Daniel buren biography rapides parish
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In his work life finds its way into art, while autonomous art is able to reconnect with life.
Daniel Buren was born in Boulogne-Billancourt (Paris), France in 1938. He lives and works in situ. Throughout his career Buren has created artworks that complicate the relationship between art and the structures that frame it.
Born in Boulogne-Billancourt (Paris) in 1938, Daniel Buren lives and works in situ.
In the mid 60’s, Buren began to create paintings that radically questioned and explored the economy of the media used in his work and the relationship between background (support medium) and form (painting).
In 1965, when he was painting pictures that combined rounded forms and stripes varying in sizes and colours, he chose to use an industrial fabric with fixed vertical 8,7 cm-wide stripes alternating white with another colour.
In 1986, he realized his most controversial public commission, today classified as a "historical monument" Les Deux Plateaux (The Two Plateaus), for the Courtyard of Honour of the Royal Palace in Paris. In the same year he signed the scenography of the ballet Daphnis et Chloé, by Ravel/Millepied at the Opéra Bastille, Paris.
Selected Solo Exhibitions
Daniel Buren
Daniel Buren has punctuated the past 50 years of art with unforgettable interventions, controversial critical texts, thought-provoking public art projects and engaging collaborations with artists from different generations.
The present courthouse was constructed in 1939 with various alterations and additions completed in 1976.
It is borderd by Grant Parish (north), La Salle Parish (northeast), Avoyelles Parish (east), Evangeline Parish, Allen Parish (southwest), Vernon Parish (west), Natchitoches Parish (northwest) . The Parish seat is Alexandria .
Rapides Parish Courthouse - 1939
Its first courthouse was built in 1820 though little is known about it because federal troops burned down almost the entire town of Alexandria in 1864 and most of the parish records where lost.
In 1965 he began using his 8.7cm-wide vertical stripes as the starting point for research into what painting is, how it is presented, and more broadly, the physical and social environment in which an artist works. In 2007, he received the Praemium Imperiale for Painting from Japan. (during Spanish rule, it was El Rapido) Rapids in the French language is Rapide, which is already pluralized.
In the early 1960s, he developed a radical form of Conceptual Art, a “degree zero of painting” as he called it, which played simultaneously on an economy of means and the relationship between the support and the medium. Beginning from this extremely simple and banal visual register, Buren further impoverished it by repeating it systematically to reach the grade of zero painting.
This reflection will cause the observer’s attention to shift from the work to the physical and social environment within which the artist intervenes.
Eventually, he abandoned his studio in 1967, to favour work in situ, starting from the street, then the gallery, the museum, the landscape or the architecture.
His “visual tool” is based on the use of alternating stripes, which let him reveal the significant details of the site where he is working, by employing them in specific, and at times complex, structures lying somewhere between painting, sculpture and architecture.
His in-situ works play with points of view, spaces, colours, light, movement, the surrounding environment, angles or projections, acquiring their decorative force by radically transforming the sites.
Incisive, critical and engaged, Buren’s work is in a continual state of development and diversification, and never fails to stimulate comment, admiration and disagreement.
Travaux situés 2013-2014, Kunstsammlungen, Chemnitz, Germany (2018); Daniel Buren – Del medio círculo al círculo completo: un recorrido de color, Obras in situ, MAMBO – Museo de Arte Moderno de Bogotà (2017), Proyecciones/Retroproyecciones. They are critical tools addressing questions of how we look and perceive, and the way space can be used, appropriated, and revealed in its social and physical nature.
It is one of the 19 parishes, which were created by dividing the Territory of New Orleans. Most recently, he was selected for the site specific Monumenta 2012 commission at the Grand Palais in Paris, France. Unincorporated areas of interest in the parish include Barrett, Big Island, Blanche, Bring Hurst, Buckeye, Calcasieu, Campbell, Camp Stafford, Cedar Grove, Chambers, Clifton, Cloverdale, Crane, Deville Post Office, Echo, Elmer, Fitzgerald, Flatwoods, Green Gables, Hineston, Hijou, Hemphill, Holloway, Hotwells, Kings Field, Kolin, Lamourir, Latanier, Lena, Lewiston, Libose, Loyd, Moreland, Long Leaf, McNutt, Meeker, Melder, Oden, Osborn, Otis Post Office, Paradise, Poland, Rock Quarry, Rapides, Rodemacher, Roxana, Ruby Post Office, Shady Oaks, Sharp, Seiper Post Office, Spur, Tioga, Turpin, Union Hill, Valder Rouge, Vortex, Weil, West Port, Whittington, Willow Glen, Wrida, Zimmerman and Zimmerman Camp.
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That same year, he produced his first and most controversial public commission, The Two Plateaux, for the main courtyard of the Palais-Royal in Paris, France. All of Buren’s interventions are created in situ, borrowing and colouring the spaces in which they are presented. Cites, Towns and Communities include Alexandria, Ball, Boyce, Cheneyville, Deville, Forest Hill, Glenmora, Lecompte, Libuse, McNary, Pineville, Woodworth .
Rapides Parish was named for the rapids in Red River, during French rule and the subsequent seat of government for this area at that time, the Post of Rapide.