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Stuttgart and Reykjav?k: Edition Hansj?rg Mayer and Prentsmi?ja J?ns Helgasonar, 1973. Octavo (19 ? 13 cm). Original thread binding; [528] pp. Printing note signed by Dieter Roth. Spine faintly stained; else very good. One of 200 numbered and signed copies (20 author's copies were also printed) of the first volume in the "tears" series. Roth published a weekly advertisement in a Lucerne newspaper in 1971 in the form of a short, enigmatic saying, such as ?A tear is as evil as a kind word? or ?Nonsense has two opposites, sense and nonsense.? He compiled these texts in the first volume. Each saying was given a whole page, while the opposite left-hand page remained completely blank. At the same time, he produced a monumental volume entitled ?Tr?nensee? (Lake of Tears), in which he compiled the original advertisements. The first volume ?Tr?nenmeer? (Sea of Tears) offered here was followed by a second volume with illustrations. All subsequent volumes continue to engage with the first volumes. They perform a process of transformation that encompasses both the texts and the images. ?What happens is not reworking, but rather adding and removing, expanding and retracting, reinterpreting and reverting, reversing and turning around.? The series eventually grew to five volumes. (Andr? Kamber, Vom Zeichnen, von den B?chern (- vom Leben?) des Dieter Roth, in: Deutsche Buchkunst im zwanzigsten Jahurndert: 75 Jahre Hauswedell & Nolte, Hamburg 2002, p. 83f.) For Roth, a happening and Fluxus artist, engaging with print media was no trivial matter. After graduating from high school, he began a four-year apprenticeship as a commercial artist and then took private lessons at the School of Arts and Crafts with Swiss graphic designer and typographer Eugen Jordi. Roth began his artistic work when he was unable to find employment as a graphic designer after completing his apprenticeship and earned his living as a construction worker. An influential encounter was that with Eugen Gomringer and Marcel Wyss, with whom he founded the magazine "Spirale", which published nine issues between 1953 and 1964. At the same time, Roth met Daniel Spoeri and created his first food sculptures. When he moved to Iceland with his wife in 1957, he was rejected by the local graphic design association. Together with Einar Bragi, he founded the publishing house ?forlag ed,? where both published their respective artist books. In addition to his freelance artistic work, he also worked regularly as a commercial artist for companies. (Cf. Ina Jessen, AKL XCIX, p. 482) Since the mid-1960s, Roth worked closely with Hansj?rg Mayer. As a student of Max Bense, theoretician of computer art and concrete poetry, Mayer was interested in the themes of ?variation? and ?chance? At the same time, he was influenced by his professional beginnings as a typesetter and book printer that preceded his studies in graphic design at Stuttgart. Even during his studies, he ran a private press and was involved in experimental typography. Concrete poetry offered the opportunity to deal with letters as pictorial elements. In addition to his private press and publishing house, Mayer also ran a gallery, although these projects were not strictly differentiated from one another. Additionally, Mayer was the publisher of the group around Max Bense. For example, he published the portfolio ?16 4 66?, which included computer graphics by Frieder Nake and G?nther Neusel. Furthermore, he published works by Eugen Gomringer, Herman de Vries, Franz Mon, Richard Hamilton, Helmut Heissenb?ttel, and Reinhard D?hl. In addition to works by Dieter Roth, he also exhibited works by Robert Filliou, George Brecht, and Dorothy Iannone in his gallery. Dobke p. 212.1.
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