Material 2: Diter Rot / Ideograme
Diter Rot [Dieter Roth]
1959
Material 2: Diter Rot / Ideograme
Material 2: Diter Rot / Ideograme
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The legendary friendship between Daniel Spoerri and Claus Bremer, which began at Darmstadt State Theater in 1957, was reflected in the magazine Material, published from autumn 1958 to spring 1960. Of the five projected issues, ...
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Material 2: Diter Rot / Ideograme
Diter Rot, Dieter Roth
1959
Darmstadt: Daniel Spoerri
Unpaginated [64 pages]
20 × 21.2 cm
Edition of 100-200

The legendary friendship between Daniel Spoerri and Claus Bremer, which began at Darmstadt State Theater in 1957, was reflected in the magazine Material, published from autumn 1958 to spring 1960. Of the five projected issues, only four were ultimately published. Spoerri was given complete freedom over the editorial vision, while Bremer remained behind the scenes as an adviser.


 


The pilot issue, MATERIAL 1, brought together contributions by Joseph Albers, Bazon Brock, Louis Aragon, Nicolaes Werkman, Carlo Belloli, Eugen Gomringer, Helmut Heissenbüttel, as well as Spoerri and Bremer themselves. For the second issue, Spoerri gave carte blanche to his friend Dieter Roth (here spelled ‘Rot’), who was already living in Iceland at the time.


 


The square format, typical of Roth’s work during this period, coincided with the aesthetic established in the first issue of the magazine. Material 2 gathered his experiments in concrete poetry from this period: torn pages, graphic lines, ideograms, constellations of typographical and punctuation marks, interspersed with entirely blank or black pages.


 


Heidi E. Violand-Hobi discusses Spoerri’s interest in concrete poetry in her dedicated monograph:


 


“Concrete poetry attempts to eliminate the communication of the author’s opinion from the work and its material is presented such that the reader can understand it in any way that [they] want.” (Heidi E. Violand-Hobi, Daniel Spoerri: Biographie und Werk, 1998)


 


Roth’s experimentation was followed in May 1959 by Emmett Williams’s Konkretionen, which continued the visual poetry editorial line in the third issue of Material.

Darmstadt: Daniel Spoerri
Unpaginated [64 pages]
20 × 21.2 cm
Edition of 100-200

The legendary friendship between Daniel Spoerri and Claus Bremer, which began at Darmstadt State Theater in 1957, was reflected in the magazine Material, published from autumn 1958 to spring 1960. Of the five projected issues, only four were ultimately published. Spoerri was given complete freedom over the editorial vision, while Bremer remained behind the scenes as an adviser.

 

The pilot issue, MATERIAL 1, brought together contributions by Joseph Albers, Bazon Brock, Louis Aragon, Nicolaes Werkman, Carlo Belloli, Eugen Gomringer, Helmut Heissenbüttel, as well as Spoerri and Bremer themselves. For the second issue, Spoerri gave carte blanche to his friend Dieter Roth (here spelled ‘Rot’), who was already living in Iceland at the time.

 

The square format, typical of Roth’s work during this period, coincided with the aesthetic established in the first issue of the magazine. Material 2 gathered his experiments in concrete poetry from this period: torn pages, graphic lines, ideograms, constellations of typographical and punctuation marks, interspersed with entirely blank or black pages.

 

Heidi E. Violand-Hobi discusses Spoerri’s interest in concrete poetry in her dedicated monograph:

 

“Concrete poetry attempts to eliminate the communication of the author’s opinion from the work and its material is presented such that the reader can understand it in any way that [they] want.” (Heidi E. Violand-Hobi, Daniel Spoerri: Biographie und Werk, 1998)

 

Roth’s experimentation was followed in May 1959 by Emmett Williams’s Konkretionen, which continued the visual poetry editorial line in the third issue of Material.

DESCRIPTION

The legendary friendship between Daniel Spoerri and Claus Bremer, which began at Darmstadt State Theater in 1957, was reflected in the magazine Material, published from autumn 1958 to spring 1960. Of the five projected issues, only four were ultimately published. Spoerri was given complete freedom over the editorial vision, while Bremer remained behind the scenes as an adviser.

 

The pilot issue, MATERIAL 1, brought together contributions by Joseph Albers, Bazon Brock, Louis Aragon, Nicolaes Werkman, Carlo Belloli, Eugen Gomringer, Helmut Heissenbüttel, as well as Spoerri and Bremer themselves. For the second issue, Spoerri gave carte blanche to his friend Dieter Roth (here spelled ‘Rot’), who was already living in Iceland at the time.

 

The square format, typical of Roth’s work during this period, coincided with the aesthetic established in the first issue of the magazine. Material 2 gathered his experiments in concrete poetry from this period: torn pages, graphic lines, ideograms, constellations of typographical and punctuation marks, interspersed with entirely blank or black pages.

 

Heidi E. Violand-Hobi discusses Spoerri’s interest in concrete poetry in her dedicated monograph:

 

“Concrete poetry attempts to eliminate the communication of the author’s opinion from the work and its material is presented such that the reader can understand it in any way that [they] want.” (Heidi E. Violand-Hobi, Daniel Spoerri: Biographie und Werk, 1998)

 

Roth’s experimentation was followed in May 1959 by Emmett Williams’s Konkretionen, which continued the visual poetry editorial line in the third issue of Material.

Darmstadt: Daniel Spoerri
Unpaginated [64 pages]
20 × 21.2 cm
Edition of 100-200

The legendary friendship between Daniel Spoerri and Claus Bremer, which began at Darmstadt State Theater in 1957, was reflected in the magazine Material, published from autumn 1958 to spring 1960. Of the five projected issues, only four were ultimately published. Spoerri was given complete freedom over the editorial vision, while Bremer remained behind the scenes as an adviser.

 

The pilot issue, MATERIAL 1, brought together contributions by Joseph Albers, Bazon Brock, Louis Aragon, Nicolaes Werkman, Carlo Belloli, Eugen Gomringer, Helmut Heissenbüttel, as well as Spoerri and Bremer themselves. For the second issue, Spoerri gave carte blanche to his friend Dieter Roth (here spelled ‘Rot’), who was already living in Iceland at the time.

 

The square format, typical of Roth’s work during this period, coincided with the aesthetic established in the first issue of the magazine. Material 2 gathered his experiments in concrete poetry from this period: torn pages, graphic lines, ideograms, constellations of typographical and punctuation marks, interspersed with entirely blank or black pages.

 

Heidi E. Violand-Hobi discusses Spoerri’s interest in concrete poetry in her dedicated monograph:

 

“Concrete poetry attempts to eliminate the communication of the author’s opinion from the work and its material is presented such that the reader can understand it in any way that [they] want.” (Heidi E. Violand-Hobi, Daniel Spoerri: Biographie und Werk, 1998)

 

Roth’s experimentation was followed in May 1959 by Emmett Williams’s Konkretionen, which continued the visual poetry editorial line in the third issue of Material.

MORE BOOKS

The legendary friendship between Daniel Spoerri and Claus Bremer, which began at Darmstadt State Theater in 1957, was reflected in the magazine Material, published from autumn 1958 to spring 1960. Of the five projected issues, only four were ultimately published. Spoerri was given complete freedom over the editorial vision, while Bremer remained behind the scenes as an adviser.

 

The pilot issue, MATERIAL 1, brought together contributions by Joseph Albers, Bazon Brock, Louis Aragon, Nicolaes Werkman, Carlo Belloli, Eugen Gomringer, Helmut Heissenbüttel, as well as Spoerri and Bremer themselves. For the second issue, Spoerri gave carte blanche to his friend Dieter Roth (here spelled ‘Rot’), who was already living in Iceland at the time.

 

The square format, typical of Roth’s work during this period, coincided with the aesthetic established in the first issue of the magazine. Material 2 gathered his experiments in concrete poetry from this period: torn pages, graphic lines, ideograms, constellations of typographical and punctuation marks, interspersed with entirely blank or black pages.

 

Heidi E. Violand-Hobi discusses Spoerri’s interest in concrete poetry in her dedicated monograph:

 

“Concrete poetry attempts to eliminate the communication of the author’s opinion from the work and its material is presented such that the reader can understand it in any way that [they] want.” (Heidi E. Violand-Hobi, Daniel Spoerri: Biographie und Werk, 1998)

 

Roth’s experimentation was followed in May 1959 by Emmett Williams’s Konkretionen, which continued the visual poetry editorial line in the third issue of Material.

MORE BOOKS