to record a live performance of Ur Sonata (sometimes translated as "a sonata in primal sounds"), they left halfway through without recording it at all. Only 28 people attended the recital and a fellow artist remembers Schwitters' enduring positivity in the face of an evident lack of interest in the room.

The sound poem, and other works created by Schwitters, have all since been fully reappraised and vindicated. In the past few years, a Schwitters revival has gained ground: Jarvis Cocker played Ur Sonata on BBC Radio 6 Music in June last year; Michael Nyman wrote an opera about the artist in 2003 entitled Man and Boy: Dada; Bryan Ferry is a fan; Damien Hirst owns his sculptures and has spoken of the artist's influence on his own early work.

Yet the public is still, by and large, relatively uninformed of the immense imprint left by Schwitters on contemporary British art. Tate Britain hopes to change that by staging a major exhibition, Schwitters in Britain, opening on Wednesday, which will showcase 150 collages, sculptures, paintings and sound poems – some seen in the country for the first time. The exhibition will focus on the years between his arrival in Britain as an "enemy alien" from Germany in 1940 until his death in Cumbria in 1948.

Schwitters developed the concept of "merz" while he was still in Hanover in the 1920s. This was the idea that any object – foraged or found – could be transformed into artistic material if used in the right way by an artist. So a pebble or a piece of corrugated cardboard became as legitimate as oil paint in the construction of an artwork. Emma Chambers, curator of the Tate Britain show, says he referred to string as an analogous line and cotton wool as softness in the formal composition of his work.
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Kurt Schwitters fled Germany following Hitler's persecution of "degenerate" artists, and spent the last years of his life in Ambleside, Cumbria. The steps of the Bridge House was one of the places he used to display his paintings. He is now the subject of an exhibition at the Tate Britain.

January 29, 2013 - BBC News

Kurt Schwitters: the pop art pioneer who brought order to chaos

by Philip Oltermann - The Guardian, Saturday 19 January 2013

In October 1945 the German artist Kurt Schwitters, who had been living in Britain since 1940, wrote a fairytale about a man with a glass nose. At first the man's nose is covered with skin and looks much like a normal nose, but the skin gradually becomes thinner and eventually vanishes completely. What it reveals is quite the work of art: the nose "could reflect the most improbable lights and colours and allowed objects to shine through in fragments". Soon, everyone wants to have a glass nose. Unfortunately, such noses also have a downside: they allow you to smell people's true thoughts, and those who compliment him most smell the worst. Don't listen to people, seems to be the moral of the story. Or in the words of Schwitters's anti-Pinocchio to his flatterers: "You smell of cheese!"

Schwitters had had it with the London art scene, and with the English national character more generally. His letters to friends and relatives back in Germany are less coded than his creative output: "You always talk very quietly in England, at least the middle classes do. If you talk loudly you count as 'common', not a gentleman ... The result is a typical English attitude. The English don't defend their ideas, because then they'd have to talk loudly."

Very complete article on Wikipedia

Kurt Schwitters: Construction for Noble Ladies (1919)

The years immediately after World War I were filled with great ferment and experimentation. In this climate, poet, artist, and photographer Kurt Schwitters developed his own unique aesthetic, which he called "Merz". The concept was based on assemblage -— the combining of ordinary objects with artistic elements. For Schwitters, Merz was an attempt to achieve freedom from all social, political, and cultural fetters. Construction for Noble Ladies is one of Schwitters's large-scale reliefs known as Merzbilder (Merz pictures). It is revolutionary in its incorporation of everyday detritus —- a funnel, broken wheels, a flattened metal toy train, and a ticket for shipping a bicycle by train —- yet like other Merzbilder, it remains an elegantly composed picture. A traditional portrait of a "noble lady" in profile, turned on her side and facing upward, is also included. These various found materials, seemingly whimsical and casual, are transformed into formal artistic elements by their arrangement according to Cubist principles. Embedded in the composition are hints of a narrative.

The Los Angeles County Museum of Art

(December 9, 2012)
All Kurt Schwitters artworks in chronological order
Biography by Richard Humphreys in MoMA The Collection

Lakes tribute for artists who fled Hitler

They were artists without honour in their own land. Derided and abused, Germany's Modernists suffered public scorn and ridicule because their idea of art did not fit with Adolf Hitler's manic hatred of anything considered un-Aryan. Branded "degenerate artists", their work was paraded for the Third Reich's censure and they were banned from producing similar, or in some cases any, work at all.

Now, at last, a campaign is to be launched to raise money for the world's first memorial to the artists driven into exile by the Nazis. However, the permanent tribute, costing around £30,000, will not be sited in Germany but in a secluded glade, near a dilapidated barn, in an isolated valley in the Lake District.

The barn was the last workplace of the most revered of the refugee artists, Kurt Schwitters, widely considered a titan of 20th-century art, comparable in influence with Pablo Picasso and the radical French artist Marcel Duchamp.

Schwitters invented the art form known as Merz (the art of everything). He pioneered collage, was an innovative graphic artist and typographer, performance artist and poet, as well as landscape and portrait painter. His use of recycled debris in his collage and sculptural installations was particularly antagonistic to the Nazis, with their championing of traditional art forms. Along with other "degenerates" his work featured in mock exhibitions staged by the Nazis. He fled Germany, first to Norway and then, when Hitler invaded, caught the last fishing boat out of Scandinavia, survived a torpedo attack and landed in Scotland.

Like other "degenerate" artists, he became part of the movement that spread Modernism throughout the Western world. He died in 1948.

The Lakeland memorial will comprise a glass top over the treated, upturned complex root structure of a fallen tree. Jill Rock, the artist who will produce the work, plans to call it "Roots of Modernism".

Ian Hunter of Littoral Arts, which owns the Cylinders Estate where Schwitters produced his work, in what he called the Merz Barn, near Great Langdale, and where the monument will be sited, said: "As far as we know, there is no formal memorial or designated public place in which to honour or remember all the artists who were interned, executed, or forced to flee their homes and studios."

The Littoral Arts Trust, which looks after the barn and sponsors the project, aims to raise £30,000 by next April. Volunteers are being sought to help with the memorial, and other work proposed at the site.

In Hanover, the Dada spirit was embodied by a single man, Kurt Schwitters, trained under the sign of expressionnism but who, as early as 1918, had renounced figurative games to create a highly personal plastic grammar, substituting all kinds of rubbish found in public garbage dumps for noble pigments. All these cast off materials were transformed by him into admirable compositions in which colours and volumes made mysterious alliances. He called these strange paintings Merzbilder (after the central syllable of Kom merz bank) and named them by numbers in chronological order of their composition.

Schwitters is the forgotten modernist. Afforded only a paragraph in many tomes and sometimes missing entirely from the chronologies that direct art-history students in a line from Impressionism to the present, the German-born Dadaist should be more than an obscurity who is perpetually rediscovered. Indeed, as a pioneer of installation art who sought to collapse the walls between painting, sculpture and the everyday detritus of a consumer society, Schwitters (June 20, 1887- January 8, 1948) has perhaps never been so vital to contemporary trends as he is today.

Kurt Schwitters: Merz

Merz [No.] 4. Banalitäten. Juli 1923. Redaktion des Merzverlages: Kurt Schwitters.
(16) pp. (paginated 33-48). 9 line-drawn and halftone illus. Contents printed on pink stock. Lrg. 8vo.
Orig. wraps., with typographic composition by Schwitters. Contents printed on pink stock.
Containing Schwitters' "Banalitäten," Arp's "Die Hausernkaserne," Hausmann's "Chaoplasma," and other texts and verse by Ribemont-Dessaignes, Tzara, Malespine and others.
Illustrations by and after Picasso ("Sacipos"), Rietveld, Schwitters, Oud and Van Doesburg, Segal, Arp, Moholy-Nagy, et al.
Hannover (Merzverlag), 1923. $8,000.00 (Ars Libri)

Kurt Schwitters: MerzbauGG

See Jaleh MANSOOR: Kurt Schwitters' Merzbau: The Desiring House

(Excellent article on Schwitters and Dada.)

The Hatton Gallery is home to the Merzbarn Wall. Constructed in a barn in the Lake District during 1947-48, and transported to the Hatton in 1965, the Merzbarn was Kurt Schwitters' final, and in his own estimation, 'greatest', piece of work.

This wall forms part of the third and last Merzbau (or sculptural installation), constructed by the celebrated collagist Kurt Schwitters in his Lake District barn. It is now on permanent display in Newcastle University's Hatton Gallery.

Kurt Schwitters : Cool Dada

The Economist - July 1st 1999 | Newcastle-upon-Tyne

TUCKED away in a little university art gallery in the north-east of England (the Hatton Gallery at Newcastle-upon-Tyne) is one of the least known masterpieces of 20th century art, the Merzbarn relief.

The Merz Barn by Kurt Schwitters

A merz can roughly be described as a "psychological collage", which contains fragments of found objects, some with autobiographical elements.

Guggenheim Collection Online

Biography of Kurt Schwitters

· About Schwitters
· Research
· Projects
· Collections
· Events
· Media

Matt Gonzales

Kurt Schwitters: Coloured Squares (1921)..

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Kurt Schwitters 1887-1948. German painter, sculptor, typographer and writer. Born in Hanover. Studied at the School of Arts and Crafts in Hanover 1908-9 and at Dresden Academy 1909-14. Influenced by Expressionism and Cubism 1917-18. In 1918 created his own form of Dada in Hanover called 'Merz', using rubbish materials such as labels, bus tickets and bits of broken wood in his collages and constructions.

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Previous artists and the creation of waste

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Previous artists and the creation of waste

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A starting point for many designers' practices. Increasingly, a younger generation of designers is rethinking the relationship between people and everyday things.

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Toxic waste and household refuse are extremely damaging to the living environment
Domestic waste and abandoned factories make us think of ecological problems. Thanks to the industrial revolution industrialised production. More and more commodities are created through people's desires.
Commodities create rubbish. It is a negativity and a reflection of a tragic destiny。

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There is a kind of waste, abandoned houses by humans and the ruins of decaying towns. These are the living spaces that humans once inhabited and can also agree to be classified as abandoned places.
Every day different things happen within their own spaces.
The dilapidated rooms give a feeling of sadness.

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Born in 1987 and raised in Lisbon, Portuguese street artist Artur Bordalo has taken the industrial waste collected from the streets and transformed it into various shapes, such as a portrait of a mischievous owl, a wave made of used plastic bottles, a swimming duck, a giant insect and so on.(zhi website)

Links for artists http://www.bordalosegundo.com/ https://www.facebook.com/BORDALOII

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Reference from a different background perspective

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The significance of waste in its own right is perhaps that they become objects that have no meaning to humans

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Waste is something that has been abandoned or eliminated by people.
Waste (or wastes) are unwanted or unusable materials. Waste is any substance which is discarded after primary use, or is worthless, defective and of no use.（wikipedia)

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"The wastes are not fine and glorious; they are dull, crippled and dead."