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Staging the Political: Repetition, Difference, and Daniel Buren's Cabanes Éclatées

Staging the Political: Repetition, Difference, and Daniel Buren's Cabanes Éclatées Daniel Buren. Site in Situ, No. 1, 1984. As installed in Galerie Fischer, Düsseldorf, May 1984. Staging the Political: Repetition, Difference, and Daniel Buren’s Cabanes Éclatées ALEXANDER ALBERRO AND NORA M. ALTER Every act is political, and, whether one is conscious of it or not, the very fact of presenting one’s work/projects, does not escape this rule. —Daniel 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 Buren’s visual work demands that it be read alongside the artist’s 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 Buren’s 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 registers—to 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 http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Grey Room MIT Press

Staging the Political: Repetition, Difference, and Daniel Buren's Cabanes Éclatées

Grey Room , Volume Summer 2010 (40) – Jul 1, 2010

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Publisher
MIT Press
Copyright
© 2010 by Grey Room, Inc. and the Massachusetts Institute of Technology.
ISSN
1526-3819
eISSN
1536-0105
DOI
10.1162/GREY_a_00001
Publisher site
See Article on Publisher Site

Abstract

Daniel Buren. Site in Situ, No. 1, 1984. As installed in Galerie Fischer, Düsseldorf, May 1984. Staging the Political: Repetition, Difference, and Daniel Buren’s Cabanes Éclatées ALEXANDER ALBERRO AND NORA M. ALTER Every act is political, and, whether one is conscious of it or not, the very fact of presenting one’s work/projects, does not escape this rule. —Daniel 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 Buren’s visual work demands that it be read alongside the artist’s 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 Buren’s 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 registers—to 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

Journal

Grey RoomMIT Press

Published: Jul 1, 2010

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