Daniel Buren: Working

“Vertically striped sheets of paper, the bands of which are 8.7 cms wide, alternate white and colored, are stuck over internal and external surfaces: walls, fences, display windows, etc.; and/or cloth/canvas support, vertical stripes, white and colored bands each 8.7 cms, the two ends covered with dull white paint.
I record that this is my work for the last four years, without any evolution or way out. This is the past: it does not imply either that it will be the same for another ten or fifteen years or that it will change tomorrow.
The perspective we are beginning to have, thanks to these past four years, allows a few considerations of the direct and indirect implications for the very conception of art. This apparent break (no research, or any formal evolution for four years) offers a platform that we shall situate at zero level, when the observations both internal (conceptual transformation as regards the action/praxis of a similar form) and external (work/production presented by others) are numerous and rendered all the easier as they are not invested in the various surrounding movements, but are rather derived from their absence.”

Daniel Buren

" Beware!" ("Mise en garde!") http://web.mit.edu/allanmc/www/buren1.pdf, in Konzeption/Conception, translated by Charles Harrison and Peter Townsend (Leverkusen: Stadtischer Museum, 1969.
1960s

Art , Color , Way , Support

“More and more, the subject of an exhibition tends not be the display of artworks, but the exhibition of the exhibition as a work of art. Here, the Documenta team, headed by Harald Szeemann, exhibits (artworks) and exposes itself”

Daniel Buren

to critiques
Daniel Buren (1972), cited in: Marina Abramović, ‎Jens Hoffmann (2004). The next Documenta should be curated by an artist.
1970s

Art

“Every act is political and, whether one is conscious of it or not, the presentation of one's work is no exception. Any production, any work of art is social, has a political significance. We are obliged to pass over the sociological aspect of the proposition before us due to lack of space and consideration of priority among the questions to be analysed.”

Daniel Buren

" Beware!" ("Mise en garde!") http://web.mit.edu/allanmc/www/buren1.pdf, in Konzeption/Conception, translated by Charles Harrison and Peter Townsend (Leverkusen: Stadtischer Museum, 1969.
1960s

Art , Question

“The work of art… in seemingly by-passing all difficulties, attains full freedom, thus in fact nourishing the prevailing ideology. It functions as a security valve for the system, an image of freedom in the midst of general alienation and finally as a bourgeois concept supposedly beyond all criticism, natural, above and beyond all ideology.”

Daniel Buren

Daniel Buren, "Critical Limits," (1970), in: Buren, Five Texts, trans. Laurent Sauerwein (New York: John Weber Gallery, 1973), p. 45
1970s

Art , Nature , Freedom

“When we say architecture, we include the social, political and économie context. Architecture of any sort is in fact the inévitable background, support and frame of any work.”

Daniel Buren

Daniel Buren (1979), cited in: A. A. Bronson, ‎Peggy Gale, ‎Art Metropole (1983). Museums by artists. p. 73
1970s

Support

“Every place radically imbues (formally, architecturally, sociologically, politically) with its meaning the object (work creation) shown there. Art in general refuses to be implied a priori and so pretends to ignore or reject the draconian role imposed by the museum (the gallery), a role both cultural and architectural. To reveal this limit (this role), the object presented and its place of display must dialectically imply one another”

Daniel Buren

Daniel Buren (1975), in: Studio International. Vol. 189-190, (1975), p. 124
1970s

Art