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1943
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Roth begins to write poetry and to create his first drawings, pastels and watercolours.
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1946
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He produces his first etching on
tin sheet metal and his first oil paintings.
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1947
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Roth starts an apprenticeship
as a graphic designer with Friedrich Wüthrich in Bern
(until 1951). There he becomes acquainted with all of
the significant printing techniques. He creates linocuts
and wood engravings. Roth meets Eggenschwiler and
Paul Thalmann.
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1949
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Roth makes his first collages with painted scrap metal.
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1950
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Roth is given private lessons in lithography by Eugen
Jordi in Kehrsatz and together with Bernhard Luginbühl
attends Jordi’s class in typography at the trade school in
Bern. Unable to find a position as a graphic artist after
completing his apprenticeship, Roth begins to work
as a visual artist.
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1951
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The artist earns his living with casual labour on
construction sites. He paints further watercolours. Roth
gets acquainted with Marcel Wyss and Eugen Gomringer.
Jointly they establish the periodical spirale of which
nine issues are published between 1953 and 1964.
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1952
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Cleaning of the Jesuit Church in Solothurn. In a garage
Roth creates the large-format work that is later called
Solothurner Wandbild (Solothurn Wall Painting), which
since 1995 is housed at the art museum in Solothurn.
He produces the unique print Ex libris Franz.
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1953
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Roth continues to earn his living in Bern with odd jobs and decorations. He produces “exhibition prints.” The first issue of spirale
is published. Roth becomes acquainted with Daniel
Spoerri, Claus Bremer, and Peter Althaus.
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1954
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Roth creates his first baked sculpture, a spiral made of
bread dough, for a competition of the Graphic Artists’
Association. For his decoration of the shop window
of a bakery in the old part of Bern he is awarded 4th
prize. First experiments with op art, complementary
contrasts, reflected and deflected light. Roth organizes
the open air sculpture exhibition Plastik im Freien in
Biel. For Claus Bremer’s son he designs the Kinderbuch
(Children’s Book) with perforated pages and geometrical
structures (published in 1957). First film: licht und
schatten auf der treppe am bubenbergrain (light and
shadow on the steps at bubenbergrain). Together with
Rolf Iseli, Peter Meier, and Walter Vögeli Roth takes over
Gallery 33 in Bern. The gallery features a permanent
exhibition of the group. Roth meets the Copenhagen
textile manufacturer Percy von Halling-Koch who shows
great interest in the artist’s constructivist works and
asks him to conceive designs for fabrics and curtains.
Roth receives the Kiefer-Hablitzel Foundation’s award
for painting in Bern.
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1955
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Produces “graphic works for everyday use.” Percy von
Halling-Koch invites Roth to Copenhagen, where he is
employed at the firm Unika-Vaev to design textiles.
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1956
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Roth continues designing textiles. He writes
ideograms (poems influenced by concrete poetry) that
are published in 1959.
Experiments with films in Super 8 format: The film Aus
dem Rückfenster der Straßenbahn (Out of the Rear
Window of a Tram) shows a view from a tram onto the
tracks filmed with a camera rotating around the horizontal.
Another film bears the title Im Fussballstadion
mit an einer Schnur um den Kopf geschwungener
Kamera (In a Football Stadium Swinging the Camera
With a Piece of String Around the Head). In his third film
project the artist overpaints the film material in black
and additionally perforates it with punch pliers. When
playing back the film, particles of colour are constantly
released, a process that creates the effect of lightning
flashes, which is intensified through the perforation.
Roth subsequently throws the films away. He becomes
acquainted with Gerhard Rühm. Roth is awarded the
gold medal for his textile designs at a fair in San Francisco.
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1957
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February: Roth moves to Rekjavík. His search for employment is unsuccessful. The Icelandic
Graphic Artists’ Association rejects his admission. Roth’s wife supports
the family with drawing lessons. Roth begins to design
jewellery, which a local goldsmith displays in his shop
window. He produces coloured drawings with pen and
compasses and silk-screen prints. Together with Einar
Bragi he founds the publishing company forlag ed.
Books by both authors are published.
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1958
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Roth works temporarily at the architect’s office of Gudmund
Kirstinsson. He creates the Schlitzbücher (books
with slots), published in 1959. Contributions for material
1 (published in 1959) and neue forum.
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1959
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At Yale University Roth holds a four-day lectureship as
Visiting Critic and meets Josef Albers. Roth finds work
as a graphic designer at the Geigy Corporation in New
York. He produces the op art books bok 2 und bok 4 (published in 1960-61). He meets Norman Ives. May:
Roth returns to Reykjavík. He creates kinetic pictures
(puzzles), geometric rubber-stamp pictures and kinetic
sculptures. He publishes some of his own pictorial
works and a book by Sigri∂ur Björnsdóttir.
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1960
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Roth works in Ragnar Kjartansson’s ceramics workshop.
He creates books with unique prints (“using one printing
forme only”), photograms, and halftone pictures.
Contributions for the periodicals Konkrete Poesie and
nota.
July: In his first solo exhibition at Arthur Köpcke’s gallery
in Copenhagen Roth presents his artist’s books.
August: Basel. Roth works at the advertising agency of
Karl Gerstner and Markus Kutter. Publishes a book by
Paul Talman. Roth becomes acquainted with Emmett
Williams and Jean Tinguely.
November: Paris. Roth participates at the Festival d’Art
d’Avant-garde (“kinetic pictures and film projections on
moving mirrors”). He meets Robert Filliou.
December: Roth receives the William and Norma Copley
Foundation Award. The jury consists of: William Copley,
Marcel Duchamp, Max Ernst, Herbert Read, and Richard
Hamilton.
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1961
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Reykjavík: Roth founds the furniture house Kùlan in Reykjavík together
with Magnús Pálsson and Manfred Vilhjalmsson,
producing “architectural models (with magnus pálsson).”
He works on a book for the Copley Foundation
via correspondence with Richard Hamilton and creates
collages from texts. Due to the influence of the Nouveaux
Realistes, particularly of Tinguely, Roth increasingly
distances himself from constructivism. He designs
the manuscript with holes. March: Amsterdam. For the
exhibition Bewogen, Beweging he creates a poster with
holes. He produces books from wastepaper and newspaper
cuttings. For his Literaturwurst (Literature Sausage)
Roth grinds up novels and processes them together
with spices and fat, filling the mixture into sausage
cases. He takes his leave from concrete poetry with
the stupidograms (“the stupid picture”), filling Addi
Köpcke’s gallery with them in 1963; “textfilm (a letter).”
Contributes to the fluxus publication Kalenderrolle 61.
An article on Roth’s artist’s books by Richard Hamilton is
published in Typographica 3. Publishes You don’t say by
Al Copley.
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1962
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Roth begins working on the book Mundunculum (published in 1967). He conceives a picture alphabet consisting of 23 rubber stamps and uses this as basic material
for numerous picture texts, drawings, assemblages,
etc, of which many are published in Mundunculum.
Develops the “conjugations.” Roth creates further kinetic
objects (Rotation and Sound Pictures). He presents his
object Windharfe (Wind Harp), orientated to Tinguely
and made from scrap metal, at an exhibition in Reykjavík.
Contributions for Kalenderrolle 62, Daily Bul.
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1963
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The printer and publisher Hansjörg Mayer visits Roth in
Reykjavík and wins him as an author.
Roth creates his first mould picture: a portrait of the
Swiss collector and art dealer Carl Laszlo. First contacts
with the dentist and collector Hanns Sohm with whom
a long-term co-operation and an extensive correspondence
ensues. Illustrations in the Icelandic daily
newspaper Morgunbladid. Idea: “the negative image
(flake-off pictures, mould-pictures, kitsch-pictures).”
Contributions for the fluxus publications Kalenderrolle
63, V TREE, and An Anthology. Contribution for edition
originar 1 (published in 1965). Creates cover and illustrations
for 4 Leikbaettir by Oddur Björnsson.
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1964
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“Stencil box for do-it-yourself pictures (with paint shoepolish
nail-varnish etc).” August: Roth stays with Arnold
Saks in New York. September: Philadelphia. Roth’s first
solo exhibition in the United States, snow, is presented
at the Museum College of Art. Creates the flatbed print
“the indistinct image (‘faints’).” In New York Roth makes
the acquaintance of Alison Knowles, Dick Higgins,
Charlotte Moorman, Nam June Paik, George Brecht, Al
Hansen, Bob Watts, and Joe Jones. He does not, however,
participate in their performance activities and
happenings. November: New Haven. Roth receives his
first teaching position at the Department of Architecture
at Yale University, which he though soon has to give
up due to differences of opinion with the professors
teaching there. He produces his first etchings with chocolate
and manipulated silk-screen prints.
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1965
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For a year Roth teaches the graphic arts class at Rhode
Island School of Design following the principle “nonteaching
as teaching.” His students are free to attend
or to stay away from his classes. As a result he partially
teaches classes with only two or three students. Roth
writes the poems for his first Scheisse (Shit) volume,
published in 1966. In the following years he produces a
series of twelve further volumes. He develops a sound alphabet to intonate texts. Roth also creates works
from organic materials, which he calls “decomposition
pictures and objects (symbol-figures).” In his graphic
prints (“pressings and squashings”) he now also employs
food, creating, for instance, etchings with “chocolates
bananas biscuits etc.” Contributions for Kalender
65, Revue Integration, and Spatial Poem No. 1 by Mieko
(Chieko) Shiomi. Translation of the French part of the
publication Anekdoten zu einer Topographie des Zufalls
by Daniel Spoerri. Works on Poetrie 1 (published in
1966). Roth meets André Thomkins. Collaboration with
Rudolph Rieser. Roth publishes a further artist’s book,
the so-called Copley Book, in co-operation with Richard
Hamilton.
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1966
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“Alteration and correction of texts by others;” “name of
a print as a print;” “numbering stamp with 10 images;”
“diaries and address books as lists of ideas;” “negative
pin-ups;” “illustrated books as pieces of music;” “fading
pictures (and their opposites).” Roth meets Oswald Wiener.
June: Roth visits Hanns Sohm in Markgröningen. In
Sohm’s practice he undergoes dental treatment, which
he pays for with art works. Roth works on die blaue flut
(the blue tide). Contributions for et 2, Joglars, frau und
fräulein, Gorgona 9, Spatial Poem No. 2 by Mieko (Chieko)
Shiomi, Blockprint, Le petit Colosse de ∑YMH.
In the summer Roth’s studio in Providence is cleared
due to rent arrears. Excepting an assemblage on cardboard,
all of his works are destroyed. Roth works on 246
little clouds (published in 1968).
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1967
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Reykjavík. Roth works on Poetrie 2.
Die blaue flut 2 (a LOOK into the blue tide part 2);
“2 alphabets for computer;” “colouring book for children;”
“colouring sheet for adults.” (probably refers to the
work Monokromopopoptopolisches Nummer-Malwerk). Roth works on the double book Noch mehr Scheisse.
Eine Nachlese, footnotes to sweethearts... (with Emmett
Williams). Roth takes up residence with Dorothy Iannone.
September: Basle. Roth creates his first “Heaps” from
layers of food covered with milk or yoghurt. A series
is commissioned from Roth by the Basle advertising
agency GGK as Christmas gifts: 120 Mould Heaps. He
produces “hand-painted books” and “books with filled
pages.” (Refers to Poetrie 2 and Poeterei 3/4, published
in 1968). Contribution for dé-collage No. 6. Roth’s art
increasingly becomes known on an international scale.
To produce his graphic prints he establishes Schepperts
Studio, a small printing workshop in Braunschweig-Oelper,
together with Karl Schulz.
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1968
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Roth teaches at Watfort School of Art in Lomdom as a replacement
for Hansjörg Mayer. There he produces his “recipe for a
book without a theme,” printed by his students under
the title little tentative recipe in 1969, and “melancholische
nippes” (melancholy trinkets), for which Roth
casts toys into chocolate. He translates 14 Chansons by
Robert Filliou. Publishes “the unpleasant, embarrassing
and weak diary” and undertakes the “printing of the
review (10 copies).” (Probably refers to Poemetrie).
May: Düsseldorf. Roth teaches at the Art Academy in
Düsseldorf (until 1971). He produces “self-portraits
made out of edibles as old man corpse dog etc ... maggot
and fly colonies soft sculptures (cheese meat).” Since
the works emit a strong odour of decay, the academy
administration gives the order to clear the studio, in the
course of which all of the works are destroyed. Roth becomes
co-partner of the edition hansjörg mayer. Begins
to publish the Gesammelte Werke/Collected Works.
Collaboration with the printer Helmut Kaminski.
July: Reykjavík. Roth translates the English part of Daniel
Spoerri’s Topography, adding his own comments.
Produces contributions for the periodical ICA Bulletin
and the exhibition Zeitkunst im Haushalt in Wuppertal
(Vice Versand).
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1969
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Roth receives the Art Award of the Iserlohn City Council.
He creates his first spice pictures and objects. May: 37
suitcases filled with cheese, “hidden rot,” are presented
at the exhibition Staple Cheese (A Race) at the gallery
of Eugenia Butler in Los Angeles.
The artist becomes co-partner of the edition hansjörg
mayer, Stuttgart, London, Reykjavík. Until the end of the
1970s they will jointly publish nearly all of Roth’s books.
Roth contributes to Mauricio Kagel’s film Ludwig van
and creates the objects Die Badewanne des Ludwig van
(The Bathtub of Ludwig van) and the Franz Léhar Sofa.
Roth is a participant of documenta 4 in Kassel.
July: Reykjavík. Works on his serial novel (“free version
of the story 2 tvövaldir & 4 einfaldir by Vigfús Björnsson”).
The first parts are published in 1969 and 1971.
Roth withdraws his contribution for the exhibition
fruend-friends-freunde und freunde at Kunsthalle Bern
before the opening due to differences of opinion with
exhibition-organizer Harald Szeemann. Contributions
for Daily-Bul 12, Pop Architektur Concept Art, Interfunktionen
3, and collaboration with the Petersburg Press.
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1970
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Düsseldorf. “City sights” (silk-screen prints); Roth’s work phase with “banal-romantic monumentalism (large containers
with wasting and rotting stuff)” commences. He creates
spice objects and works such as Anis-Uhr (Aniseed
Hourglass) or Gewürztruhe (Spice Chest). For the film
Ludwig van he writes “franz lehar’s sofa text.” Begins
collaboration with Stefan Wewerka (Cologne, Stuttgart,
Braunschweig, Berlin, Munich, Reykjavík): Roth and
Wewerka transform or carry on each other’s works.
Production of the “cash register texts” as a contribution
for Y 2. “Urban mud (transplantation of a text by richard
hamilton)”: Roth translates Hamilton’s essay Urbane
Image from 1963. Collaboration with Karl Egon Schulz.
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1971
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Reykjavík, London, Düsseldorf, Braunschweig, Berlin,
Lucerne;
Poems for Noch mehr Scheisse. Eine Nachlese... ”Work
in progress”: Twice a week Roth places a sentence in
the newspaper Luzerner Stadtanzeiger as an advert.
Furthermore, once a week he produces a lithograph
from the same stone for the Petersburg Press. The first
eleven variations of the graphic works are published
under the title Eine Muse (A Muse). The essays Franz
Eggenschwiler and 2 Probleme unserer Zeit (2 Problems
of Our Time) are published. Roth prepares a travelling
exhibition of his books and graphic works together
with Hansjörg Mayer and Hanns Sohm. First collaborations
(graphic works) with Richard Hamilton.
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1972
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Berlin, Braunschweig, Düsseldorf, London, Reykjavík,
Stuttgart, Vienna, Zurich.
The travelling exhibition Books and Graphics, Part 1,
begins. Translates texts into pictures (in Scheisse, Collected
Works, Vol. 13). “The interrupted swing into the
depth of the three-dimensional, work on photos from
the streets of Berlin.” (cf. exh. cat. Welt aus Sprache, Akademie
der Künste, Berlin). First Berlin Poetry Workshop
with Achleitner, Brus, Rühm, Wiener. Roth initiates joint
stage appearances with the Viennese artists. The first
“exhibition of order forms (for graphics)” is presented at
Kurt Kalb’s gallery at Grünangergasse in Vienna. On socalled
order forms interested visitors can select from 31
graphic works and an object, which Roth then has manufactured
on demand. The second exhibition of this
kind, Kuchenangebote, offering an assortment of cakes,
takes place at Spoerri’s Eat Art Gallery in Düsseldorf.
Purchasers can subsequently have the objects selected
produced at a bakery of their choice. Roth’s works of
art are now widely known. Apart from his domicile in
Düsseldorf, he rents studio flats inVienna and Stuttgart.
After producing the Piccadilly portfolio together with
Peter Haas, Roth collaborates with the printer Frank
Kicherer in Stuttgart. The stencil print Am Meer, von hinten (At the Sea, from Behind) is commissioned as the
annual gift for members by the Verein für junge Kunst,
Baden-Baden.
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1973
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Berlin, Düsseldorf, London, Reykjavík, Stuttgart, Zug.
Roth begins to assemble his first Collection of Flat Waste,
i.e., he collects all of the refuse, which is not thicker
than circa one centimeter, accumulated in a day in clear
plastic folders and places these into files. This first collection
fills circa 380 files; the second collection, which
he starts together with Herbert Hossmann in 1976, will
increase to approximately 780 files.
Roth produces collotype prints, such as Big Tardt for
Richard, in collaboration with the Stuttgart printer Eberhard
Schreiber and the silkscreen-print Stefan’s Blues
with Frank Kicherer. Temporary co-operation with the
printer Thomas Rubbel.
Together with his friend, the Hamburg lawyer Philipp
Buse, Roth establishes Dieter Roth Pictures with business
headquarters in the Swiss town of Zug and Hotelkunst
AG (Hotel Art Ltd.), “production of prints in any
style ordered by the hotel managers.”
Selten gehörte Musik (Rarely Heard Music): First recordings
with Gerhard Rühm and Oswald Wiener , including
The November Symphony. From 1974 onward
Roth releases the recordings of the seven concerts of
this series on gramophone record.
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1974
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Berlin, Braunschweig, Hamburg, Hellnar, Lucerne, Munich,
Reykjavík, Stuttgart, Watford, Vienna, Zurich, Zug.
The ‘Scheisse’ style appears in Roth’s paintings; creates
“the first, almost perfect ‘Scheisse’ poem.”
Selten gehörte Musik, the first Munich concert with
Brus, Nitsch, Rühm, and Wiener; “experiments in showing
everything happening as EGO (diary without
names).”
Roth writes a play consisting only of the word ‘murmur’.
The artist attempts “to change or counteract, by means
of the title, the effect of pictures.” Uwe M. Schneede
organizes the first representative retrospective of Dieter
Roth’s work up to 1974 at the Hamburg Kunstverein.
Roth designs wine-bottle labels for Langenbacher &
Wankmiller in Lucerne, among other companies.
Founding of Dieter Roth’s Familienverlag (Dieter Roth’s
Family Press), which in 1978 is renamed Dieter Roth’s
Verlag. Apart from his own books Roth publishes works
by members of the family and friends. He creates “oil
paintings in the traditional style.”
Selten gehörte Musik, the Berlin concert with Attersee,
Brus, Nitsch, Rainer, Rühm, Steiger, and Wiener.
Collaboration with Arnulf Rainer (photos, drawings,
paintings). “Intensified Restaurant Table Mix.” The first Bastelnovelle
(‘Home Made Stories’) is published.
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1975
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Berlin, Braunschweig, Diessen, Hamburg, Hellnar,
Karlsruhe, London, Lucerne, Mosfellssveit, Prinzendorf,
Stuttgart, Vornbach, Watford, Vienna, Zurich, Zug.
IncreasinglyVera and Björn Roth participate in the
works of their father.
“Concert for Brus, 4 players on 5 pianos, at Prinzendorf
with Nitsch, Rühm, Wiener.” “ ‘Scheisse’ music (piano).”
Roth establishes the Zeitschrift für Alles (Review for Everything),
the title of which is programmatic: Contributions
in the shape of texts, collages, drawings, etc, are
printed without revisions of their form or content. Roth
publishes issues 1-3 together with Hansjörg Mayer. In
the following issues he is supported by Paul Gredinger
from the advertising agency GGK in Basle. From the
mid-1980s onward Barbara Wien takes over the editorial
work. The periodical ceases publication in 1987 after its
tenth edition, containing 1396 pages in two volumes.
Roth produces his first video works and the Ratio Briefe
(Ratio Letters) together with Arnulf Rainer.
Exhibition at Kurt Kalb’s gallery in Vienna: Dieter Rot
presents ‘drawings made when tired and unstable
drawings,’ ‘lovely drawings’ and ‘conversation drawings
with speech bubbles’.
Selten gehörte Musik, concert at the Art Academy
Karlsruhe with Brus, Nitsch, Wiener, and the Romenthal
Quartet with Brus, Nitsch, Wiener. “Intensified ‘Scheisse’
and ‘Kacke’ (crap) book production with Rainer Pretzell,
Berlin, and Dr. Cantz, Stuttgart.”
Collaboration with Jan Voss on the portfolio Mickermappe.
Exhibition of the first co-operative work with Ingrid
Wiener: the Gobelin Bertorelli B in Hamburg. In collaboration
with Ingrid Wiener further carpets are produced
in the 1980s and 1990s.
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1976
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Akureyri, Barcelona, Braunschweig, Cadaqués, Diessen,
Hamburg, Hellnar, London, Mosfellssveit, Stuttgart,
Vornbach, Watford, Vienna, Zug.
The exhibition Collaborations realized together with
Richard Hamilton opens at Galeria Cadaqués. Each
picture is respectively accompanied by a drawn or painted
certificate as well as a small picture of sausages or
similar subject matter, which, hung beneath the largeformat
works, is intended for the dogs.
Together with Richard Hamilton and the dog Chispas
Luis the record Canciones de Cadaqués is produced.
With Franz Eggenschwiler and Alfonso Hüppi Roth
jointly exhibits Telephone Drawings. “Discussions as
songs with Oswald Wiener”: Dead Races. “Intensified self-portraying activities;” “drawings to overcome
hangovers.”
Roth starts his second Collection of Flat Waste.
“Three stories and a play, made from the titles of the
‘Collaborations’”: In a Deserted Landscape, A little Hotel
by the Sea, In a little Hotel by the Deserted Sea – a
Landscape and Die grosse Bockwurst (cf. Collaborations
of Ch. Rotham, 1977).
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1977
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Barcelona, Basel, Cadaqués, Chicago, Hamburg, Hellnar,
London, Madrid, Mosfellssveit, Prinzendorf, Reykjavík,
Stuttgart, Vienna, Zug.
Roth produces his first ‘Speedy Drawings’ during an
exhibition at Felix Handschin Gallery in Basel. In this
case Roth draws with both hands simultaneously, in the
course of which symmetrical mirror images are created.
The Quadruple Concert takes place, at the invitation
of Friedhelm Döhl, at the Academy of Music in Basel.
In this solo performance Roth employs various instruments
such as the horn, grand piano, and organ.
Intermittently he talks to the producer and drinks. Subsequently
he plays back the recordings made during
the presentation, while performing another solo, which
again is recorded.
Roth begins to construct the Telex Music Alphabeth
(from 1965) with Hansruedi Voser.
Together with Björn and Karl Roth recordings are
made in a dog compound at Monte Tibidabo in Barcelona.
The 24 cassette tapes covering in total 36 hours
of barking are released in co-operation with Galeria
Cadaqués as the cassette edition Tibidabo-24 Stunden
Hundegebell (Tibidabo-24 Hours of Dogs’ Barking). A
presentation of recordings of the noises at the gallery
takes place in Madrid.
The Radio Sonata, where Roth appears on the piano,
is broadcast live at the radio station Südwestfunk in
Stuttgart (“45 minutes piano improvisation in growing
drunkenness”).
In co-operation with Björn and Vera Roth begins recording
Lorelei, the Long-Distance Sonata. For this work
40 hours of piano music are played back together with
simultaneous recordings from various radio stations on
a specially prepared cassette recorder.
Roth commences work on a wall painting at the residence
of Ira Wool in Chicago “in the neo-Buddhistic
style.”
At Carl Solway Gallery in New York Roth and Hamilton
present their Interfaces for the first time, self-portraits
executed by the artists in various techniques. Reading
of the Collaboration texts at the Gemeentemuseum
Den Haag together with Richard Hamilton and reading
of the Hamilton-Roth Play in London (25 persons) for
Audio Arts. Simultaneous drawing (and rubbing away the drawings)
on a blackboard, with Björn Roth.
Begins to work on ”the Giant Multiple Family Portrait of
the Klein family in Stuttgart.”
Roth participates with drawings at documenta 7 in
Kassel.
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1978
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Basel, Chicago, Hamburg, London, Mosfellssveit,
Munich, New York, Prinzendorf, Reykjavík, St Gallen,
Stuttgart, Ulm, Vienna, Zug.
“Continuation of the gallery noise-dogs’ barking recordings
(with 1000 photos of dogs and 2000 selfdogdrawings)
at Felix Handschin’s Gallery.”
The record Roth & Rainer Misch- u. Trennkunst: Autonom-
dialogische Thematik (Roth & Rainer Mixed and
Divided Art: Autonomous Conversational Subject Matter)
is produced during a painting session with Arnulf
Rainer.
Selten gehörte Musik, the 2. Munich Concert with Attersee,
Cibulka, Hossmann, Mayer, Nitsch, Renner, Björn
Roth, Rühm, Schwarz, Thomkins, and Wiener.
“Publications in Xerox technique” (150 Speedy Drawings).
Collaboration with Edition Lebeer-Hossmann.
“Pictures with sound and films;” “bar-pictures (for bottles
).” In Stuttgart Roth begins to work on the installation
BAR 0. “Execution of sculptures from poor, unclear
drawings (with Vera and Björn Roth);” ‘Superspeedy
Drawings;’ Roth continues working on the Chicago
Wall Painting together with Björn Roth (“installation of
loudspeakers for the voices of the painted beings”).
“Description of an empty picture through a loudspeaker
in the centre of the picture;” “colourful pictures with
music at Felix Handschin’s Gallery in Basle;”; “war with
the museum at Ulm.”
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1979
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Bielefeld, Braunschweig, Düsseldorf, Hamburg, Copenhagen,
London, Mosfellssveit, Munich, Prinzendorf,
Reykjavík, Vienna, Zurich, Stuttgart
The attempt “to show that apes do not want to paint”
is a performance conducted during the Biennale of
Graphic Arts in Vienna together with Arnulf Rainer, in
which the artists carry out a painting session with two
monkeys. The noises and conversations during the
painting performance are released as a video tape.
“Stepping into a Fat Napkin by Beuys in Vienna.”
Selten gehörte Musik, the Hamburg Keyboard Concert
with Attersee, Hamilton, Nitsch, Rühm, Thomkins,
Wiener.
“The ‘Hamburg Ballet’, dancing to a film by Peter Schönherr with music by Beatrice Cordua” (film published by
Hansjörg Mayer).
“Begin of the ‘Telequartet’ (the players play one instrument
each, far away from each other) consisting of cassette
recordings (with Vera, Björn and Karl Roth).” Each
participant records his or her playing: (Vera (violin), Karl
(alto), Björn (cello), and Dieter Roth (piano) on tape over
a period of twelve hours.
Roth teaches at the Art Academy in Munich (“alcoholic
miniatures”) and, on invitation of Magnús Pálsson,
at the Art School of Reykjavík. Already after ten days,
however, he has to give up his teaching post .
Preparation of the second travelling exhibition of
“books and graphics and other stuff” from the years
1971-79 with Hansjörg Mayer, presented from September
1 to October 21, 1979 at Staatsgalerie Stuttgart.
The object assemblage Große Tischruine (Large Table
Ruin) that Roth begins to work on in his Stuttgart studio
from circa 1974 onward is installed at the exhibition
and extended in the process from three to six metres
in length. Subsequently the Große Tischruine travels
on to Amsterdam and Zurich and from there to Berlin
to Gallery Onnasch. Each time the work is installed, it
is further extended; after being presented in Vienna
at Kurt Kalb’s gallery it is purchased in 1986 by Oskar
Schmid. Now greatly enlarged, it is subsequently installed
at Palais Kinsky and in 1990, modified and again
extended, at Palais Harrach. In 1995 it is exhibited at
the Wiener Secession and in 1997 in Marseille, to finally
be presented – now stretching over a length of twelve
metres – in 1999/2000 at the Centenary Exhibition
in Berlin. Roth produces additional series of ‘Speedy
Drawings’, the 2-Handed Speedy Drawings, which are
published in the books Trophies (1979), Bats (1981), and
Dogs (1981).
At the end of the 1970s Björn and Dieter Roth begin
producing flower paintings, partially in the manner of
still lifes, using textiles printed with flowers as a ground
for their painting.
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1980
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Reykjavík, Mosfellssveit, Lucerne, Basel, Stuttgart.
In the following two decades Roth pre-eminently travels
back and forth between Iceland and Switzerland.
He increasingly collaborates artistically with his son
Björn. Most of the larger works are joint projects.
Roth moves into a studio at Hegenheimer Strasse in
Basle. He develops the concept of the Table Mats. For
these works he fixes the material that accumulates on
his worktable, such as notes, photos, or rubbish on desk
pads made of grey cardboard. In addition these ‘Mats’
are painted or supplemented with collages by Roth and
partially also by his grandchildren and their friends.
The series Stuttgarter Bilderbogen (The Stuttgart Illustrated Broadsheets) is exhibited at Wendelin Niedlich’s
gallery.
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1982
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Mosfellsveit, Paris, Mols, Venice, Stuttgart, Basel.
In spring Roth temporarily gives up his flat in Stuttgart
and moves to Mols.
Roth receives the Rembrandt Award of the Johann
Wolfgang Goethe-Foundation at the Basle Art Museum.
Instead of the expected words of thanks Roth waves to
the audience and calls out “goodbye!” several times.
At the Biennale di Venezia Roth represents Switzerland
with his film work Ein Tagebuch (A Diary), an installation
of 40 film projectors for Super 8 films. The films, which
are projected simultaneously, present autobiographical
scenes from the first third of the year 1982: Roth’s “daily
aliveness.” As an accompanying catalogue his latest diary
is published. His book A Diary – Ein Tagebuch marks
the beginning of a new, documentary work phase.
Continuous collages with Vera Roth at Gallery Niedlich.
His friendship with Hanns Sohm breaks up.
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1983
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Iceland, Berlin, Mols, Basel, Stuttgart.
The first retrospective of his works created between
1965 and 1983, Ladenhüter aus d. Jahren 1965-1983
(Non-Sellers from the Years 1965-1983), takes place at
Gallery Onnasch. Among other works Roth presents his
Biennale contribution Ein Tagebuch.
Beginning in June, one of the largest exhibitions of
Roth’s newer objects and sculptures is shown at the
Swiss Holderbank cement works.
November: Roth gives up his residence in Stuttgart for
good.
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1984
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Mosvellsveit, Basel, Mols, Vienna, Chicago, Düsseldorf,
Berlin.
Art Award of the bank NORD/LB, Hanover.
Ein Tagebuch is presented in the context of a solo exhibition
at the Chicago Museum of Contemporary Art and
subsequently at the exhibition von hier aus, organized
by Kasper König in Düsseldorf.
The Wand-Allerwelt-Bild (All-Purpose Wall Painting), created
in collaboration with Björn Roth, André Thomkins,
Ómar Stefánsson, and Dominik Steiger, is presented at
the station buffet of the railway station SSB in Basel. A
single issue of Kopiks, Lallix ..., originally conceived as a
periodical, is published in Mosfellssveit.
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1986
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Iceland, Basel. Roth’s appearance on TV in January in the Swiss talk
show Ziischtigs-Club dealing with the topic “Eat or Diet: a Conflict after the Holidays” triggers indignant reactions
among the viewers.
Roth is awarded the Maastricht Charles Nypels Prize for
his books.
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1987
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Iceland, Basel, Frankfurt.
For his exhibition Publiziertes und Unpubliziertes
(Published and Unpublished Works) at the Portikus in
Frankfurt Roth together with Barbara Wien assembles 3
Temporary Lists, a comprehensive bibliography of the
works printed by Roth up to this point including the
accompanying secondary literature.
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1988
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Iceland, Basel, Stuttgart.
The exhibition Zeichnungen (Drawings) takes place at
Staatsgalerie Stuttgart.
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1989
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Iceland, Basel, Hamburg.
Roth receives the Lichtwark Award in Hamburg.
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1991
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Iceland, Basel, Hamburg.
Roth is awarded the Genevan Prix Caran d’Ache Beaux
Arts, a highly remunerative prize for art in Switzerland.
At the beginning of the 1990s he establishes the Dieter
Roth Foundation together with his Hamburg patron
Philipp R. Buse. In Buse’s residence, in which the artist
maintains a studio, apart from the largest Roth collection
to date, extensive archives of his works are assembled,
also containing material of his friends and former
collaborators. With the Schimmelmuseum (‘Mould’
Museum) housed in an old remise in the vicinity Roth
stages an installation of transitoriness extending over
two stories, where in a highly concentrated form he
once more demonstrates his concepts from the late
1960s.
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1992
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Reykjavík, Mosfellsbaer, Paris, Basel, Holderbank,
Sey∂isfjör∂ur, Hamburg, Berlin, Vienna.
Roth remains in Iceland most of the time. He continues
working on the Schimmelmuseum in Hamburg together
with his son Björn.
The Gartenskulptur (Garden Sculpture), next to some
other works, is presented to the public for the first time
at Gallery Claudine Papillon in Paris. The second extensive exhibition at the Holderbank
works in Switzerland. Collaborations with Ingrid Wiener
and Richard Hamilton are also presented at this show.
Beginning of the collaboration with the book retailer
Bokie Woekie in Amsterdam, which in the following years
organizes the sales of his graphic prints and, above
all, carries out the production of his Copy Books.
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1994
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Iceland, Basel, Berlin, Hamburg, Vienna.
Roth is awarded the Große Kunstpreis Berlin at the Akademie
der Künste.
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1995
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Reykjavík, Basel, Vienna, Zurich, Stuttgart.
Exhibition at the Wiener Secession together with Björn
Roth. The exhibition is repeated in a similar form in Marseille
in summer, 1997. It features one large installation
that is composed of various individual works. Roth’s
worktables that are also incorporated into the installation
are still used by the artist during the exhibitions; he
carries on his production there as if he were working in
his studio. In the centre of both exhibitions one finds
the Gartenskulptur, which Roth installed for the first
time together with Rudolf Rieser in 1970 in Rieser’s
garden in Cologne. Since then the sculpture has been
repeatedly assembled at different sites and transformed
in the process, i.e., some parts have been removed,
while other parts have been added. In 1975, for example,
Roth assembles the sculpture at the residence of
Philipp Buse in Hamburg, enlarging it by approximately
one third of its former size. After yet another move to
Franz Eggenschwiler in Eriswil, the sculpture is transferred
to Basel by Björn and Dieter Roth. To this day it
is extended by Björn Roth for each new exhibition and
adapted to the given space.
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1997
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Mosfellsbaer, Sey∂isfjör∂ur, Basel, Marseille.
The films Soloszenen (Solo Scenes) that Roth had begun
working on in Iceland, are continued in Basel. The
states of mind and emotions experienced during his
last period of abstinence serve him as material for the
project. The films, which - in a similar manner as in Ein
Tagebuch - present everyday scenes of the artist’s life,
are shown in 1999 at the exhibition d’ARTPERTutto at
the Biennale di Venezia.
Exhibition stretch & squeeze at the MAC, Galeries Contemporaines
des Musées de Marseille.
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1998
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Iceland, Hamburg, Stuttgart, Zurich, Basel. January: Roth appoints Dirk Dobke as curator for the
Dieter Roth Foundation in Hamburg. Through this
arrangement the collection and the Schimmelmuseum
are to be made accessible to the public. Together they
begin to systematize the archives of the works, which
have been accumulating over the years.
Roth receives the art multiple Award in 1998 in Düsseldorf.
His son accepts it in his name.
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