Daniel Buren
CURRICULUM
Daniel Buren was born in 1938, in Boulogne-Billancourt. He lives and works in situ.
After studying at the Ecole des Métiers d’Art from 1957 to 1960, followed by a brief spell at the Ecole Nationale Supérieure des Beaux-Arts, Daniel Buren conducted a series of experiments at the beginning of his artistic career that lay on the boundary between painting, sculpture and cinema. Following his first pictorial works in 1960, he moved rapidly towards an economy of means which already revealed a neutralization of the illusionistic content of painting and his indifference for the narrative subject, central themes in his work as an artist. In September 1965 he began to use a striped curtain material, the components of which became the basis of his artistic syntax – alternate white and coloured vertical stripes 8.7cm wide. This industrially manufactured motif responded perfectly to his desire for objectivity and enabled him to accentuate the impersonal nature of his work, even though initially it was only used as a support. After his experience in 1966–67 with Olivier Mosset, Michel Parmentier and Niele Toroni, founded on the systematic repetition of the same motif and each artist’s desire to realize the ‘last painting’ in their own way, Buren began to explore the possibilities of the striped motif as sign, moving away from the painting-object to what he called the ‘visual utensil’. In November 1967, he began having striped paper printed. Posters and painted paper enabled him to cover very disparate surfaces in a virtually infinite series of ways. The street is one of his preferred spaces to this very day. He invented the notion of ‘in situ’ in the field of plastic arts in order to characterize a practice intrinsically bound up with the topological and cultural specificity of the places where the work is presented. His solo exhibition at the Apollinaire in Milan in 1968 and his participation in the international Prospect events in 1968 and 1969 in Düsseldorf marked the real beginning of his artistic celebrity. In the 1970s he began to show his work in museums, often outside France, and in shows that incorporated him in the realm of conceptual art. In the same period his works began utilizing the most varied supports – walls, doors, poster boards, street signs, paper and canvas under glass, on stairways, trains, ships, in the form of flags on the roofs of Paris, the waistcoats of museum custodians, etc. He was a great talking point and generated controversy in 1971 at the 5th International Exhibition of the Solomon Guggenheim Museum in New York and in 1972 at the celebrated Documenta V organized by Harald Szeemann. Political changes in the 1980s allowed him to occupy public spaces in a less fleeting fashion, and he began producing permanent works, the first and perhaps most celebrated of which is Les Deux Plateaux (1985–1986) at the Palais-Royale. In 1986 he was awarded the Leone d’Oro at the Venice Biennale for best pavilion. Buren soon began to focus on the rising influence of architecture (particularly museum architecture) in art. He began to produce more three-dimensional work and to conceive of work no longer as an object but as a modulation of space. In 1975 came his first Cabane Eclatée. This was something of a turning point and accentuated the interdependence between the work and where it is sited through a subtle play of construction and deconstruction. The work became its own site and a place for movement and for walking around. His more recent offerings are ever-increasingly complex architectural instruments that constantly dialogue with the existing architecture, and involve an alteration of space, a playful multiplication of materials (wood, vinyl, plastic materials, grids) and an explosion of colour. From the beginning of the 1990s, colour was no longer just applied to walls, but literally ‘installed in space’ in the form of filters and coloured sheets of glass or plexiglas. The resulting impression of an explosion of the work, accentuated by the use of mirrors, invites not only a shift of the gaze but also of the entire body. To date Daniel Buren has produced thousands of in situ installations all over the world. The majority of these are destroyed after being presented, and so do not exist outside the time and space for which they are conceived. However, there is also an important body of permanent works in the collections of leading museums around the world, and it is surprising to note how such an economy of means has generated such a richness and complexity of work.
PRINCIPALES
COMMANDES PUBLIQUES
“La Portée” travail in situ, Entrée du Musée Fabre, Montpellier, France,
2006.
“La Cafeteria”, travail in
situ, EAAC Musée de la Ville de Castellon, Spagne, 2006.
“Tram/Trame”,
travail in situ, toutes les
stations de la ligne Est-Ouest, Tramway de Mulhouse, avec l’assistance
de Jean-Christophe Denise architecte, Mulhouse, France 2004-2006.
“Cabane
Rouge aux Miroirs”, travail in situ,
Musée de la Chartreuse, Douai, 1996/2006.
"Monter / Descendre",
travail in situ, Bahnhof,
Wolfsburg, 2005.
« Partitions colorées », travaux in situ et permanents, Pavillon
hémodialyse, Hospital, Pistoia, 2005.
Travail in situ, Bin Jiang Junior High
School, Taipei, Taïwan 2004-2005.
“Prospettive” travail in situ, Palazzo BSI avec
l’assistance de Giampiero Camponovo architecte, Lugano, Tessin, Suisse
2000/2005.
“La Cabane Élatée aux 4 Salles”, travail in situ pour Giuliano Gori, Fattoria
di Celle, Province de Pistoia, Italie 2003/2005.
"Le jardin
imaginaire", travail in situ,
Sint-Donatuspark, Louvain, 2004.
"Cerchi nell'aqua", travaux in situ, Ponticelli, Naples, 2004.
“White
and Green Fence”, travail in situ
évolutif, The Farm, Gibbs Sculpture collection, Auckland, Nouvelle
Zélande 2001/2003.
"Prière de toucher", "Pliages", travaux in situ, IRSAM, Marseille, 2003.
“The
Colors suspended: 3 exploded cabins” travail in situ, Toyota Municipal Museum of Art, Toyota, Japon
2002/2003.
“Somewhere along the way, some colors” travail in situ pour Toki Messe, Niigata,
Japon 2002/2003.
“Arc-en-ciel pour Fausto”, travail in situ, siège
social de Radicichimica GmbH, Troglitz, Allemagne 1997/2002.
"Projection
colorée", travail in situ, en
collaboration avec Dominique Perrault architecte, Rathaus, Innsbruck,
2001/2002
"Fondation surgissante", travail in situ, Telenor, Oslo, 2000/2002.
“Rayonnant”,
travail in situ, en
collaboration avec Nicolas Guillot architecte, Parc de la Cigalière,
Sérignan, 2000/2002
“Sur les Vignes: points de vue”, travail in situ, Castello di Ama, Toscane,
Italie 2001.
“Au-dessus des Vagues, l’Horizon ”, travail in situ, Shenzhen, République
Démocratique de Chine Populaire 2001.
“D’un Cercle à l’Autre: le
paysage emprunté ”, travail in situ,
ville de Luxembourg, Luxembourg 2001.
“Transparences colorées”,
travail in situ, Allianz,
Munich, 1999/2001.
“La grande fenêtre”, travail in situ, Bundesministerium für Arbeit
und Sozialordnung, Berlin, 1998-2000
“Par Transparences colorées”
travail in situ, Allianz,
Munich, 1999/2001
“Trois points de vue pour un dialogue”, travail in situ, Jérusalem, 2000.
"Tapetto
volante", travail situé, Turin, 1999
“La Couleur: fut, a été, aurait
pu être, serait, sera”, cinq petits jeux prospectifs et un
rétrospectif, travail permanent sur site web:
http://www.culture.fr.entreelibre/Buren, 1999
“Entrance Hall” travail
in situ in Treppenhaus, Musée
d’Art Contemporain de la ville de Weimar, 1996/1998.
"Passage
sous-bois", travail in situ,
Kimpo Parc National, Kimpo (Corée du Sud), 1998
“From floor to
ceiling and vice versa”, travail in
situ, siège social, Obayashi Corporation, Tokyo, 1998.
"Cercles",
travail in situ, restaurant et
cafeteria, Victoria Insurance, Düsseldorf, 1998.
“Sit Down” travail in situ. Storm King Art Center,
Mountainville, New York, USA, 1997/1998.
"Garde-corps", "Soleils",
travaux in situ, en
collaboration avec Charles Vandenhove architecte, Théâtre des Abbesses,
Paris, 1997.
“Ipotesi su alcuni indizi – Part II”, travail in situ, Museo di Capodimonte,
Naples, Italy, 1987/1997.
"A travers le miroir incliné: la couleur",
travaux in situ, siège social,
IKB (Industrial Kredit Bank), Düsseldorf, 1997.
"Encoder-Décoder: du
code à sa lecture, Couleurs, Reflets, Transparence", travaux in situ, en collaboration avec
Patrick Bouchain architecte, Siège social, Thomson,
Boulogne-Billancourt, 1996/1997.
"Diagonale pour un lieu", travail in situ, Université de Technologie,
Munich, 1996/1997.
“La salle de concerts”, “La salle des miroirs”,
travaux in situ, siège social,
Dresdner Bank, Francfort, 1996/1997.
“Neuf Colours au vent”, travail in situ, Montréal, Canada,
1984/1996.
"La montée de la couleur et la cascade de la couleur",
travail in situ, Foire de
Leipzig, Leipzig, Leipzig, 1996.
"25 Porticos : la couleur et ses
reflets", travail in situ, baie
d’Odaiba, Tokyo, 1996.
"From one place to another. From one
material to another. Passages in and out.", travaux in situ, Shinjuku, Tokyo (Japon),
1995.
Travail in situ,
siège social, Deutsch Telekom, Bonn, 1995.
"Déplacement-Jaillissement:
D'une fontaine les Autres", travail in
situ, en collaboration avec Christian Drevet architecte, Place
des Terreaux, Lyon, 1994.
"Sens dessus-dessous", sculpture in situ et en mouvement, Parc des
Célestins, Lyon, 1994.
Café Richelieu, travail in situ, Galerie Richelieu, Musée du
Louvre, Paris, 1993.
"Horizontal cut", "Vertical cut" et "Fragmented
reflexion", travaux in situ,
Hypo-Bank, Kempfenhausen, 1992.
“Passage blanc et noir” travail in situ, en collaboration avec
Charles Vandenhove architecte, De Liefde, Amsterdam, 1992.
"Double
rythme: frise", travail in situ,
Salle des Congrès, Saarbrücken, 1991.
“Das cafe”, travail in situ, Von der Heydt Museum,
Wuppertal, 1990.
"La marche des Fédérés - Aux couleurs de la ville:
500 flammes de Marseille à Paris: 7 stations", travaux in situ, Avignon, Charenton, Macon,
Marseille, Saulieu, Valence, Vienne, 1989/1992.
“Frieze Paint -
Peinturesur/sous Plexiglas”, travail in
situ, Refco Collection, Salle des marchès, New York City, USA,
1987.
“La Porte” Domgasse, travail in
situ, Münster, 1987.
"Diagonale pour des bambous", travail in situ, en collaboration avec
Alexandre Chemetov architecte, Parc de la Villette, Paris, 1986/1987.
Travail
in situ, en collaboration avec
Charles Vandenhove architecte, Salon Royal, Théâtre de la Monnaie,
Bruxelles, 1984/1986.
"Les Deux Plateaux", sculpture in situ, cour d'honneur du
Palais-Royal, Paris, 1985/1986.
“In the Dining Room”, travail in situ, Chase Manhattan Bank, New
York City, USA 1982.
Travail in
situ, en collaboration avec Charles Vandenhove architecte, Hôtel
Torrentius, Liège, 1979-81.
“Lambris”, travail in situ, en collaboration avec
Charles Vandenhove architecte, Hôpital Universitaire, Liège, 1980.
“5
Mosaïques”*, travail in situ,
Grapetree Bay Hotel, Sainte-Croix, Iles Vierges, USA, 1965.
“ 17
Peintures sur bois”*, travail in situ,
Grapetree Bay Hotel, Sainte-Croix, Iles Vierges, USA 1960/1961.
*
Ces deux premiers travaux in situ et permanents sont restés “debouts”,
accrochés sur leurs murs, alors que l’hôtel a été entièrement détruit à
la suite d’un ouragan en 1989.
Questi due primi lavori insitu e
permanenti sono rimasti in piedi attaccati ai loro muri quando l’hotel è
stato completamente distrutto in seguito ad un uragano nel 1989.
This
two firts works in situ and permanents remained standing on their walls
when the hotel was completely destroyed by a hurricane in 1989
After studying at the Ecole des Métiers d’Art from 1957 to 1960, followed by a brief spell at the Ecole Nationale Supérieure des Beaux-Arts, Daniel Buren conducted a series of experiments at the beginning of his artistic career that lay on the boundary between painting, sculpture and cinema. Following his first pictorial works in 1960, he moved rapidly towards an economy of means which already revealed a neutralization of the illusionistic content of painting and his indifference for the narrative subject, central themes in his work as an artist. In September 1965 he began to use a striped curtain material, the components of which became the basis of his artistic syntax – alternate white and coloured vertical stripes 8.7cm wide. This industrially manufactured motif responded perfectly to his desire for objectivity and enabled him to accentuate the impersonal nature of his work, even though initially it was only used as a support. After his experience in 1966–67 with Olivier Mosset, Michel Parmentier and Niele Toroni, founded on the systematic repetition of the same motif and each artist’s desire to realize the ‘last painting’ in their own way, Buren began to explore the possibilities of the striped motif as sign, moving away from the painting-object to what he called the ‘visual utensil’. In November 1967, he began having striped paper printed. Posters and painted paper enabled him to cover very disparate surfaces in a virtually infinite series of ways. The street is one of his preferred spaces to this very day. He invented the notion of ‘in situ’ in the field of plastic arts in order to characterize a practice intrinsically bound up with the topological and cultural specificity of the places where the work is presented. His solo exhibition at the Apollinaire in Milan in 1968 and his participation in the international Prospect events in 1968 and 1969 in Düsseldorf marked the real beginning of his artistic celebrity. In the 1970s he began to show his work in museums, often outside France, and in shows that incorporated him in the realm of conceptual art. In the same period his works began utilizing the most varied supports – walls, doors, poster boards, street signs, paper and canvas under glass, on stairways, trains, ships, in the form of flags on the roofs of Paris, the waistcoats of museum custodians, etc. He was a great talking point and generated controversy in 1971 at the 5th International Exhibition of the Solomon Guggenheim Museum in New York and in 1972 at the celebrated Documenta V organized by Harald Szeemann. Political changes in the 1980s allowed him to occupy public spaces in a less fleeting fashion, and he began producing permanent works, the first and perhaps most celebrated of which is Les Deux Plateaux (1985–1986) at the Palais-Royale. In 1986 he was awarded the Leone d’Oro at the Venice Biennale for best pavilion. Buren soon began to focus on the rising influence of architecture (particularly museum architecture) in art. He began to produce more three-dimensional work and to conceive of work no longer as an object but as a modulation of space. In 1975 came his first Cabane Eclatée. This was something of a turning point and accentuated the interdependence between the work and where it is sited through a subtle play of construction and deconstruction. The work became its own site and a place for movement and for walking around. His more recent offerings are ever-increasingly complex architectural instruments that constantly dialogue with the existing architecture, and involve an alteration of space, a playful multiplication of materials (wood, vinyl, plastic materials, grids) and an explosion of colour. From the beginning of the 1990s, colour was no longer just applied to walls, but literally ‘installed in space’ in the form of filters and coloured sheets of glass or plexiglas. The resulting impression of an explosion of the work, accentuated by the use of mirrors, invites not only a shift of the gaze but also of the entire body. To date Daniel Buren has produced thousands of in situ installations all over the world. The majority of these are destroyed after being presented, and so do not exist outside the time and space for which they are conceived. However, there is also an important body of permanent works in the collections of leading museums around the world, and it is surprising to note how such an economy of means has generated such a richness and complexity of work.
PRINCIPALES
COMMANDES PUBLIQUES
“La Portée” travail in situ, Entrée du Musée Fabre, Montpellier, France,
2006.
“La Cafeteria”, travail in
situ, EAAC Musée de la Ville de Castellon, Spagne, 2006.
“Tram/Trame”,
travail in situ, toutes les
stations de la ligne Est-Ouest, Tramway de Mulhouse, avec l’assistance
de Jean-Christophe Denise architecte, Mulhouse, France 2004-2006.
“Cabane
Rouge aux Miroirs”, travail in situ,
Musée de la Chartreuse, Douai, 1996/2006.
"Monter / Descendre",
travail in situ, Bahnhof,
Wolfsburg, 2005.
« Partitions colorées », travaux in situ et permanents, Pavillon
hémodialyse, Hospital, Pistoia, 2005.
Travail in situ, Bin Jiang Junior High
School, Taipei, Taïwan 2004-2005.
“Prospettive” travail in situ, Palazzo BSI avec
l’assistance de Giampiero Camponovo architecte, Lugano, Tessin, Suisse
2000/2005.
“La Cabane Élatée aux 4 Salles”, travail in situ pour Giuliano Gori, Fattoria
di Celle, Province de Pistoia, Italie 2003/2005.
"Le jardin
imaginaire", travail in situ,
Sint-Donatuspark, Louvain, 2004.
"Cerchi nell'aqua", travaux in situ, Ponticelli, Naples, 2004.
“White
and Green Fence”, travail in situ
évolutif, The Farm, Gibbs Sculpture collection, Auckland, Nouvelle
Zélande 2001/2003.
"Prière de toucher", "Pliages", travaux in situ, IRSAM, Marseille, 2003.
“The
Colors suspended: 3 exploded cabins” travail in situ, Toyota Municipal Museum of Art, Toyota, Japon
2002/2003.
“Somewhere along the way, some colors” travail in situ pour Toki Messe, Niigata,
Japon 2002/2003.
“Arc-en-ciel pour Fausto”, travail in situ, siège
social de Radicichimica GmbH, Troglitz, Allemagne 1997/2002.
"Projection
colorée", travail in situ, en
collaboration avec Dominique Perrault architecte, Rathaus, Innsbruck,
2001/2002
"Fondation surgissante", travail in situ, Telenor, Oslo, 2000/2002.
“Rayonnant”,
travail in situ, en
collaboration avec Nicolas Guillot architecte, Parc de la Cigalière,
Sérignan, 2000/2002
“Sur les Vignes: points de vue”, travail in situ, Castello di Ama, Toscane,
Italie 2001.
“Au-dessus des Vagues, l’Horizon ”, travail in situ, Shenzhen, République
Démocratique de Chine Populaire 2001.
“D’un Cercle à l’Autre: le
paysage emprunté ”, travail in situ,
ville de Luxembourg, Luxembourg 2001.
“Transparences colorées”,
travail in situ, Allianz,
Munich, 1999/2001.
“La grande fenêtre”, travail in situ, Bundesministerium für Arbeit
und Sozialordnung, Berlin, 1998-2000
“Par Transparences colorées”
travail in situ, Allianz,
Munich, 1999/2001
“Trois points de vue pour un dialogue”, travail in situ, Jérusalem, 2000.
"Tapetto
volante", travail situé, Turin, 1999
“La Couleur: fut, a été, aurait
pu être, serait, sera”, cinq petits jeux prospectifs et un
rétrospectif, travail permanent sur site web:
http://www.culture.fr.entreelibre/Buren, 1999
“Entrance Hall” travail
in situ in Treppenhaus, Musée
d’Art Contemporain de la ville de Weimar, 1996/1998.
"Passage
sous-bois", travail in situ,
Kimpo Parc National, Kimpo (Corée du Sud), 1998
“From floor to
ceiling and vice versa”, travail in
situ, siège social, Obayashi Corporation, Tokyo, 1998.
"Cercles",
travail in situ, restaurant et
cafeteria, Victoria Insurance, Düsseldorf, 1998.
“Sit Down” travail in situ. Storm King Art Center,
Mountainville, New York, USA, 1997/1998.
"Garde-corps", "Soleils",
travaux in situ, en
collaboration avec Charles Vandenhove architecte, Théâtre des Abbesses,
Paris, 1997.
“Ipotesi su alcuni indizi – Part II”, travail in situ, Museo di Capodimonte,
Naples, Italy, 1987/1997.
"A travers le miroir incliné: la couleur",
travaux in situ, siège social,
IKB (Industrial Kredit Bank), Düsseldorf, 1997.
"Encoder-Décoder: du
code à sa lecture, Couleurs, Reflets, Transparence", travaux in situ, en collaboration avec
Patrick Bouchain architecte, Siège social, Thomson,
Boulogne-Billancourt, 1996/1997.
"Diagonale pour un lieu", travail in situ, Université de Technologie,
Munich, 1996/1997.
“La salle de concerts”, “La salle des miroirs”,
travaux in situ, siège social,
Dresdner Bank, Francfort, 1996/1997.
“Neuf Colours au vent”, travail in situ, Montréal, Canada,
1984/1996.
"La montée de la couleur et la cascade de la couleur",
travail in situ, Foire de
Leipzig, Leipzig, Leipzig, 1996.
"25 Porticos : la couleur et ses
reflets", travail in situ, baie
d’Odaiba, Tokyo, 1996.
"From one place to another. From one
material to another. Passages in and out.", travaux in situ, Shinjuku, Tokyo (Japon),
1995.
Travail in situ,
siège social, Deutsch Telekom, Bonn, 1995.
"Déplacement-Jaillissement:
D'une fontaine les Autres", travail in
situ, en collaboration avec Christian Drevet architecte, Place
des Terreaux, Lyon, 1994.
"Sens dessus-dessous", sculpture in situ et en mouvement, Parc des
Célestins, Lyon, 1994.
Café Richelieu, travail in situ, Galerie Richelieu, Musée du
Louvre, Paris, 1993.
"Horizontal cut", "Vertical cut" et "Fragmented
reflexion", travaux in situ,
Hypo-Bank, Kempfenhausen, 1992.
“Passage blanc et noir” travail in situ, en collaboration avec
Charles Vandenhove architecte, De Liefde, Amsterdam, 1992.
"Double
rythme: frise", travail in situ,
Salle des Congrès, Saarbrücken, 1991.
“Das cafe”, travail in situ, Von der Heydt Museum,
Wuppertal, 1990.
"La marche des Fédérés - Aux couleurs de la ville:
500 flammes de Marseille à Paris: 7 stations", travaux in situ, Avignon, Charenton, Macon,
Marseille, Saulieu, Valence, Vienne, 1989/1992.
“Frieze Paint -
Peinturesur/sous Plexiglas”, travail in
situ, Refco Collection, Salle des marchès, New York City, USA,
1987.
“La Porte” Domgasse, travail in
situ, Münster, 1987.
"Diagonale pour des bambous", travail in situ, en collaboration avec
Alexandre Chemetov architecte, Parc de la Villette, Paris, 1986/1987.
Travail
in situ, en collaboration avec
Charles Vandenhove architecte, Salon Royal, Théâtre de la Monnaie,
Bruxelles, 1984/1986.
"Les Deux Plateaux", sculpture in situ, cour d'honneur du
Palais-Royal, Paris, 1985/1986.
“In the Dining Room”, travail in situ, Chase Manhattan Bank, New
York City, USA 1982.
Travail in
situ, en collaboration avec Charles Vandenhove architecte, Hôtel
Torrentius, Liège, 1979-81.
“Lambris”, travail in situ, en collaboration avec
Charles Vandenhove architecte, Hôpital Universitaire, Liège, 1980.
“5
Mosaïques”*, travail in situ,
Grapetree Bay Hotel, Sainte-Croix, Iles Vierges, USA, 1965.
“ 17
Peintures sur bois”*, travail in situ,
Grapetree Bay Hotel, Sainte-Croix, Iles Vierges, USA 1960/1961.
*
Ces deux premiers travaux in situ et permanents sont restés “debouts”,
accrochés sur leurs murs, alors que l’hôtel a été entièrement détruit à
la suite d’un ouragan en 1989.
Questi due primi lavori insitu e
permanenti sono rimasti in piedi attaccati ai loro muri quando l’hotel è
stato completamente distrutto in seguito ad un uragano nel 1989.
This
two firts works in situ and permanents remained standing on their walls
when the hotel was completely destroyed by a hurricane in 1989