Schwitters in Britain is a compelling exhibition because it charts the artist’s interest in ephemera, as well as the formal investigations of figuration and abstraction, painting and assemblage that preoccupied his work. Through these two outlets, we learn the importance of “place” in Schwitters’ practice. Following his inclusion in the Entartete Kunst exhibition in 1937 of “degenerate” art, Schwitters’ exile from Nazi Germany to Norway and then to Britain from 1940 gave him exposure to a new sense of place.
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Schwitters, doremifasolasido, c.1930