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Daniel Buren. Site in Situ, No. 1, 1984. As installed in Galerie Fischer, Düsseldorf, May 1984. Staging the Political: Repetition, Difference, and Daniel Burenâs Cabanes Ãclatées ALEXANDER ALBERRO AND NORA M. ALTER Every act is political, and, whether one is conscious of it or not, the very fact of presenting oneâs work/projects, does not escape this rule. âDaniel Buren, 19691 To write an interpretive essay on the work of an artist who is also a prolific writer is inherently fraught with perils. Surely, any serious attempt to understand Daniel Burenâs visual work demands that it be read alongside the artistâs extensive writings in which he not only alerts us to where and how to look at his work but also locates the areas or registers where the meaning effects occur. Let us therefore enter into a dialogue with not only Burenâs visual practice but his critical and analytical writings as well, in order to try to specify the kinds of meaning that pass through and between those registersâto try to get below the surface of his statements.2 For Buren, writing constitutes more than a mere explanation of his work a posteriori, which would minimize the interplay between the
Grey Room – MIT Press
Published: Jul 1, 2010
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