{"id":1652,"date":"2012-05-10T08:37:32","date_gmt":"2012-05-10T06:37:32","guid":{"rendered":"https:\/\/unik-artmag.com\/?p=1652"},"modified":"2026-05-18T10:33:11","modified_gmt":"2026-05-18T08:33:11","slug":"daniel-buren-le-hussard-sous-la-verriere-du-grand-palais","status":"publish","type":"post","link":"https:\/\/great-artmag.com\/en\/daniel-buren-le-hussard-sous-la-verriere-du-grand-palais\/","title":{"rendered":"Daniel Buren, le hussard sous la verri\u00e8re du Grand-Palais"},"content":{"rendered":"

Daniel Buren est un artiste contemporain fran\u00e7ais c\u00e9l\u00e8bre pour son esprit de contradiction et son art in situ. Il bouscule les codes du march\u00e9 de l’art et des mus\u00e9es \u00e0 travers des installations monumentales et provocatrices.<\/strong><\/p>\n

L’art in situ comme outil de contestation<\/h3>\n

Daniel Buren con\u00e7oit ses \u0153uvres uniquement en fonction de l’espace qui les accueille. Sa d\u00e9marche artistique vise \u00e0 r\u00e9v\u00e9ler l’architecture d’un lieu tout en critiquant les institutions officielles. D\u00e8s ses d\u00e9buts, l’artiste refuse la peinture traditionnelle qu’il juge trop limit\u00e9e. Il pr\u00e9f\u00e8re travailler directement dans l’espace public pour bousculer le spectateur. Sa signature visuelle na\u00eet en 1967 avec l’utilisation de tissus ray\u00e9s d\u00e9nich\u00e9s au march\u00e9 Saint-Pierre. Ces bandes verticales altern\u00e9es de 8,7 centim\u00e8tres de large deviennent son outil visuel \u00e9talon. Avec le collectif BMPT, il pr\u00f4ne une peinture neutre et r\u00e9p\u00e9titive, totalement d\u00e9pourvue d’\u00e9motion. Cette approche radicale suscite rapidement de vives critiques dans le milieu de l’art.<\/p>\n

Les provocations face aux institutions mus\u00e9ales<\/h3>\n

L’artiste n’h\u00e9site pas \u00e0 provoquer les institutions pour affirmer sa libert\u00e9 de cr\u00e9ation. En 1969, il tapisse ill\u00e9galement la ville de Berne en marge d’une exposition c\u00e9l\u00e8bre. Cette intervention sauvage lui vaut une arrestation par la police et un fort \u00e9cho m\u00e9diatique. Deux ans plus tard, le mus\u00e9e Guggenheim de New York censure son \u0153uvre g\u00e9ante suspendue dans le hall. Cette exclusion renforce sa r\u00e9putation de rebelle face au pouvoir culturel centralis\u00e9. Le march\u00e9 de l’art subit \u00e9galement les assauts de sa logique contestataire. Daniel Buren refuse par principe de signer ses \u0153uvres pour contrer la sp\u00e9culation financi\u00e8re. Pourtant, ce refus des codes n’emp\u00eache pas le succ\u00e8s commercial de son travail. L’artiste collabore activement avec de nombreuses galeries prestigieuses \u00e0 travers le monde entier.<\/p>\n

La conqu\u00eate conflictuelle de l’espace public<\/h3>\n

Le rejet des conventions s’exprime de mani\u00e8re \u00e9clatante au c\u0153ur de la capitale fran\u00e7aise. En 1986, Daniel Buren installe les Deux Plateaux dans la cour d’honneur du Palais-Royal. Cette \u0153uvre suscite imm\u00e9diatement une pol\u00e9mique politique et esth\u00e9tique d’une violence rare. Les passants s’approprient pourtant massivement ces colonnes de marbre ray\u00e9es de noir et de blanc. L’artiste savoure ce conflit qui pousse le public \u00e0 s’interroger sur l’urbanisme.<\/p>\n

Cette volont\u00e9 d’investir des volumes impressionnants se d\u00e9ploie ensuite sous la verri\u00e8re du Grand Palais. Invit\u00e9 pour l’\u00e9v\u00e9nement Monumenta, Buren transforme la nef de 13 000 m\u00e8tres carr\u00e9s en \u0153uvre immersive. Il refuse l’entr\u00e9e principale du b\u00e2timent pour imposer un parcours de visite in\u00e9dit. L’installation modifie radicalement la perception de l’architecture gr\u00e2ce \u00e0 des filtres color\u00e9s translucides.<\/p>\n

Le renouvellement artistique lors de Monumenta<\/h3>\n

L’exposition intitul\u00e9e Excentrique(s) montre un cr\u00e9ateur en constante \u00e9volution technique. Pour cette intervention majeure, Daniel Buren d\u00e9cide de masquer ses c\u00e9l\u00e8bres rayures habituelles. Il les remplace par des piliers carr\u00e9s dont la largeur respecte sa mesure f\u00e9tiche. Ces structures guident le regard des visiteurs vers la lumi\u00e8re de la coupole. L’exp\u00e9rience plonge le promeneur dans un bain de couleurs primaires rigoureusement ordonn\u00e9es. L’artiste utilise uniquement quatre teintes industrielles class\u00e9es par ordre alphab\u00e9tique. Cette contrainte stricte permet d’\u00e9viter les choix subjectifs et de chasser le hasard. Daniel Buren prouve ainsi qu’il reste un grand magicien de l’espace en perp\u00e9tuel combat.<\/p>\n","protected":false},"excerpt":{"rendered":"

Daniel Buren est un artiste contemporain fran\u00e7ais c\u00e9l\u00e8bre pour son esprit de contradiction et son art in situ. Il bouscule les codes du march\u00e9 de l’art et des mus\u00e9es \u00e0 travers des installations monumentales et provocatrices. L’art in situ comme outil de contestation Daniel Buren con\u00e7oit ses \u0153uvres uniquement en fonction de l’espace qui les […]<\/p>\n","protected":false},"author":1,"featured_media":1653,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"tdm_status":"","tdm_grid_status":"","footnotes":""},"categories":[1197],"tags":[],"class_list":["post-1652","post","type-post","status-publish","format-standard","has-post-thumbnail","category-portrait-artiste"],"yoast_head":"\nDaniel Buren, le hussard sous la verri\u00e8re du Grand-Palais - GREAT-ARTMAG<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/great-artmag.com\/en\/daniel-buren-le-hussard-sous-la-verriere-du-grand-palais\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Daniel Buren, le hussard sous la verri\u00e8re du Grand-Palais - GREAT-ARTMAG\" \/>\n<meta property=\"og:description\" content=\"Daniel Buren est un artiste contemporain fran\u00e7ais c\u00e9l\u00e8bre pour son esprit de contradiction et son art in situ. 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