respectful addition
These columns make you associate freely; are these abstract objects, is this a ruin, is this a rhythmic game?
The inner courtyard of this palace is filled with parts of columns. With columns on a row I think of a ruin of a classical building. I immediately start to fantasize about the potential greatness of this space in the far past. This artwork by Daniel Buren is threating Palais Royal on a respectful way.
Our mind adds what is missing; in mind we see that the courtyard of this building is filled. The palace is extended; It could not be otherwise. Daniel Buren increases the status of the palace!
I become relaxed because of the columns with equal length. You can see these in a row on the diagonal. I become happy because of the columns which are shorter and shorter, which you can see on the other diagonal.
I find these colums quiet concrete: I'm thinking of pillars of a building. With effort I can make them abstract objects. In this case thebjects stand for strength, support, grounding.
Be that as it may, the Columns (Les Colonnes) by Daniel Buren is a respectful addition to Palais Royal.
By Theo, www.artatsite.com
Vertaling
respectvolle aanvulling
Deze zuilen maken dat je vrij associeert; zijn dit abstracte objecten, is dit een ruïne, is dit een ritmisch spel?
De binnenplaats van dit paleis staat geheel gevuld met gedeelten van kolommen. Bij kolommen op een rij denk ik aan een ruïne van een klassiek gebouw. Ik begin direct te fantaseren over de mogelijke grootsheid van deze ruimte in een ver verleden. Dit kunstwerk van Daniël Buren gaat respectvol om met Palais Royal.
Onze geest vult het ontbrekende aan: wij zien in gedachten dat de binnenplaats van dit gebouw gevuld is. Dit paleis is uitgebreid; het kan niet anders. Daniël Buren verhoogt de status van dit paleis!
Ik word rustig van de zuilen die allen even hoog zijn. Deze je op de ene diagonaal. Ik word vrolijk van de zuilen die steeds korter worden, die je op de andere diagonaal ziet.
Ik vind de zuilen behoorlijk concreet: ik denk aan zuilen van een gebouw. Met moeite kan ik hier abstracte objecten van maken. In dat geval zouden de objecten kunnen staan voor stevigheid, ondersteuning, aarding.
Hoe het ook zij: de Kolommen (Les Colonnes) van Daniel Buren zijn een respectvolle aanvulling op Palais Royal.
Door Theo, www.artatsite.com
www.unjourdeplusaparis.com:
Inside the Royal Palace, sumptuous edifice built for Richelieu to 17 th century, is an amazing contemporary work: Columns of Buren (also called 'the two plates'). An original work which, as often with modern creations, aroused very bad reactions during its construction.
www.artwiki.fr:
In 1965, inspired by a striped awning fabric, he perfected his artistic vocabulary: alternating white and colored vertical bands 8.7 cm wide, repeating his stripes endlessly and on all media. The choice of an industrially manufactured pattern responds to his desire for objectivity and allows him to accentuate the impersonal character of his work.
In 1966, Buren joined forces with the painters Olivier Mosset, Michel Parmentier and Niele Toroni, with whom he organized very controversial events, creating the BMPT group. What binds 'BMPT' is the common practice of the systematic repetition of the same motif, as well as the desire to radically oppose the Parisian artistic scene, very academic and then dominated by the School of Paris. This joint work is for Buren the opportunity to examine not only the physical limits of painting, but also the political and social borders of the art world. There are endless possibilities based on these tapes, since each work is expressed in situ, depending on the place where it is programmed and produced. Precision, rigor and radicalism are, in the artist,pushed to the extreme.
He begins to use the alternating bands as a 'visual tool', exploring the potential of this motif as a sign. The choice of different supports (pre-striped fabric, specially printed paper, painted glass, etched glass, mirror, wood, stone, transparent plastic, metal, paint) and the passage from the flat surface to the third dimension. Buren frees himself from the frame imposed on the painting and the picture rails.
This shift from paint to wallpaper and poster allows him to intervene anywhere.
This new room for maneuver gives Buren the opportunity to develop the concept of work in situ, that is to say of an artistic intervention intrinsically linked to the place in which it is located. Buren always carries out an analysis of the place in which he places his tapes, revealing these most significant and least visible peculiarities. Buren himself speaks of 'an instrument for seeing', because paradoxically, by limiting himself to a single motif, he achieves a widening of the viewer's visual field. The work reveals the place and this very place makt untransportable and therefore ephemeral. The entire exhibition at the Center Pompidou meets this criterion developed by Buren and taken up by so many others. The outside cells may best illustrate this notion of in-situ work.
During the 1970s, his 'striped' interventions invaded all media: doors, stairs, trains, sails, vests for museum guards, etc. At the same time that his work takes on an infinite scope, it becomes more diverse and colorful, thus transgressing the modernist prohibition which banishes any decorative function.
He also began to exhibit in museums, which allowed him to sharpen his institutional criticism. From the Guggenheim Museum in New York to the Documenta in Kassel, he has often intervened critically in relation to artistic institutions. For him, 'all exhibited work is staged', he therefore considers the exhibition as a setting, thus denouncing the role of the institution which usually presides over this staging.
www.argosarts.org:
For the installation Les Deux Plux (The Two Levels, 1985-1986), Daniel Buren (born 1938) placed a grid of 260 black and white striped cylinders of different heights in the elegant courtyard of the Palais Royal in Paris. The installation, usually known today as the Buren's Columns, turns the venue in a sort of chessboard, , as well as establishing a dialectic between the ground level of the courtyard and the level underneath, and thanks to the lighting the installation can be perceived differently during day and night.
The film by Cornelis Jef alternates views of the installation Les Deux Plateaux and an interview with Daniel Buren: the French conceptual artist is very precise about how he relates to his site-specific work. First he analyses the general constraints of the site, then he formulates a response to it: the 260 cylinders provide a sort of visual echo to the columns surrounding the courtyard and create a three- dimensional space without obscuring the existing architecture. Or, as he puts it, 'the location (outside or inside) where a work is seen is its frame (its boundary)'.
Ironically, the aesthetic analysis of Burens intervention at the site was overshadowed by a lawsuit and mounting public passion - from the announcement of Buren's project in July 1985 till the conclusion of the trial in December 1992, there were infinite discussions about the work.
www.wikipedia.org:
Daniel Buren (born 25 March 1938) is a French conceptual artist.
Sometimes classified as a Minimalist, Buren is known best for using regular, contrasting colored stripes in an effort to integrate visual surface and architectural space, notably on historical, landmark architecture.
Among his primary concerns is the 'scene of production' as a 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-specific installation, having a relation to its setting in contrast to prevailing ideas of an autonomous work of art.
He begancing unsolicited public art works using striped awning canvas common in France: he started by setting up hundreds of striped posters, so-called affichages sauvages, around Paris and later in more than 100 Metro stations, drawing public attention through these unauthorised bandit-style acts. In June 1970 he put stripes on the front and back of Los Angeles bus benches without permission. In another controversial gesture he blocked the entrance of the gallery with stripes of his first solo exhibition. Expanding on this idea, in 1971 he created a six-foot banner, Peinture-Sculpture, to divide the Solomon R. Guggenheim Museum's rotunda in New York. For his first New York City solo show in 1973, Buren suspended a set of nineteen black and white striped squares of canvas on a cable that ran from one end of the John Weber Gallery to the other, out the window to a building on the other side of West Broadway and back. Nine pieces were inside the gallery and nine outside; a middle piece, which connected the outside and the inside parts of the installation, was placed half-in and half-out in the opening where the window frame had been removed for the duration of the exhibition. In 1977 Buren cut up one of his artworks from 1969 and made a new work, designating that the sections should hang in the corners of a wall, whether that wall was empty, had doors or windows, or even had other artworks already hanging on it.
As a conceptual artist, Buren was regarded as visually and spatially audacious, objecting to traditional ways of presenting art through the museum-gallery system while at the same time growing in hot demand to show via the same system. In the late 1960s he connected to the ideas 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 the BMPT, whose intention was to reduce paintings to the most basic physical and visual elements through the systematic repetition of motifs.
Often referred to as 'the stripe guy,' Buren also expresses his theme in paint, laser cut fabric, light boxes, transparent fabrics and ceramic cup sets. His stripes are displayed in private homes, public places, 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.
These columns make you associate freely; are these abstract objects, is this a ruin, is this a rhythmic game?
The inner courtyard of this palace is filled with parts of columns. With columns on a row I think of a ruin of a classical building. I immediately start to fantasize about the potential greatness of this space in the far past. This artwork by Daniel Buren is threating Palais Royal on a respectful way.
Our mind adds what is missing; in mind we see that the courtyard of this building is filled. The palace is extended; It could not be otherwise. Daniel Buren increases the status of the palace!
I become relaxed because of the columns with equal length. You can see these in a row on the diagonal. I become happy because of the columns which are shorter and shorter, which you can see on the other diagonal.
I find these colums quiet concrete: I'm thinking of pillars of a building. With effort I can make them abstract objects. In this case thebjects stand for strength, support, grounding.
Be that as it may, the Columns (Les Colonnes) by Daniel Buren is a respectful addition to Palais Royal.
By Theo, www.artatsite.com
Vertaling
respectvolle aanvulling
Deze zuilen maken dat je vrij associeert; zijn dit abstracte objecten, is dit een ruïne, is dit een ritmisch spel?
De binnenplaats van dit paleis staat geheel gevuld met gedeelten van kolommen. Bij kolommen op een rij denk ik aan een ruïne van een klassiek gebouw. Ik begin direct te fantaseren over de mogelijke grootsheid van deze ruimte in een ver verleden. Dit kunstwerk van Daniël Buren gaat respectvol om met Palais Royal.
Onze geest vult het ontbrekende aan: wij zien in gedachten dat de binnenplaats van dit gebouw gevuld is. Dit paleis is uitgebreid; het kan niet anders. Daniël Buren verhoogt de status van dit paleis!
Ik word rustig van de zuilen die allen even hoog zijn. Deze je op de ene diagonaal. Ik word vrolijk van de zuilen die steeds korter worden, die je op de andere diagonaal ziet.
Ik vind de zuilen behoorlijk concreet: ik denk aan zuilen van een gebouw. Met moeite kan ik hier abstracte objecten van maken. In dat geval zouden de objecten kunnen staan voor stevigheid, ondersteuning, aarding.
Hoe het ook zij: de Kolommen (Les Colonnes) van Daniel Buren zijn een respectvolle aanvulling op Palais Royal.
Door Theo, www.artatsite.com
www.unjourdeplusaparis.com:
Inside the Royal Palace, sumptuous edifice built for Richelieu to 17 th century, is an amazing contemporary work: Columns of Buren (also called 'the two plates'). An original work which, as often with modern creations, aroused very bad reactions during its construction.
www.artwiki.fr:
In 1965, inspired by a striped awning fabric, he perfected his artistic vocabulary: alternating white and colored vertical bands 8.7 cm wide, repeating his stripes endlessly and on all media. The choice of an industrially manufactured pattern responds to his desire for objectivity and allows him to accentuate the impersonal character of his work.
In 1966, Buren joined forces with the painters Olivier Mosset, Michel Parmentier and Niele Toroni, with whom he organized very controversial events, creating the BMPT group. What binds 'BMPT' is the common practice of the systematic repetition of the same motif, as well as the desire to radically oppose the Parisian artistic scene, very academic and then dominated by the School of Paris. This joint work is for Buren the opportunity to examine not only the physical limits of painting, but also the political and social borders of the art world. There are endless possibilities based on these tapes, since each work is expressed in situ, depending on the place where it is programmed and produced. Precision, rigor and radicalism are, in the artist,pushed to the extreme.
He begins to use the alternating bands as a 'visual tool', exploring the potential of this motif as a sign. The choice of different supports (pre-striped fabric, specially printed paper, painted glass, etched glass, mirror, wood, stone, transparent plastic, metal, paint) and the passage from the flat surface to the third dimension. Buren frees himself from the frame imposed on the painting and the picture rails.
This shift from paint to wallpaper and poster allows him to intervene anywhere.
This new room for maneuver gives Buren the opportunity to develop the concept of work in situ, that is to say of an artistic intervention intrinsically linked to the place in which it is located. Buren always carries out an analysis of the place in which he places his tapes, revealing these most significant and least visible peculiarities. Buren himself speaks of 'an instrument for seeing', because paradoxically, by limiting himself to a single motif, he achieves a widening of the viewer's visual field. The work reveals the place and this very place makt untransportable and therefore ephemeral. The entire exhibition at the Center Pompidou meets this criterion developed by Buren and taken up by so many others. The outside cells may best illustrate this notion of in-situ work.
During the 1970s, his 'striped' interventions invaded all media: doors, stairs, trains, sails, vests for museum guards, etc. At the same time that his work takes on an infinite scope, it becomes more diverse and colorful, thus transgressing the modernist prohibition which banishes any decorative function.
He also began to exhibit in museums, which allowed him to sharpen his institutional criticism. From the Guggenheim Museum in New York to the Documenta in Kassel, he has often intervened critically in relation to artistic institutions. For him, 'all exhibited work is staged', he therefore considers the exhibition as a setting, thus denouncing the role of the institution which usually presides over this staging.
www.argosarts.org:
For the installation Les Deux Plux (The Two Levels, 1985-1986), Daniel Buren (born 1938) placed a grid of 260 black and white striped cylinders of different heights in the elegant courtyard of the Palais Royal in Paris. The installation, usually known today as the Buren's Columns, turns the venue in a sort of chessboard, , as well as establishing a dialectic between the ground level of the courtyard and the level underneath, and thanks to the lighting the installation can be perceived differently during day and night.
The film by Cornelis Jef alternates views of the installation Les Deux Plateaux and an interview with Daniel Buren: the French conceptual artist is very precise about how he relates to his site-specific work. First he analyses the general constraints of the site, then he formulates a response to it: the 260 cylinders provide a sort of visual echo to the columns surrounding the courtyard and create a three- dimensional space without obscuring the existing architecture. Or, as he puts it, 'the location (outside or inside) where a work is seen is its frame (its boundary)'.
Ironically, the aesthetic analysis of Burens intervention at the site was overshadowed by a lawsuit and mounting public passion - from the announcement of Buren's project in July 1985 till the conclusion of the trial in December 1992, there were infinite discussions about the work.
www.wikipedia.org:
Daniel Buren (born 25 March 1938) is a French conceptual artist.
Sometimes classified as a Minimalist, Buren is known best for using regular, contrasting colored stripes in an effort to integrate visual surface and architectural space, notably on historical, landmark architecture.
Among his primary concerns is the 'scene of production' as a 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-specific installation, having a relation to its setting in contrast to prevailing ideas of an autonomous work of art.
He begancing unsolicited public art works using striped awning canvas common in France: he started by setting up hundreds of striped posters, so-called affichages sauvages, around Paris and later in more than 100 Metro stations, drawing public attention through these unauthorised bandit-style acts. In June 1970 he put stripes on the front and back of Los Angeles bus benches without permission. In another controversial gesture he blocked the entrance of the gallery with stripes of his first solo exhibition. Expanding on this idea, in 1971 he created a six-foot banner, Peinture-Sculpture, to divide the Solomon R. Guggenheim Museum's rotunda in New York. For his first New York City solo show in 1973, Buren suspended a set of nineteen black and white striped squares of canvas on a cable that ran from one end of the John Weber Gallery to the other, out the window to a building on the other side of West Broadway and back. Nine pieces were inside the gallery and nine outside; a middle piece, which connected the outside and the inside parts of the installation, was placed half-in and half-out in the opening where the window frame had been removed for the duration of the exhibition. In 1977 Buren cut up one of his artworks from 1969 and made a new work, designating that the sections should hang in the corners of a wall, whether that wall was empty, had doors or windows, or even had other artworks already hanging on it.
As a conceptual artist, Buren was regarded as visually and spatially audacious, objecting to traditional ways of presenting art through the museum-gallery system while at the same time growing in hot demand to show via the same system. In the late 1960s he connected to the ideas 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 the BMPT, whose intention was to reduce paintings to the most basic physical and visual elements through the systematic repetition of motifs.
Often referred to as 'the stripe guy,' Buren also expresses his theme in paint, laser cut fabric, light boxes, transparent fabrics and ceramic cup sets. His stripes are displayed in private homes, public places, 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.