ARTIST SOPHIE HENDERSON
THE SHIPPON GALLERY
SUNDAY SEPTEMBER 9th, 3 pm to 5 pm
In Memoriam K.S.
The 70th anniversary of Kurt Schwitters’ death in January 1948 fell on January 8 1948. The occasion was marked by a short memorial programme in the Queens Hotel, Ambleside on Sunday, January 7th, with performances by Florian Kaplick and Ian Hinde on and about the Ursonate.
This was followed by a dash to Strickland Court in Kendal, the site of the old county hospital in which Schwitters died. The Lakeland Fiddlers braved the bleak weather to play a memorial tribute, flowers were placed on an approximation of the site, and then everyone retired to Cylinders where there was a barbecue with performances by Steve Grundy and his various instruments.
Looking at alternatives for the future of the Merz Barn
On January 8th an article appeared in The Guardian reporting the possibility that the Merz Barn might be sold to an arts entrepreneur in China if funding to keep it going were not forthcoming in England. It is the case that the Littoral Trust has received several enquiries about the possibility of buying Cylinders, one of which was from China. The article, together with a filmed piece on ‘Look North Tonight’, helped to raise public awareness about the future of the Merz Barn.
Happily the issue has been resolved, for the next two years at least, and the Trustees are actively pursuing various avenues for the safe-guarding of the buildings and the site after that.
Holocaust Memorial Week
Traditionally we mark the Jewish Holocaust Memorial Week in January with a celebration of our own, remembering all the groups persecuted for ‘deviance’ by the Nazi regime in Germany: beside the Jews they attempted to annihilate Black people, anyone with mental or physical problems, Gypsies, Seventh Day Adventists, and artists working in Modernist genres. On the evening of January 26th we invited our regional Rabbi to join in a memorial event in the Merz Barn, together with the vicar of All Saints church, George Wrigley, a Buddhist, an Adventist, and others. A small exhibition was opened featuring a rug, hand-woven in Afghanistan to a design by artist Jim Ricks ‘Tread Carefully!’, based on a slogan by George Grosz displayed at the First International Dada Fair in Weimar in 1922. Translated, the text runs: ‘Take Dada seriously, It is worth it!’ (www.jimricks.info).
Restoration work at Cylinders
As usual the winter gales saw the fall of several of our vintage birch trees. Self-seeded, these have a short life of around 70 years, and are especially vulnerable when they stand on shallow earth. Mike Edmondson’s team came in during February to log the crop of fallen trees, happily finding no major damage this year to neighbouring beeches or conifers, or to the ancient dry-stone walls.
February was also the month during which Steve Grundy finished work on the new glasshouse behind the Merz Barn, a replica of the one to be seen in old photographs of Cylinders, built by Harry Pierce during the 1940s.
The original Glasshouse in the 1950s Steve Grundy with the new glasshouse gallery and reading room
Restoration of the Drawing Office – Cumbria Fells & Dales LEADER+ Grant
We are happy to announce that Littoral has been awarded a grant by LEADER/RDPE to completely rebuild Harry Pierce’s old Drawing Office at Cylinders this autumn. The architect is Andrew Shepherd, and the work will be undertaken by Cook & Lakin of Ambleside and Windermere. The ‘drawing office’ rebuild will include new gallery display space and micro museum and reading room devoted to the work and life of local garden designer Harry Pierce. Who had first supported Schwitters while working on the Merz Barn in 1947.
Arts programmes for students, artists and young people at the Merz Barn site
The artistic programme at Cylinders during 2018 has continued to expand. There have been residencies and visits for student groups from the Royal College of Art, Manchester University and Manchester Metropolitan University, the University of Salford, and the University of Cumbria Institute of Arts.
Installation by a student from Salford Uni. Drawing in the Merz Barn.
KSDIY 18 Summer School 14 – 24.07.18
Summer School Workshops
Dry-stone walling with Steve Grundy
The KS18 Summer School was organised by members of the RCA Students’ Union led by Cat Robertson. They attended workshops on drystone walling with Steve Grundy, stone-carving with sculptor Danny Clahane, woodland crafts with Dave Middleton, collage with artist Mike Healey, and – a popular choice – trench-digging on Mike Edmondson’s digger. The weather for once was perfect.
Mike Healey’s Collage workshop: loose re-creation of a work by Schwitters, now lost, (Das Merzbild 1919) included (upside down) in the 1939 Munich ‘Entartete Kunst’ Exhibition of 1939.
After Mike’s workshop the ‘re-created’ collage was carried in procession to the Merz Circle where it was hung right side up on the Merz Barn wall, sections of his ‘Ursonate’ piece were read by Ian Hinde, and the event was crowned by an impromptu country dancing session to the accompaniment of Steve Grundy’s accordion.
Exhibitions at Cylinders 2018
Peter Symonds exhibition INDIGENOUS.
New and recent paintings by Peter Symonds. A response to the work of Kurt Schwitters. April 7 until April 28.
Mike Healey ‘Collage’ Exhibition. May 6 to June 3rd
Statement – Mike Healey
For the last five years I have lived and worked on a Greek island. Corfu, away from the tourist sites, is a lush expanse of olive groves, secret lakes, dark forests and unyielding mountains – a landscape where ancient gods and goddesses once walked, spreading fear and veneration in equal measure. It is, therefore, a haunted island, and any artist worth his or her salt must recognize the indefinable presence of these pagan forces.
Many of the paintings in this exhibition therefore have their origins in Greece, and reflect the veneration I have for ‘place’ – wherever it may be. This takes many forms, including close study of indigenous plant forms, rock formations and specific landscapes.
‘Merz in the Moment’ Exhibition in the Merz Barn and Cake Room, August 3rd & 4th (Abbott Hall Dementia Arts group).
Shannon Quigley, Curator of the ‘Merz in the Moment’ Exhibition; Donna Campbell hanging the Exhibition with Warren (MMU
‘Merz in the Moment’ is a long-term collaborative art project initiated by Abbott Hall Art Gallery in collaboration with the Hatton Gallery, Newcastle, with people coping with dementia and their carers. They took as their theme inspiration from Kurt Schwitters’ collages, and we were delighted when they were able to bring their project to Cylinders and display their own artwork in the Merz Barn. The artists and their carers will be returning in the new year to produce a major installation and exhibition.
Chris Roberts (UAL) Collage Exhibition in the new Glasshouse gallery
Chris Roberts, Head of Foundation Studies UAL, Glasshouse Exhibition
Chris Roberts, Head of Foundation Art Studies at the University of the Arts London, was funded by UAL to undertake a week-long research residency at Cylinders in August. The main purpose of the residency was to look at future possibilities for residencies and research work at the Merz Barn for UAL students.
Ouroboros Exhibition Shippon Gallery, Aug 5th to 31st
‘Ouroboros, ‘the snake that eats its tail’, is an exploration of the transformative power of collage. It includes recycling, upcycling, the personal and the universal, the implications of ‘selfie culture’, the relationship between art and time, part and whole’.
The Ouroboros ‘Transformation of the Discarded’ exhibition features the work of OPAO (All Possibilities Are Open), a recently formed group of artists based in Kendal – Steve Trevillion, Annie Coxey, Delcia McNeil and Rosie Wates. The group has been working in and around the Merz Barn throughout the year to produce the current exhibition for the Shippon Gallery and the Merz Barn Cake Room.
At the opening on August 5th, which was graced by brilliant sunshine, cakes and tea were served from the Merz Barn Cake Room, and dance and spoken improvisations took place in the Merz Circle and the Shippon Gallery.
Cakes on display in the Cake Room window Ouroboros Performance in the Merz Circle
OPAO: The Future
The Ouroboros exhibition was the first stage of a longer term project in which the artists will be working in and around the Merz Barn to prepare a series of artworks, performances, and educational projects involving other artists and young people in the region.
OPAO have a related Ouroboros exhibition opening at Kendal Museum on September 12th, Private View 3 – 6 pm – all welcome. The exhibition continues until October 3rd.
Keep an eye on the Merzbarn Langdale FaceBook page for details of future events!
‘MERZ IN THE MOMENT’ – Exhibition by members of the Abbott Hall Dementia Group.
PRIVATE VIEW: Friday, August 3rd 2018 at 2pm.
The ‘In The Moment’ Exhibition goes up!
CHRIS ROBERTS: COLLAGE-BASED EXHIBITION of works produced during his week-long July residency at Cylinders.
PRIVATE VIEW: Saturday August 4th, at 6pm
Chris Roberts: images in progress at Cylinders
‘OUROBOROS’ EXHIBITION: APAO (All Possibilities Are Open), Kendal
APAO Artists: Steve Trevillion; Delcia McNeil; Rosie Wates
PRIVATE VIEW: Sunday, August 5th 2018, 3 – 6pm
The first night bonfire: students from the Royal College of art round the bonfire with Steve Grundy and his concertina performing a selection of Cumbrian and Irish traditional songs and tunes.
Drystone walling with Steve Grundy and Ian Hunter, July 15th; and Charlie Whinney, steam-bender and artist, with Steve Grundy, July 16th.
Project master-minded by artist Mike Healey (in hat), here seen with Ian Hinde, who performed a version of Schwitters’ ‘Ur-Sonate’, and Steve Grundy, who provided the music.
More KS18 pics:
Exhibition of the work of Kendal Artist Ike Healey
May 6th to June 3rd 2018
open daily 10am to 5pm
For the last five years I have lived and worked on a Greek island.
Corfu, away from the tourist sites, is a lush expanse of olive groves, secret lakes, dark forests and unyielding mountains – a landscape where ancient gods and goddesses once walked, spreading fear and veneration in equal measure.
It is, therefore, a haunted island and any artist worth his or her salt must recognize the indefinable, ineluctable presence of these pagan forces.
Many of the paintings in this exhibition therefore have their origins in Greece and reflect, I hope, the veneration I have for ‘place’ – wherever it may be.
This takes many forms, including close study of indigenous plant forms, rock formations and specific landscapes.
Here, at the Merzbarn, similar concerns shape my thinking.
While the Lake District may not immediately summon up Greek landscapes, the close affinity one feels with nature is at work here too, not least in the drawings I plan to complete during this residency.
Schwitters used collage in fresh and original ways. We are all in his debt for although he may not have been the first (I suspect that Picasso and Georges Braque can make that claim) he refined and enriched this technique of abrupt and unexpected visual juxtapositions.
For me, Max Ernst too was a formidable influence, especially when I started as an artist, some fifty years ago.
Here, in this small exhibition, there are numerous examples of my own struggles with this genre. Although I avoided bus tickets and the like, the juxtaposition of images in my case may derive in part from my professional career as a stage and film director. Film is fundamentally a medium in which, in one twenty-fourth of a second, it is possible to change visual direction, creating dramatic contrasts and tensions.
Collage, at its best, does just that.
For an artist like me to share – if only for a week or so – the place where a great Modernist once worked is itself a thrill. We are lucky that he passed this way, pausing – before an untimely death in Kendal in 1948 – to spread his magic and imbrue the barn and the surrounding estate with some of his aura.
Kurt Schwitters may not be an ancient Greek god but here, at the Merzbarn, he is a living presence.
One of the great modern artists of the 20th century, Kurt Schwitters, died almost penniless and largely forgotten on the 8th January 1948 in what was then the Kendal Workhouse infirmary after spending his final years in Ambleside.
Sunday 7th January – 70th anniversary memorial programme:
2 pm: Kurt Schwitters Dada poetry and Ursonate recital – Queens Hotel, Ambleside
It is said that Schwitters would from time to time perform his poems and recitations in some of the Ambleside pubs. In honour of this, and also the award of his British citizenship papers on 7th January 1948*, we have invited Florian Kaplick and Ian Hinde to perform the Ursonate and other poems by or about Kurt Schwitters at the Queens Hotel in Ambleside. Lunch 1 – 2 pm, and performances 2 – 3 pm.
4 pm: 70th anniversary memorial event – Caroline Street, (off Windermere Rd.) Kendal
Artists, poets, musicians and writers in Cumbria will gather at Caroline Street Kendal at the site of the former Workhouse Infirmary, at 4 pm on Sunday 7th January 2018 to lay a wreath in Schwitters’ honour and read poems in memory of the artist, on what is the eve of the 70th anniversary of his death in Kendal (8th January 1948). All welcome.
6 pm onwards: BBQ at the Merz Barn, Elterwater, LA 22 9JB.
All are invited to a BBQ event (BYO) at the Merz Barn in Elterwater, with music and song provided by the ever-talented and joyous Merzmusos Carolyn Francis and Steve Grundy.
The Merz Barn – Cylinders Estate, Elterwater, Cumbria LA 22 9JB
T. 015394 37309
*Kurt Schwitters was awarded his British citizenship papers just the day before he died; 7th January 1948. Unfortunately he was by them too ill to sign them.
SUNDAY SEPT. 24 TO OCT. 12 2017
PRIVATE VIEW SEPT 24th, from 2 pm – All Welcome!
The exhibition includes paintings, prints, collages, sculptures, ceramics and diorama. Exhibiting artists include: Gordon Baddeley, Roger Bell, Averyl Bradbrook, Barbra Cropper, John Davenport, Ann Marie Foster, Janet Graves, Mike Healey, Marion Kuit, Cally Lawson, Karen Lester, Anne MacKinnon, Jilll Pemberton, Elizabeth Shorrock, Keith Shorrock, Steve Trevillion, Sonja Vietoris, Geraldine Walkington, Andy Wild and Frances Winder.
The Merz Barn, Cylinders Estate, Langdale, Ambleside LA22 9JB is open from 10.00 am to 5.00 pm each day.
“When researching Schwitter’s work I found that I could draw some links between the processes he used and my own, even though our styles are very different’” said Janet Graves. “I also incorporate found objects in my work which is site specific. I use twigs stalks and grasses for mark making and also for making charcoal. I used my time at the Merz Barn to sketch, photograph and gather objects. These will be presented in my final piecewhich reflects my respect for Schwitter’s techniques and the beautiful environment of the Merz Barn.”
In her art work titled, ‘Hood E’, Ann Marie Foster references the papery territory of Schwitters and his use of the discarded debris of the every day.
“I took faded paper patterns used in dressmaking and collaged them to create another layer of meaning,” explained Ann Marie. “These opaque, ghostly papers refer to previous identities of the wearer. The garments carefully constructed from the paper patterns have been shed along with the previous selves that inhabited them. In my use of collage materials I’ve contrasted the mechanical nature of the lines imprinted on the paper patterns compared with the fluid, intuitive contours of the figures.”
Cally Lawson has created a large collage, inspired by Kurt Schwitters’ collages and his use of found objects. ‘Beyond the Lines’ incorporates a reclaimed frame and an old stag skull and antlers. Emulating the colour palette, use of found objects and abstract style of Schwitter’s famous collages, this artwork evolved from the intricate natural lines in the skull’s structure.
Andy Wild’s ‘Melting Angel’ is a piece from object found to object formed. It is metal from a fallen drain pipe made into a sculpture that appears to be melting away. It has moved from a drain pipes destruction to a construction of a sculpture to an image of melting into destruction again.
Mike Healey’s complex three-dimensional diorama is an expression of Schwitters’ celebrated claim that perspective is a ‘swindle’.
“I have inverted normal perspective, so that images close to the viewer are small whereas objects further away are large, thereby ‘destroying’ classical Renaissance perspective,” said Mike. “Within this framework there are smaller, equally dramatic narratives going on in which visual expectations and perspective are constantly usurped.”
Steven Trevillion’s “Found Subject” series reworks the idea of the found image/text that was so central to Schwitters’ collage practice. By literally tearing apart and reconfiguring a personal photo Steven also draws on Schwitters’ idea that destruction can feed creation.