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.
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.
At least in the early days of the camp’s existence, there was a shortage of art supplies which meant that the internees had to be resourceful to obtain the materials they needed: they would mix brick dust with sardine oil for paint, dig up clay when out on walks for sculpture, and rip up the lino floors to make cuttings which they then pressed through the clothes mangle to make linocut prints.  Schwitters’ Merz extension of this included making sculptures in porridge:
Kurt Hermann Eduard Karl Julius Schwitters (20 June 1887 – 8 January 1948) was a German artist who was born in Hanover, Germany.
Kurt Schwitters was a German painter associated with the Dada movement, who worked in several genres and media, including poetry, sound, painting, sculpture, graphic design, typography and what came to be known as installation art. He is most famous for his collages, called Merz Pictures.
Schwitters worked in several genres and media, including Dadaism, Constructivism, Surrealism, poetry, sound, painting, sculpture, graphic design, typography, and what came to be known as installation art. He is most famous for his collages, called Merz Pictures.
Directly affected by the depressed state of Germany following World War I, and the modernist ethos of the Dada movement, Kurt Schwitters began to collect garbage from the streets and incorporate it directly into his art work. The resulting collages were characterized by their especially harmonious, sentimental arrangements and their incorporation of printed media. He actively produced artistic journals, illustrated works, and advertisements, as well as founding his own Merz journal. He wrote poems and musical works that played with letters, lacing them together in unusual combinations, as he’d done in the collages, in the hope of encouraging his audience to find their own meanings. His multiple avant-garde efforts culminated in his large merzbau creations. These works, collaborations with other avant-garde artists, would start with one object to which others were added, causing the whole piece to change and evolve over time, growing to great proportions that forced the viewer to actually experience, rather than simply view, the art.
German Painter, Collagist, and Writer
“The Great War is over, in a certain manner the world is in ruins, and so I pick up its pieces, I build a new reality.” Schwitters maintained close ties with the Dadaists of Zurich and Berlin and in 1922, through Theo van Doesburg, he met the members of De Stijl. The imprint of the geometric art of the Dutch painters and the powerful impact of the exhibition of contemporary Russian art he had seen at the Van Diemen gallery in Berlin the previous autumn spurred him to embrace Constructivist ideas. In 1927 he established the group Die Abstrakten Hannover together with Friedrich Vordemberge-Gildewart. He took part in the activities of the Cercle et Carré group in 1930 and joined Abstration- Création two years later.
The German artist Kurt Schwitters was one of the leaders of the Dada movement. He gave up studying architecture in his hometown to move to Dresden, where he visited the Kunstakademie with the aim of becoming a painter. After initially embracing Impressionism followed later by Expressionism, in 1918 he exhibited his first Cubo-Futurism works at Der Sturm gallery in Berlin. The following year he used waste materials to build his first collages and assemblages which he would call Merz, a name derived from a fragment of the word “kommerz” that he had used in one of his collages. Merz became synonymous with the new multidisciplinary art he went on to produce, unfettered by traditional artistic conventions, and gave its name to his poems, his magazine, his theatre and his sculptural-architectural constructions (Merzbau). He himself defined this artistic process as a consequence of the historic moment in which it had befallen him to live: