New monograph, centered around a temporary work in situ by Daniel Buren, allowing to further explore the close relationship that the artist weaves with architecture, landscape but also points of view.
This new monographic work dedicated to Daniel Buren is centered around his piece Ascending Point of View, work in situ displayed in the garden of the Banque de France in Dijon from December 2021 to December 2022. This temporary piece, produced by Interface, allows to further explore the concept of in situ and the close relationship that the artist weaves with architecture, landscape but also points of view as well as the position of the viewer, particularly when put at a distance. The book, which places this latest work in context with numerous previous works dating from the 1960s to the present day, reveals the way Daniel Buren uses framing and perspective, sometimes masking physicality to better reveal it. The extensive iconography of the work designed for Dijon provides an opportunity to discover numerous "snapshots" at very different seasons and times of day. Two texts accompany this new production. The first one, written by Frédéric Buisson, artistic director of Interface and curator of this exhibition, allows us to understand his particular relationship with Daniel Buren and to grasp the genesis of the project. The second, by Nicolas-Xavier Ferrand, PhD in art history and researcher for the Bourse de Commerce - Pinault Collection, analyzes in greater detail the notion of in situ and in particular the artist's singular relationship to perspective in relation to its representation in the history of painting.
Co-founder of the BMTP group, Daniel Buren (born 1939 in Boulogne-Billancourt, France) is a major figure on the international art scene. He made a name for himself on the art scene in the 1960s.
In 1965, Daniel Buren settled into an approach based on a striped canvas with alternating white and coloured, 8,7 cm‑wide stripes. The introduction in late 1967 of what he called a "visual tool" laid the foundations for a practice that broke with tradition and opened up a multifaceted body of work in which freedom was born, as the artist likes to point out, out of both internal and external constraints. Daniel Buren explored this "visual tool" by developing it on a flat surface and, from the end of the 1960s, in three dimensions.
