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On s’est beaucoup ébahi sur cet usage des rebuts et Schwitters n’y manque lui-même mais il faut l’entendre au mot près quand il écrit : « Et soudain la glorieuse révolution surgit. Je ne pense pas grand bien de telles révolutions : l’humanité doit être mûre pour elles. C’est comme si le vent faisait tomber des pommes encore vertes. Quel dommage. Mais avec elle cette duperie que les hommes appellent guerre prit fin. Je me sentais libre et voulais crier ma joie à la face du monde. Comme notre pays était ruiné, par économie, je pris ce qui me tombait sous la main. On peut aussi crier avec des ordures, et c’est ce que je fis, en les collant et les clouant ensemble. J’appelai ça Merz, ce qui était aussi rendre grâce au ciel de l’heureuse issue de la guerre, puisqu’une fois encore la paix l’avait emporté. » Marc Dachy, La Cathédrale de la misère érotique, Sens&Tonka éditeurs, 2014
Kurt Schwitters' Merzbau (1923-1937)
Namesake of Masami Akita's legendary noise project.
Merzbau by Kurt Schwitters
The artist exteriorized parts of his own body and incorporated them into the tunnels or architectural shell. He placed hair, nail parings and his own urine in small containers throughout the project. Rendered impersonal, these bodily remains and refuse proceed along a circuit beginning from the anthropomorphic armature of the artist’s body, through various containers and objects, and then into the crevices of the architectural armature.

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MoMA | In Search of Lost Art: Kurt Schwitters’s <i>Merzbau</i>
The Hannover Merzbau by Kurt Schwitters. Photo by Wilhelm Redemann, 1933.
Sprengel Museum, Hanover, houses the Kurt Schwitters
Archive
Kurt Schwitters Merzbau Photo: Wilhelm Redemann, 1933
Untitled, 2014_02_08