August 03, 2016

KURT SCHWITTERS: MERZ AT GALERIE GMURZYNSKA EXHIBITION DESIGN BY ZAHA HADID




KURT SCHWITTERS: MERZ AT GALERIE GMURZYNSKA ZURICH, SWITZERLAND
EXHIBITION DESIGN BY ZAHA HADID
June 12, 2016 - September 30, 2016




KURT SCHWITTERS: MERZ AT GALERIE GMURZYNSKA ZURICH, SWITZERLAND
EXHIBITION DESIGN BY ZAHA HADID
June 12, 2016 - September 30, 2016
Kurt Schwitters: Merz, is a major retrospective exhibition of the artist at Galerie Gmurzynska, bringing together a unique selection of seventy works across all media. 
Key works of each period are presented in a fully transformed gallery space designed by Zaha Hadid. This collaboration results from the idea of an architectural homage by Zaha Hadid to the famous Merzbau of Kurt Schwitters. Having successfully realised a similar project seven years ago, where Hadid transformed Galerie Gmurzynska, Zurich into a Suprematist space in reference to Kasimir Malevich, this collaborative project pays tribute to the second important artistic influence on Hadid’s work – Kurt Schwitters. 
Schwitters’ Merzbau has been described as a living, inhabited collage, ever-shifting and expanding, and this was the starting point for Hadid’s exhibition design which pushes beyond mere random collage to embrace the unpredictable richness and the complex variegated order found in nature. Seminal paintings and sculptures by Schwitters are married with Zaha Hadid’s works to define an evolving ecology within the gallery; a process of mutual adaptation facilitated by a mediating connective tissue that morphs between the aggregated objects, receives them, embeds them and thereby connects them into a complex, unitary spatial construct. 
“This design process is capable of delivering an intricate order, open ended and unpredictable, but at any time highly articulate. It is full of contingencies, but forges a unique, path-dependent identity,” explains Patrik Schumacher, Zaha Hadid’s collaborator of three decades.  
“The project was only possible through our extraordinary partnership with the late Zaha Hadid and Zaha Hadid Architects. A partnership that has formed over a decade. One of our most memorable collaborations was Zaha’s selection of Suprematist works by the Russian avant-garde juxtaposed with her architecture at Galerie Gmurzynska. The current Schwitters exhibition with Zaha Hadid’s exhibition design, is the logical complement to the Suprematism exhibition and takes place in the same space. Zaha’s spirit is ingrained in the DNA of Zaha Hadid Architects and this exhibition is a testimony both to her and to the continuous creative powers of Zaha Hadid Architects under the leadership of Patrik Schumacher,” said Mathias Rastorfer, CEO and co-owner of the Gmurzynska Galleries. 
As Galerie Gmurzynska, Zurich, is within the same building complex that once housed the famous Galerie Dada run by artists Tristan Tzara and Hugo Ball, and with the city celebrating 100 years of DADA this year, this retrospective is both overdue and extremely timely. The exhibition is realized in curatorial collaboration with Adrian Notz, the director of Cabaret Voltaire where the DADA movement originated in 1916 and one of the main locations of this year’s centennial festivities. Adrian Notz has created sections devoted to archival documents covering Schwitters’s important ventures into poetry, theatre, stage design and sound which complement and further contextualize his unique visual praxis. 
The retrospective also shines a light on Kurt Schwitters’s significant influence on a whole range of artistic generations succeeding him – from David Bowie to Damien Hirst – or as the renowned curator Norman Rosenthal put it: “there is no artist working today that has not been influenced by Kurt Schwitters”. 
The gallery actively supports the conservation and legacy of Schwitters’s art as a major donor to the Littoral Arts Trust’s effort in restoring the artist’s damaged Merzbarn in Elterwater, England. 

www.gmurzynska.com/




THEO VAN DOESBURG WITH KURT SCHWITTERS
KLEINE DADA SOIREE 1922
Collaborating Artist: Kurt Schwitters
Medium: Lithograph
Dimensions: 30.2 x 30.2 cm
Credit: Gift of Philip Johnson

Schwitters and the Dutch artist Theo van Doesburg embarked on a tour of Holland to introduce Dada to local artists and the public through lectures and performances. Van Doesburg’s pamphlet "What is Dada?" was for sale at the close of each stop. The poster for the Small Dada Evening includes the event program, which lists ragtime music by the composer Erik Satie, abstract poetry by Schwitters, and "Dadasofie" by Doesburg. The poster is decorated with multi-lingual slogans including: "Dada est contre le futur, Dada est mort, Dada est idiot, vive Dada!" ("Dada is against the future, Dada is dead, Dada is idiotic, Long live Dada!")




Courtesy of Galerie Gmurzynska 




UNTITLED (OVAL) CA. 1925-26




Courtesy of Galerie Gmurzynska 




Courtesy of Galerie Gmurzynska 




Courtesy of Galerie Gmurzynska 




Courtesy of Galerie Gmurzynska 






Courtesy of Galerie Gmurzynska 




DAS UNBUILD 1919










MERZZEICHNUNG 156 (CENTRE BLUE) - 1920






MERCURIC COLLECTION DESIGN BY ZAHA HADID
In the past, artists carved. Today the designer, working with artisan skills and the technological innovation, can impress form, function and vision upon marble. Hadid in collaboration with Citco has reinterpreted marble in her unmistakable idiom.













GENESY FLOOR LAMP - WHITE, OR BLACK






UNTITLED (WHITE, BEIGE, BROWN), 1942
Collage
Dimensions: 41.9 x 32.7 cm
Image Courtesy of Galerie Gmurzynska






GENESY FLOOR LAMP - WHITE, OR BLACK
The result of the studio’s in-depth research into the evolutionary forms of the natural world, the sweeping canopy of the Genesy lamp and its interconnected supporting base, are inspired by the growth patterns of trees deep within a forest. Robust branches stem from a central structure, with smaller branches higher up providing support for the main light source. Genesy offers direct and indirect lighting, with a linear halogen up-lighter in the head and an LED spot projector concealed in the lower section. Touchpad power and dimming controls are housed discreetly within the central body.
http://zaha-hadid-design.com/collaborations/furniture/genesy-floor-lamp-423




GENESY FLOOR LAMP - WHITE, OR BLACK






Courtesy of Galerie Gmurzynska 




THE DOUBLE PICTURE (ASSEMBLAGE) – 1942












GALERIE GMURZYNSKA ZURICH, SWITZERLAND










ALLGEMEINES MERZ PROGRAMM 1923
Medium: Letterpress
Dimensions: 30.5 x 21 cm
Credit: Jan Tschichold Collection, Gift of Philip Johnson
© 2016 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn






MERZ WERBEZENTRALE 1925 - 1927
Medium: Letterpress
Dimensions: 22.3 x 30.5 cm
Credit: Jan Tschichold Collection, Gift of Philip Johnson
© 2016 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn






MERZ 2, 1923
Medium: Letterpress
Dimensions: 22.2 x 14.3 cm
Printer: Dietsch & Brückner, Weimar
Credit: Jan Tschichold Collection, Gift of Philip Johnson
© 2016 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn
 





ANNA BLUME: DICHTUNGEN (DIE SILBERGAULE, VOL 39/40) 1919
Medium: Illustrated book with one lithograph
Dimensions: Page (Including Flyleaves): 21.9 x 14.4 cm
Publisher: Paul Steegemann Verlag, Hannover
Printer: Edler & Krische, Hannover
© 2016 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn










MERZ WERBEZENTRALE 1925 - 1927
Medium: Letterpress
Dimensions: 22.3 x 30.5 cm
Credit: Jan Tschichold Collection, Gift of Philip Johnson
© 2016 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn






DIE KATHEDRALE: (DIE SILBERGAULE, VOL 41/42) 1920
Medium: Eight Transfer Lithographs, One ith Collage (Cover)
Dimensions: Page: 22 x 14.3 cm; Prints: Various Dimensions
Credit:Gift of Edgar Kaufmann, Jr.
© 2016 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn

A seminal figure among European avant-garde artists of the 1920s, Kurt Schwitters participated in the Expressionist and Dada movements in Germany and in the international phenomenon known as Constructivism. The printed word—its appearance, meaning, and sound—was a constant source of inspiration for Schwitters. He used printed and stamped letters in his collages and poems, and by the mid-1920s had become a successful graphic designer. Schwitters's involvement with traditional printmaking techniques, however, was limited, as he focused more on ephemeral printed projects.
In 1918, after serving in World War I, Schwitters began publishing his poetry in the Expressionist journal Der Sturm and associating with the artists surrounding this journal and gallery of the same name. The title of Schwitters's book, Die Kathedrale, reflects the Expressionists' embrace of the Gothic cathedral as an emblem of unification in the arts. The white square of paper on the cover, part of a wraparound seal added by Schwitters, declares, "Beware: Anti-Dada." At this point, the Dadaists were antagonistic toward Schwitters, whom they considered bourgeois and not sufficiently political.
"Merz," a play on the German word for commerce, was an overarching term Schwitters used to describe collages, poems, and performances he created by combining such elements as bits of odd paper found in the streets, snippets of overheard conversation, or fragments of text from everyday sources. Between 1923 and 1932 he also published a journal entitled Merz, which comprised twenty-four issues. The third issue is a portfolio of lithographs that served as a special edition of the journal. In typical Dada fashion, he included random elements such as found typographic fragments and photographic images in these prints. However, his concurrent incorporation of geometric abstraction demonstrates his growing involvement with the Constructivist aesthetic.
Publication excerpt from Deborah Wye, Artists and Prints: Masterworks from The Museum of Modern Art, New York: The Museum of Modern Art, 2004







MERZ 1926 - 1927
Medium: Letterpress
Dimensions: 27.9 x 28.1 cm
Credit: Jan Tschichold Collection, Gift of Philip Johnson
© 2016 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn






GALERIE GMURZYNSKA ZURICH, SWITZERLAND














VORTEXX CHANDELIER DESIGN BY ZAHA HADID
In the same spirit of fluidity that characterises previous furniture collaborations with Sawaya & Moroni, the Vortexx chandelier is a twisting ribbon of light. Viewed in plan, the chandelier has a star-like quality, its protrusions cast outwards as if propelled by a centrifugal force. Two transparent spirals of light are seamlessly inscribed in the chandelier's opaque surface, tracing its double helix form. A recessed LED strip provides animated and immersive light sensations, emitting both direct and indirect light, which the user can finely tune to create a particular atmosphere. A sophisticated fusion of beauty and interactive functionality.







VORTEXX CHANDELIER DESIGN BY ZAHA HADID






MERZ DRAWING 83. DRAWING F 1920
Medium: Cut-and-pasted papers with cardstock border
Dimensions: 32.7 x 24.1 cm
Credit: Katherine S. Dreier Bequest

© 2016 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn








MEASURE 1922
Medium: Printed Papers on Paper
DimensionsSupport: 307 x 220 mm
Collection: Tate
Acquisition: Accepted by HM Government in Lieu of
Inheritance Tax and Allocated to Tate 2007











TABLE SALT 1922
Medium: Printed Paper on Paper
Dimensions Support: 321 x 233 mm
Collection: Tate
Acquisition: Accepted by HM Government in Lieu of Inheritance
Tax and Allocated to Tate 2007















DIE FRUHLINGSTUR 1938








Courtesy of Galerie Gmurzynska 




POSTCARD TO DR. W. DEXEL, JENA
23.3.22
‘’DIE LEIPZIGER MCHAELIS’’
 



FIREPLACE DESIGN BY ZAHA HADID
Launched at Il Salone del Mobile 2014, Calla is a reinterpretation of the classic wall fireplace. Crafted entirely of Negro Marquina black marble, this design originates from the apparent torsional forces between its interior and exterior surfaces, defining the formal composition of the fireplace in a dialogue of curvilinear geometries. 
The smooth, polished surface further reflects the fluidity of the form and variations in the flame. Informed by the natural growth systems of Calla Lily petals that softly radiate from a central stem, the fireplace expresses the intricate beauty and sculptural dynamism of natural forms.





SANTA CLAUS 1922
Medium: Cut-and-Pasted Colored and Printed Papers on Paper with Cardstock Border
Dimensions: 28.4 x 20.8 cm

© 2016 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn






PICTURE OF SPATIAL GROWTH






UNTITLED (HEAVY RELIEF) – 1945






SEAMLESS COLLECTION SERIF SHELVES – PURPLE DESIGN BY ZAHA HADID
Borrowing their name from typography, the Serif shelves are inspired by calligraphic forms and the swift, purposeful brushstroke of their designer. In a perfect synthesis of vision and final product, the shelves appear to be sketched in three-dimensions on the wall. They can be displayed in a variety of configurations, punctuating space with the powerful sculptural language of the Seamless collection. 







AQ. 10 (GRIND, YOU GRIND, HE GRINDS.), 1919




Courtesy of Torsten Skoetz


















ZAHA HADID
Zaha Hadid, founder of Zaha Hadid Architects, was awarded the Pritzker Architecture Prize ( considered to be the Nobel Prize of architecture) in 2004 and is internationally known for both her theoretical and academic work. Each of her dynamic and innovative projects builds on over thirty years of revolutionary exploration and research in the interrelated fields of urbanism, architecture and design. Hadid’ s interest lies in the rigorous interface between architecture, landscape and geology as her practice integrates natural topography and human – made systems , leading to experimentation with cutting – edge Technologies. Such a process often results in unexpected and dynamic architectural forms.
EDUCATION
Hadid studied architecture at he Architectural Association from 1972 and was awarded the Diploma Prize in 1977.
TEACHING
She became a partner of the Office for Metropolitan Architecture, taught at the AA with OMA collaborators Rem Koolhaas and Elia Zenghelis, and later led her own studio at the AA until 1987. Since then she has held the Kenzo Tange Chair at the Graduate School of Design, Harward University; The Sullivan Chair at the University Illinois, School of Architecture, Chicago; guest professorsships at the Hochschule für Bildende Künste in Hamburg; The Knolton School of Architecture, Ohio and the Masters Studio at Columbia University, Newyork. In addition, she was made Honorary Member of the American Academy of Arts and Letters, Fellow of the American Institute of Architecture and Commander of the British Empire, 2002. She is currently Professor at the University of Applied Arts in Vienna, Austria and was the Eero saarinen Visiting Professor of Architectural Design at Yale University, New Haven, Connecticut.
AWARDS
Zaha Hadid’ s work of the past 30 years was the subject of critically – acclaimed retrospective exhibitions at New York’ s Solomon R. Guggenheim Museum in 2006, London Design museum in 2007 and the Palazzo della Ragione, Padua, Italy in 2009. Her recently completed projects include the MAXXI Museum in Rome; which won the Stirling award in 2010. Hadid’ s outstanding contribution to the Stirling award in 2010. Hadid’ s outstanding contribution to the architectural profession continues to be acknowledged by the most world’ s most respected institutions. She received the prestigious ‘ Praemium Imperiale ’ from the Japan Art Association in 2009, and in 2010, the Stirling Prize from the Royal Institute of British Architects. Other recent awards include UNESCO naming Hadid as an  ‘ Artist for Peace ‘ at a ceremony in their Paris headquarters last year. Also in 2010, the Republic of France named Hadid as ‘ Commandeur de l’ Ordre des Arts et des Lettres’ in recognition of her services to architecture, and TIME magazine included her in their 2010 list of the ‘ 100 most Influential People in the World ‘. This years ‘ Time 100 ‘ is divided into four categories: Leaders, Thinkers, Artist and Hereos – with Hadid ranking top of the Thinkers category.
ZHA PROJECTS:
Zaha has played a pivotal role in a great many Zaha Hadid Architects projects over the past 30 years. The Maxxi National Museum of 21 st Century Arts in Rome, Italy; the BMW Central Building in Leipzig, Germany and the Phaeno Science Center in Wolfsburg, Germany are excellent demonstrations of Hadid’ s quest for complex, fluid space. Previous seminal buildings such as the Rosenthal Center for Contemporary Art in Cincinati, USA, have also been hailed as architecture that transforms our vision of the future with new spatial  concepts and bold, visionary forms.
Currently Hadid is working on a multitude of projects worldwide including: The London Aquatics Centre fort he 2012 Olympic Games; High – Speed Train Stations in Naples and Durango; The CMA CGM Headquarters tower in Marseille; The Fiera di Milano masterplan and tower as well as major master planning projects in Beijing, Bilboa, Istanbul and Singapore. In the Middle East, Hadid’ s portfolio includes national cultural and research centres in Jordan, Morocco, Algeria, Azerbaijan, Abu Dhabi and Saudi Arabia, as well as the new Central Bank of Iraq.
You may visit to see others projects news from Zaha Hadid Architects to click below links from my suggestions.
https://mymagicalattic.blogspot.com.tr/2014/09/crest-design-by-zaha-hadid-architect-at.html
http://mymagicalattic.blogspot.com.tr/2014/04/dongdaemun-design-plaza-ddp-design-by.html
http://mymagicalattic.blogspot.com.tr/2013/11/zaha-hadid-architects-unique-circle.html