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Nara Roesler opens exhibition of works by Daniel Buren
work II, 2017. Madeira, cola, laca, espelho e adesivo vinil, 236,7 x 394,5 cm.
SAO PAULO.- Following interventions at Galeria Nara Roesler in Rio de Janeiro in 2015, Daniel Buren brings previously unseen works to the gallery's São Paulo venue. The acclaimed French artist is presenting pieces created specifically for this exhibition. The show features nine different sets of three-dimensional wall objects, in addition to sets of 8–14 mirrors each.

Buren, whose Brazilian appearances also include the São Paulo Art Biennial (1983 and 1985) and a showing at Centro Municipal de Arte Hélio Oiticica (2001), abandoned painting in 1965 for a highly conceptual brand of art based on restraint in the use of elements. He began to use a striped curtain material, the components of which became the basis of his artistic syntax—alternating white and colored vertical stripes 8.7 centimeters wide. Boasting his trademark frugality of means, whose results are nonetheless rich and complex, the artist set about developing his research in multiple supports, even as he proceeded to conquer the architecture of spaces. His unique approach dislocates or highlights ceiling cornices, walls, columns, and other elements.

The evolvement of Buren's trademark into columns was another step forward, spawning iconic installations such as the black-and-white-striped columns that have populated the Palais Royal courtyard in Paris since 1986. The piece spurred debate on the implementation of contemporary artworks in historic buildings, such as the architect Ieoh Ming Pei's Louvre Pyramid, completed three years after Buren's own work.

Buren also began using mirror systems and transparencies to allow light to reflect and color to project into the environment, as in his amazing 2012 Grand Palais installation. He incorporated alternately blue and transparent glass into the skylight, projecting a chessboard-like pattern onto the floor. Additionally, numerous colored-glass discs were set atop columns, enabling audience members to pass underneath them and thus enhancing the color effects.

The street is one of his preferred spaces these days. He created the notion of in situ work in the field of fine arts, to characterize a practice intrinsically tied to the topological and cultural specificity of the places where the work is presented. His more recent offerings are ever-increasingly complex architectural instruments that are in constant dialog with the existing architecture and involve an alteration of space, a playful multiplication of materials (wood, vinyl, plastic, grids), and an explosion of color. From the beginning of the 1990s, Buren no longer applied color just to walls; he literally "installed it in space," in the form of filters and colored sheets of glass or Plexiglas.

To date, Daniel Buren has produced thousands of in situ installations all over the world. The majority of these are destroyed after being presented, and so do not exist outside the time and space for which they are conceived. However, there is also an important body of his permanent works in the collections of leading museums around the world.

Buren's solo show at the Apollinaire in Milan (1968) and his participation in the international "Prospect" exhibitions in Düsseldorf (1968 and 1969) marked the true beginning of his rise to celebrity. In the 1970s, he began showing his work in museums, often outside of France, and in conceptual art exhibits. This period also saw him embrace widely varied supports—walls, doors, poster board, street signs, paper and canvas under glass, on stairways, trains, and ships, in the form of flags on the rooftops of Paris, the waistcoats of museum custodians, et cetera. He provided a great talking point and generated controversy in 1971 at the 5th Guggenheim International Exhibition, and in 1972 at the celebrated Documenta 5, organized by Harald Szeemann. Political changes in the 1980s allowed him to occupy public spaces in a less fleeting fashion, and he began producing permanent works. In 1986, Daniel Buren was awarded the Leone d'Oro for best pavilion at the Venice Biennale.






Today's News

April 17, 2017

Builders find lost archbishops of Canterbury in London's St Mary's-at-Lambeth crypt

Frida Kahlo and Diego Rivera exhibit arrives at the Heard Museum

Dresden State Art Collections opens two new permanent exhibitions in the Armoury in the Renaissance wing

The Met reunites Caravaggio's last two paintings in exhibition

Eli Wilner & Co. to hold lecture and exhibition on the design and function of the Orientalist picture frame

Kate O'Donovan Cook awarded major grant

Total Charlie: Chaplin fans set a world record

AD magazine and PIASA to stage auction of furniture conceived by artists, decorators and designers

Ancient sacred art resurrected in city of Jesus's birth

Felicja Blumental International Music Festival announces highlights from this year's edition

Peter Blum's first exhibition of works by the Swiss artist Sonja Sekula to open in New York

Almine Rech Gallery opens exhibition of works by Ziad Antar

Nara Roesler opens exhibition of works by Daniel Buren

Musicians chase fame on west Africa's musical islands

Heritage Museums & Gardens opens "Painted Landscapes: Contemporary Views"

Ronny Quevedo presents a series of new and site-specific works at the Queens Museum

Intuit celebrates Henry Darger's 125th birthday with new exhibition

Sleeping Beauty: Charlotte Jackson Fine Art opens group exhibition

mudac exhibits the work of Swiss designer David Bielander

Exhibition of new work by British artist Paul Johnson on view at Camden Arts Centre

Deborah Emont Scott named Louise Taft Semple President/CEO of the Taft Museum of Art

New exhibition celebrates affordable and accessible art

New, multi-sensory exhibition features work from growing collection of Latin American art

Exhibition at Rowan University Art Gallery explores the way the food system works

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4.- British treasure found in piano

5.- Celebrated Polish sculptor and fiber artist Magdalena Abakanowicz dies at 86

6.- The Met reunites Caravaggio's last two paintings in exhibition

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8.- Exhibition delves into the manner that melancholy is represented in Mexican art

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10.- The 21st Biennale of Sydney (2018) announces first 21 artists for its 45th anniversary exhibition



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