what was the aim of kurt schwitters work
Since the Foundation was set up substantial parts of the estate have been available for international exhibition loans. The Foundation regularly organises exhibitions of both artists’ works in cooperation with the Sprengel Museum, Hanover. See Activities. It advises borrowers and other partners on preparations for exhibitions and publications.
The Foundation oversees the use of works by both artists. It gives expert opinions on Kurt Schwitters’s works, together with the Kurt Schwitters Archive in the Sprengel Museum Hanover, and protects his oeuvre from misuse.
A comparison of the two recordings is recommended. Blonk is incredible.
Now, at last, a campaign is to be launched to raise money for the world’s first memorial to the artists driven into exile by the Nazis. However, the permanent tribute, costing around £30,000, will not be sited in Germany but in a secluded glade, near a dilapidated barn, in an isolated valley in the Lake District.
Helma visited Schwitters in Norway for a few months each year up to the outbreak of World War II. The joint celebrations for his mother Henriette’s 80th birthday and his son Ernst’s engagement, held in Oslo on 2 June 1939, would be the last time the two met.
In 1922 Theo van Doesburg organised a series of Dada performances in the Netherlands. Various members of Dada were invited to join, but declined. Eventually the programme comprised acts and performances by Theo van Doesburg, Nelly van Doesburg as Petrò Van Doesburg, Kurt Schwitters and sometimes Vilmos Huszàr. The Dada performances took place in various cities, amongst which Amsterdam, Leiden, Utrecht and The Hague. Schwitters also performed on solo evenings, one of which took place on 13 April 1923 in Drachten, Friesland. Schwitters later on visited Drachten quite frequently, staying with a local painter, Thijs Rinsema [nl] . Schwitters created several collages there, probably together with Thijs Rinsema. Their collages can sometimes hardly be distinguished from each other. From 1921 onwards there are signs of correspondence between Schwitters and an intarsia worker. From this co-operation several new works originated, where the collage technique was applied to woodwork, by incorporating several kinds of wood as a means to delineate images and letters. Thijs Rinsema also used this technique. 
At the same time Schwitters was surrounded by the thrust of the new – Constructivism, Futurism, Minimalism – and in his typographical experiments, in his poetry, in his sound experiments, in his designs for a ‘basic’ theatre setting, he experimented with and subverted these new forms the instant that they came into being, adding where he thought it necessary his own particular form of anti-rationalism, or even whimsy.
Kurt Schwitters: Gold Grotto, 1925
After Nazi Germany invaded and occupied Norway in 1940, Schwitters escaped to Scotland with his son and daughter-in-law. As a German national, he was subject to a series of interments by the U.K. authorities in Scotland and England until he eventually arrived at Hutchinson Square in Douglas on the Isle of Man on July 17, 1940.
Schwitters spent many of his last days working on what he called the “Merzbarn” in Elterwater, England. It was a recreation of the spirit of the destroyed Merzbau. To maintain his income, he was forced to paint portraits and landscape pictures that could be sold easily to residents and tourists. These show a heavy influence from his Post-Impressionist past. Kurt Schwitters died on January 8, 1948, from chronic heart and lung disease.