Daniel Buren

Peinture sur/sous verre – Cadré / Encadré / Décadré # 58 I; Peinture sur/sous verre – Cadré / Encadré / Décadré # 59 J, 1990

© Daniel Buren / SOCAN (2022) • Photo: Richard-Max Tremblay

Daniel Buren, Peinture sur/sous verre – Cadré / Encadré / Décadré # 58 I; Peinture sur/sous verre – Cadré / Encadré / Décadré # 59 J, © Daniel Buren / SOCAN (2022) • Photo: Richard-Max Tremblay

© Daniel Buren / SOCAN (2022) • Photo: Richard-Max Tremblay

Daniel Buren, Peinture sur/sous verre – Cadré / Encadré / Décadré # 58 I; Peinture sur/sous verre – Cadré / Encadré / Décadré # 59 J, © Daniel Buren / SOCAN (2022) • Photo: Richard-Max Tremblay

© Daniel Buren / SOCAN (2022) • Photo: Richard-Max Tremblay

Daniel Buren, Peinture sur/sous verre – Cadré / Encadré / Décadré # 58 I; Peinture sur/sous verre – Cadré / Encadré / Décadré # 59 J, © Daniel Buren / SOCAN (2022) • Photo: Richard-Max Tremblay
Artist
Daniel Buren
Title
Peinture sur/sous verre – Cadré / Encadré / Décadré # 58 I; Peinture sur/sous verre – Cadré / Encadré / Décadré # 59 J
Dimensions and medium
20 frames : plexiglass, wood, acrylic paint, and adhesive vinyl, 14 elements : 70 × 70 cm (each), 6 elements : 30 × 30 cm (each)
Artwork description
In this work, two walls face each other: one painted in white (Peinture sur/sous verre – Cadré / Encadré / Décadré # 58 I), the other in black (Peinture sur/sous verre – Cadré / Encadré / Décadré # 59 J). While the frames are hung askew, the bands remain vertical, forming a virtual square that can be completed by the mind’s eye. The piece stems from Buren’s Travaux situés, presented at Galerie René Blouin in 1990. The work addresses the idea of the pattern, the frame and the support, and their arbitrariness within the larger art system. Contrary to in situ art practices, Buren’s “situated” works can be presented in various sites and are re-installed according to detailed instructions that determine the relationship of the elements on the wall with regards to an ultimate condition that lies beyond the artist’s control: the choice of the exhibition wall. This approach challenges the notion of the author and the autonomy normally associated with the work of art.

See Also

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Wyn Geleynse, Home, 1986 Home, 1986, Glass, lamp back, painted wood, projector, metal support, and 16mm black and white film, loop, mute, 1 min 10 s.
Liquidity Inc., 2014, HD video, colour, signle-band, sound, 30 min, and architectural structure, 1/7.
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Charles Stankievech, LOVELAND, 2009-2011 LOVELAND, 2009-2011, HD video, 5 min, sound by Tim Hecker, limited edition of the book « The Purple Cloud » from Matthew Phipps Shiel, and Chatham synthetic emeralds.
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Le Terrain du dictionnaire A/Z, 1980, Styrofoam, wooden sticks, cardboard, and paper.
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still of Unwriting, 2010, 4 colour videos, 4-channel projection, sound, 12 min, 1/5.
Nelson Henricks, Unwriting, 2010 still of Unwriting, 2010, 4 colour videos, 4-channel projection, sound, 12 min, 1/5.
Propos type, 1977, Black and white video, mute, 30 min, television, masking tape, and elastic tape.
Jean-François Cantin, Propos type, 1977 Propos type, 1977, Black and white video, mute, 30 min, television, masking tape, and elastic tape.
detail of Jumbo Spoons and Big Cake, 2000, Mixed media and various materials.
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