{"id":748698,"date":"2025-10-24T11:30:23","date_gmt":"2025-10-24T09:30:23","guid":{"rendered":"https:\/\/numero.com\/non-classifiee\/dynamic-duo-daniel-buren-and-miles-greenberg-at-reiffers-initiatives-for-art-basel-paris\/"},"modified":"2025-10-24T11:32:03","modified_gmt":"2025-10-24T09:32:03","slug":"dynamic-duo-daniel-buren-and-miles-greenberg-at-reiffers-initiatives-for-art-basel-paris","status":"publish","type":"post","link":"https:\/\/numero.com\/en\/art-design\/art-en\/dynamic-duo-daniel-buren-and-miles-greenberg-at-reiffers-initiatives-for-art-basel-paris\/","title":{"rendered":"Dynamic duo Daniel Buren and Miles Greenberg at Reiffers Initiatives for Art Basel Paris"},"content":{"rendered":"\n
\"Daniel\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Daniel Buren,
La Fac\u0327ade aux acacias<\/em>, permanent in situ work, Reiffers Mentorship 2025, Paris. \u00a9 DB, ADAGP. Photo Stephane Aboudaram.<\/figcaption><\/figure>\n\n\n\n

A Reiffers Initiatives exhibition that opens a dialogue between Daniel Buren and Miles Greenberg<\/h2>\n\n\n\n

To mark the fifth anniversary of its Mentorship program<\/strong>, Reiffers Initiatives presents the expected, yet fascinating duo Daniel Buren and Miles Greenberg<\/strong><\/a>, Mentor and Young Talent of 2025. On paper, everything seems to set them apart – generation, visual language, relationship to the body.<\/p><\/p>\n\n\n\n

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From this constructive tension, fuelled both by friction and mutual admiration, emerges a hybrid exhibition spread over two floors. Downstairs, Greenberg<\/strong>\u2019s visceral, performative world and upstairs, under the glass roof, Buren<\/strong>\u2019s geometric, light-filled touch. Two realms that refuse to merge, but instead respond to each other from a distance.<\/p> \n \n<\/div> \n<\/div> \n<\/div> \n<\/div> \n<\/div> \n<\/div> \n<\/article><\/p>\n\n\n\n

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\"Daniel\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button><\/figure>\n
Daniel Buren,
La Fac\u0327ade aux acacias<\/em>, permanent in situ work, Reiffers Mentorship 2025, Paris (details). \u00a9 DB, ADAGP. Photo Stephane Aboudaram.<\/figcaption><\/figure>\n\n\n\n

A shared space<\/h2>\n\n\n\n

One might have expected their encounter to unfold in the realm of performance. After all, Daniel Buren<\/strong><\/a> had explored performance, not only as a medium but also through the set protocols he now applies when creating and producing in situ works. A field that Miles Greenberg<\/strong>, a performer at heart, could have chosen to engage with to question his own rituals. But that wasn\u2019t the case. Although they don\u2019t share the same approach to the body, what they do have in common is the obsession with space\u2026 Not as a backdrop, but as a place for sensory experience.<\/p><\/p>\n\n\n\n

For Buren, this exploration takes two shapes. Outside, La Fa\u00e7ade aux Acacias<\/em><\/strong> dresses the fa\u00e7ade of the Reiffers Initiatives building in a graphic interplay visible from the street. Upstairs, Nouvelles images du ciel<\/em><\/strong>, an in situ work on the glass roof, reinvents the perception of light. As for Greenberg<\/strong>, he takes over the ground floor with Solaris<\/em><\/strong>, an installation combining incense, earth, puddles, and cast aluminum sculptures set on double plinths.<\/p><\/p>\n\n\n\n

\"Gods\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Miles Greenberg,
Gods of Solaris<\/em>. \u00a9 Photo \/ Florent Tanet\/ Reiffers Initiatives.<\/figcaption><\/figure>\n\n\n\n

From performance to sculpture<\/h2>\n\n\n\n

A performance by his friend, singer-songwriter Yseult<\/strong>, will activate the installation. It will extending his critical fascination with Solaris<\/em> (1961), the novel by Polish writer Stanislaw Lem<\/strong>, and Tarkovsky\u2019s film adaptation, in which the first anthropomorphic manifestation created by an extraterrestrial intelligence is a Black woman.<\/p><\/p>\n\n\n\n

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Greenberg\u2019s experience of the body unfolds in a soft darkness, echoing a line by poet Aim\u00e9 C\u00e9saire<\/strong>: \u201cWe will not hand the world to the assassins of dawn<\/em>.\u201d Two worlds clash and echo one another. First,\u00a0Plat<\/strong>o\u2019s cave, where knowledge is shaped through contrast, through shadow. Then, Buren\u2019s<\/strong> cathedral<\/strong>, where dazzling light becomes a form of spiritual revelation upstairs.<\/p> \n \n<\/div> \n<\/div> \n<\/div> \n<\/div> \n<\/div> \n<\/div> \n<\/article><\/p>\n\n\n\n

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Left: Miles Greenberg, Saint George Slaying the Dragon<\/em> (Grant). Right: Miles Greenberg, Saint Michael Vanquishing the Devil<\/em> (Viorel). \u00a9 Photo: Florent Tanet.<\/p>\n\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/article><\/figcaption><\/figure>\n\n\n\n

These are Miles Greenberg<\/strong>\u2019s first sculptures. What stands out immediately is how deeply infused they are in a performative backstage world. Up until now, performance\u00a0 used to be the core of his practice. A form of experimentation in which he stages his body<\/strong> as both a living and sculptural entity, capable of inhabiting a space according to principles of proportion, movement, and interaction with the audience.<\/p><\/p>\n\n\n\n

From his earliest performances, one could already sense a attempt at building sculpturesque bodies. The postures he adopted – often dramatic and exaggerated – evoked the baroque tradition of great Italian sculptors like Gian Lorenzo<\/strong> Bernini<\/strong>, where dramatic tension meets formal beauty, or the expressive bodies of some Mannerist<\/strong> sculptors. Each pose is designed to create a heightened sense of expressive sophistication.<\/p><\/p>\n\n\n\n

\"Daniel\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Daniel Buren,
Nouvelles images du Ciel<\/em>, in situ work, Reiffers Mentorship 2025, Paris (detail). \u00a9 DB, ADAGP. Photo: Florent Tanet.<\/figcaption><\/figure>\n\n\n\n

To preserve or dematerialise? When colonialism faces itself<\/h3>\n\n\n\n

The mirror<\/strong> is a motif shared by the two artists. In Greenberg<\/strong>\u2019s work, it lies on the ground beneath the sculpture. A mirrored pedestal that reflects the piece back onto its surroundings and questions the very authority of the pedestal.<\/p><\/p>\n\n\n\n

It is a way for the artist of playing with the porous boundary between artwork and monument, along with all the respectability, memory, and rigidity that a monument implies. Greenberg specifically engages with this ambivalence – elevating and deifying the object, while simultaneously dematerializing the pedestal that sanctifies it.
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“Daniel Buren and Miles Greenberg.” 2025 Mentorship exhibition, from October 24th to December 13th, 2025, at Reiffers Initiatives<\/a>, 30 rue des Acacias, Paris 17th.<\/em><\/p> \n \n<\/div> \n<\/div> \n<\/div> \n<\/div> \n<\/div> \n<\/div> \n<\/article><\/p>\n","protected":false},"excerpt":{"rendered":"

A Reiffers Initiatives exhibition that opens a dialogue between Daniel Buren and Miles Greenberg To […]<\/p>\n

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