Dorothy Iannone

Air de Paris www.airdeparis.com [email protected]

Dorothy Iannone, Berlin, 2009. © Jason Schmidt

Air de Paris www.airdeparis.com [email protected]

Dorothy Iannone was born in Boston, Massachusetts in 1933. She attended Boston University and Brandeis University where she majored in Literature. In 1961 she successfully sued the U.S. Government on behalf of Henry Miller's "Tropic of Cancer", which until then was censured in the U.S., to allow its importation into the country. She begins painting in 1959 and travels extensively with her husband to Europe and the Far East. From 1963 until 1967, she runs a co-operative gallery on Tenth Street. New York together with her husband. In 1966 they live for some months in the South of France where she begins a close friendship with Robert Filliou and other artists from Fluxus. She meets and falls in love with German- Swiss artist Dieter Roth during a journey to Reykjavik and will share his life in different European cities until 1974. Two years later Iannone moves to Berlin after receiving a grant from the DAAD Berlin Artists' Program. She still lives and works in Berlin, where she pursues her artistic production.

Since the beginning of her career in the 1960's, Dorothy Iannone has been making vibrant paintings, drawings, prints, films, objects and books, all with a markedly narrative and overtly autobiographical visual feel. Her oeuvre is likean exhilarating ode to an unbridled sexuality and celebration of ecstatic unity, unconditional love, and a singular attachment to Eros as a philosophical concept. She has had to frequently face censorship problems, in particular in the "Friends' Exhibition" organized by Harald Szeemann at the Kunsthalle Bern in 1969. Iannone later recreated the event in her well-known book,"The Story Of Bern". Her works narrate the artist's life in intimate detail, transforming somewhat the feminist discourse of the 1960's, by emphasizing personal freedom and spiritual transcendence through complete devotion to, and union with, a lover.

The New Museum presented "Lioness", her first solo show in the United States in 2009. Her mixed media work "I Was Thinking Of You" was included in the Whitney Biennial in 2006. She has recently had major retrospectives, notably at Camden Arts Centre in London (2013), the Berlinische Galerie in Berlin (2014) and Migros Museum in Zurich (2014) . Her masterpiece and impressive installation "Follow Me" has joined the prestigious collection of Centre Pompidou, Paris. She also recently received the BZ Kultur Preis in 2016.

Exhibition views

Air de Paris www.airdeparis.com [email protected]

Dorothy Iannone Exhibition views « The Story Of Bern (Or) Showing Colors + The (Ta)Rot Pack + A Cookbook», Centre Culturel Suisse, Paris, 03.06 - 10.07.2016

Air de Paris www.airdeparis.com [email protected] Air de Paris www.airdeparis.com [email protected] Dorothy Iannone, Exhibition views « Welcome To Our Show», Air de Paris, Paris. March 28 - May 16, 2015

Air de Paris - 32, rue Louise Weiss, Fr-75013 Paris, France - T.+33 (0)1 44 23 02 77 - [email protected] - www.airdeparis.com Air de Paris - 32, rue Louise Weiss, Fr-75013 Paris, France - T.+33 (0)1 44 23 02 77 - [email protected] - www.airdeparis.com Air de Paris - 32, rue Louise Weiss, Fr-75013 Paris, France - T.+33 (0)1 44 23 02 77 - [email protected] - www.airdeparis.com Exhibition views, Dorothy Iannone, Censorship And The Irrepressible Drive Toward Love And Divinity, 2014, Migros Museum für Gegenwartskunst, Zurich.

Air de Paris - 32, rue Louise Weiss, Fr-75013 Paris, France - T.+33 (0)1 44 23 02 77 - [email protected] - www.airdeparis.com Air de Paris - 32, rue Louise Weiss, Fr-75013 Paris, France - T.+33 (0)1 44 23 02 77 - [email protected] - www.airdeparis.com Exhibition views «This Sweetness Outside Of Time», Berlinische Galerie 21.02 - 02.06.2014, © Photo: Kai-Annett Becker, Berlinische Galerie.

Air de Paris - 32, rue Louise Weiss, Fr-75013 Paris, France - T.+33 (0)1 44 23 02 77 - [email protected] - www.airdeparis.com Air de Paris - 32, rue Louise Weiss, Fr-75013 Paris, France - T.+33 (0)1 44 23 02 77 - [email protected] - www.airdeparis.com Dorothy Iannone Exhibition views « Innocent and Aware», Camden Arts Center, London 2013

Air de Paris - 32, rue Louise Weiss, Fr-75013 Paris, France - T.+33 (0)1 44 23 02 77 - [email protected] - www.airdeparis.com Air de Paris - 32, rue Louise Weiss, Fr-75013 Paris, France - T.+33 (0)1 44 23 02 77 - [email protected] - www.airdeparis.com Air de Paris - 32, rue Louise Weiss, Fr-75013 Paris, France - T.+33 (0)1 44 23 02 77 - [email protected] - www.airdeparis.com Air de Paris - 32, rue Louise Weiss, Fr-75013 Paris, France - T.+33 (0)1 44 23 02 77 - [email protected] - www.airdeparis.com Dorothy IANNONE

Exhibition views "Arthur Rainbow", Galerie Air de Paris, Paris 2012

Exhibition views «Dorothy Iannone: Lioness», New Museum, New-York 2009

Air de Paris - 32, rue Louise Weiss, Fr-75013 Paris, France - T.+33 (0)1 44 23 02 77 - [email protected] - www.airdeparis.com Dorothy IANNONE

Exhibition views «Follow Me», Gallery September, Berlin 2008

Vue de l’exposition She is a freedom fighter, Galerie Air de Paris, Paris 2007

Catalogue Withney Biennal Dayfornight, 2006 1/2 Catalogue Withney Biennal Dayfornight, 2006 2/2 Cat. Ice Cream, Ed Phaidon, 2007 1/4 Cat. Ice Cream, Ed Phaidon, 2007 2/4 Cat. Ice Cream, Ed Phaidon, 2007 3/4 Cat. Ice Cream, Ed Phaidon, 2007 4/4 Charley 05, edited by M. Cattelan, M. Gioni and A. Subotnick, Minneapolis, 2008 1/6 Charley 05, edited by M. Cattelan, M. Gioni and A. Subotnick, Minneapolis, 2008 2/6 Charley 05, edited by M. Cattelan, M. Gioni and A. Subotnick, Minneapolis, 2008 3/6 Charley 05, edited by M. Cattelan, M. Gioni and A. Subotnick, Minneapolis, 2008 4/6 Charley 05, edited by M. Cattelan, M. Gioni and A. Subotnick, Minneapolis, 2008 5/6 Charley 05, edited by M. Cattelan, M. Gioni and A. Subotnick, Minneapolis, 2008 6/6

Johanna Burton, Dorothy Iannone, Artforum, October 2009, p.232-233 Johanna Burton, Dorothy Iannone, Artforum, October 2009, p.232-233 Amy Sillman, Best of 2009, Artforum, December 2009, p.195 Amy Sillman, Best of 2009, Artforum, December 2009, p.195 Amy Sillman, Best of 2009, Artforum, December 2009, p.195

Dorothy Iannone, The Second Sex, V Magazine, n°62, Winter 09-10, p.51

Karl Holmqvist, This Sweetness Outside of Time, May n°13, 2014, p.133-138

An Ecstatic Unity

The daily celebration of life and love in the work of Dorothy Iannone

by karen archey

“Grande dame,” “sex,” “Dieter Roth,” “femininity,” Most narratives about Iannone’s work are organized Next page: “proximity,” “censored,” “folkloric”: these are but a biographically, which may seem facile at first — who Love The Stranger (1981) handful of platitudinous words that often describe cares about Richard Artschwager’s vacations or Albert Photography by Friedrich Rosenstiel American artist Dorothy Iannone’s decades-long prac- Oehlen’s sexual partners? Still, Iannone’s paintings, artist tice. Iannone, who was born in Boston, Massachusetts, books and sculptural video works often take her admit- in 1933, started painting in the late 1950s. She has de- tedly very interesting biography as content. Iannone’s veloped a practice so idiosyncratic that most people oeuvre begins with her paintings and collages from 1959 have a difficult time describing it. And, though it’s through the mid-1960s, when her paintings took on a hard to imagine sexual content being problematic distinct Abstract Expressionist feel then popular among today, the reception of Iannone’s most iconic works the East Tenth Street scene in New York. Although it’s over the past sixty years — depicting figures in rap- self-evident that an artist’s early work can greatly vary ture donning swollen genitalia — has ranged from from that created in one’s mature years — take the dis- scandalized and censored to just plain ignored. It has similarity between John McCracken’s early mandala only been in the last decade or so, perhaps since her paintings and his sleek, minimal columns for which inclusion in a 2005 exhibition at the Tate Modern via he is best known — Iannone’s early work may surprise the Wrong Gallery, which led to her inclusion in the those familiar with her most iconic paintings. The art- 2006 Whitney and Berlin Biennials, that Iannone has ist’s 1959 oil crayon on paper compositions Certainty, gained renown as an artist. Yet, retreading Iannone’s Impeccable, Impose, and Majestic melt Crayola-colored neglected successes throughout the years seems equally abstract forms into themselves, and appear as exercises worthwhile and reductive: Why do so many critically for finished works. Iannone’s Remembered Child (1961) important female artists only gain recognition well into depicts a blackened abstract landscape with an over- their elder years, and why, when success does finally sized incarnadine moon, recalling (and predating) the come, must the work be so influenced by a narrative muddy mixed media of Anselm Kiefer. Also from 1961 of belated reception? At Berlinische Galerie Museum is the series “Kyoto Collage,” which delicately arranges für Moderne Kunst, Iannone recently closed her first hand-dyed Japanese paper into blocky figurations remi- major institutional retrospective exhibition in Berlin, niscent of bonsai arrangements. Sunny Days and Candy the city in which she has lived and worked since 1976. (1962) continues Iannone’s interest in gestural abstrac-

52 — july / august / september 2014 feature

tion, though the artist begins confining and outlining their respective artistic practices, though conversely, Previous page: blocks of color, which begins to lay the groundwork for Iannone’s union with Roth seems to overshadow the Lists IV : A Much More her more detailed and complex work compositionally rest of her work. “Dieter Roth appeared in my work Detailed Than Requested Reconstruction (1968) inspired by Byzantine mosaics and Persian miniatures. only for the seven years we were together,” said Iannone Courtesy of the Artist and Big Baby (1962–63) and Sunday Morning (1965), to me in an interview from summer 2014. “After that, Air de Paris, Paris both blocky oil-on-canvas paintings with predominately with the exception of one or two special cases, never Photography by Hans-Georg primary-color palettes, continue on this increasingly again. My work spans half a century.” Gaul Byzantine path. Sunday Morning sees the introduction Nevertheless, Iannone seemed entirely aware of Above: of repeating floral and architectural motifs bordering how special these circumstances would be in retro- Morocco (2009) the canvas, as well as the inclusion of figures and text. spect. She documented her life with and love for Roth Courtesy of the Artist; Air The extraordinarily intricate All, a large painting com- through many paintings, collages, sculptures and even de Paris, Paris; and Peres pleted in 1967, depicts nude female figures surrounded an artist book that narrated their time together, An Ice- Project, Berlin by tribal motifs, alhambras and what appear to be styl- landic Saga (1978). Even in a 2009 interview with Frieze, Photography by Hans-Georg Gaul ized stained-glass windows. It is rendered without a twenty years after Roth’s death, Iannone speaks of the trace of her gestural, expressionist past. Swiss artist with fondness and familiarity: “Now, even In 1967 Iannone departed from New York with though there are some things I would like to remain her husband, the investor and painter James Upham, unchanged, I know that nothing stays the same. Over and set sail for Iceland to meet a friend of Upham’s the decades, I have watched the images on the painting involved with the Fluxus movement. There, Iannone Dieter made for me gradually lose their substance as met Dieter Roth. He had been waiting for the couple on the fallen grains of cocoa powder accumulate under a dock, holding a fish, and a week after the two artists the glass on the ledge of the frame. Their loss is slowly met, Iannone left Upham for Roth, staying with him revealing the color of the paint underneath, and some- in Reykjavik and Düsseldorf for seven years until 1974. how the picture has become not only more moving, but During those seven years her work would take Roth as more beautiful to me.” its content. It cannot be understated the deep, indelible Also in 1967 Iannone completed “Dialogues I,” impact Iannone and Roth had upon each other and a narrative series of drawings on board illustrating a

55 — july / august / september 2014 feature nude man and woman in various stages before and reer. Similarly, the monochromatic three-panel piece Next page: after coitus, oftentimes with text superimposed as a Follow Me (1977) encases a monitor playing a video Metaphor (2009) compositional element. In “Dialogues I” we see a female of the artist’s face, the painted panels surrounding it Courtesy of the Artist; Air de Paris, Paris; and Peres and a male figure negotiating bed space, having sex and depicting a woman with a radiating halo and a man Project, Berlin turning off the bedside lamp amid a florid landscape wearing a crown of thorns, both crucified. It appears Photography by Hans-Georg trimmed with diamonds, daisies and paisleys. These to be a break-up piece. It reads, “FOLLOW ME; IT’S Gaul drawings represent her mature signature style that NOT TOO LATE TO REMEMBER WHO I AM; YOU combines text, decorative motifs and plainly rendered WILL NOT BE VANQUISHED EVEN THOUGH figures sporting engorged genitalia. Iannone would YOU ARE A MAN; REMEMBER THOSE MOMENTS proceed to create many such series. The year 1967 saw WHEN I LED YOU AND YOUR EXALTATION; RE- a marked turn as the artist began to fully embrace the MEMBER WHAT IT WAS THAT DREW YOU BACK erotic nature of her work. Predating Tracey Emin by a AND WHAT IT WAS YOU LOST RENOUNCING few decades, that year Iannone made an artist’s book ME; REMEMBER MY OPEN WOUND, REMEMBER listing all of the men she had slept with — an act of radi- MY SMILE; FOLLOW ME.” Another stand-out work is cal transparency even today, and one of unimaginable Iannone’s A Fluxus Essay and An Audacious Announce- bravery in the 1960s. ment (1979), a totem emitting faint sound with a pink It should be noted that, although genitalia is almost face and on which an essay about being a Fluxus outlier omnipresent in Iannone’s work, her practice isn’t nec- is scribbled. “I am she who is not Fluxus…” Iannone essarily about sex — at least not the nuts and bolts of writes, rather brazenly summing up what it’s like to it, so to speak. Never do we see bursts of fluid or the be sincerely cared for by Fluxus men, but simultane- dejected awkwardness of a failed erection or belated ously Othered — in other words, to be the periphery orgasm. Rather, with a healthy dose of dark wit, we see of the center. compositions about ecstatic unity, and the quotidian The 1980s and ’90s saw Iannone’s further use of transcendence that can come from such unions. It is the staged tableaux of ancient Egyptian paintings and this daily celebration of life and love that is so crucial the symbolic, pared down figures of Indian tantric to Iannone’s work. paintings. Mother and Child (1980), a busy red-hued Importantly, the period in which Iannone and Roth gouache painting on Bristol, borrows the stacked com- cohabitated, 1967 to 1974, is also the crest of second- positional structure of ancient Egyptian works, whereas wave feminism and the heyday of conceptual art. Ian- The Darling Duck (1983–84), a felt pen and ink triptych none kept her distance from both. Rather, her work on Bristol, sees a turn toward the tantric. The central is a product of a journey through and a celebration of board features two diamond-eyed figures, a man and a life rather than a force intentionally oppositional to woman, twisting their backs to unite in coitus, their legs exclusionist conceptual art or the feminist scenes of splayed perfectly in the air as a mirror reflection. Later, those decades. “It’s not art talking to art,” she related in an even more direct reference to Indian mythology, to me. Yet it would be wrong to classify her work as Om Ah Hum (1994) depicts a woman with eight arms non-feminist or anti-conceptual. What’s more, it reads with the text “VAJRA GURU” festooned above — a as responsive to its zeitgeist, yet equally out of time and reference to the Sanskrit mantra popular with Tibetan place in its borrowing of historical and pan-cultural mo- sadhakas. tifs. In her work we can see the influences of worldwide Iannone continues to live in Berlin and create work travel: entwined figures of Indian tantric paintings, the in her signature style. Luminous (2012) and Dieter and complex patterning of Byzantine mosaics as previously Dorothy (2007), to name but two examples, combine mentioned, the craftiness of American folk art, and the nude figures and motifs as per her paintings of previous erotic, engorged genitals of Japanese wood block prints. decades. Her 2009 series of small wooden sculptures Such influences are evident in At Home (1969), a color represent a departure from this format, and feature the silkscreen on paper that integrates various domestic romantically entangled male and female protagonists scenes — cooking, eating, talking on the phone — into of popular (and not-so-popular) films. Titled “Movie one labyrinthine composition. People,” the series depicts the stars from movies ranging Iannone spent considerable time in the Fluxus from Lolita to the lesser-known Morocco to Brokeback scene in Düsseldorf with Roth, and in 1976, after the Mountain (one of her rare forays into non-heterosexu- couple’s break-up and a respite in southern France, ality). That Iannone takes her content from pop cul- she moved to Berlin on a DAAD (German Academic ture rather than world cultures seems fitting — unlike Exchange Service) residency. In the late 1970s, Iannone the world religions Iannone borrows from, pop media began creating totemic sculptures inlaid with either represents lofty ideals morphed into the context of the sound speakers or video monitors. Most celebrated is everyday. her video sculpture consisting of a painted wardrobe- Perhaps Iannone’s most compelling work is her sized box with a monitor, installed head-height, which practice as a whole, including her biography. Yet she plays a video of Iannone’s face while masturbating. isn’t usually thought of as an artist who lives their prac- Titled I Was Thinking of You III (1975–2006), the sculp- tice as per a Beuysian notion of social sculpture — per- ture was shown in the 2006 Whitney Biennial, and haps because she worked during a time when it was may have contributed to the resuscitation of her ca- not great to be a woman. Take, for example, the work

56 — july / august / september 2014 feature

of the Polish neo-avant-garde duo KwieKulik, whose Dorothy Iannone (b. 1933, American) lives in Berlin. Previous page: artful documentation of their life together, the life of Your Treasures (1962) Courtesy of the Artist and their son, and the surrounding context of the Polish Recent solo shows: Berlinische Galerie, Berlin; Camden Air de Paris, Paris art scene amid the backdrop of fascist communism Arts Center, London; Peres Projects, Berlin; Peres Projects, Photography by Hans-Georg was their practice. (Incidentally, it also took decades Los Angeles; New Museum, New York; Anton Kern, New Gaul for KwieKulik to be properly canonized.) Or consider York; Air de Paris, Paris; Kunsthalle, Wien; The Wrong the work of J. Morgan Puett, an artist who terms her Gallery, Tate Modern, London. Above: She’s Got Everything She Hudson Valley residence, which hosts art residencies, Recent group shows: Joe Sheftel, New York; Centre Needs (1972) performances, and lectures, and in which she is rais- Culturel Suisse, Paris; Barbara Wien, Berlin; Giò Courtesy of the artist and ing a son, a complex(ity) — a complex, as in a group of Marconi, Milano; Hamburger Banhof, Berlin; Brooklyn Air de Paris, Paris buildings on the same site; and a complexity, something Museum, New York; Max Hetzler Gallery, Berlin; untamed and constantly evolving, her life. 2nd Athens Biennale; SMAK, Gent; Zacheta National For Iannone, it is precisely the subjective, bio- Gallery, Warsaw; MUSEION, Bolzano; Witte de With, graphical and narrative approach to her practice Rotterdam; 4th Berlin Biennial; 2005 Whitney Biennial, that continues to be so revelational. This modus ope- New York. randi, so respectfully counter to the normal authori- tative, self-aggrandizing and pseudo-cerebral voice A presentation of Dorothy Iannone’s art will be on view that still dominates artistic discourse today, is also at the Migros Museum für Gegenwartskunst, Zurich, that which probably sidelined the artist for so many from August 30 to November 9, 2014. decades. Ironically, it is also one that seems to have led to an ultimately fulfilled life and long-sustained Karen Archey is an art critic and curator based in Berlin. artistic practice.

59 — july / august / september 2014 Barbara Casavecchia, I Cook For You, Spike Art Quaterly #51, Spring 2017 Portrait

Kochen für dich

I Cook For You Alle Abbildungen / All images: CourtesyPhoto: Marc the Domage artist and Air de Paris, Paris Photo: Carsten Eisfeld Dorothy Iannone Dorothy

Ms Liberty, 1977/2007 Tickles My Fancy, 2009 Gouache und Acryl auf Karton / Gouache and acrylic on board, 84 x 60 cm Gouache und Tinte auf Karton / Gouache and ink on board, 51 x 40 cm 101

Air de Paris - 32, rue Louise Weiss, Fr-75013 Paris, France - T.+33 (0)1 44 23 02 77 - [email protected] - www.airdeparis.com Portrait

Kochen für dich

I Cook For You Alle Abbildungen / All images: CourtesyPhoto: Marc the Domage artist and Air de Paris, Paris Photo: Carsten Eisfeld Dorothy Iannone Dorothy

Ms Liberty, 1977/2007 Tickles My Fancy, 2009 Gouache und Acryl auf Karton / Gouache and acrylic on board, 84 x 60 cm Gouache und Tinte auf Karton / Gouache and ink on board, 51 x 40 cm 101 Air de Paris - 32, rue Louise Weiss, Fr-75013 Paris, France - T.+33 (0)1 44 23 02 77 - [email protected] - www.airdeparis.com Dorothy Iannone ist für Malereien bekannt, in denen sie die „ekstatische Einheit“ mit ihrem damaligen Partner, dem Künstler Dieter Roth, feierte. Sie bewegte sich im Umfeld der Fluxus-Bewegung, aber gehörte nie zum Kanon. Dafür war ihr Umgang mit Autobiograﬁe, Identität und Sexualität zu kompromisslos. „A CookBook“, Iannones Künstlerbuch aus dem Jahr 1969, ist dafür Programm. Von Barbara Casavecchia

Dorothy Iannone is best known for paintings celebrating the “ecstatic unity” of her relationship with the artist Dieter Roth. She was connected to Fluxus, but too uncompromising in how she brought her personal life, identity and sexuality into her art to be considered part of its canon. The artist’s book A CookBook, which she made in 1969, encapsulates much E of what was most important in her life and work. By Barbara Casavecchia Photo: Jochen Littkemann All, 1967 Öl auf Leinwand / Oil on canvas 184 x 241 cm

Air de Paris - 32, rue Louise Weiss, Fr-75013 Paris, France - T.+33 (0)1 44 23 02 77 - [email protected] - www.airdeparis.com Dorothy Iannone ist für Malereien bekannt, in denen sie die „ekstatische Einheit“ mit ihrem damaligen Partner, dem Künstler Dieter Roth, feierte. Sie bewegte sich im Umfeld der Fluxus-Bewegung, aber gehörte nie zum Kanon. Dafür war ihr Umgang mit Autobiograﬁe, Identität und Sexualität zu kompromisslos. „A CookBook“, Iannones Künstlerbuch aus dem Jahr 1969, ist dafür Programm. Von Barbara Casavecchia

Air de Paris - 32, rue Louise Weiss, Fr-75013 Paris, France - T.+33 (0)1 44 23 02 77 - [email protected] - www.airdeparis.com

P Photo: Hans-Georg Gaul Hans-Georg Photo: P , 1969 A CookBook Künstlerbuch, Filzstift auf Bristol-Karton, Seiten / Artist 62 book, felt pen on Bristol cm board, pages, 30 x 24 62

Air de Paris - 32, rue Louise Weiss, Fr-75013 Paris, France - T.+33 (0)1 44 23 02 77 - [email protected] - www.airdeparis.com P P

D In einer meiner liebsten Anekdoten aus der Kunst geht es um Roth kennen. Sie gab sich der bedingungslosen Liebe hin, der D rer Beziehung, ihre Stimmungen und Gefühle, die Gedichte, Besprechung von Iannones wunderbarer Monografie „You Lee Miller, Fotografin und Muse des Surrealismus. Nachdem ekstatischen Gemeinschaft und dem sexuellen Vergnügen, die sie las, die Musik, die sie hörte, und die Witze, die sie gut Who Read Me With Passion Now Must Forever Be My Miller als Kriegskorrespondentin für die Vogue gearbeitet den Kunstwerken, die all das feierten und, ja, Moussaka. Ian- fand. Iannone mischt hier Bilder, Texte, Sex, Essen und geis- Friends“ (2014) in der LA Review of Books zu zitieren. hatte und von Omaha Beach über die berühmt-berüchtigte nones Humor und ihre Weigerung, sich an Konventionen zu tige Nahrung und unterscheidet nicht zwischen Kunst und Wenn man an die wichtige Rolle von Essen in vielen Flu- Badewanne Hitlers bis zu den Schrecken von Buchenwald halten, sind herrlich befreiend, selbst wenn es um ein Koch- Alltag, High und Low, Körper und Geist. Alles fließt über- xus-Veranstaltungen und -Projekten denkt, überrascht es und Dachau alles gesehen hatte, kehrte sie der Fotografie für buch geht, wie im Falle ihres ersten Künstlerbuchs „A Cook- gangslos ineinander und verwandelt sich in ein schon, dass „A CookBook“ so selten als Teil des Fluxus-Ka- immer den Rücken und widmete sich dem Kochen – Kochen Book“, an dem sie 1969 zu arbeiten begann. Schon auf dem Fluxusstatement. nons betrachtet wird. Ein paar Beispiele: Alison Knowles’ auf Sterneniveau, wie sie es in Kursen im Pariser Le Cordon Cover, gestaltet in Primärfarben und den breiten schwarzen Iannone, die lange in New York lebte, bevor sie nach Eu- Score „Make a Salad“ (1964) oder ihr „Journal of the Identical Bleu erlernt hatte. Jedoch nicht als Beruf. Miller veranstaltete Konturen, die für ihren Zeichenstil so typisch sind (und der ropa kam, war eng mit Robert Filliou befreundet (der sie in Lunch“ (1971); Daniel Spoerris „Gastronomisches Tagebuch“ aufwändige Dinner-Partys in ihrem Landhaus in East Sussex, von Mosaiken, japanischen Drucken, griechischen Vasen, in- den frühen 80er Jahren mit dem tibetischen Buddhismus be- (1967), in dem er alle Mahlzeiten auflistet, die er und seine wohin sie sich mit dem britischen Surrealisten Roland Penro- discher Tempelkunst und illuminierten Handschriften inspi- kannt machte), auch mit Ben Vautier und Emmett Williams. Freundin Kichka Batiche während eines Aufenthalts auf der se zurückgezogen hatte, um aus der öentlichen Wahrneh- riert ist), wird deutlich: Bei Iannone zeigt sich die Versenkung Dennoch wird ihr Werk für gewöhnlich nicht im Kontext griechischen Insel Symi eingenommen hatten, vom Restau- mung etwas abzutauchen. Sie kümmerte sich um all die in den Eros und die „Urtriebe“ in Filzstiftzeichnungen von von Fluxus rezipiert. Aber sollte man die Dinge nicht endlich rant Spoerri ganz zu schweigen, ebenso von der Eat-Art-Gal- Künstler, Liebhaber und Freunde, die sich um ihren Tisch üppigen Busen und Ärschen, Bratpfannen und Früchten, richtigstellen? Iannone wurde in den 00er Jahren „wiederent- lery, die er in Düsseldorf gegründet hatte. Und auch bei Roth versammelten. Ich sehe Millers kulinarische Besessenheit we- grünenden Landschaften und strahlenden Mandalas. Ein deckt“. Ihr kompromissloser Umgang mit Autobiografie, Ge- gibt es schließlich eine gut dokumentierte Faszination für niger als eine Kapitulation, sondern eher als Antwort auf eine Fest für die Augen. schlecht, Identität, Sexualität und Fiktion passte zum Zeit- verderbliche und organische Materialien: von seinen Malerei- große Erschöpfung: als Versuch, sich selbst zu heilen, den Auf den folgenden Seiten finden sich nicht nur 207 Re- geist. Sie wurde „extrem“ genannt, ein „Bad Girl“, eine en und Selbstporträts aus Schokolade bis zu den Büchern, die Schmerz zu lindern und etwas Tröstendes zu schaen. Über zepte, sondern auch Streifenmuster, psychedelische Farben, „Sexgöttin“, eine „Künstler-Künstlerin“ – alles ganz im Sin- er mit langsam vor sich hin gammelndem Schweinefett, die Haute Cuisine konnte sie anders flirten und genießen, Akte, Gedankenfetzen und oene Fragen, die mit dem Hor- ne jener Erlösungs-Mythologisierungen, mit denen man die Wurst, Käse, Früchten oder Gemüse füllte. Und in „Ta (Rot) eine andere Form der Erfüllung finden. Sowohl die Dietätik ror Vacui und dem ungenierten Vergnügen am Ornamenta- schrulligen alten Künstlerinnen von den Rändern der Kunst- Pack“ (1968–69, ein Nachdruck im Luxus-Kunst-Fanzine als auch die Erotik sind „Lebenskünste“, wie wir von Fou- len eines Teenagertagebuchs vermischt sind. Es ist ein Be- geschichte wieder zurückholt. Doch solche Begrie schrei- „Pleased to meet you“ erschien im Februar 2017) porträtiert cault wissen. Und um ihr regenerati- kenntnis und die Chronik eines ben die Geschichte nur weiter fort, diese Künstlerinnen als Iannone Rot(h) als „Innocence“, also als „Unschuld“, ausge- ves Potenzial zur Entfaltung zu brin- Jahres, das Iannone „für dich und Anomalien abzustempeln. Und verstärken damit den Aront, rechnet am heimischen Küchentisch: nur mit einer Reibe in gen, muss man sie nicht unbedingt mich und manchmal unsere Freunde den oenbar eine „gesunde, ganzheitliche, selbstbewusst ver- der Hand, glücklich nackt wie Gott ihn schuf. Ihr eigener meisterlich beherrschen. Madeira sauce and in der gemütlichen Küche“ verbrach- letzliche Frau“ immer noch darstellt, „die die beharrliche Su- nackter Körper drängt von rechts ins Bild. Diese Szene ist zu Dorothy Iannone (geboren 1933 chicken liver share a te, wo sie „das Vergnügen hatte, für che nach einer sinnlichen Welt ihrer Vorstellung eher produk- gleichen Teilen Ausdruck eines häuslichen Idylls wie Parodie in Boston, USA) lernte 1967 auf einer page with doubts on the dich zu kochen.“ Aber es finden sich tiv erscheinen lässt als unverantwortlich oder vielleicht des Häuslichen. Man sieht darauf zwei Künstler, die sich die Reise nach Island den Künstler Dieter wisdom of marriage darin auch die Höhen und Tiefen ih- schädigend“, um eine Formulierung aus Catherine Wagleys Freiheit nehmen, füreinander Muse und Erfüllung zu sein

E One of my favourite art stories is As Foucault noted, dietetics and erot- E dant landscape and radiating manda- the early 80s, introduced her to Tibet- Given the role of food in many about the Surrealist muse and photog- ics are both “arts of living”, and they las. It’s a feast for the eyes. an Buddhism), Ben Vautier and Em- events and projects organized by rapher Lee Miller. After she stopped do not necessarily require proficiency In the following pages, the book mett Williams, but her production is Fluxus artists, it is surprising that A working as a war correspondent for in order to unleash their regenerative condenses not only 207 indexed reci- not usually framed and interpreted in CookBook is so rarely considered part Vogue, which brought her from Oma- potential. pes, but also striped patterns, psyche- a Fluxus key. Should it finally be, to set of the Fluxus canon. Take, for in- ha Beach to Hitler’s infamous bathtub After meeting fellow artist Dieter delic hues, nude drawings, thought the record straight? Iannone was “re- stance, Alison Knowles’s score Make a and the horrors of Buchenwald and Roth during a trip to Iceland in 1967, fragments and open questions, all discovered” in the 2000s, when the Salad (1964) and her Journal of the Identi- Dachau, she gave up photography for- Dorothy Iannone (born in Boston in blended together with the horror zeitgeist tuned into her unapologetic cal Lunch (1971); or Daniel Spoerri’s ever and turned, instead, to cooking 1933) gave herself over to uncondi- vacui and unabashed ornamental approach to autobiography, gender, Gastronomisches Tagebuch (Gastronomic – top rank, masterchef cooking, at- tional love, ecstatic communion, sex- pleasure of a high-school diary. It is a identity, sexuality, and fiction. She has Diary, 1967), listing all the meals he tained via courses at Le Cordon Bleu ual pleasure, artworks celebrating all confessional, yearlong chronicle of been labelled “extreme”, “bad girl”, and his girlfriend Kichka Batiche ate in Paris. It was not a job. Miller con- of the above, and, yes, moussaka. Ian- the time spent by Iannone in the “cozy “sex goddess”, “artists’ artist”, and so during a stay on the Greek island of cocted elaborate dinner-party menus none’s humour and refusal to respect kitchen for you and me and some- on, in accordance to the classic re- Symi – and of course the Restaurant at the country house in East Sussex conventions are always delightfully times our friends”, where she has “the demptive mythologisation of the odd/ Spoerri and the Eat-Art-Gallery he that she shared with British Surrealist liberating, as already evident in A pleasure to cook for you”, but it also old woman artist rescued from the founded in Düsseldorf afterwards. Roland Penrose as a way of retrench- CookBook, one of her first artist’s records the ups and downs of her rela- margins of art history. But such defi- Roth, for his part, had a well-known ing and downscaling the scope of her books, started in 1969. The cover, ren- tionship, her moods and feelings, the nitions continue to treat her as outlier, fascination for edible and organic ma- impact on the public sphere, taking dered in the primary colours and bold poems she reads, the music she listens reinforcing the aront that still seems terials, ranging from his paintings and care of the artists, lovers and friends black contours characteristic of her to, and the jokes she likes. By mixing posed by “the healthy, wholesome, self-portraits in chocolate to the who flocked to her table. I do not see signature graphic style (inspired by images, texts, and sex, foodstu and confidently vulnerable woman who books he filled with perishable lard, Miller’s culinary obsession as a tale of mosaics, Japanese prints, Greek vases, food for thought, Iannone draws no makes doggedly pursuing the sensual sausage, cheese, fruits and vegetables. defeat, but as one of self-recovery af- Indian temple art and illuminated lines of separation between daily life kind of world she wants seem fruitful It’s at their kitchen table at home that ter exhaustion: an attempt to heal, to manuscripts), says it all: Iannone rep- and art, high and low, body and spirit, rather than irresponsible and poten- Iannone portrays Rot(h) – with a grat- soothe pain and to materialise com- resents her immersion in Eros and and turns this seamlessness into a tially damaging” – to borrow the words er in his hands, but otherwise happily fort. Haute cuisine provided her primal nature by drawing, in felt Fluxian statement. of Catherine Wagley, writing on the naked – as “Innocence” in her Ta with an alternative mode of pen, a vivid combination of A long-time New Yorker before wonderful monograph You Who Read (Rot) Pack (1968–69) (integrally re- titillating and gaining pleasure, juicy boobs and round ass, her move to Europe, Iannone was a Me With Passion Now Must Forever Be My printed, recto-verso, by the deluxe art

a dierent practice of fulﬁlment. cooking pans and fruit, a ver- Photo: Jochen Littkemann close friend of Robert Filliou (who, in Friends (2014) in the LA Review of Books. fanzine Pleased to meet you in February

The Heroic Performance Of Pastor Erik Bock, 1980 Acryl auf Holz, Monitor, auf DVD konvertiertes Video / Acrylic on wood, monitor, video converted to DVD, 205 x 140 x 59 cm, 62 min., looped

Air de Paris - 32, rue Louise Weiss, Fr-75013 Paris, France - T.+33 (0)1 44 23 02 77 - [email protected] - www.airdeparis.com P P

The Heroic Performance Of Pastor Erik Bock, 1980 Acryl auf Holz, Monitor, auf DVD konvertiertes Video / Acrylic on wood, monitor, video converted to DVD, 205 x 140 x 59 cm, 62 min., looped

Air de Paris - 32, rue Louise Weiss, Fr-75013 Paris, France - T.+33 (0)1 44 23 02 77 - [email protected] - www.airdeparis.com P

D und diese Rollen auch zu tauschen. Satz NUN, GOTT KÖNNTE EINE FRAU SEIN. TUT MIR „A CookBook“ beginnt mit einem langen Untertitel: LEID, oder in sanftem Pink, LIEBST DU MICH NOCH? Mein „Dieses Buch begann als Sammlung von zumeist liebsten, Favorit ist die Gegenüberstellung von „Hähnchen-Gourmet“ manchmal aber auch nützlichen (was macht man sonst mit und EIN HARTER PREIS FÜRS PATRIARCHAT. Denn sie dem Schreiben) Rezepten für einen Reisenden ohne Talent lässt durchblicken, wie schwer verdaulich das weibliche Zele- zum Kochen.“ Madeira-Soße und Hühnerleber teilen sich brieren von Fleisch und Fleischeslust sein kann. Man muss eine Seite mit Zweifeln am Wert der Ehe, die Zutaten für nur an die Performance „Meat Joy“ denken, die Carolee Hühnerpastete sind über einen sexy Frauenkörper geschrie- Schneemann 1964 beim First Festival of Free Expression in ben. Und neben einem Rezept für „Minuten-Mayonnaise“ Paris zeigte: Zu Beginn der Performance wurde ein Trog mit (Zitronensaft, Ei, Senfpulver, Salz und Olivenöl) steht der rohem Hühnerﬂeisch, rohem Fisch und roher Wurst auf die

Ausstellungsansicht / Installation view “Censorship And The Irrepressible Drive Toward Love And Divinity”, Migros Museum für Gegenwartskunst, Zürich 2014

E 2017). Her own naked body peeps in “minute mayonnaise” (lemon juice, Schneemann explained, “were moti- from the right. The scene seems a do- egg, dry mustard, salt, olive oil) sits vated by the fact that I couldn’t dis- mestic idyll as much as a domestic par- next to “WELL GOD COULD BE A cover in my culture any equivalents to ody, where two artists are free to play WOMAN. SORRY” and, in light pink, lived sensual, sexual experience.” and reverse roles as each other’s muse “DO YOU STILL LOVE ME?” My fa- George Maciunas, who criticised the and provider of fulfilment. vourite juxtaposition is that of “Chick- “sexual” and “messy” contents of her A CookBook opens with a long en gourmet” and “A STIFF PRICE piece, later excommunicated her from subtitle: “This book was started as a FOR PATRIARCHY”, which seems to Fluxus. collection of mostly favourite but also acknowledge just how unpalatable a Iannone’s work, too, was met with a few useful (what to do with writing) woman’s celebration of flesh and car- harsh criticism and censorship be- recipes for when one who hadn’t a nality could be – think of Carolee cause of its subversive jouissance. In natural sense of cookery was on the Schneemann’s Meat Joy at the First another early artist’s book/graphic road.” Madeira sauce and chicken liv- Festival of Free Expression in Paris novel, The Story of Bern (or) Showing Col- er share a page with doubts on the in 1964, where the starting point for ors (1970), she narrates how her “por- wisdom of marriage, the ingredients the performance was the delivery on nographic” drawings and paintings for chicken paté are written all over a stage of a tray of raw chickens, raw were removed, without consulting Photo: Stefan Altenburger sexy female body, while the recipe for fish and raw sausages. “Those works”, her, from the Kunsthalle Bern the day Photo: Jochen Littkemann

Love The Stranger, 1981 Acryl und Gouache auf Kunststo platte auf Pavatex / Acrylic and gouache on synthetic board mounted on Pavatex, 143 x 103 cm

Air de Paris - 32, rue Louise Weiss, Fr-75013 Paris, France - T.+33 (0)1 44 23 02 77 - [email protected] - www.airdeparis.com P

Ausstellungsansicht / Installation view “Censorship And The Irrepressible Drive Toward Love And Divinity”, Migros Museum für Gegenwartskunst, Zürich 2014

Love The Stranger, 1981 Acryl und Gouache auf Kunststo platte auf Pavatex / Acrylic and gouache on synthetic board mounted on Pavatex, 143 x 103 cm

Air de Paris - 32, rue Louise Weiss, Fr-75013 Paris, France - T.+33 (0)1 44 23 02 77 - [email protected] - www.airdeparis.com P

D Bühne gebracht. „Diese Arbeiten“, erklärte Schneemann, nahme, die 1979 in ihrem Berliner Atelier entstand („A Flu- „sind von der Tatsache motiviert, dass ich in unserer Kultur xus Essay“, 2016 wiederveröentlicht von Tochnit Aleph), keinerlei Entsprechung für meine gelebte sinnliche und sexu- sagt Iannone: „Maciunas und ich sahen uns tief, aber re- elle Erfahrung finden konnte.“ Schneemann sollte später von gungslos in die Augen, ohne zu wissen, dass wir uns wieder- George Maciunas, der die Performance für ihre „sexuellen“ begegnen sollten. Vielleicht dachte er: ‚Wer ist diese Frau?’ und „schmutzigen“ Elemente kritisierte, aus der Fluxus-Be- Vielleicht hat es ihn tief drinnen ja auch amüsiert, zu wissen, wegung ausgeschlossen werden. dass ich die Fluxus-Künstlerin bin, die keine Fluxus-Künstle- Auch Iannone sah sich angesichts ihres subversiven Ge- rin ist.“ nießens mit scharfer Kritik und Zensur konfrontiert. In einem weiteren Künstlerbuch, dem Comic „The Story of Bern Barbara Casavecchia ist Kunstkritikerin und lebt in Mailand. (or) Showing Colors“ (1970), erzählt sie, wie ihre „pornografi- schen“ Zeichnungen und Malereien 1969 einen Tag vor der Ein Faksimile des Kochbuchs erscheint im Sommer bei JRP Ringier/Air de Erönung aus der Gruppenausstellung „Freunde-Friends- Paris. d’Fründe“ entfernt wurden. Der Kurator Harald Szeemann hatte für diese Ausstellung vier Künstler eingeladen – Karl Gerstner, Roth, Spoerri und André Thomkins –, die ihrer- seits nach dem Carte-blanche-Prinzip Freunde einladen DOROTHY IANNONE, geboren 1933 in Boston, Massachusetts, konnten. Roth, der Iannone und Emmett Williams dazuge- lebt in Berlin. AUSSTELLUNGEN: „Poïpoï“, Nouveau Musée holt hatte, zog seine Kunstwerke aufgrund des Vorfalls aus National de Monaco; „Zeitgeist“, Mamco, Genf (2017); „Lineage of Protest auch zurück. Iannones Werke waren gerade deshalb Love“, Kiosk, Ghent (solo); Cycle Music And Art Festival, Kopagavur unakzeptabel, weil sie Widerstand leisteten gegen die Norma- (IS); Centre Culturel Suisse, Paris (solo) (2016); „Shit And Die“, Pa- tivität und Verdinglichung in der Pornografie, wie auch für lazzo Cavour, Turin; „The Great Mother“, Fondazione Nicola Trus- ihren Kampf gegen die „bürgerliche Krankheit“, wie sardi, Mailand; „Welcome To Our Show“, Air de Paris, Paris (solo); Maciunas es in seinem Fluxus-Manifest 1963 geschrieben „My Heroine and her Mate“, Peres Projects, Berlin (solo) (2015); „Ar- hatte. Nichtsdestotrotz machte sie unbeeindruckt weiter, tists’ Books of Dorothy Iannone“, P.S.1, New York (solo); „Censorship selbst wenn sie, wie auch Lee Miller und Carolee Schnee- And The Irrepressible Drive Toward Love And Divinity“, Migros Mu- mann, „professionell unterdrückt“ (wie sie selbst sagt) und seum, Zürich (solo); „Revelry“, Kunsthalle Bern; „This Sweetness Out- aus der oziellen Kunstgeschichte ausgeschlossen wurde. side of Time“, Berlinische Galerie, Berlin (2014). VERTRETEN Über den gesamten Zeitraum ihres langen Künstlerinnen- VON: Air de Paris, Paris; Peres Projects, Berlin

Aus dem Englischen von Dominikus Müller seins wollte Iannone sich nicht festlegen lassen. In einer Auf-

E before the opening of the group show “There, Maciunas and I looked deeply DOROTHY IANNONE, born 1933 in “Freunde-Friends-d’Fründe” in 1969. but impassively into each other’s eyes, Boston, Massachusetts, lives in Berlin. EX- The formula of that exhibition, curat- not knowing then that we would meet HIBITIONS: “Poïpoï”, Nouveau Musée ed by Harald Szeemann, included four again on these pages. Perhaps he was National de Monaco; “Zeitgeist”, Mamco, artists (Karl Gerstner, Roth, Spoerri, thinking, ‘Who is this woman?’ Per- Geneva (2017); “Lineage of Love”, Kiosk, André Thomkins) plus their own in- haps it might even have amused him, Ghent (solo); Cycle Music And Art Festival, vited friends, fully carte blanche. somewhere far back in his mind, to Kopagavur (IS); Centre Culturel Suisse, Roth, who had invited Iannone and know that I am she who is the Fluxus Paris (solo) (2016); “Shit And Die”, Palaz- Emmett Williams, removed his art- woman artist who is not the Fluxus zo Cavour, Turin; “The Great Mother”, works too in protest. It is precisely be- woman artist.” Fondazione Nicola Trussardi, Milan; “Wel- cause of Iannone’s resistance against come To Our Show”, Air de Paris, Paris pornography’s normativity and objec- Barbara Casavecchia is a writer based in (solo); “My Heroine and her Mate”, Peres tiﬁcation – and her purging the world Milan. Projects, Berlin (solo) (2015); “Artists’ of what Maciunas, in his 1963 Fluxus Books of Dorothy Iannone”, P.S.1, New Manifesto, called “bourgeois sick- A facsimile edition of A CookBook is forthcoming York (solo); “Censorship And The Irrepress- ness” – that her works were consid- this summer from JRP Ringier/Air de Paris. ible Drive Toward Love And Divinity”, ered unacceptable. Nevertheless she Migros Museum, Zurich (solo); “Revelry”, persisted, even when, like Lee Miller Kunsthalle Bern; “This Sweetness Outside of and Carolee Schneemann, she was Time”, Berlinische Galerie, Berlin (2014). “professionally suppressed” (as she REPRESENTED BY: Air de Paris, Par- puts it) and banned from ocial art is; Peres Projects, Berlin histories. Throughout her long career, she has refused to be pinned down. In a recording at her Berlin studio in 1979 (A Fluxus Essay, republished by Tochnit Aleph in 2016) Iannone says:

Luminous, 2012 Acryl auf Holz / Acrylic on wood, 190 x 150 cm

Air de Paris - 32, rue Louise Weiss, Fr-75013 Paris, France - T.+33 (0)1 44 23 02 77 - [email protected] - www.airdeparis.com P

Aus dem Englischen von Dominikus Müller seins wollte Iannone sich nicht festlegen lassen. In einer Auf-

Luminous, 2012 Acryl auf Holz / Acrylic on wood, 190 x 150 cm

Air de Paris - 32, rue Louise Weiss, Fr-75013 Paris, France - T.+33 (0)1 44 23 02 77 - [email protected] - www.airdeparis.com Air de Paris 32, rue Louise Weiss 75013 Paris tel +33 1 44 23 02 77 fax +33 1 53 61 22 84 [email protected] www.airdeparis.com

Dorothy lANNONE

Dorothy lannone lives and works in Berlin. http://www.airdeparis.com/artists/dorothy-iannone/

1933 Born in Boston, Massachusetts. 1953-1957 Undergraduate study at Boston University, majoring In American Literature. Graduates as Bachelor of Arts. 1958 Graduate study in English Literature at Brandeis University. Marries the painter James Upham. The couple reside in New York. 1959 Begins working as an autodidactic painter. 1960-1967 Travels in Europe and Asia with her husband. They work in Southern France and Turkey, among other locations, often for periods of months. 1961 Successfully sues the United States government on behalf of several of Henry Miller's books censored in the U.S.A. to allow their importation into the country. 1963-1967 Together with her husband runs the Stryke Gallery in New York. 1967 Travels to Reykjavik with her husband and Emmett Williams. Meets Dieter Roth. Seperates from her husband. During the followlng years, lives with Dieter Roth in Dusseldort, Reykjavik, Basel and London. 1974 Separation from Dieter Roth. Resides in Southern France. 1976 Stipend from the Berlin Artists Programme of the DAAD. Moves to Berlin, where she has lived since. 1977-1979 Conducts several open workshops at the Academy of Arts, Berlin 1986 Commences study of Tibetan Buddhism. 1988 Receives a stipend from Kunstfonds e.V. in Bonn. 1994 Stipend from the Berlin Senate's Women Artist programme, Berlin

Awards Berliner Zeitung Kulturpreis 2016, Berlin

* indicates publications

Solo Exhibitions 2016 Kiosk, Gand Centre Culturel Suisse, Paris 2015 Reykjavik Arts Festival, GAMMA Gallery, Reykjavik Welcome To Our Show, Air de Paris, Paris 2014 Peres Projects, Berlin Printed Matter, PS1, New York Censorship and The Irrepressible Drive Toward Love And Divinity, Migros Museum für Gegenwartskunt, Zurich * This Sweetness Outside of Time. A Retrospective of Paintings, Objects, Books and Fims from 1959 to 2014, Berlinische Galerie, Berlin * 2013 Imperturbable, Cneai, Chatou ( cur Yves Brochard) Encore!, Galerie des Multiples, Paris -F Innocent And Aware, Camden Arts Center, London 2012 Sunny Days and Sweetness, Peres Projects, Berlin 2010 This Sweetness Outside of Time, Peres Projects, Los Angeles 2009 Dorothy Iannone: Lioness, New Museum, New York Dorothy Iannone, Anton Kern Gallery, New York Dorothy & Lily fahren boot, Paris-Berlin : Air de Paris chez Esther Schipper, Berlin 2008 Follow me, September Galerie, Berlin* Dorothy Iannone , Galerie Steinek, Vienna 2007 Dorothy Iannone: Prints and Books, Griffelkunst, Hamburg She’s a freedom fighter, Air de Paris, Paris 2006 Seek the Extremes : Dorothy Iannone and Lee Lozano, Kunsthalle Wien, Vienna * People, Random Gallery, Air de Paris, Paris 2005 Dieter Roth & Dorothy Iannone, Sprengel Museum, Hanover * The Wrong Gallery, New York 2002 I was Thinking of You, Laura Mars, Berlin 2001 Galerie Andy Jllien, Zurich Dorothy Iannone : Pictures and Books, Barbara Wien Wilma Lukatsch, Galerie und Buchhandlung für Kunstbûcher, Berlin 1998 Museum of Modern Art, Arnhem Boekie Woekie, Amsterdam 1997 Love is forever, isn’t it ?, Neue Gesellschaft für Bildende Kunst, Berlin 1996 Dorothy Iannone. Bilder der 60er Jahre, Galerie Heinz Holtmann, Cologne 1995 Galerie Roche, Bremen Galerie Stähli, Zurich 1994 Dorothy Iannone : From Diamonds to Heart – Alte und Neue Arbeiten, Galerie und Edition Hundertmark, Cologne 1992 Kunst-Werke, Berlin 1990 Galerie Bernhard Steinmetz, Bonn Kunstraum, Kunstfonds, Bonn 1989 Petersen Galerie, Berlin 1986 Boekie Woekie, Amsterdam 1984 Galerie Rosenberg, Zurich 1982 Nikolaj, Copenhagen Galerie Ars Viva, Berlin 1981 Galerie Wallner, Malmö 1980 Dorothy lannone and Her Mother, Sarah Pucci, Neue Galerie - Sammlung Ludwig, Aachen 1979 Studio Galerie Mike Steiner, Berlin 1978 DAAD-Exhibition, Haus am Lützowplatz, Berlin 1977 Studio Galerie Mike Steiner, Berlin Galerie M. Würthle und O. Wiener, Berlin Other Books and So, Amsterdam 1976 Galerie Bama, Paris 1975 Galerie 38, Copenhagen Galerie Ben Vautier, Nice 1974 Galerie SUM, Reykjavik 1973 Galerie Steinmetz, Bonn Galerie Edith Wahlandt, Schwiibisch-Gmünd 1972 Eat Art Galerie, Düsseldorf 1971 Galerie Wilbrand, Cologne Galerie Jule Hammer, Berlin 1969 Galerie Handschin, Basel 1967 Galerie Hansjörg Mayer, Stuttgart 1964-67 Stryke Gallery, New York

Group Exhibitions 2017 CUNT, Venus Los Angeles, Los Angeles, 15.07-02.09.2017 Poïpoï, Nouveau Musée National de Monaco, Monaco Zeitgeist, Mamco, Genève 21.02 - 07.05 1977-2017, L’Encyclopédie des images, 40 ans du Centre Pompidou, Cneai, Chatou 2016 Portrait Mine, Galerie Marion + Roswitha Fricke, Berlin Cycle Music And Art Festival, Geretharsafn Museum, Kopagavur Olympia, Galerie Patrick Seguin, Paris 17.10-26.11 Laughter and Forgetting, MeetFactory, Prague Quand fondra la neige où ira le blanc, Palazzo Fortuny, Vienna Das gute alte West-Berlin. Gunter Brus und das Berlin der 1970er Jahre, BRUSEUM/Neue Galerie Graz, Austria 07.04-10.07 Ministère Ta Mère, GDM – Galerie des Multiples, Paris From Transhuman to South Perspectives, Rowing, London 2015 Laughter and Forgetting, Bucharest Art Week, Bucharest The Rainbow Serpent, Gagosian Gallery, Athens Live to Tape : The Mike Steiner Collection, Hamburger Bahnhof, Berlin Everyone’s Heart is Full of Fire, FLAX Foundation, Los Angeles The Great Mother, Fondazione Nicola Trussardi - Palazzo Reale, Milan Daniel Spoerri, Studio for Propositional Cinema, Dusseldorf @TheShrink, Shanaynay, Paris Shit And Die (cur. Maurizio Cattelan, Myriam Ben Salah & Marta Papini), Palazzo Cavour, Torino 2014 Alasdair Gray Season: Sphere of Influence II, The Glasgow School of Art, Glasgow And away with the minutes, Dieter Roth and Music, Kunsthaus Zug, Zug Revelry, Kunsthalle Bern, Bern (cur. Tenzing Barshee) Group Spirit, Peres Projects, Berlin 2013 Painting Forever !, Kunstwerke, Berlin Paginations et Machinations, Air de Paris, Paris 2012 Köstliche Mischung, Sammlung Grobhaus, Kreuzstall Schloss Gottorf On the beach, Galerie Commune de l'ESA, Tourcoing Air de Paris Summer Show, 11 Columbia, Monaco In the pink, Joe Sheftel Gallery, New York (cur. Sarvia Jasso) Jetzt, Wien Lukatsch, Gallery & Bookshop for Art books, Berlin Météorologies mentales, Oeuvres de la collection Andreas Züst, Centre Culturel Suisse, Paris Ever Living Ornement, Micro Onde, Vélizy-Villacoublay Arthur Rainbow, Air de Paris, Paris Perpetual Conceptual: Echoes of Eugenia Butler, LAND, Los Angeles 2011 True Collectors, Privatsammlung Catherine Laubier-Yves Brochard: A mon seul désir, Kosmetiksalon Babette, Berlin Come in, we bite!, Barbara Wien, Berlin X, Gio Marconi Gallery, Milano Live to Tape, The Mike Steiner Collection at the Hamburger Bahnhof, Berlin Bob and Breakfast - Robert Filliou et ses invités par François Curlet, Galerie Nelson-Freeman, Paris 2010 Seductive Subversion : Contemporary Women Artists 1958-1968 (cur. Sid Sacks), Brooklyn Museum, New York Get behind me Satan and push!, Peres Projects, Berlin Power Up - Women Pop Artists, Kunsthalle Wien, Vienna Städische Galerie, Bietigheim-Bissingen (cat.) For your eyes only, De Markten, Bruxelles 2009 Die Kunst ist super, Hamburger Bahnhof, Berlin Künstlerbücher, White Trash Contemporary, Hambug Looking Back: The White Columns Annual, White Columns, New York Access All Areas, a drawing exhibition, Max Hetzler Gallery, Berlin Heaven, 2nd Athens Biennal, Athens Rebelle : Art and feminism 1969-2009, Museum voor Moderne Kunst, Arnhem* More Love Hours Than Can Ever Be Repaid, Feinkost, Berlin Faux Jumeaux (cur. Michel François), SMAK, Gent 2008 Ad Absurdum, MARTa Herford, Herford Revolutions 1968, Zacheta National Gallery, Warsaw It's not over yet, Invisible-Exports, New York Peripheral Vision and Collective Body, MUSEION, Bolzano Read my Lips, Peres Projects, Berlin 2007 Bodypoliticx, Witte de With, Rotterdam Re-Dis-Play, Heidelberger Kunstverein, Heidelberg 2006 Day for Night, Whitney Biennial, New York Féminine mystique, Galerie Steinek, Wien Domino, Air de Paris, Paris 2005 Berlin Beauties, Berlin Biennial for Contemporary Art, Gagosian Gallery, Berlin The Wrong Gallery, Tate Modern 1997 Stretch & Squeeze - Dieter Roth and Bjorn Roth, Musée d’Art Contemporain, Marseille 1995 Die Bücher der Künstler, Institut für Auslandsbeziehungen, Berlin Goethe Institut, Tel Aviv and others En Passant, Podewil, Berlin 1993 La Donation Vicky Remy, Musée d'Art Moderne, St Etienne Berlin Americans, Dorothy lannone and Emmett Williams and special guest from New York, William Copley, Haus am Lützowplatz, Berlin 1992 Mit Haut und Haar, Städtische Kunsthalle, Dusseldorf Galerie Michael Haas, Berlin Public Conversation with Emmett Williams, Kunst-Werke, Berlin 1991 La Caravanne Passe et ... , Musée d'Art Moderne et d'Art Contemporain, Nice 1990 La caravane des caravanes, Dunkirk ; Mers-les-Bains ; Dieppe ; Honfleur ; Saint-Malo ; Les Sables- d’Olonne ; Saint-Pierre-d’Oléron ; La Teste ; Caussade ; Montpellier ; Vendres (Les Arts du Soleil) ; Festival Sept et Demie, Sète Friends of Fluxus Exhibition, Venice Biennial, Venice Pianofortissimo, Fondazione Mudima, Gino Di Maggio, Milan 1989 André Thomkins Retrospektive, Friends Collection, Akademie der Künste, Berlin 1988 Hommage à Robert Filliou, Fondation Daniie, Pouilly, Valdampierre Ten Years Living Art Museum, National Gallery of Iceland, Reykjavik Das Verborgene Museum, Neue Gesellschaft für Bildende Kunst, Akademie der Künste, Berlin 1987 Vom Essen und Trinken, Kunst-und Museumsverein, Wuppertal 1986 20 Jahre Rainer Verlag, DAAD Galerie, Berlin Art in Bookform (cur. by Maurizio Nannucci and Pier Luigi Tazzi), The Alvar Alto Museum, Jyviiskylii und The Pori Art Museum, Pori 1985 Galerie Camomille, Brussels (with Lugo Gosewitz, Tomas Schmit and Jan Voss) Livres d'Artistes, Collection Sémaphore, Centre Georges Pompidou, Paris Hommage aux Femmes, ICC, Berlin 1984 Kokskönster, Malmö Kunsthalle, Malmö 1983 Karl Gerstners Private Pinakothek, Kunstmuseum, Solothurn 1982 Kunstquartier Aus/iindische Künstler in Berlin, Berlin Frauen Ausstellung, Elephanten Press, Berlin 1981 Typisch Frau, Bonner Kunstverein, Galerie Magers, Cologne and Staedtische Galerie Regensburg 1980 Ecouter avec les yeux, Musée d’Art Moderne de la Ville de Paris, Paris 1979 Addi 20 November, Il Moro, Florence and Centro Rosicano, Livorno 1978 Museum of Modern Art, Tehran From Bookworks to Mailworks (cur. by Ulises Carrion), Alkmaar Municipal Museum, Alkmaar Robin Crozier's Blue Show, Galerie Sudurgata 7, Reykjavik L’Estampe Aujourd'hui, Bibliothèque Nationale, Paris 1977 Boîtes, Maison de la Culture, Rennes Artists' Books, Palazzo Strozzi, Florence 1976 Boîtes, Musée d'Art Moderne de la Ville de Paris, Paris Daily Bul show, organized by Pol Bury and André Balthazar, Fondation Maeght, St. Paul de Vence ; Musée d’Art Moderne de la Ville de Paris, Paris ; Studio du Passage 44, Brussels ; Neue Galerie der Stadt Aachen, Sammlung Ludwig, Aachen) American Art Today, Galerie Nothelfer, Berlin 1975 Daniel Spoerri, Moulin des Jouissances, 37th Venice Biennial, Venise San Antonio Show-George Brecht & His Friends, Galerie Bama, Paris MAGNA, International Woman's Exhibition, Galerie Nachst St. Stefan, Vienna 1973 Winter Ausstellung, Düsseldorf Amnesty International, Cologne 1971 Nik's Malergaard, Copenhagen Stadt der Künstler, Düsseldorf Eat Art Galerie, Düsseldorf 1970 Damen Friseur, Düsseldorf Action Galerie, Bern Edinburgh Festival of Arts, Edinburgh 1969 Ausstellung der Freunde, Stadtische Kunsthalle Düsseldorf Sum III, Gallery Sum, Reykjavik Ausstellung der Freunde, Kunsthalle Bern 1968 Collection Drs, P. & E. Kronhausen, Denmark, Sweden, Germany 1967 Dieter Roth und Dorothy lannone, Galerie Zwirner, Cologne 1966 Lending Collection, Museum of Modern Art Los Angeles La Cédille Qui Sourit, Villefranche-sur-Mer Jacqueline Ranson Galerie, Paris Zabriskie Gallery, New York 1965 Hudson River Museum, New York Lending Collection, Museum of Modern Art, New York 1964 St. Mark's Church in the Bowerie, New York City

Editions 1968 Dorothy lannone, Lists IV (A Much More Detailed than Requested Reconstruction), edition of 30, Diver Press, Cologne, 1968 1970 Dorothy lannone, The Story of Bern (or) Showing Colors, numbered and signed edition of 500, published by Dieter Roth and Dorothy lannone, Dusseldorf, 1970 Dorothy lannone and Robert Filliou, Extase, Diver Press, Cologne, 1970 1971 Dorothy lannone, 75 Complimentary Cards 75 Uncomplimentary Cards, numbered and signed edition of 100. Translation: Tomas Schmit, Dusseldorf, 1971 1973 Dorothy lannone, Danger in Düsseldorf (or) 1 Am Not What 1 Seem, numbered and signed edition of 200, Edition Hansjorg Mayer, Stuttgart/London/Reykjavfk, 1973 1978 Dorothy lannone & Mary Harding, Speaking to Each Other, numbered and signed edition of 299, Mary Dorothy Verlag (The Passion Press), Berlin/Boston/Rensselaer Falls/Flayosc/Zurich, 1978 Dorothy lannone, The Berlin Beauties oder Du hast ja keine Ahnung wie schOn du bist, Berlin, numbered and signed edition of 500, Mary Dorothy Verlag (The Passion Press), Berlin/Boston/Rensselaer Falls/Flayosc/ Zurich, 1978 Dorothy lannone, Follow Me, Künstlerprogramm des DAAD, Berlin, 1978 1980 Dorothy lannone, Dorothy lannone And Her Mother Sarah Pucci, Neue Galerie - Sammlung Ludwig Aachen (eds.), Editing and design Dorothy lannone and Wolfgang Becker, Aachen, 1980 Dorothy lannone, Die Peitsche/The Whip, German/English; Translation: Wulf Teichmann, Berlin, 1980 1982 Dorothy lannone, Censorship and the Irrepressible Drive Toward Love and Divinity, Ars Viva, Berlin, 1982 (Iater editions Arnheim, 1998, Amsterdam, 1999) 1993 Dorothy lannone, First Recording (1969-72), numbered and signed edition of 100, Wiens Laden und Verlag, Berlin, 1993 Dorothy lannone, Courting Ajaxander, Haus am Lützowplatz, Berlin, 1993 1994 Dorothy lannone, Dorothy lannone And Her Friends Play with the Ouija Board, numbered and signed edition of 20, Edition Hundertmark, Cologne, 1994 1996 Dorothy lannone, 75 Apologies - 75 Complimentary Cards-75 Uncomplimentary Cards, numbered and signed edition of 20, translation: Tomas Schmit and WulfTeichmann, Berlin, 1996 2013 Imperturbable, CNEAI=, Chatou, 2013 2015 LP Dear Dieter, editions Tochnit Aleph, Berlin, 2015 2016 A Fluxus Essay, editions Tochnit Aleph, Berlin, 2016 LP Ewig Grün, éditions Tochnit Aleph, Berlin, 2016

Catalogues 1989 Dorothy lannone, Works from 1961-1966. How 1 Began to Paint, exhibition catalogue Berlin, Petersen Galerie, Berlin, 1989 1997 Ulrike Abel, Patricia Krey, Dorothy lannone: Love Is Forever, Isn't It? Cat. Neue Gesellschaft für Bildende Kunst, Berlin (NGBK), Berlin, 1997 2001 Dieter Roth Dorothy lannone, Dieter and Dorothy. Their Correspondence in Words and Works 1967- 1998. Edited by Dorothy lannone, Bilgerverlag, Zurich, 2001 2005 Dieter Roth & Dorothy lannone, cat. Sprengel Museum Hanover and Stiftung Ahlers, Hanover, 2005 2013 Dorothy Iannone, A catalogue raisonné of éditions and books, 1964-2013, edited by Yves Brochard, published by Université Lille 3 Charles de Gaulle, mai 2013. 2014 Dorothy Iannone, This Sweetness Ouside of Time, Berlinische Galerie, edition Kerber Verlag, 2014 Censorship And The Irrepressible Drive Toward Love And Divinity, Migros Museum für Gegenwartskunst and JRP Ringier, Zurich, 2014 Dorothy Iannone, You Who Read Me With Passion Now Must Forever Be My Friends (text by Trinie Dalton), edited by Lisa Pearson, Siglio Press, New York, 2014

2017 Dorothy Iannone, Please to Meet You n°3, Sémiose editions, Paris, Février 2017

Selected Bibliography 1993 The Art of Sarah Pucci, Works from 1959--1993, edited and with a foreword by Dorothy lannone, contributions by Dieter Roth and Sarah Pucci, Voss Forlag, Amsterdam, 1993 2002 Robert Storr, Lovesickness - Dieter Roth and Dorothy lannone, Parkett, September 2004 Silke Müller, Die wunderbare Reise der wilden Dorothy, Art, n° 7, juillet 2005 Niklas Maak, Die Kunst der Stunde, Frankfurter Allgemeine, 30 september Andreas Schiaegel, Dorothy lannone. Dieter Roth and Emmett Williams, Flash Art, November - December; Dorothy Iannone. Dieter Roth and His Work, Wrong Times, October Maurizio Cattelan, Massimiliano Gioni, Ali Subotnick, El Topo: Dorothy Iannone, Domus, n° 886, November 2005, p. 141-142 Chrissie Iles, Film Best of 2005, Artforum, December 2005, p. 58 2006 Maurizio Cattelan, A revolutionary life, Flash Art, March-April Chrissie Iles and Philippe Vergne, Whitney BienniaI 2006. Day for Night, Whitney Museum of American Art, New York, New York, 2006 Massimiliano Gioni, Hindsight Foresight, Art Review, April Ines Gebetsroither, Critique, Spike, septembre Sabine B. Vogel, In: Monopol, n° 5, octobre-novembre Chrissie Isles, Best of 2006, Artforum, December Yves Brochard, Entretien/Dorothy Iannone: “Follow Me”, Particules, n° 17, déc. 2006-jan. 2007 2007 The Wrong Gallery, Dorothy Iannone, Ice Cream, ed. Phaidon, 2007 Linde Rohr-Bongard, Das Hohelied der Erotik, Capital, n° 14, juin 2007, p. 93 Dorothy Iannone & Larry Sultan: Sex, Wrong Times, 2007, p. 10 Judicaël Lavrador, Les Inrockuptibles, n° 616, 18 au 24 septembre 2007, p.93 2008 Dorothy Iannone, Charley, n° 05, janvier 2008 Domenick Ammirati, Do Not Go Genitally, Modern Painters, February 2008, pp. 66-73 Yves Brochard, Dorothy Iannone, Frog, n° 6, janvier-juin 2008, pp. 120-123 Esther Buss, Inside out, Texte zur Kunst, décembre 2008, pp. 167-169 2009 Yves Brochard, Dorothy et Lily vont en bateau, H art, n° 46, 22.01.2009, p. 15 Karen Rosenberg, An Iconoclast Who Valorizes the Erotic and Ecstatic, The New York Times, July 30, 2009 Lauren O' Neill-Butler, Critics' Picks, artforum.com, August 2009 Brian Sholis, Dorothy Iannone, Kaléidoscope, n° 3, September-October 2009, pp. 88-89 Johanna Burton, Dorothy Iannone, Artforum, October 2009, p.232-233 Dorothy Iannone, The Second Sex, V Magazine, n°62, Winter 09-10, p.51 Kara L.Rooney, Lioness The New Museum, The Brooklyn Rail, September 2009, p.37 Anne Pundyk, Unconsciousness Raising, The Brooklyn Rail, September 2009, p.38 Questionnaire, Frieze, n°127, Novembre-Decembre 2009,p.148 Trinie Dalton, Review, Anton Kern Gallery, Modern Painters, November 2009, p.71 Julian Kreimer, Review, Art in America, 11/13/09 Amy Sillman, Best of 2009, Artforum, December 2009, p.195 2010 Sharon Mizota, Erotic passion serves as a guide, Los Angeles Times, 23.04.10, p. 14 Trinie Dalton, I'm still game: Dorothy Iannone, Paris, LA, n° 4, summer 2010, pp.61-71 Carmen Antelo, Skeletons in the closet, Mousse, n° 25, september-october 2010, pp. 226-231 Dorothy Iannone, The Artist's Artists, Artforum, December 2010, p. 94 2011 Yves Brochard, Obsolète, Centre d'Art Contemporain Septentrion, L' Hazewind, Frog, n°10, été 2011, pp. 124-127 Meike Romppel, Female pop art, in Ludwigsburger Kreiszeitung (journal), Juillet 2011 Dorothy Iannone: Echtachromes, Frieze d/e, n°3, Winter 2011-12 2012 Alte Meister, von neuen geliebt, Dorothy Iannone, Monopol n°6, Juin 2012, p.30 2013 Tish Wrigley, In Pictures, AnOther Magazine (Web Version), Mars 2013 Marie-Sophie Müller, Die Liebhaberin, AD Magazine n°143, Germany, p160-175, October 2013 Cat. NET, Art of Dialogue, Profile Foundation, Warsaw, 2012, p.166 2014 Ursula Richard, Die Suche nach der Einheit, Buddhismus aktuell n°2, April, May, June 2014, p.12-19 Karen Archey, An Ecstatic Unity, Flash Art n°297, Volume 47 July-August-September, 2014, couv; p. 52-59 Kirsty Bell, The Whole Truth, Frieze d/e, Issue 16, Sept-Nov 2014 Alexander Forbes, Hello To 80-Year-Old Dorothy Iannone And Her Sex-Fueled Retrospective, ArtNet.com, March 2014 Karl Holmqvist, This Sweetness Outside of Time, May n°13, 2014, p.133-138 Elena Filipovic, Best Of 2014, Art Forum vol.53 n°4, December 2014, p. 250 Maurizio Cattelan, Shit And Die, published by Damiani, Bologna, October 2014, p.30-33 Murders and Matriarchies, Het Andre Behr Pamflet 34, published by Boekie Woekie, Amsterdam and Galerie & Edition Marlene Frei, Zürich, September 2014. 2015 Stéphane Corréard, Iannone nature, Libération Next n°69, p.29 Heike Munder, Mein Kunstkosmos, Emotion - Das Frauenmagazin, June 2015, p.121 Sini Rinne-Kanto, Dorothy Iannone : Welcome To Our Show, The ArtMarkets.com, 16 May, 2015 Ingeborg Ruthe, Ekstatisch féminin, Berliner Zeitung.com, 26 January, 2015 Vers le visible - Exposer le dessin contemporain 1964-1980, Roven Editions, Paris, 2015, p.39 (ill.) 2016 Vincent Romagny, L'art c'est la vie, Le Phare n°23, avril-juillet 2016, p.9 Yves Brochard, You will go far, H Art, 02.06.2016, p.23 Rianne van Dijck, Het genot om te koken voor jou, See All This n°3, 2016 2017 Barbara Casavecchia, I Cook For You, Spike Art Quaterly #51, Spring 2017

Contributions to Publications (selection) 1967 Qui Etes-Vous, published by Pol Bury and André Balthazar, 1967 Games at the Cedille, George Brecht and Robert Filliou, Something Else Press, New York, 1967 1970 Robert Filliou, Teaching and Learning as Performing Arts. With contributions by John Cage, Benjamin Patterson, George Brecht, Allan Kaprow, Marcelle, Vera, Bjoessi and Karl Rot. Dorothy lannone, Dieter Rot and Joseph Beuys, Verlag der Buchhandlung Walther Koenig, Cologne, 1970 Robert Filliou, cat. Neue Galerie Stadt Aachen, Sammlung Ludwig, Aachen, 1970 1972 SUM, Reykjavik, 4 June-21 July, 1972 1975 MAGNA, Feminismus: Kunst und Kreativitat, Vienna, 1975 1977 Dorothy Iannone, Never cry while you cook, Artitudes International, n° 39/44, avril-novembre 1977 Sondern 2, Edition am Mehringdamm, Berlin, 1977 Polaroid Portraits, edited by Richard Hamilton, volume 2, Edition Hansjbrg Mayer, Stuttgart/London/Reykjavik, 1977 1978 Sondern, edited by Dieter Schwarz & Hans Peter Bühler, W 3, 4, 5, 6, 7, Seedorn Verlag, Zurich, 1978, 1979, 1981,1983,1986 1979 North, Arthur Köpcke, Roskilde, Denmark, 1979 1985 Zeitschrift für Alles, 8, 9, 10A, Basel, 1985, 1986, 1987 1992 For Emmett, who hasn't changed a bit, ln: 241, Nr. 2, Wlnter 1992/93, Berlin 1993 Robert Filliou, Armin Hundertmark! There Was A Drawing ln The Center Of This Page. Foreword by Dorothy lannone, Cologne, 1993 Objekte und Multiples, catalogue text by Dorothy lannone, Cologne, 1993 DU, Wahn. Sinn. Kunst. Müll. Dieter Roth in der Fabrik, No, 6, June, 1993 1998 Robert Filliou, Enseigner Et Apprendre, Arts Vivants, par Robert Filliou et le lecteur, s'il le désire, with contributions by J, Cage, G. Brecht, D, lannone, A. Kaprow, Marcelle, D. Rot, B. Patterson, Vera, Bjbssi and Karl Rot, ~, Beuys, and an afterword by A. Moeglin-Delcroix, Paris/Brussels, 1998 2003 The King Is Dead, Long Live His Work, in: Deutsche Bank Arts online magazine, Nr, 11, August 2003, www.db-artmag.com 2005 Dieter Roth and His Work, in: Wrong Times, published by The Wrong Gallery, London, 2005 2007 Get Lost, edited by Massimiliano Gioni, New Museum, New York, 2007 2008 Daddy VII: Red Daddy, edited by Peres Projects, Los Angeles, 2008 2014 Artists Talk, edited by Gerald A. Matt, Verlag fur Moderne Kunst, 2014, p.189-202 Cat. Quand fondra la neige où ira le blanc, édition Polistampa, Florence, 2016 Other Imaginings, 5 Year Plan, New York, 2013-2015

Collections Artothèque de Lyon, France Berlinische Galerie, Berlin, Germany Centre Pompidou, Paris, France Centre National des Arts Plastiques – CNAP, Paris, France Castello di Rivoli, Torino, Italy Hammer Museum, Los Angeles, USA Sammlung Migros Museum für Gegenwartskunst, Zürich, Switzerland Martinos Collection, Athenes, Greece Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain Musée d’Art Moderne de la Ville de Paris, France Nouveau Musée National de Monaco, Monaco