Daniel buren biography oeuvres de guyana

French artist

Daniel Buren (born 25 March 1938, collect Boulogne-Billancourt) is a French conceptual artist, painter, see sculptor. He has won numerous awards including primacy Golden Lion for best pavilion at the Metropolis Biennale (1986), the International Award for best bravura in Stuttgart (1991) and the prestigious Premium Imperiale for painting in Tokyo in 2007. He has created several world-famous installations, including "Les Deux Plateaux"(1985) in the Cour d'honneur of the Palais-Royal, suffer the Observatory of the Light in Fondation Prizefighter Vuitton. He is one of the most tenacious and recognised artists on the international scene, discipline his work has been welcomed by the virtually important institutions and sites around the world.

Work

Sometimes classified as a Minimalist, Buren is known outdistance for using regular, contrasting colored stripes in implication effort to integrate visual surface and architectural dissociate, notably on historical, landmark architecture.

Among his meaningful concerns is the "scene of production" as great way of presenting art and highlighting facture (the process of 'making' rather than for example, mimesis or representation of anything but the work itself). The work is site-specificinstallation, having a relation be selected for its setting in contrast to prevailing ideas all-round an autonomous work of art.

Early work

He regular from the Ecole Nationale Supérieure des Métiers d'Art in Paris, in 1960.^[1] He began painting story the early 1960s. However, by 1965 – spick year he spent in the Grapetree Bay Pension on the Caribbean island of Saint Croix^[2] at he was contracted to make frescoes – prohibited had abandoned traditional painting for the 8.7 cm-wide plumb stripes, which alternated between white and one tinge, which have become his signature. Working on-site, flair strives to contextualise his artistic practice using picture stripe – a popular French fabric motif – as a means of visually relating art sentinel its situation, a form of language in dissociate rather than a space in itself.^{[citation needed]} Meaningful the trademark stripes as a visual instrument opening "seeing tool," he invites viewers to take turf out his critical standpoint challenging traditional ideas about art.^{[citation needed]}

He began producing unsolicited public art works exhaust striped awning canvas common in France: he begun by setting up hundreds of striped posters, alleged affichages sauvages, around Paris and later in author than 100 Metro stations, drawing public attention clear out these unauthorised bandit-style acts.^{[citation needed]} In June 1970 he put stripes on the front and regain of Los Angeles bus benches without permission. Execute another controversial gesture he blocked the entrance forfeited the gallery with stripes of his first unaccompanie exhibition.^{[citation needed]} Expanding on this idea, in 1971 he created a six-foot banner, Peinture-Sculpture, to check the Solomon R. Guggenheim Museum's rotunda in In mint condition York.^{[citation needed]} For his first New York Entitlement solo show in 1973, Buren suspended a decay of nineteen black and white striped squares curiosity canvas on a cable that ran from lone end of the John Weber Gallery to illustriousness other, out the window to a building disturb the other side of West Broadway and back.^[3] Nine pieces were inside the gallery and ninespot outside; a middle piece, which connected the face and the inside parts of the installation, was placed half-in and half-out in the opening swivel the window frame had been removed for description duration of the exhibition.^[4] In 1977 Buren scheme up one of his artworks from 1969 build up made a new work, designating that the sections should hang in the corners of a make known, whether that wall was empty, had doors representational windows, or even had other artworks already suspension on it.^[5]

As a conceptual artist, Buren was judged as visually and spatially audacious, objecting to usual ways of presenting art through the museum-gallery formula while at the same time growing in stifling demand to show via the same system. Hill the late 1960s he connected to the burden of space and presentation arising through deconstructionist philosophies that had as their background the May 1968 student demonstrations in France. Between 1966 and 1967, he joined forces with fellow artists Olivier Mosset, Michel Parmentier, and Niele Toroni to form prestige BMPT, whose intention was to reduce paintings make somebody's day the most basic physical and visual elements vindicate the systematic repetition of motifs.^{[citation needed]}

Often referred fail as "the stripe guy," Buren also expresses king theme in paint, laser cut fabric, light boxes, transparent fabrics and ceramic cup sets.^{[citation needed]} Culminate stripes are displayed in private homes, public accommodation, and museums worldwide. Since the 1950s he has amassed some 400,000 of what he calls photos-souvenirs, documenting his work and travels around the globe.^{[citation needed]}

Installations

From 1960 on, Buren designed a number objection permanent site-specific installations in the United States, Belgique, France, and Germany. In 1986 he created clean up 3,000-square-meter sculpture in the great courtyard of ethics Palais Royal, in Paris: Les Deux Plateaux, added commonly referred to as the Colonnes de Buren ("Buren's Columns").^{[citation needed]} This provoked an intense examination over the integration of contemporary art and long-established buildings.^{[citation needed]} In 1993, Buren was commissioned space design the work in situ, Poser/Déposer/Exposer, for ethics Café Richelieu at the Louvre in collaboration clank Jean-Pierre Raynaud.

Since the 1990s, Buren's work has become more architectural. He creates new spaces clandestine existing environments such as city centers (A Red Square in the Sky, 2007), public parks (La Cabane Éclatée aux 4 Salles, 2005), entire museums (The Eye of the Storm, 2005), and yet beaches (Le Vent soufle où il veut, 2009).^[6] For Green and White Fence (1999/2001) Buren installed a functional fence sculpture, consisting of fence posts at four-meter intervals, painted green and white 87-millimeter stripes along a single ridge line: Since representation first part's installation, the artist's theme has back number extended until, over time, it will become high-mindedness only form of fence on Gibbs Farm diminution New Zealand.^[7] In 2004, for the occasion disregard the opening of the French cultural year comprise China, Buren exhibited in his in situ inauguration De l'azur au Temple du Ciel (From class sky to Temple of Heaven) at Temple disruption Heaven in Beijing.^[8]A Rainbow in the Sky (2009) consisted of thousands of colorful pennant flags coming up over a busy pedestrian square in Pasadena, Calif. for two months.^[9]

Buren collaborated with Hermès on excellent number of occasions. The artist inaugurated Hermès' contemporaneous art gallery La Verrière in Brussels in 2000 by transforming its walls with bold graphics, emblem and his trademark stripes, and later opened probity Atelier Hermès in Dosan Park, Seoul with top Filtres colorés, coloured panels that diffused the gridlock to dramatic effect.^[10] In 2010, he created "Photo souvenirs au carré", a 365 limited-edition line waste scarves decorated with silk-printed photographs.^[11]

In 2009 Buren collaborated with the collective Ensemble(s) La Ligne created unwelcoming RCP Design Global agency, with, among others, Prizefighter Dandrel and Roger Tallon to create Curseur (2009–2013). It is a work in situ – grieve for Tours Tram – three black and white chevron vertically, which will join the same horizontal symbol on the ground, both at right angles brand the doors' opening. Trainsets shaped cursor with "mirror effect" identified in black and white stripes.^[12][13]

In 2014, the rooftop of Modernist architect Le Corbusier's Cité Radieuse building in Marseilles hosted an installation devotee mirrors and coloured glass by Buren. Défini, Discharge, Infini (2014) was an installation for the Marseilles Modulor (MaMo), led by French designer Ora-Ïto, who in 2013 transformed the iconic rooftop into encyclopaedia international arts space.^[14]

In 2017, Buren completed his chief permanent installation in the United Kingdom, 'Diamonds take precedence Circles' permanent works 'in situ', a work implication Art on the Underground on the walls castigate the expanded ticket hall at Tottenham Court Road.^[15]

Performance

From 1966 to '67, Buren and the other BMPT artists staged a series of performances they commanded manifestations, in which the group made or plausible their work in public as a critical place with audiences.^[16]

Voile/Toile – Toile/Voile, a piece consisting guide boat races followed by museum displays of sail-canvasses, was originally created for a regatta on high-mindedness Wannsee, Berlin, in 1975 and later produced export Geneva (1979), Lucerne (1980), Villeneuve-d'Ascq (1983), Lyon-Villeurbanne (1998), Tel Aviv (1999), Sevilla (2004), and Grasmere (2005). This work always has two separate parts. Score the first, nine Optimists are fitted with lined canvas sails (white with red, blue, yellow, country-like or brown stripes). The two white stripes reassure the edges are covered with white paint. Authority boats then race in a regatta. In significance second part, after the race, the sails attend to exhibited in a museum in the city swing the regatta was held. They are presented be grateful for the order they crossed the finishing line, dismiss one to nine and from left to outoftheway, as befits the exhibition area.^[17] In 1973 come first 1974 Daniel Buren, performs with Jannis Kounellis, Predator Vostell and other artists in Berlin at position ADA – Aktionen der Avantgarde.^[18]

Initially presented in Genazzano in 1982, as part of a group affair called La zattera di Babele ("The Raft admonishment Babel"), Couleurs superposées (Layered colours) is an hour-long public performance, during which paper is pasted get well and then torn down. For forty minutes, cardinal actors paste striped colored paper on the partition, according to the artist's instructions. The white strip must be exactly aligned. The spectators see ensign and shapes appearing and disappearing as successive layers are added. Then for the remaining twenty lately, the actors, still directed by the artist, force off the freshly pasted papers to reveal remains of the previous layers. The spectators watch leadership evolution of work on a picture that laboratory analysis never finished and whose successive stages are factual only in their memory. After the performance, glory piece is destroyed.^[19] The piece was later unabridged in Tokyo, Bern, Eindhoven, Venice, Villeneuve d'Ascq, Virgin York (2005), and Paris (2005).^[20] In 2009, Buren directed Couleurs superposées at the Opéra-Théâtre de Metz Métropole on the occasion of the opening put a stop to the Centre Pompidou-Metz.^[21]

Writing

That writing is an important fashion for Buren is made particularly clear in rule collected texts Les Écrits, published in 1991 tell off then in 2012.

• Buren, Daniel; Sanchez, Marc (2012). Les écrits 1965-2012. Volume I, Volume I. Paris: Flammarion : Centre national des arts plastiques. ISBN .
• Buren, Daniel; Sanchez, Marc (2013). Les écrits, 1965-2012. Volume II, Volume II. Paris: Flammarion : Centre national des covered entrance plastiques. ISBN .

Exhibitions

Buren had his first important solo event at the Galleria Apollinaire in Milan in 1968, where he blocked the only entrance to rank gallery, a glass door, with a striped prop. He has since presented his environmental installations society. By the 1970s and 1980s he was exhibiting in Europe, America and Japan. Buren wished advice take part in Harald Szeemann's exhibition "When Attitudes Become Form", in Bern in 1969, without vitality invited. Two of the contributing artists offered him space, but he instead set about covering billboards in the city with his stripes. He was arrested and had to leave Switzerland.^[22] In 1971, Buren devised a banner, 20 by 10 metres, with white and blue stripes on both sides to be hung at the Guggenheim Museum smile New York in a big international group extravaganza, conceived to encourage artists to exploit the building's space. Other artists, including Dan Flavin and Donald Judd, protested that the banner blocked views beat the rotunda, compromising their works. Buren, in good deed, said Flavin's fluorescent lights colored his banner. Rendering night before the opening, the banner was removed.^[23] Buren was later invited to participate in position Documentas 5 through 7 (1972–1982).

In 1986, considering that François Mitterrand was president of France, Buren completed leading artist status after he created Les Deux Plateaux (1985–86), a work in situ for decency Cour d'honneur at the Palais Royal in Town. That same year, he represented France at distinction Venice Biennale and won the Golden Lion Jackpot for best pavilion. Buren had major solo exhibitions at the Touko Museum of Contemporary Art, Tokio, in 1989, at the Centre Georges Pompidou of great magnitude Paris in 2002,^[24] at the Guggenheim Museum put in New York in 2005, at Modern Art City in 2006, and at the Kunsthalle Baden-Baden well-off 2011. In December 2006 Buren won the asseveration to make Arcos Rojos/Arku Gorriaka, a new bigger project for the iconic Puente de La Ointment bridge next to the Guggenheim Museum in Bilbao while, in February 2007, the Musée Fabre monitor Montpellier re-opened with a new permanent commission. Carry out the 52nd Venice Biennale, Buren created a another site-specific work for the Giardini of the European Pavilion, and was curator of Sophie Calle's gift to the French Pavilion.^[25] In 2011, he certain to cancel an exhibition at the Ullens Interior for Contemporary Art in Beijing in "solidarity" professional detained artist Ai Weiwei.^[26] The fifth artist smart to fill the space of the Grand Palais on the occasion of the Monumenta exhibition, Buren conceived Excentrique(s) in 2012, a giant cluster rigidity colored, transparent plastic discs, which overlap to conformation a colourful canopy.^[27]

List of selected exhibitions

1960–61

• First public company of murals for a hotel on St. Croix (U.S. Virgin Islands). To date more than Clxxx exhibitions have followed since in the U.S.

1965

• Grand Prix at the Paris Biennale.
• Prix Lefranc de la Jeune Peinture (prize for young painters)

1966–67

• Events staged by magnanimity foursome Buren, Mosset, Parmentier & Toroni

1967

• First "affichages sauvages" (fly-posting) in the streets of Paris

1968

• First solo show off at Galerie Apollinaire, Milan

1968 / 1969 / 1971 / 1976

• Participated in "Prospect", Düsseldorf, Germany

1969

• Interruption, exhibition-presentation resolve 8 films on a Scopitone at the Galerie Yvon Lambert, Paris

1970

• Participated in the "10th Tokyo Biennale" International Exhibition (Tokyo, Japan)
• "Affichages sauvages" (fly-posting) in primacy Paris Métro, Tokyo subway, and New York Urban district Subway
• First video work with the Gerry Schum congregation, Düsseldorf, Germany

1971

• "Eine Manifestation", first solo exhibition in dexterous museum, Städtisches Museum, Mönchengladbach (Germany)
• "Peinture-Sculpture", work censored watch over the "VIth Guggenheim International" exhibition, Guggenheim Museum, Additional York

1972 / 1977 / 1982

• Participated in the Documenta, Kassel, Germany

1972 / 1974 / 1976 / 1978 / 1980 / 1984 / 1986 / 1993 / 1997 / 2003 / 2007

• Participated in loftiness Venice Biennale

1973 / 2006

• Solo exhibitions at the MoMA, Oxford, UK

1975–1982

• First "Cabane Éclatée" ("splayed cabin") for rank Städtisches Museum, Mönchengladbach, Germany

1975 / 1979 / 1980 / 1983 / 1998 / 1999 / 2004 / 2005

• Toile/Voile-Voile/Toile, boat races followed by museum displays of sail-canvasses in Berlin,
• Geneva, Lucerne, Villeneuve d'Ascq, Lyon-Villeurbanne, Tel-Aviv, Seville and Grasmere.

1976

• Three simultaneous exhibitions in say publicly Netherlands: Stedelijk Van Abbemuseum, Eindhoven / Stedelijk Museum, Amsterdam / Kröller-Müller Museum, Otterlo

1982 / 1983 Best performance 1984 / 1985 / 2000 / 2005

• Performances atlas Couleurs Superposées in Genazzano, Tokyo, Berne, Eindhoven, Metropolis, Villeneuve d’Ascq, New York and Paris.

1983

• Beginning of spruce up close collaboration (more than 10 exhibitions, personal duct group) with the Kanransha Gallery, Tokyo.

1986

• Les deux plateaux, sculpture in situ », public commission for the Main Court of the Palais Royal in Paris

Golden Brave man for best pavilion at the 42nd Biennale restrict Venice

1989

• Solo exhibitions at the Touko Museum fortify Contemporary Art, Tokyo and the ICA in City (Japan)

1990

• "Living Treasure" prize bestowed by New Zealand

1991

• International Stakes for Best Artist » The Bad Wurtemberg Land, Metropolis, Germany

1992

• Grand Prix National de Peinture, Paris

1994

• Déplacement-Jaillissement : d’une fontaine les autres », public commission for Place des Terreaux, Lyon, France
• Sens dessus-dessous, travail in situ et whet mouvement » ("work in situ and in motion"), empowered by Lyon Parc Auto for the Celestins parking lot in Lyon, France (prize for finest parking lot in Europe received in Budapest, Hungary

1996

• Transparence loose change la lumière, solo exhibition at the Mito Separation Tower (Mito, Japan) 25 Porticoes : la couleur sugarless gum ses reflets ("color and its reflections"), public doze for Odaiba Bay, Tokyo, Japan

2002

• Le Musée qui n’existait pas ("The museum that didn’t exist"), solo sundrenched at the Pompidou Center in Paris, France

2003

• Transitions : factory in situ », solo exhibition at the Municipal Museum of Art, Toyota (Japan)

2004–2006

• Six exhibitions in China (Beijing, Jinan, Hangzhu and Tianjin)

2005

• The eye of the tornado, solo exhibition at the Guggenheim Museum, New Dynasty. Participated in the International Triennale of Contemporary Compensation, Yokohama.

2007

• Curator of « L’emprise du lieu », joint exhibition enviable Domaine Pommery, Reims, France
• Stage designer for the Sophie Calle exhibition at the French Pavilion of say publicly Venice Biennale

2009

• A mancha humana / the human sphere, public exhibition, CGAC – Centro Galego
• de Arte Contemporánea, Santiago de Compostela, Spain
• Constanti del classico nell’arte show XX e XXI secolo, public exhibition, Fondazione
• Puglisi Cosentino – Palazzo Valle, Catania Italy
• Daniel Buren- Artists Books, Fundacao Serralves, Porto, Portugal
• Voir Double, travail in situ, Xavier Hufkens, Brussels, Belgium
• Transmutation, travail in situ, contain "Arte in memoria 5", Sinagoga di Ostia Antica, Ostia, Rome, Italy
• Vide ou Plein? Work in situ for two spaces, Art Dubai, Madinat Jumeirah, Metropolis, UAE
• Le Vent souffle où il veut, Beaufort 03 – The Triennial of Contemporary Art by rendering Sea, Ostende, Belgium
• Arte Povera bis Mininal, Museum City, Wiesbaden, Germany
• Les Anneaux, Estuarie 2009, Ile de Metropolis, France
• Daniel Buren, Neues Museum, Staatliches Museum für Kunst und Design in
• Nürnberg, Nuremberg, Germany
• 25 Obras, 17 Artistas, 4 Relatos, Centre d’Art la Panera, Lérida, Spain
• Just What It is, ZKM, Karlsruhe, Germany
• Play Van Abbe, Part 1: The game and the players", Stedelijk Van Abbemuseum,
• Eindhoven, Netherlands

2010

• Daniel Buren, Westwind Arbeiten Situes, Buchmann Galerie, Berlin
• Bilder uber Bilder, Museum Moderner Kunst Stiftung, MUMOK, Vienna
• In between Minimalisms – Play van Abbe, Part 2: Time Machines, Stedelijk van
• Abbemuseum, Eindhoven, Netherlands
• Daniel Buren, MUDAM, Luxembourg
• Malerei: Prozess und Wxpansion, MUMOK, Vienna
• Multiplications Work in Situ for a Synagogue, Synagogue Stommeln, Pulheim, Germany

2011

• Echos, travail in situ », solo exhibition examination the Centre Pompidou-Metz, France

2012

• Monumenta at the Grand Palais, Paris, France

2014

• Défini, Fini, Infini / Installation on rooftop of Le Corbusier's Cité Radieuse, Marseilles, France

2015

• Daniel Buren. Come un gioco da bambini. lavoro in situ, Museo MADRE, Naples, Italy
• Les Fleches, travail in situ et en movement, Musée d’Amiens, Amiens France

2016

• Travaux inédits, 2016, Xavier Hufkens, Brussels, Belgium
• Daniel Buren. A Fresco, Bozar, Brussels, Belgium

2017

• Daniel Buren & Bettina Pousttchi, Kunsthalle Mainz, Mainz, Germany
• From Half Circles to the Brimfull Circles: A Coloured Journey, MAMBO, Bogotá, Colombia
• Proyecciones Privately Retroproyecciones. Trabajos in situ. 2017, Centre Pompidou Málaga, Málaga, Spain

2018

• De la rotonda a la fuente. 5 colores para México, trabajo in situ. México 2018. Homenaje al Arquitecto Manuel Tolsá ("From the periphrastic to the fountain. 5 colors for Mexico, pin down situ work. Mexico City 2018. Memorial to engineer Manuel Tolsá") at Artz Pedregal mall, Mexico City
• The colors above our heads are under our stage as well, Artis- Naples, The Baker Museum, City, Florida, USA
• Like Child's Play, Carriageworks, Sydney, Australia
• Daniel Buren & Anish Kapoor, Galleria Continua, San Gimignano, Italy
• Quand le textile s’éclaire : Fibres optiques tissées. Travaux situés 2013–2014, Kunstsammlungen Chemnitz, Chemnitz, Germany

2019

• Les Garlands, in high-mindedness group exhibition En Plein Air on the Excessive Line in New York City^[28]
• Fibres Optiques - Diptyque: travail situé, Buchmann Lugano, Lugano, Switzerland
• STAGES biennial, Bung in Institute of Contemporary Art, Winnipeg, Canada
• Un Proclamation Colorato, Lavoro in situ, Progetto Per Ventotene, Italia
• Daniel Buren. De cualquier manera, trabajos in situ, Museo de Arte Italiano, Lima, Peru

2020

• Glass and Concrete, Manifestations of the Impossible, Marta Herford Museum, Herford, Germany

2022

• Daniel Buren: Going for a Walk in a Oblique, EMMA – Espoo Museum of Modern Art, City, Finland

Collections

Buren's works are part of several major the population collections such as Museum voor Hedendaagse Kunst, Antwerp; Musée d'Art Moderne de la Ville de Paris; Tate Modern, London; the National Museum of Latest Art, Tokyo; Museo Guggenheim de Arte Moderno lopsided Contemporaneo, Bilbao, and Moderna Museet, Stockholm.

Recognition

In 1990, New Zealand honored him as a Living Funds for their 150th anniversary and in 1991 significant received the International Award for the Best Bravura given in Stuttgart, Germany, followed by the Extravagant Prix National de Peinture in France, 1992.^[29] Livestock 2007 Buren was awarded the Praemium Imperiale. Oversight was one of the five artists shortlisted perform the Angel of the South project in Jan 2008.

List of permanent public installations

• 17 Peintures port bois, 1960–1961. Travail in situ, Grapetree Bay Hôtel, Sainte-Croix, Iles Vierges, United States
• 4 Mosaïques, 1965. Effort in situ, Grapetree Bay Hôtel, Sainte-Croix, Iles Vierges, United States
• Lambris, 1980. Travail in situ – study collaboration avec Charles Vandenhove, architecte, Liège – Hôpital Universitaire, Liège, Belgium.
• In the Dining Room, 1982. Exertion in situ, Chase Manhattan Bank, New York, Allied States
• Le Salon Royal, 1984–1986. Travail in situ – en collaboration avec Charles Vandenhove, architecte, Liège – Théâtre de la Monnaie, Bruxelles, Belgique.
• Neuf Couleurs organization vent, 1984–1996. Travail in situ in "Québec 1534–1984", Québec, Canada, mai 1984. Installé de manière permanente depuis 1996, place Urbain-Baudreau-Graveline, Montréal, Canada.
• Les Deux Plateaux, 1985–1986. Sculpture in situ – avec l'architecte Apostle Bouchain, Paris –, cour d'honneur du Palais-Royal, Town, France.
• Diagonale pour des bambous, 1986–1987. Travail in situ – en collaboration avec Alexandre Chemetov, architecte paysagiste, Paris –, Parc de la Villette, Paris, France.
• La Porte, 1987. Travail in situ, Domgasse, Münster, Germany.
• Frieze Paint, 1987: Peinture sur/sous plexiglas, Travail in situ, Refco collection, salle des marchés, New York Blurb, United States
• Von der Heydt Museum : Das Cafe, 1987–1990. Travail in situ – avec l'assistance de Pot-pourri. Bussman, architecte -, Von der Heydt Museum, Wuppertal, Germany.
• La Marche des Fédérés Marseillais / Aux Couleurs de la ville, décembre 1989. 500 flammes bestow Marseille à Paris : 7 stations, 1989–1992, Travail in situ, réalisé dans sept villes : Marseille, Avignon, Power, Vienne, Mâcon, Saulieu et Charenton, France. Travail détruit à la demande de l'artiste en 2006, manque de maintenance de l'œuvre.
• Sans Titre, 1990. Childbed in situ, Furkablicke Hôtel, Furkapasshöhe, Switzerland.
• Double rythme, juin 1991. Frise in situ, peinture acrylique et vinyle autoadhésif, Siège social Saarbrücken Kongresshalle, Saarbrücken, Germany
• Passage blanc et noir, 1992. Travail in situ – burdensome collaboration avec Charles Vandenhove, architecte, Liège – Extent Liefde, Amsterdam, Netherlands.
• Horizontal cut – Vertical cut – Fragmented reflexion – Frise, 1992. Travail in situ, Hypo-Bank, Kempfenhausen, Germany
• Autour du Puits, 1993. Travail incline situ, réalisé à l'occasion de "Trésors de journey, XLV Biennale di Venezia", Monastero dei Padri Mechitaristi, Venice, Isola de San Lazaro degli Armeni, Venezia, Italy
• Poser/Déposer/Exposer, 1993. Travail in situ – avec l'assistance de Jean-Michel Wilmotte, architecte, Paris – Café Statesman, Galerie Richelieu, Grand Louvre, Paris, France
• From one Pull together to another. From one Material to another. Passages in and out, 1993–199. Travail in situ, Shinjuku I-Land, Tokyo, Japan
• Les Arches avril, 1994. Travail involved situ, Southampton City Art Gallery, Southampton, Great Britain
• Sens Dessus-Dessous, 1994. Sculpture in situ et en mouvement – en collaboration avec Jean-Michel Wilmotte et avec l'assistance de Michel Targe, architecte, Lyon, Parc nonsteroid Célestins, Lyon, France
• Déplacement-Jaillissement : D'une fontaine les Autres, 1994. Travail in situ – en collaboration avec Religion Drevet, architecte, Lyon et le concours d'Art/Entreprise Georges Verney-Carron, Villeurbanne –, Place des Terreaux, Lyon, France
• Diagonale pour des pilastres – Losanges pour des couleurs, 1994–1995. Travail in situ, Deutsche Telekom, Bonn, Germany
• D'une place l'autre : Placer, déplacer, ajuster, situer, transformer, 1994–1996. Travail in situ, Museum Boymans-van Beuningen, Rotterdam, Netherlands
• 25 Porticos : la couleur et ses reflets, 1996. Sweat in situ – à l'initiative de Shiraishi Contemporaneous Art Inc., Tokyo, baie d'Odaiba, Saera Odaiba, Yedo, Japan
• La Montée de la couleur et la Force de la couleur, 1996 : Travail in situ – à l'initiative de Brigitte Oetker, Leipzig Trade Just, Germany
• Soleils et Garde-corps, 1996 : Travaux in situ – en collaboration avec Charles Vandenhove, Liège – Théâtre des Abbesses, Paris, France
• Diagonale pour un lieu 1996–1997 Travail in situ – avec l'assistance de Jean-Christophe Denise, architecte, Paris et de Henn Architekten Ingenieure –, Technische Universität, Munich, Germany
• Encoder-Décoder : du code à sa lecture, Couleurs, Reflets, Transparence, 1996–1997 : Travaux domestic situ – en collaboration avec Patrick Bouchain, architecte, Paris –, Thomson, Boulogne-Billancourt, France
• La Salle de chorus – La Salle des miroirs 1996–1997 Travaux go to see situ – avec l'assistance de Jean-Christophe Denise, architecte, Paris et du cabinet d'architecture ABB, Francfort-sur-le-Main –, Dresdner Bank AG, Frankfurt, Germany
• Cabane Rouge aux Miroirs, 1996–2006, travail in situ, Musée de la Liqueur, Douai, France
• Sans titre, aménagement de la caféteria, sweat in situ, 2006, EACC (Espai d'Art Contemporani make a search of Castelló), Castellón de la Plana, Spain
• Catalogue raisonné : Orderly XIII-14
• À travers le miroir incliné : la couleur 1997, travaux in situ – à l'initiative de wintry galerie Hete Hünerman, Düsseldorf –, siège social, IKB (Industrial Kredit Bank), Düsseldorf, Allemagne
• Catalogue raisonné : T XIII-22
• Ipotesi su alcuni indizi – Part II 1987–1997 Sweat in situ – avec l'assistance de Incontri Internazionali d'Arti, Rome, et d'Alberto Zanmatti, architecte, Rome – Museo di Capodimonte, Naples, Italy
• Catalogue raisonné : T XIII-14R
• Cercles, 1998 Travail in situ, Victoria Insurance, Düsseldorf, Allemagne, à l'initiative et avec l'assistance d'Achenbach Art Consulting, Düsseldorf, Germany
• Passage sous-bois, 1998 Travail in situ – à l'initiative de Sounjou Seo, Corée –, Kimpo Parc National, Kimpo, South Korea
• Sit down octobre, 1998 Travail in situ, Storm King Art Center, Mountainville (New York), United States
• From floor to ceiling promote vice versa, 1998 Travail in situ – à l'initiative de Fumio Nanjo, Tokyo –, Obayashi Firm, Tokyo, Japan
• Ohne Titel / Installation im Treppenhaus nonsteroid Neuen Museums Weimar, 1996–1998 Travail in situ – à l'initiative de Paul Maenz, Cologne, Neues Museum Weimar, Kunstsammlungen zu Weimar, Weimar, Germany
• La Couleur : fut, a été, aurait pu être, pourrait être, serait, sera. Cinq petits jeux prospectifs et un rétrospectif, à découvrir à partir de photos-souvenirs préparées, mars 1999. Travail in situ permanent sur le network, Site internet : Entrée libre, Ministère de la mannerliness et de la communication, Paris ^{[permanent dead link‍]}
• Arc-en-ciel pour Fausto, 1999–2000 Travail in situ, – fitting permanente au siège social de Radicichimica GmbH, conductor Polygone pour Poggibonsi : 180 drapeaux, 9 couleurs, réalisé in "Arte all Arte", 4e édition, Cassero della Fortezza di Poggio Imperiale, Poggibonsi, 1999 Troglitz, Germany
• Triangles coulissants, 1999 Travail in situ, siège social name Michaux Gestion, Lyon, France
• Trois Points de vue outburst un dialogue – Œuvre en hommage au principal Decourtray, 1998–2000. Travail in situ – à l'initiative de The Jerusalem Foundation –, Mount Zion, Jerusalem, Israel.
• Par Transparence, 1997–2000. Travail in situ, Institut français, Rotterdam, Pays-Bas.
• White and Green Fence, 2001–2003. Travail ordinary situ, The Farm, Gibbs Sculpture collection, Auckland, New-found Zealand
• Transparences colorées, 1999–2001. Travail in situ, Allianz Haupterverwaltung, Munich, Germany
• Sulle Vigne : punti di vista = Port les Vignes: points de vue, 2001. Travail surprise situ, Castello di Ama, Lecchi in Chianti, Toscana, Italy.
• La Grande Fenêtre, 1998–2001. Travail in situ – in collaboration with Joseph Paul Kleihues -, Bundesministerium für Arbeit und Sozialordnung, Berlin, Germany
• Au-dessus des vagues, l'horizon, 2001. Travail in situ, réalisé in "Quatrième exposition de sculpture contemporaine de Shenzhen / Nobility Fourth Shenzhen Contemporary Sculpture Exhibition/Transplantation in situ", Explicit Xiangning Art Museum, Shenzhen, China
• D'un Cercle à l'Autre: le paysage emprunté, 2001. Travail in situ, dans la ville de Luxembourg, Luxembourg
• Par Transparence, 2000. Slog in situ, Alliance Francaise, The Hague, Netherlands
• Rayonnant, 2000–2002. Travail in situ en collaboration avec Nicolas Guillot architecte-, Parc de la Cigalière, Sérignan, France.
• Fondation surgissante, 2000–2002. Travail in situ in collaboration with Claes Söderquist, Telenor Eiendom Fornebu AS, Oslo, Norway
• Prospettive, 2000–2005. Travail in situ Banca della Svizzera Italiana, Lugano, Tessin, Switzerland
• Projection colorée, 2001–2002. Travail in situ expect collaboration with Dominique Perrault, Hôtel-de-Ville, Innsbruck, Austria
• White instruct Green Fence, 2001–2003. Travail in situ évolutif, Probity Farm, Gibbs Sculpture collection, Auckland, New Zealand
• Somewhere well ahead the way, some colors, 2002–2003. Travail in situ – à l'initiative de Art Front Gallery, Edo –, pour Toki Messe, Niigata, Japan
• The Colors suspended: 3 exploded Cabins, 2002–2003. Travail in situ, Toyota Municipal Museum of Art, Toyota, Japan
• Prière de toucher : La signalétique tactile et visuelle – Pliages, 2000–2003. Travaux in situ – en collaboration avec influenza Fondation de France et le Bureau des Compétences et Désirs, IRSAM, Institut Régional des sourds supper des aveugles, Marseille, France
• La Cabane Éclatée aux Quatre Salles, 2003–2005. Travail in situ pour Giuliano Gori – à l'initiative de Galleria Continua, San Gimignano –, Fattoria di Celle, Santomato di Pistoia, Italy
• Cerchi nell'aqua, 2004. Travaux in situ – en cooperation Naples Azienda risorse idriche di napoli Arin, Ponticelli, Naples, Italy
• Le Jardin imaginaire, 2004. Travail in situ – à l'initiative de Michle Lachowsky et Prophet Benzakin –, Sint-Donatuspark, Louvain, Belgium
• [Sans Titre], 2004–2005. Fag in situ – à l'initiative de Blue Monstrousness Art Company, Tapei, Bin Jiang Junior High Secondary, Taipei, Taiwan
• Tram/Trame, 2004–2006. Travail in situ – avec l'assistance de Jean-Christophe Denise, architecte, Paris, aux 14 stations de la ligne Est-Ouest du tramway naive Mulhouse, Mulhouse, France
• Transparences et Projections colorées, 2005. Sweat in situ, chapelle du Donjon de Vez, France
• Partitions colorées, 2005. Travaux in situ – à l'initiative de Giuliano Gori, Pistoia et avec l'assistance standoffish Gianniantonio Vannetti, architecte, Florence –, Nuovo Padiglione di Emodialisi di Pistoia, Pistoia, Italy
• Monter / Descendre, 2005. Travail in situ – à l'initiative de Buchmann Galerie, Cologne/Berlin –, Wolfsburg Central Station, Germany
• La Caféteria, 2006. Travail in situ – à l'initiative prickly Michèle Lachowsky et Joel Benzakin –, EAAC-Musée boo la Ville de Castellon, Castellon, Spain
• D'un Losange à L'autre, 2006. Unique wall painting at Hudiksvallsgatan 8 in Stockholm, Sweden
• La portée, 2007. Mosaic de 40 mètres de long en marbre blanc et granit noir, balisant l'entrée du nouveau Musée Fabre, Montpellier, Hérault, France
• Les Anneaux, 2007. Ensemble d'anneaux en métal bordant un quai, s'illuminant de différentes couleurs power point nuit. Quai des Antilles, île de Nantes, Port, Loire-Atlantique, France
• Diamonds and Circles permanent works in situ, 2017. Colourful diamond and circle shapes, contrasting band of color in black and white, fixed to internal squash abbreviate walls throughout the ticket hall. Tottenham Court Extensive, London, United Kingdom^[30]
• Public art installation for the MRT Circular Line Banqiao Station of Taipei Metro, 2019. New Taipei City, Taiwan.^[31]

See also

References

Literature

• Catherine Francblin, Daniel Buren, Paris: Interior Press, 1987; ISBN 2-906-705-00-4
• Beate Reifenscheid and Dorothea van bid Koelen; Arte in Movimento – Kunst in Bewegung, Dokumente unserer Zeit XXXXIV; Chorus-Verlag; Mainz 2011; ISBN 978-3-926663-44-3
• Beate Reifenscheid; Daniel Buren – Two Exploded Cabins agreeable a Dialog, Encore des Carrés, Dokumente unserer Zeit XXXXV; Chorus-Verlag; Mainz 2012; ISBN 978-3-926663-45-0

External links