2011 “the third location”

Littoral appears to be very successful in promoting Kurt Schwitters, his work in Northern England and his ranking in British Modern Art. As apotheoses a third location and explanation was presented, in addition to the location of the original barn (without wall) and the location of the moved wall (without barn): A replica of the barn was introduced in the London Royal Academy, by bringing local stones and local constructors (farmers) to the centre of the exposition.

The wall was of less focus. Perhaps in a next step?

From BBC; jan 2011. "A cold, damp Cumbrian shed has been recognised as one of Britain's modern art landmarks after the Royal Academy of Arts decided to build an exact replica in its courtyard. The London version of the barn, which will be closed, is in the exhibition along with works by Hirst, Julian Opie and Richard Long as well as Moore and Hepworth. It is an unlikely choice, but confirms the significance of the original shed in the story of modern art - or more specifically, the use German artist Kurt Schwitters put it to.

Littoral's restoration campaign has been boosted by Hirst and Gormley, who have donated artworks to be auctioned for the cause, while Bridget Reilly, Susan Hiller and Tacita Dean have also lent their support. "He was part of the red hot core of modernism," Mr Hunter says of Schwitters. "I think that's been a huge influence on British art."

The Royal Academy chose the Merz Barn for its courtyard over Moore and Hepworth because it provided a "fresher" approach to the subject, according to the exhibition's co-curator and artist Keith Wilson. "There he was working away, making world class work, but pretty isolated. Schwitters seemed iconic as a counterpoint to Moore and Hepworth, and as a contemporary," Mr Wilson says.
In 2012 The Royal Academy removed the barn from its courtyard, leaving the story in its archives.

>> For more, see