Daniel Buren - Evening & Day Editions London Wednesday, January 17, 2024 | Phillips

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  • “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 colouring 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 centred 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

      Personal copy of the publisher and part of the Archive of Edition Schellmann since time of publication

    • Literature

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

Works from the Archive of Edition Schellmann to benefit the Ars Publicata Project


La barre haute (The High Bar)

Wood (MDF) multiple lacquered in green and white, to be installed centred over a door.
8.7 x 78.3 x 8.7 cm (3 3/8 x 30 7/8 x 3 3/8 in.)
Signed and numbered 'HC 1/2' in black ink on the accompanying Certificate of Authenticity (an hors commerce example, the edition was 25 colour variants and 5 artist's proofs), published by Edition Schellmann, Munich and New York.

Full Cataloguing

£5,000 - 7,000 ‡♠

Sold for £24,130

Contact Specialist

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+44 20 7318 4024

Rebecca Tooby-Desmond
Specialist, Head of Sale, Editions

Robert Kennan
Head of Editions, Europe

Anne Schneider-Wilson
Senior International Specialist, Editions

Louisa Earl
Associate Specialist, Editions

Evening & Day Editions

London Auction 17 - 18 January 2024