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1990 to 1998 Germany, Iceland, Switzerland

dr in st johann 1996

1991

Iceland, Basle, 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.

1992

dieter roth 1993

Reykjavík, Mosfellsbaer, Paris, Basle, 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.

1994

Iceland, Basle, Berlin, Hamburg, Vienna
Roth is awarded the Große Kunstpreis Berlin at the Akademie der Künste.
Roth gives up his flat in the Tuchlauben in Vienna.

1995

dieter roth basel

Reykjavík, Basle, 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 Basle by Björn and Dieter Roth. To this day it is extended by Björn Roth for each new exhibition and adapted to the given space.

1997

dieter roth

Mosfellsbaer, Sey∂isfjör∂ur, Basle, Marseille
The films Soloszenen (Solo Scenes) that Roth had begun working on in Iceland, are continued in Basle. 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.
Roth has health problems.

1998

dieter roth

Iceland, Hamburg, Stuttgart, Zurich, Basle
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.

On June 5 Dieter Roth dies in his studio on Hegenheimer Strasse in Basle from heart failure.

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