Daniel Buren - Editions & Works on Paper New York Tuesday, October 22, 2024 | Phillips
  • “A certain type of work can very well journey from one place to another, provided that it follows certain precise rules of instructions. This is the case with the works that can be 're-per-formed' the same way a work of music can be performed over and over again. Each "re-performance" generates new readings and interpretations, which originate from each new site in which the work is installed.”
    —Jörg Schellmann

    Since 1965, Daniel Buren's installation works have been defined by the enduring presence of 8.7 cm-wide vertical stripes. These stripes find expression in paintings and objects, but predominantly in site-specific public installations, such as Les Deux Plateaux in the inner courtyard of the Palais Royal (1986-present) and L'Observatoire de la lumière at the Fondation Louis Vuitton (2016-17), both in Paris. Buren's interventions unfold in situ, actively engaging with and transforming the spaces they inhabit. By appropriating and coloring these environments, his installations become critical tools that provoke contemplation on how we perceive and interact with space, both physically and socially. Additonally, Buren's nuanced exploration prompts viewers to reconsider the dynamics of observation and to question how we engage with art. In doing so, he not only demonstrates that art can exist anywhere, but also blurs the boundary of where art begins and ends.

     

    Buren’s La Barre Haute is accompanied by guided instructions which specify that the work must be displayed centered above a door frame. By insisting on the specifics of the artwork’s installation, Buren imparts meaning not only to the work itself, but to its relationship with its surroundings. Collaboration is inherent, as the creative process is complete once the owner installs it in their own space. Placed above a door, La Barre Haute interacts with architecture in a manner visually resonant to signage, drawing the viewer’s eye up. In doing so, it encourages one to question the signs and symbols we encounter on a daily basis, blurring the lines between art and the everyday.

    • Provenance

      Edition Schellmann, Munich
      Private German Collection

    • Literature

      see Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 62

350

La barre haute (The High Bar)

2001
Unique wood (MDF) multiple lacquered in red and white, to be installed centered over a door.
3 3/8 x 30 7/8 x 3 3/8 in. (8.6 x 78.4 x 8.6 cm)
Signed and numbered 'AP 1/5' in black ink on the accompanying Certificate of Authenticity issued by the publisher (an artist's proof, the edition was 25 color variants), published by Edition Schellmann, Munich and New York.

Full Cataloguing

Estimate
$7,000 - 9,000 

Sold for $17,780

Editions & Works on Paper

New York Auction 22 - 24 October 2024