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Journal Article

Aus Müll Gold gesponnen: Kurt Schwitters' Merzkunst und die Inflation

Christoph Zeller
German Studies Review
Vol. 31, No. 2 (May, 2008), pp. 345-367
Stable URL: http://www.jstor.org/stable/27668520
Page Count: 23
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Since scans are not currently available to screen readers, please contact JSTOR User Support for access. We'll provide a PDF copy for your screen reader.
Aus Müll Gold gesponnen: Kurt Schwitters' Merzkunst und die Inflation
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Abstract

Kurt Schwitters' Merzkunst transforms found materials into artistic collages. Besides wood, thread, and wire, he demands, "shoes and fake hair, also ice skates [...] hell machines, a metal fish and a funnel [...]" (Merz, 1920) are equivalent elements of an artwork. Cut from "Kommerz," Schwitters' Merzkunst asserts a multi-layered definition of the term "value," referring specifically to the spheres of economy and philosophy. In his notion of "equivalence" Schwitters' art theory draws similarly on the "philosophy of values" and the phenomenon of hyperinflation, a major socio-historic factor shortly after World War I.

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