Daniel Buren
Daniel Buren was born in Boulogne-Billancourt, France (1938), where he lives and works.
Daniel Buren has punctuated the past 50 years of art with unforgettable interventions, controversial critical texts, thought-provoking public art projects and engaging collaborations with artists from different generations. Throughout his career Buren has created artworks that complicate the relationship between art and the structures that frame it. In the early 1960s, he developed a radical form of Conceptual Art, a “degree zero of painting” as he called it, which played simultaneously on an economy of means and the relationship between the support and the medium. In 1965 he began using his 8.7cm-wide vertical stripes as the starting point for research into what painting is, how it is presented, and more broadly, the physical and social environment in which an artist works. All of Buren’s interventions are created in situ, borrowing and colouring the spaces in which they are presented. They are critical tools addressing questions of how we look and perceive, and the way space can be used, appropriated, and revealed in its social and physical nature. In his work life finds its way into art, while autonomous art is able to reconnect with life.
His work has been the subject of major exhibitions at Museo de Arte Italiano, Lima, Peru (2019); Carriageworks, Redfern, Australia (2018); Walker Art Centre, Minneapolis, OH, USA (2018); Kunstsammlungen Chemnitz, Chemnitz, Germany (2018); Kunsthalle Dusseldorf, Dusseldorf, Germany (2017); Centre Pompidou Málaga, Málaga, Spain (2017); BOZAR Palais des Beaux-Arts, Brussels, Belgium (2016); Museo – Espacio, Aguascalientes, Mexico (2016); Baltic Centre for Contemporary Art, Gateshead, UK (2014); Musée d’Art Moderne et Contemporain, Strasbourg, France (2014); Centre Pompidou-Metz, France (2013); the Solomon R Guggenheim Museum, New York, NY, USA (2005) and the Centre Pompidou, Paris, France (2002). Buren has exhibited in the Venice Biennale, Italy more than ten times and was awarded the Golden Lion for his French Pavilion in 1986. That same year, he produced his first and most controversial public commission, The Two Plateaux, for the main courtyard of the Palais-Royal in Paris, France. In 2007, he received the Praemium Imperiale for Painting from Japan. Most recently, he was selected for the site specific Monumenta 2012 commission at the Grand Palais in Paris, France. Buren’s 1994 installation The Arches, permanent work in situ, is on view at the Southampton City Art Gallery, and in May 2017, he launched another permanent installation in the UK – Diamonds and Circles, works in situ – at Tottenham Court Road station in London, commissioned by Art on the Underground.
Daniel Buren was born in Boulogne-Billancourt, France (1938), where he lives and works.
Daniel Buren has punctuated the past 50 years of art with unforgettable interventions, controversial critical texts, thought-provoking public art projects and engaging collaborations with artists from different generations. Throughout his career Buren has created artworks that complicate the relationship between art and the structures that frame it. In the early 1960s, he developed a radical form of Conceptual Art, a “degree zero of painting” as he called it, which played simultaneously on an economy of means and the relationship between the support and the medium. In 1965 he began using his 8.7cm-wide vertical stripes as the starting point for research into what painting is, how it is presented, and more broadly, the physical and social environment in which an artist works. All of Buren’s interventions are created in situ, borrowing and colouring the spaces in which they are presented. They are critical tools addressing questions of how we look and perceive, and the way space can be used, appropriated, and revealed in its social and physical nature. In his work life finds its way into art, while autonomous art is able to reconnect with life.
His work has been the subject of major exhibitions at Museo de Arte Italiano, Lima, Peru (2019); Carriageworks, Redfern, Australia (2018); Walker Art Centre, Minneapolis, OH, USA (2018); Kunstsammlungen Chemnitz, Chemnitz, Germany (2018); Kunsthalle Dusseldorf, Dusseldorf, Germany (2017); Centre Pompidou Málaga, Málaga, Spain (2017); BOZAR Palais des Beaux-Arts, Brussels, Belgium (2016); Museo – Espacio, Aguascalientes, Mexico (2016); Baltic Centre for Contemporary Art, Gateshead, UK (2014); Musée d’Art Moderne et Contemporain, Strasbourg, France (2014); Centre Pompidou-Metz, France (2013); the Solomon R Guggenheim Museum, New York, NY, USA (2005) and the Centre Pompidou, Paris, France (2002). Buren has exhibited in the Venice Biennale, Italy more than ten times and was awarded the Golden Lion for his French Pavilion in 1986. That same year, he produced his first and most controversial public commission, The Two Plateaux, for the main courtyard of the Palais-Royal in Paris, France. In 2007, he received the Praemium Imperiale for Painting from Japan. Most recently, he was selected for the site specific Monumenta 2012 commission at the Grand Palais in Paris, France. Buren’s 1994 installation The Arches, permanent work in situ, is on view at the Southampton City Art Gallery, and in May 2017, he launched another permanent installation in the UK – Diamonds and Circles, works in situ – at Tottenham Court Road station in London, commissioned by Art on the Underground.
- Dipinto su tessuto a righe in cui le due bande bianche centrali sono completamente ricoperte da vernice acrilica bianca, 2023Paint, striped canvas
211x162 cm - Dipinto su tessuto a righe in cui le due bande bianche centrali sono completamente ricoperte da vernice acrilica bianca, 2023Paint, striped canvas
211x162 cm - Dipinto su tessuto a righe in cui le due bande bianche centrali sono completamente ricoperte da vernice acrilica bianca, 2023Paint, striped canvas
211x162 cm - Dipinto su tessuto a righe in cui le due bande bianche centrali sono completamente ricoperte da vernice acrilica bianca, 2023Paint, striped canvas
211x162 cm - Dipinto su tessuto a righe in cui le due bande bianche centrali sono completamente ricoperte da vernice acrilica bianca, 2023Paint, striped canvas
211x162 cm - Dipinto su tessuto a righe in cui le due bande bianche centrali sono completamente ricoperte da vernice acrilica bianca, 2023Paint, striped canvas
211x162 cm - Dipinto su tessuto a righe in cui le due bande bianche centrali sono completamente ricoperte da vernice acrilica bianca, 2023Paint, striped canvas
211x162 cm - Dipinto su tessuto a righe in cui le due bande bianche centrali sono completamente ricoperte da vernice acrilica bianca, 2023Paint, striped canvas
211x162 cm - Dipinto su tessuto a righe in cui le due bande bianche centrali sono completamente ricoperte da vernice acrilica bianca, 2023Paint, striped canvas
211x162 cm - Un dipinto in cinque elementi, 2023Paint, striped canvas
Variable dimensions
109x109 cm each - All’altezza dello spazio scelto, 2023Paint, striped canvas
313x39 cm - Un dipinto può nasconderne un altro (quando il più piccolo appare il più grande!), 2023Paint, striped canvas
218x109 cm - Un dipinto può nasconderne un altro (quando il più piccolo appare il più grande!), 2023Paint, striped canvas
218x109 cm - Un dipinto può nasconderne un altro (quando il più piccolo appare il più grande!), 2023Paint, striped canvas
218x109 cm - Un dipinto può nasconderne un altro (quando il più piccolo appare il più grande!), 2023Paint, striped canvas
218x109 cm - 300
- 300
- Cinquant’anni dopo. La nona mostra. Lavori in situ e situati, 2023Exhibition view at Galleria Massimo Minini, Brescia
Ph. Lorenzo Palmieri - Fibres optiques – Bleu clair K2, travail situé, 2013Optical fiber
217,5×217,5 cm - Fibres optiques – Bleu clair K1, travail situé, 2013Optical fiber
217,5×217,5 cm - Fibres optiques – Violet K2, travail situé, 2013Optical fiber
217,5×217,5 cm - Fibres optiques – Violet K1, travail situé, 2013Optical fiber
217,5×217,5 cm - Demi étoile et son reflet rayé – rouge, 2018Paint and mirror
252,3x252,3 cm mirrors, 25 elements
252,3x126 cm painted wall - Frise – Bois peint, 2018Wood and wall, 41 elements
43,5×704,7 cm - Frise – Cuivre, 2018Copper and wall, 41 elements
43,5×704,7 cm - 1/2 cercle doublé mais rayé – bleu, 2016Mirror, paint
site specific installation
252,3x252, 3 cm mirrors
252,3x126 cm painted wall - Cabane en polycarbonate opalin coloré, 2003Aluminum and polycarbonate with red pvc quadrette
234,9×234,9×234,9 cm - Del colore della materia, 1989Painted wood and brass
200×200 cm - Del colore della materia, 1989Natural and painted wood
250×250 cm - Triptyque électrique – Vert, 2012-2014Optical fiber
113,1×339,3 cm - Boîte à led rayée pour monochrome bleu ciel, 2012-2014Optical fibre
252,3×252,3 cm