1972 to 80 Germany, Iceland, Austria
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 so-called 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.
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.
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.
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.
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 large-format 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)
Barcelona, Basle, 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 Basle. 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 Basle. 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 R adio 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.
Basle, 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.”
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.
- 1930 to 1950 Germany, Switzerland
youth in Hannover, moves to Switzerland, apprenticeship
- 1950 to 1959 Switzerland, Denmark, Iceland
geometric works, influenced by the “Zürcher Konkreten”, fabrics designer in Denmark, first experiments with film, concepts for books, moves to Iceland
- 1960 to 1964 Iceland
jewellery design, fine arts, architectural models, works on “Copley-book”, founds a furniture shop in Reykjavík
- 1964 to 1966 USA
works on “Snow”-book in Philadelphia, teaching position at University in Providence, Rhode Island/USA, first works using organic material, works on book “Mundunculum”
- 1966 to 1971 Germany
highly productive in works using food, two volumes of poetry: “Scheisse” Zyklus (Shit cycle) and “Tränenmeer” (Sea of Tears), more artist´s books, very productive as a printer, designs more jewellery
- 1972 to 80 Germany, Iceland, Austria
painting and drawing, the “beidhändige Schnellzeichnungen” (simultaneous speed drawings) among them, artist´s books, prints, founds “Dieter Roth´s Familienverlag” (D.R.´s family publishers), later assemblages from found material and rubbish
- 1980 to 1989 Germany, Iceland, Austria, Switzerland
Multimedia objects, installations, biographic works: concerts, performances, films, projections, books and records; represents Switzerland at the Venice Biennale 1982
- 1990 to 1998 Germany, Iceland, Switzerland
more biographical work, publishes his diaries, video installation “Solo Szenen” (Solo scenes), puts on first retrospective of his own work, initiates the “Dieter Roth Foundation” in Hamburg