London Dada Work No. 976; Blue Outpost / The Only Good Tory


Blue Outpost / The Only Good Tory
Michael St.Mark 2017

 

After most of an adult  life spent under the brutal cosh of Conservative governments and having witnessed – & along with millions of others been a victim of – the degrading effect of their policies on the fabric of UK society ..and now to cap it all there’s the possibility of 5 years of the sociopath May to endure, barring the utter disgrace that is Tony Blair one is forced to conclude the only good Tory would seem to be an early retired one.

Marina, Hampshire.

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Damien Hirst contempable plagiarism

London Dada Work No. 975; Happy Days; remembering Kurt Schwitters

 


The guv’nor

Above; The Last Summer
Wasdale Cumbria, 1947

Today, 20th June, birthday of the legendary German Dadaist Kurt Schwitters.

Artist and founder of London Dada, Michael St.Mark, locates the spot, high above the lake of Wastwater Cumbria where, 70 summers ago, Schwitters along with his partner “Wantee” enjoyed a picnic together – possibly even a birthday picnic on 20th June 1947

Tragically – and a great loss to art – Schwitters was to die early the following year at the age of 60, leaving his life’s work, the Merz Barn in nearby Elterwater largely uncompleted.

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UPDATE, July 6th 2017
Project Return Merz Wall
Artist Michael St.Mark calls for the return of Kurt Schwitters’ Merz Wall, languishing as if  stranded for over 50 years in the Hatton Gallery Newcastle, many miles away from its undeniably true home in Elterwater, Great Langdale Cumbria where its creator, the German Dadaist Kurt Schwitters undoubtably intended it to rest forever as an integral part of the Merz Barn which is still standing on the original site.

The return of the Merz Wall obviously requires accompanying adequate Arts Council or other funding in order to then preserve the Wall and secure the site of Merz Barn in Elterwater for the benefit of future generations of students and art lovers, who will be able to view this important and unique Dada work in its correct intended location and environment.

*Twitter hashtags  #ReturnMerzWall and #ReturnMerzBarnWall created today, please support this unarguably important and worthy cause by using either as a focus for an initial steering group and for invoking strategies towards its future realization.

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*Points of note validating return of the Schwitters Merz Barn wall

1. Schwitters created the Merz Barn wall entirely from locally-sourced materials and found objects in the area around Ambleside and Great Langdale in the mid-1940s. It has no place as an unnatural severed object adrift inside a museum many miles from its intended permanent exhibition place. Unjustifiable in the technologically advanced 21st C. both morally and geographically – and also, in the final analysis, within art history.itself.

The Hatton Gallery was gifted the Wall in the 1960s by the then owner of the Cylinders Estate, Harry Pierce.


Equally, the directors of the gallery, in conjunction with the Arts Council, government and local authority, should recognize the strong nay overwhelming case, both morally and in the interest of art itself, for the Merz Barn Wall to be freely returned and re-incorporated into the Merz Barn – its intended and therefore real permanent exhibition place in Langdale, Cumbria.

2. The Merz Barn wall was Schwitters’ last great artistic endevour; he personally chose the precise location for its creation and having built it literally into the barn wall at Cyliners in Elterwater, obviously intended it to remain there as a permanent fixture going forward. Therefore one can be confident in stating it would have been Schwitters’  wish that it should remain and be appreciated as wholy integral to the Merz Barn itself. It’s something akin to The Large Glass by Marcel Duchamp having been split into two panes and each residing at different locations. Unthinkable that it wouldn’t nowadays be a priority for the art world that it reassembled as one, as intended by the artist.

3. The Wall’s removal in the 1960s took place under very different conditions and when Schwitters did not have the wide artistic acclaim and appreciation his legacy now enjoys.
Accordingly, it’s becoming ever more vitally important that the German Dadaist’s last great Work be reintroduced back into its original intended location, where there is now a sound support base and scope to fulfil its maximum appreciation in the form of the Littoral Trust.

4. There is more than adequate funding available within the Arts Council budget to make the return of he Wall eminently affordable and practical by utilizing modern engineering and security technology along with SOTA preservation techniques, whilst ensuring sensitive development of the Merz Barn site along present environmental protection lines remains undisrupted post installation.

Summary; If Schwitters had intended his Dada bas relief Merz Wall to be an independent standalone artwork, he would have surely created it on a large backing board base or framed metal mesh as its support within the Barn in the stead of building it directly into and as an integral part of the very structure of the Barn itself.
To continue to separate the two is to seriously compromise the meaning, feel and historical context of this most important international work of art.

There’s no place like home ” …


Merz Barn, 2010

Work No. 974; #GrenfellTower The Buck Stops Here


#GrenfellTower The Buck Stops Here
(c) Michael St.Mark 16/6/17

 

Rest In Peace all who lost their lives … a moment’s silent reflection on the extra terrible tragedy that is an easily avoidable tragedy

 

 

Work No. 974; #GrenfellTower; The Buck Stops Here
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Photo montage in the Dada moral protest tradition, self-explanaTORY in light of the Grenfell Tower tragedy c/w long shameful legacy of the Conservatives changing housing law and relaxing safety legislation in order to profit their landlord and developer friends with scant concern for the millions of people forced to live in unfit or unsafe accomodation thereby.

Architect and fire expert Sam Webb said: ” We are still wrapping post-war high-rise buildings in highly flammable materials and leaving them without sprinkler systems installed, then being surprised when they burn down. I really don’t think the building industry understands how fire behaves in buildings and how dangerous it can be. Past and present Tory governments’ mania for deregulation means our current safety standards just aren’t good enough.”

Longstanding Tory deregulation links to London Dada Work No. 644; A Fitting Memorial ( 2013 )

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Work No. 973; Cone Join the Party ( price of admission; 1D )


Cone Join the Party ( price of admission; 1 dime mention )
Michael St.Mark 2017

 

We all need some lightening up at the mo, so.. another goody from a recent Shoreditch walkabout. The artist as a point-and-shoot street urchin 🙂

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London Dada ; creating outside the frame since 2005

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London Dada Work No. 972; #GE2017 Blinded by the Shite ( a Tory voter archetype )

Blinded by the Shite – a Tory voter archetype, General Election @ June 2017

” It was The Sun wot just and so won it”.. with its sewer “journalism” for May, certainly not May herself.
Dyed-in-the-wool working class Tory voter’s blind acceptance of The Sun “newspaper’s” despicabe fictional headlines against Jeremy Corbyn in the run up to the recent general election most likely tipped the result in favor of the truly dreadful May.

MENTAL HEALTH WARNING; Don’t look into The Sun, it’ll blind your perception of reality

Complete Rough Fell breed sheep skull with union flag rendered in oils
( Previously deployed in ” Jubilee ” from 2012 )
( Created in the spirit of The Sun’s habitual – now tiresome – play on puns and double endendres within their story headlines, a hallmark of the paper since 1989 / 90, mimicking content from a poetry book titled Life Sentences sent to their office at that time )

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London Dada – creating outside the frame – reconnecting art with true preception and fearless criticism of our times. Since 2005
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The Real Dada

Repost from 2012..

Blaclout blinds

Blackout Blinds
Michael St.Mark 2012

Crouch End, London N19

( Click to enlarge the dedicated 21st C. mainstream media consumer’s outlook on the world )

Perhaps a new angle on the term ‘News Blackout’.
Social commentary Work on how personal worlds are becoming ever-more colored and darkened when looking out from the inside – blinded to the light – by habitual daily mainstream media news consumption from biased and agenda-ridden reporting in the hard press.
The reverse applies looking in from the outside, the masses blinded to the real world and instead ever more rooted in their opinions the more newspaper & magazine “Infotainment” grabs hold, holds sway, as their reality.

The antidote, thankfully, is to hand in the form of the internet and social media, where the full spectrum of opinion is more or less freely expressed and the individual has a vast pool of information from which to form an educated individual opinion.. and cast his / her vote from a much more enlightend stance

Signed edition of 50 Lightjet prints on Kodak Pro Endura, 24″ x 16″

See website for details.

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” Art, for the Dadaist, is not an end in itself, but an opportunity to express true perception and criticism of the times we live in ” – Hugo Ball, father of Dada; 1916

Work 971; Mix n’ Match – election special


MIX n’ MATCH – Election Special
Art Axis 2017

 

When vicious and vitriolic propaganda worthy of 1930s Nazi Germany attempts to pass for fair and balanced journalism, you know someone in a position of power – and of dubious morals to fabricate such tripe as headline news – is feeling worried..

Tesco, Barnet N. London

Links to Work 544 from 2011 ” Taking a News Stand

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London Dada – the only 100% morally-motivated art direction on the planet today. Representing Dada’s missing European link; reconnecting art with true perception and fearless criticism of the times we live in since 2005

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