It is difficult, if not impossible, to tell where the art begins and ends in Dieter Roth’s exhibition at Coppermill, Hauser & Wirth’s new gallery in a gigantic warehouse in London’s East End. Entering the space is like walking into a begrimed indoor city, whose every filthy crevice is crammed with disconcerting detail: heaps of rubbish, hardened paint brushes, broken video cameras. This is the largest exhibition of Roth’s work to be held in this country for more than 30 years, yet it provides little more than an inkling of the artist’s complicated, divergent career, and his no less complicated life.
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