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拍品專文
‘I was working with painting, but I was never satisfied and then one day I found in the marché Saint-Pierre a material, a striped linen, which was in a way much closer to what I wanted to do than what I was able to do with painting. I started using the material with very little paint and little by little the painting reduced to the point I realized I was very close to what I wanted, and that opened the door to something else I hadn’t thought about which was to work with the space and work outside of the art system, galleries and museums.’ DANIEL BUREN
One of the most iconic conceptual statements of modernist visual language, Daniel Buren’s stripes have appeared as interventions in art galleries, metro stations, streets and in private homes. Acrylique sur tissu recto-verso, one of Buren’s small-scale paintings to feature the signature motif, was painted at the height of the artist’s dramatic rise to prominence. Buren’s application of white acrylic, which bookends the ground on either side and encircles the entire support, is the only paint to be used. Buren first conceived of his striped motif in 1965, strolling through the Saint-Pierre market in Paris and stumbling across a striped canvas with alternating colours of equal width. By painting over the outermost off-white stripes twice with white acrylic paint, Buren chromatically distinguished between support and painted surface. As Guy Lelong has noted, ‘as soon as its outer stripes are painted over, the striped fabric necessarily evokes painting since it is directly confronted with it. A subtle dialectic is therefore established, since on the one hand the striped fabric evokes the painting partially covering it and, on the other, the form of the painted areas is “dictated” by the ground’s design’ (G. Lelong, Daniel Buren, Paris, 2002, p.34).
Acrylique sur tissu recto-verso is contemporary to some of Buren’s most infamous public installations. Aiming for what Buren termed the ‘zero degree’ of painting, Buren started to use his striped canvases as a means to challenge and unveil the visual characteristics of their contextual surroundings, creating in situ works that were completed by their settings. Stirred by the eruption of protests in May 1968, Buren championed the potential of the artwork to catalyse extroverted surveillance and stir revolutionary change. Altering the personality of Parisian streets and subways in 1970, Buren moved towards a critique of the institution, intervening with the public spaces of galleries; the most significant of which, Peinture/Sculpture, 1971, disturbed the continuous spatial flow of the Guggenheim’s central spiral with a monumental, 20-metre-high canvas. The present work is a vital antecedent to these grandiose interferences. Intended to be placed on the floor and leant against a wall, it is a powerful conceptual example of how an image can dramatically alter the identity of an internal space.
One of the most iconic conceptual statements of modernist visual language, Daniel Buren’s stripes have appeared as interventions in art galleries, metro stations, streets and in private homes. Acrylique sur tissu recto-verso, one of Buren’s small-scale paintings to feature the signature motif, was painted at the height of the artist’s dramatic rise to prominence. Buren’s application of white acrylic, which bookends the ground on either side and encircles the entire support, is the only paint to be used. Buren first conceived of his striped motif in 1965, strolling through the Saint-Pierre market in Paris and stumbling across a striped canvas with alternating colours of equal width. By painting over the outermost off-white stripes twice with white acrylic paint, Buren chromatically distinguished between support and painted surface. As Guy Lelong has noted, ‘as soon as its outer stripes are painted over, the striped fabric necessarily evokes painting since it is directly confronted with it. A subtle dialectic is therefore established, since on the one hand the striped fabric evokes the painting partially covering it and, on the other, the form of the painted areas is “dictated” by the ground’s design’ (G. Lelong, Daniel Buren, Paris, 2002, p.34).
Acrylique sur tissu recto-verso is contemporary to some of Buren’s most infamous public installations. Aiming for what Buren termed the ‘zero degree’ of painting, Buren started to use his striped canvases as a means to challenge and unveil the visual characteristics of their contextual surroundings, creating in situ works that were completed by their settings. Stirred by the eruption of protests in May 1968, Buren championed the potential of the artwork to catalyse extroverted surveillance and stir revolutionary change. Altering the personality of Parisian streets and subways in 1970, Buren moved towards a critique of the institution, intervening with the public spaces of galleries; the most significant of which, Peinture/Sculpture, 1971, disturbed the continuous spatial flow of the Guggenheim’s central spiral with a monumental, 20-metre-high canvas. The present work is a vital antecedent to these grandiose interferences. Intended to be placed on the floor and leant against a wall, it is a powerful conceptual example of how an image can dramatically alter the identity of an internal space.