Daniel Buren appeared at the forefront of the artistic scene through the public and often spectacular demonstrations organized between January and September 1967 by the BMPT group (an acronym consisting of the names of Buren, Mosset, Parmentier, Toroni). Motivated by the same critical reflection on painting, BMPT artists have developed an elementary formal vocabulary (vertical stripes, horizontal stripes, black circles, brushstrokes) whose execution is a mechanical and repetitive gesture. Their choice of a minimum intervention and perfect neutrality stems from a desire to break with the illusion of art, to demystify painting in order to better assert its pure and simple presence. Thus, the striped fabric strips that Buren began using around 1965 became from 1967 onwards the "visual tool" (Buren) from which he legitimized his entire conception of painting.
Lot 26 - *Daniel Buren (born in 1938)
White acrylic paint on white and blue striped fabric, December 1969
Peinture acrylique blanche sur toile de coton tissé à rayures blanches et bleues, alternées et verticales de 8.7 cm de large chacune
85.2 x 100.5 cm
Un Avertissement (certificat) sera rédigé par Daniel Buren au nom du nouvel acquéreur
Provenance :
- Collection particulière, Bruxelles, 1970
- Collection particulière, Belgique, 2011
- Collection particulière, Paris
Bibliographie : Annick Boisnard et Daniel Buren, Catalogue raisonné "Daniel Buren 1967-1969", répertoriée sous le n°T III-142
PHOTO-SOUVENIR: PEINTURE ACRYLIQUE BLANCHE SUR TISSU RAYE BLANC ET BLEU, DECEMBRE 1969, 85.2 x 100.5 CM
© Daniel Buren/Adagp, Paris. Détail
Result : 123500 €
As shown in White Acrylic Painting on White and Blue Striped Fabric (1969), the subject shown corresponds to the only technique used: it consists of vertical white and blue stripes, 8.7 cm wide, the two extreme white stripes being covered with white paint on the front and back. Through this "reduction of the painted fact" (Buren), the artist questions and develops the notion of painting to the very limits of its functioning. Depriving painting of all emotional charge, Buren reveals nothing more than his material reality.
