The Art of Appropriation & Kurt Schwitters in England
Authenticity, Reproduction, Simulation

Keynote speakers: John Stezaker, Roger Cardinal & David Evans
University of Chester in conjunction with the Littoral Arts Trust
July 10 - 11, 2009

Conference & Exhibition Announcement and Call for Papers
As part of a wider debate related to appropriation, found objects and
photography this conference will stimulate new areas of research into
the legacy of Kurt Schwitters in England. This event also proposes an
artist and academic discourse, which addresses the authenticity and
authorship of artworks, a debate that may also encompass aesthetics,
political and ethical considerations, conservation and curation.

In 1966 Richard Hamilton took the initiative to save Kurt Schwitters
Merzbarn, which was Schwitters final work prior to his untimely death
in 1947. This work was the final manifestation of processes of
construction, collage, assemblage and collection, and ultimately
exile, following his escape from Germany and subsequent internment.
The Merzbarn relief wall was in danger of deterioration and loss in
the damp conditions of the studio-barn where it was constructed at
Elterwater in the Langdale Valley. The interior relief wall built into
the gable end of the building is now housed at the Hatton Gallery at
the University of Newcastle.

At the Littoral Arts Trust convened conference Kurt Schwitters in
England in 2004 Richard Hamilton proclaimed his desire to remake the
Merzbarn relief in a similar way to how he had remade Marcel Duchamp's
The Bride Stripped Bare by her Bachelors, Even or The Large Glass
(1915 - 1923), the original was damaged in transit to New York.
Duchamp subsequently sanctioned replicas in 1961 and 1966. Hamilton's
replica work was completed with the blessing, guidance and close-
collaboration of Duchamp himself. Duchamp's practice since he
abandoned painting and signed a urinal 'R. Mutt' and titled it
Fountain followed the first readymade in 1915. These were editioned as
reproductions themselves. Ever since this subversive act notions of
authorship and authenticity have been problematic.

The invention of photography and its emergence as an art-form, itself
a form ofappropriation of people, places and objects, has opened the
way for further debates related to authenticity, reproduction and
simulation. The painter Ed Ruscha has referred to his books since 1962
with the publication of Twentysix Gasoline Stations as 'readymades in
photographic form'.

This conference invites calls for papers and selected artworks for an
associated exhibition, which address and challenge the above issues
directly or as a point of departure. The Schwitters orientated strand
moves away-from and back to Hamilton's proposition to remake or
fabricate the Merzbarn relief.

Academic papers and artist talks are welcomed which challenge and
question the above propositions. Contributions are invited for: panel
topics to be confirmed according to submissions (2-4 speakers) &
individual papers (20 minutes + 10 minutes for discussion).

Send us your abstract before the deadline if you require an early
response. We strongly recommend this option for overseas participants
who may need to book flights.

We prefer email submissions but you can also post your abstract/
proposal (500 words) by Monday May 18th 2009 to:

Dr Cian Quayle
Email: c.quaylechester.ac.uk

Dr Cian Quayle
Re: Conference
Department of Fine Art
University of Chester
Kingsway Buildings
Chester
CH2 2LB
Tel: 01244 515711