The objective of this study is to explore and interpret Kurt Schwitters’ outside-the-surface Merzbau works in terms of form-meaning relationship. The study was carried on according to hermeneutic model. Documents were used as data collection tool. The study group consists of Merzbau works by Kurt Schwitters. It has been found out by the data obtained that the Merzbau works the artist made in Hannover, Germany and Norway were destroyed, and that his work in England, which he started making in 1947, is his only Merzbau work that survives until today. In the study, analyses were made based on the photographs left from the works and correlations were made with other artists’ works produced at the time. It has been observed that Schwitters composed his works by assembling trashes and found objects to which he assigned his own meaning. It has been seen that this resembles Cabinet of Curiosities in Renaissance. By placing his Merz works on a space, Schwitters transformed them into installations. Therefore, it has been found out that there is a connection between V. Tatlin’s corner counter-reliefs and his transforming the object into an artwork by isolating its worldly task. It has also been observed that the artist influenced Art Povera with the materials he used. It has been stated that throughout his lifetime, some additions could be made on Merzbau works that he created on the basis of concepts such as limitlessness-irregularity-infinity, and therefore, the endpoint of his works can be related to his moment of death.
Keywords: Kurt Schwitters, Dada, Installation, Inherent, Avant-garde