Daniel Roth

Daniel Roth was born in 1969 in Schramberg, Germany, and lives and works in Karlsruhe and Fohrenbuhl. He studied at the Staatliche Akademie der Bildenden Künste Karlsruhe from 1990 to 1997 under Harald Klingelhöller, and has been Professor of Painting at the same academy since 2007. His practice combines drawings, sculptures, and photographs into narrative installations that draw on sagas and myths built around rocks, caves, and mountains, assembling fictional events without a clear beginning or ending.

His documented exhibition history includes the group exhibition Tout le Temps / Every Time at the 2000 Biennale de Montreal, and a solo presentation, Daniel Roth: The Well, at South London Gallery in London in early 2006, a large-scale installation that received a detailed critical review in Studio International. He has shown with Meyer Riegger, including a solo exhibition at the gallery's Karlsruhe space in 2013, and appeared in the 2022 group exhibition Man's Traces in Nature at Galeria Wschod in Warsaw. His recorded awards and fellowships include the Akademie Schloss Solitude residency and a Stiftung Kunstfonds working grant, both in 2001, the ars viva Prize on the theme Landschaft in 2003, the Kunstpreis der Leipziger Volkszeitung in 2003, the Horst-Janssen-Grafik-Preis in 2005, and a working scholarship at the Deutsche Akademie Rom Villa Massimo in 2016.

Because the name Daniel Roth is shared by other public figures, including a Swiss-French watchmaker and brand founder and a French concert organist long associated with Saint-Sulpice in Paris, market databases and search results for this artist should be read carefully; this profile draws only on sources that identify the German-born visual artist active in installation, drawing, and sculpture.

Documented English-language critical engagement with Daniel Roth's work is limited but substantive where it exists. Studio International reviewed his 2006 installation The Well at South London Gallery in detail, situating it within the gallery's curatorial program, though no exact, reproducible quotation from a named critic could be confirmed for this profile. The recurring description of his practice across gallery and exhibition sources is narrative installation built from everyday and found materials, organized around invented myths tied to landscape features such as rocks and caves, with an emphasis on fictional storytelling rather than direct autobiography.

Daniel Roth's secondary market is thin and, as of 2026-07-13, does not have a confirmed all-time auction record that meets a verifiable sourcing standard of work title, price, currency, house, location, and exact date. Public auction aggregators list some sales attributed to a "Daniel Roth," but these listings could not be reliably disambiguated from other people sharing the name and could not be tied to a specific, dated lot, so no market figure is published here. Collectors should treat any market figure circulating for "Daniel Roth" with caution until it can be tied to a named work, house, and date.

There is no catalogue raisonne for Daniel Roth, no confirmed all-time auction record, and no independently confirmed list of museum collections holding his work, though he has shown in museum and biennial contexts including the 2000 Montreal Biennale and, according to secondary sources, a Dutch museum survey. His clearest points of market reference are his gallery, Meyer Riegger, which represents him on an ongoing basis, and his academic post as Professor of Painting in Karlsruhe. Given the shared name with a prominent watch brand and an organist, collectors should verify any auction listing or market claim against a specific, dated lot before relying on it.