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Photo-souvenir : « Aux Beaux Carrés : travaux in situ », Le Bon Marché Rive Gauche, Paris, juillet 2024. Détail © DB-ADAGP Paris, Photo © Stephane Aboudaram | we are content(s)

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Photo-souvenir : « Aux Beaux Carrés : travaux in situ », Le Bon Marché Rive Gauche, Paris, juillet 2024. Détail © DB-ADAGP Paris, Photo © Stephane Aboudaram | we are content(s)

DANIEL BUREN 'Descend colorido para La Residencia' trabajo in situ, 2024. Dimensions : 3,90 x 15,95 mètres / 3,90 x 10,19 mètres / height : 2,49 mètres. Medium : steel, paint, PMMA panels with vinyls. Photo: Marco Valmarana. © DB-ADAGP, 2024.

Photo-souvenirs : Sosta colorata per Hotel Cipriani, lavoro in situ, 2023-2024. DB-ADAGP, 2024. Photo: Marco Valmarana

Photo-Souvenir: Sosta colorata per Castello di Casole, lavoro in situ, 2024. Details. © DB-ADAGP, 2024. Photo: Marco Valmarana. Courtesy of the artist, Galleria Continua and Belmond.

hoto-Souvenir: Sosta colorata per Villa San Michele, lavoro in situ, 2024. Vinyls and black and white stripes of 8,7 cm. © DB-ADAGP, 2024. Courtesy of the artist, Galleria Continua and Belmond.

Photo-Souvenir: Escala colorida para Copacabana Palace, trabalho in situ, 2023-2024. Détails. © DB-ADAGP, 2024. Photo: Gabriel Tesserolli. Courtesy of the artist, Galleria Continua and Belmond.

Photo-Souvenir: Colourful Halt for Mount Nelson, work in situ, 2023. Detail. © DB-ADAGP

Photo-souvenir : Spécularité : 2 Cabanes, bleue et jaune, explosées, éclatées, reflétées, diffusées, opposées, mélangées, démultipliées, écartelées, renversées, travail in situ, polycarbonate, vinyles, miroir verre, Alucobond, Le Bon Marché Rive Gauche, Paris, 2024. Détail © DB-ADAGP Paris. Crédit photo : Stéphane Aboudaram

Photo-souvenir : Damiers pour 8 vitrines séparées par des bandes verticales blanches et noires : 288 Carrés pour la rue de Sèvres, travail in situ, vinyle translucide alternativement blanc et coloré. Le Bon Marché Rive Gauche, Paris, 2024. Détail © DB-ADAGP Paris. Crédit Photo : Stéphane Aboudaram

Photo-souvenir : « Lumière naturelle versus Lumière électrique, travaux in situ versus travaux situés », CAC, galerie Georges Pompidou, Anglet, mai 2023. Détails © DB-ADAGP Paris

Photo-souvenir : « L’horizon, Infiniment : travaux in situ et situés », Galleria Continua / Dubai, Mars 2023. Photo: Mohamed Somji. © DB-ADAGP Paris

Photo-souvenir : « Sans toit, mais avec fenêtres », travail in situ, Galleria Continua / Les Moulins, Boissy-le-Châtel, France, Octobre 2020. Auto-adhesive coloured translucide vinyls, auto-adhesive white vinyls. Photo: Oak Taylor-Smith. © DB-ADAGP Paris

Photo-souvenir : Fuori tempo, a perdita d’occhio 2020, exhibition view Galleria Continua, San Gimignano. Photo: Ela Biakowlska, OKNO STUDIO

Photo-souvenir: 'Confinées: trois grilles colorées translucides’ 2020, metal, Plexiglas, translucid coloured vinyls, black and white adhesive stripes 8,7 cm large. Galleria Continua, Pékin, 2020, work in situ, ©DB-ADAGP, Paris. Photo: Yang Hao

Photo-souvenir: 'En plein dans le mille, travail in situ. La Havana Cuba le 15.02.20' Arte Continua, Habana, Cuba, 15/02-10/04/2020. ©DB-ADAGP, Paris. Photos: Nestor Kim

Photo-souvenir: Les 3 Portiques, 2019, work in situ, wood, paint, white adhesive vinyl stripes large 8,7 cm, 253,5 x 297 x 43,5 cm. Exhibition ’De cualquier manera, trabajos in situ y situados’, Museo de Arte Italiano, Lima, 2019. Photo Pablo Murrugarra.

Photo-souvenir: ‘La Cabane éclatée II transparente' 2000-2018, situated work, Plexiglas, wood, cotton canvas in white and black alternated and vertical stripes of 8,7 cm each, electric light, 234,9 x 234,9 x 234,9 cm, © Daniel Buren/ADAGP, Paris. Photo Ela Bialkowska

Photo-souvenir: Swisshouse Rossa, work in situ and permanent, 2017, Rossa, Swisse. Photo: Alexandre Zveiger, Lugano, Switzerland. © Daniel Buren – ADAGP, Paris

Photo-souvenir: Autour du retour d’un détour – Inscriptions. Versions VI, 1986-2017, work in situ, GALLERIA CONTINUA, Les Moulins, October 2017, tables of rough wood, paint, ink, 17,35 x 9,88 m. Photo Oak Taylor-Smith

Photo-souvenir: À L’Échelle 1/1 - Hors Échelle, 2017, work in situ, GALLERIA CONTINUA, Les Moulins, white adhesive vinyl large 8,7 cm, colored paint. Photo Oak Taylor-Smith

Photo-souvenir: 'Continua… Continua, d’une Déchirure l’autre de 1986 à 2017' 2017, work retrospective and in situ, Galleria Continua, Les Moulins, adhesive vinyl, paper. Photo Oak Taylor-Smith

Photo-souvenir: Continua… Continua, d’une Déchirure l’autre de 1986 à 2017, 2017, work retrospective and in situ, GALLERIA CONTINUA, Les Moulins, adhesive vinyl, paper. Photo Oak Taylor-Smith

Photo-souvenir: Trois couleurs sur le Grand Morin, 2017, work in situ, GALLERIA CONTINUA, Les Moulins, auto-adhesive coloured translucide vinyls, auto-adhesive white vinyls, 50 x 170 cm each window. Photo Oak Taylor-Smith

Photo-souvenir: La scacchiera arcobaleno ondeggiante, 2016, work in situ, Palatino, Roma, 35 flags of coloured fabric printed with white vertical stripes 8,7 cm large, metal, © DB-ADAGP Paris. Photo Lorenzo Fiaschi

Photos-souvenir: Promenade à La Havane, work in situ, Biennale d'art contemporain, La Havana, May 2015. Detail © DB-ADAGP Paris

Photo-souvenir: En voiture! Atten au départ!, work in situ, Biennale d'art contemporain, Casablanca station, La Havana, May 2015. Detail © DB-ADAGP Paris, Photo: Lorenzo Fiaschi

Photo-souvenir: Una cosa tira l'altra, lavori in situ e situati, 1965-2015, installation view GALLERIA CONTINUA, San Gimignano, February 2015, © DB-ADAGP Paris. Photo Ela Bialkowska

Photo-souvenir: Una cosa tira l'altra, 2015, works in situ and situated, scaffolding, white matt adhesive vinyl large 8,7 cm on green painted wood, work space dimension. Photo Ela Bialkowska

Photo-souvenir: Il muro tagliato e proiettato, 2015, work in situ, blue matt adhesive vinyl large 8,7 cm on wood, © DB-ADAGP Paris. Photo Ela Bialkowska

Photo-souvenir: Colore, luce, proiezione, ombra, trasparenza, lavoro situato n°6, 2015, situated work, adhesive colored transparent vinyl, white matt adhesive stripes large 8,7 cm on transparent Plexiglas, metallic structure, 200 x 200 cm, © DB-ADAGP Paris. Photo Ela Bialkowska

Photo-souvenir: 'Colore, luce, proiezione, ombra, trasparenza, lavoro situato n°3' 2015, situated work, adhesive colored transparent vinyl, white matt adhesive stripes large 8,7 cm on transparent Plexiglas, metallic structure, 200 x 200 cm. © DB-ADAGP Paris. Photo Ela Bialkowska, OKNO Studio

Photo-souvenir: 'Colore, luce, proiezione, ombra, trasparenza, lavoro situato n°4' 2015, situated work, adhesive colored transparent vinyl, white matt adhesive stripes large 8,7 cm on transparent Plexiglas, mirror, metallic structure, 200 x 200 cm. © DB-ADAGP Paris. Photo Ela Bialkowska, OKNO Studio

Photo-souvenir: Des Oculi aux Tondi, 25 travaux in situ et situés pour les 25 ans de Galleria Continua, 2015, situated work, colored Plexiglas Altuglas, translucent white adhesive stripes of 8,7 cm large on transparent Plexiglas, black steel satin frame, cable, 215 cm ø each, © DB-ADAGP Paris. Photo Marc Domage

Photo-souvenir: Double rythme pour un mur, 2 x 5 couleurs et 2 x 6 formes + une demie, October 2015, work in situ, GALLERIA CONTINUA, Les Moulins, strips of white paint large 8,7 cm on colored painted wall, 339 x 4252 cm, © DB-ADAGP Paris. Photo Oak Taylor-Smith

Photo-souvenir: Double rythme pour un mur, 2 x 5 couleurs et 2 x 6 formes + une demie, octobre 2015, work in situ, GALLERIA CONTINUA, Les Moulins, strips of white paint large 8,7 cm on colored painted wall, 339 x 4252 cm, © DB-ADAGP Paris. Photo Oak Taylor-Smith

Photo-souvenir: Pour Trois Couleurs, c'est plié, 2014, work in situ, white stripes painted (8,7 cm large), and blue, yellow and green paint on three walls, © DB-ADAGP Paris. Photo Oak Taylor-Smith

Photo-souvenir: Trois drapeaux pour un losange, ou le rouge est mis, 2014, work in situ, red fabric with white vertical stripes (silk-screen) each one 8,7 cm large, each flag: 675 x 217,5 cm, © DB-ADAGP Paris. Photo Oak Taylor-Smith

Photo-souvenir: De travers et trop grand - bleu, 2013, work in situ, blue adhesive vinyl large 8,7 cm on white wall, 350 x 350 cm (variable dimensions), © DB-ADAGP Paris

Photo-souvenir: Vitrage pour Sainte-Marie, 2012, work in situ, coloured adhesive vinyl, white and black adhesive vinyl large 8,7 cm, white paint, © DB-ADAGP Paris. Photo Alicia Luxem

Photo-souvenir: Vitrage pour Sainte-Marie, 2012, work in situ, coloured adhesive vinyl, white and black adhesive vinyl large 8,7 cm, white paint, © DB-ADAGP Paris. Photo Alicia Luxem

Photo-souvenir: Couleurs et Ombres portées pour une cabane éclatée au toit pointu, 2006, work in situ and situated, wood, colour filters on glass, 6700 x 1000 x 1000 cm, © DB-ADAGP Paris

Photo-souvenir: 'Couleurs et Ombres portées N°8' 2006, situated work, white matt adhesive vinyl and blue adhesive vinyl on transparent Plexiglas, white paint on metallic structure, cable, 200 x 200 cm. © DB-ADAGP Paris. Photo Ela Bialkowska

Photo-souvenir: 'Peinture sur medium – D – Hortensia' October 1991, situated work, hortensia acrylic paint on MDF wood and white adhesive vinyl large 8,7 cm, 1 frame (exterior: 200,1 x 200,1 x 1,9 cm) - (interior: 147,9 x 14,.9 x 1,9 cm), 1 frame (exterior: 78,3 x 78,3 x 1,9 cm) - (interior: 26,1 x 26,1 x 1,9 cm). © DB-ADAGP Paris. Photo Ela Bialkowska, OKNO Studio

Photo-souvenir: ‘Del colore della materia’ 1989, situated work, 12 transparent plexiglas stripes, alternated with 11 wooden elements, painted in white, 200 x 200,1 cm. © DB-ADAGP Paris. Photo Ela Bialkowska

Photo-souvenir: ‘A Frame in a Frame in a Frame, N° 39 Red - Aka’ 1988, situated work, adhesive vinyl sheets with red and white stripes of 8,7 cm each glued on / under framed glasses, 217,5 x 217,5 cm, 11 elements: 2 (50 x 50 cm), 3 (50 x 75 cm), 2 (25 x 25), 2 (50 x 25 cm) 2 (25 x 75 cm). © DB-ADAGP Paris. Photo Sebastiano Pellion di Persano

Photo-souvenir: ‘Périmètre - Bleu’ 1969 - 2019, work in situ, blu adhesive vinyl 8,7 x 52 cm on white wall, work space dimensions, in "15 artists x 15 years in China", Galleria Continua, Beijing, China, December 2019. ©DB-ADAGP, Paris. Photo Sun Shi

Photo-souvenir: Périmètre - Blanc, 1969-2015, work in situ, white adhesive vinyl large 8,7 x 52 cm on colored wall, work, © DB-ADAGP Paris. Photo Oak Taylor-Smith

Photo-souvenir: ‘Peinture et collage sur papier’ April 1964, situated work, acrylic, graphite, burlap and red paper stuck on cardboard, 64,6 x 50 cm. © DB-ADAGP Paris. Photo Ela Bialkowska, OKNO Studio

Photo-souvenir: ‘Peinture et collage sur papier’ April 1964, situated work, acrylic, oil, bonded papers, chalk and graphite on paper, 65 x 50,6 cm. © DB-ADAGP Paris. Photo Ela Bialkowska, OKNO Studio

丹尼尔·布伦：现场工作

Daniel Buren: work in situ

在布伦的作品中，视角的概念是指一种视角的概念，一种三维视角，一种围绕我们的非幻觉的视角。一个以本能的视角来看待他的作品的观众会体验到与艺术品完全颠倒的关系。丹尼尔·布伦的结构和干预措施超越了一两个固定的视角，具有多种相互回答、相互干扰、相互解决、相互丰富和相互矛盾的观点，对其周围的环境具有全面性和意义。

In Buren's work, the notion of the point of view refers to an idea of perspective, to a three dimensional perspective, the one surrounding us that's not illusionistic. A viewer that approaches his works with an instinctive point of view will experience a completely overturned relationship to the artwork. Exceeding one or two fixed points of view with a multitude of viewpoints that answer, interfere, resolve, enrich and contradict eachother, Daniel Buren's structures and interventions are all-encompassing and significative for their immediate environment.

这种多元视角导致了他作品创作和安装的空间的彻底重塑。主次色与反光镜面并置，8.7厘米宽的白色和彩色垂直条纹现已成为艺术家作品的概念主题。条纹是一种自愿的平庸形式，没有任何内容或意义，是一种视觉工具。它已成为艺术家的独特标志，并在内部和外部应用于许多不同种类的表面、纸巾、纸张、水泥、玻璃、镜子、木有机玻璃、大理石花岗岩、光纤和乙烯基纸以及建筑。

This pluri-perspective leads to a complete reinvention of the space in which his works are created and installed. Primary and secondary colours juxtaposed with reflective mirrored surfaces and the white and coloured vertical stripes at 8.7cm wide have by now become a conceptual motif of the artist's work.Of a voluntarily banal form, void of any content or meaning, the stripes are a visual tool. It has become the distinctive sign of the artist and is applied internally and externally to many different kinds of surfaces, tissue, paper, cement, glass, mirrors wood plexiglass, marble granite, optical fibres and vinyl paper as well as buildings.

他的条纹，通常是粘性的，有时是涂漆的，总是在原地完成的，可以改变周围的环境。布伦经常使用彩色玻璃、反射和建筑结构，邀请观众与结构和周围环境建立一致的关系，从而提供了一个机会来思考我们如何感知空间以及如何使用空间。

His stripes, often adhesive, at times painted, are always done in situ and are transformative of their surroundings. Buren often works with colored glass, reflections and architectural constructions that invite the viewer to enter into a consistent relationship with the structures and surroundings, in turn providing an opportunity to approach a consideration on how we perceive space and how it is to be used.

他曾多次参加威尼斯双年展，1986年他代表法国获得最佳展馆金狮奖。2002年，他在蓬皮杜中心举办了“Le musée qui n'existait pas”展览，这是一个由70个彩色牢房和镜子组成的迷宫。

He has exhibited at the Venice Biennale many times, and in 1986 when he represented France he won the Golden Lion for the best pavilion. In 2002 at the Centre Pompidou he staged the exhibition “Le musée qui n'existait pas”, a labyrinth composed by seventy coloured cells with plays of mirrors.

丹尼尔·布伦通过现场安装条纹和颜色来改变公共空间、建筑和日常环境，这表明他对画家和艺术家的整体观念进行了重塑。

Daniel Buren transforms public spaces, architecture and everyday environments through in-situ installations of stripes and color that are indicative of his reinvention of the idea of the painter and artist in general.

布伦是当代、概念和极简主义艺术的提供者，为当代艺术家在观众对装置所占空间的体验中发挥影响力树立了先例。

Buren, a purveyor of contemporary, conceptual and minimalist art has set a precedent for contemporary artists to become influential in the viewer’s experience of the space occupied by installations.

©Daniel Buren

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