{"id":755155,"date":"2025-11-07T14:19:03","date_gmt":"2025-11-07T13:19:03","guid":{"rendered":"https:\/\/numero.com\/?p=755155"},"modified":"2025-11-07T14:20:07","modified_gmt":"2025-11-07T13:20:07","slug":"why-is-daniel-buren-still-so-relevant-today-bernard-blistene-answers-us","status":"publish","type":"post","link":"https:\/\/numero.com\/en\/art-design\/numero-art-en\/why-is-daniel-buren-still-so-relevant-today-bernard-blistene-answers-us\/","title":{"rendered":"Why is Daniel Buren still relevant today? Bernard Blist\u00e8ne answers us"},"content":{"rendered":"\n<figure data-wp-context=\"{&quot;imageId&quot;:&quot;6a20ef84b7ae0&quot;}\" data-wp-interactive=\"core\/image\" data-wp-key=\"6a20ef84b7ae0\" class=\"wp-block-image size-full wp-lightbox-container\"><img loading=\"lazy\" decoding=\"async\" width=\"900\" height=\"601\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on--pointerdown=\"actions.preloadImage\" data-wp-on--pointerenter=\"actions.preloadImageWithDelay\" data-wp-on--pointerleave=\"actions.cancelPreload\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2025\/10\/Photo-souvenir-Daniel-Buren-San-Gimignano-Cre_dit-Photo-Lorenzo-Fiaschi.jpg\" alt=\"Daniel Buren\" class=\"wp-image-744648\"\/><button\n\t\t\tclass=\"lightbox-trigger\"\n\t\t\ttype=\"button\"\n\t\t\taria-haspopup=\"dialog\"\n\t\t\tdata-wp-bind--aria-label=\"state.thisImage.triggerButtonAriaLabel\"\n\t\t\tdata-wp-init=\"callbacks.initTriggerButton\"\n\t\t\tdata-wp-on--click=\"actions.showLightbox\"\n\t\t\tdata-wp-style--right=\"state.thisImage.buttonRight\"\n\t\t\tdata-wp-style--top=\"state.thisImage.buttonTop\"\n\t\t>\n\t\t\t<svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"12\" height=\"12\" fill=\"none\" viewBox=\"0 0 12 12\">\n\t\t\t\t<path fill=\"#fff\" d=\"M2 0a2 2 0 0 0-2 2v2h1.5V2a.5.5 0 0 1 .5-.5h2V0H2Zm2 10.5H2a.5.5 0 0 1-.5-.5V8H0v2a2 2 0 0 0 2 2h2v-1.5ZM8 12v-1.5h2a.5.5 0 0 0 .5-.5V8H12v2a2 2 0 0 1-2 2H8Zm2-12a2 2 0 0 1 2 2v2h-1.5V2a.5.5 0 0 0-.5-.5H8V0h2Z\" \/>\n\t\t\t<\/svg>\n\t\t<\/button><figcaption class=\"wp-element-caption\"><em>Photo-souvenir :<\/em> <em>Daniel Buren<\/em>, San Gimignano. Photo credits: Lorenzo Fiaschi.<\/figcaption><\/figure>\n\n<p class=\"has-text-align-center wp-block-paragraph\"><a href=\"https:\/\/shop.numero.com\/en\/27-numero-art\"><em>Num\u00e9ro art 17 is available at newsstands and on iPad since October 18th<\/em>,\u00a0<em>2025.<\/em><\/a><\/p>\n\n<h2 class=\"wp-block-heading\">Daniel Buren, the giant of contemporary art<\/h2>\n\n<p class=\"wp-block-paragraph\"><p class=\"p1\">Nowadays, figuration is thriving. Not that it ever went away. And it has been aeons since a binary approach to <strong>painting<\/strong> stood up to scrutiny, something continually demonstrated by the many works which show that the subject of painting is painting itself. <strong>Figuration<\/strong> is back, and with it petty quarrels about subject, representation, expressiveness, and even illustration. In another era \u2013 for time passes, as I well know \u2013 a famous art historian and museum curator published <em>Consid\u00e9ration sur l\u2019\u00c9tat des Beaux-Arts<\/em> (<em>Considerations on the State of the Fine Arts<\/em>) [Jean Clair, Gallimard, 1983]. Tinged with a certain melancholy, the book was a success and became something of a bible. Its subtitle was <em>Critique of Modernity<\/em>.<\/p><\/p>\n\n<p class=\"wp-block-paragraph\"><p class=\"p1\">Four decades later, its observations have not swayed <strong><a href=\"https:\/\/numero.com\/en\/mode\/when-art-takes-the-catwalk-louis-vuitton-and-daniel-buren\/\">Buren<\/a><\/strong>. It seems more likely that they both afflicted him and convinced him that the path he has been pursuing since the mid-1960s is the right one, and that the foundations on which he has built his artistic programme remain, at the very least, effective. Concepts such as <em>in situ<\/em>, site-specific work, visual tools, points of view, and the many others he has constantly developed now form a lexicon in which questions of <strong>space<\/strong> and <strong>architecture<\/strong>, and of <strong>light<\/strong> and <strong>colour<\/strong>, solicit the viewer through the numerous pieces \u2013 some permanent, but many temporary \u2013 that Buren continues to create around the world.<\/p><\/p>\n\n<figure data-wp-context=\"{&quot;imageId&quot;:&quot;6a20ef84b80de&quot;}\" data-wp-interactive=\"core\/image\" data-wp-key=\"6a20ef84b80de\" class=\"wp-block-image size-full wp-lightbox-container\"><img decoding=\"async\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on--pointerdown=\"actions.preloadImage\" data-wp-on--pointerenter=\"actions.preloadImageWithDelay\" data-wp-on--pointerleave=\"actions.cancelPreload\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2025\/10\/La-Facade-aux-acacias-travail-permanent-in-situ-Reiffers-Mentorship-2025-Paris.-Detail.-&#xA9;-DB-ADAGP-Stephane-ABOUDARAM_04.jpg\" alt=\"daniel buren reiffers initiatives\" class=\"wp-image-744655\"\/><button\n\t\t\tclass=\"lightbox-trigger\"\n\t\t\ttype=\"button\"\n\t\t\taria-haspopup=\"dialog\"\n\t\t\tdata-wp-bind--aria-label=\"state.thisImage.triggerButtonAriaLabel\"\n\t\t\tdata-wp-init=\"callbacks.initTriggerButton\"\n\t\t\tdata-wp-on--click=\"actions.showLightbox\"\n\t\t\tdata-wp-style--right=\"state.thisImage.buttonRight\"\n\t\t\tdata-wp-style--top=\"state.thisImage.buttonTop\"\n\t\t>\n\t\t\t<svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"12\" height=\"12\" fill=\"none\" viewBox=\"0 0 12 12\">\n\t\t\t\t<path fill=\"#fff\" d=\"M2 0a2 2 0 0 0-2 2v2h1.5V2a.5.5 0 0 1 .5-.5h2V0H2Zm2 10.5H2a.5.5 0 0 1-.5-.5V8H0v2a2 2 0 0 0 2 2h2v-1.5ZM8 12v-1.5h2a.5.5 0 0 0 .5-.5V8H12v2a2 2 0 0 1-2 2H8Zm2-12a2 2 0 0 1 2 2v2h-1.5V2a.5.5 0 0 0-.5-.5H8V0h2Z\" \/>\n\t\t\t<\/svg>\n\t\t<\/button><figcaption class=\"wp-element-caption\"><em>Photo-souvenir : La Fa\u00e7ade aux acacias<\/em>, permanent in situ work, Reiffers Mentorship 2025, Paris. Detail. \u00a9 DB, ADAGP.<\/figcaption><\/figure>\n\n<h2 class=\"wp-block-heading\">One of the most prolific artists of his time<\/h2>\n\n<p class=\"wp-block-paragraph\"><p class=\"p1\">Ever more inventive, <strong><a href=\"https:\/\/numero.com\/en\/art-design\/dynamic-duo-daniel-buren-and-miles-greenberg-at-reiffers-initiatives-for-art-basel-paris\/\">Buren<\/a><\/strong> is no doubt one of the most prolific artists of his times. In 2021, he made a film that surveys, precisely and methodically, the entirety of his work from the 1960s to today. Intended to be updated over time, <em>\u00c0 contre-temps, \u00e0 perte de vue<\/em> is both a lesson in filmmaking and a perfect example of what the analysis of an approach can be. Both personal and didactic, it examines an output in which <strong>aesthetics<\/strong> and <strong>politics<\/strong> are inseparable.<\/p><\/p>\n\n<p class=\"wp-block-paragraph\"><p class=\"p1\">With all due respect to the many authors who have written about <a href=\"https:\/\/numero.com\/en\/art-design\/art-en\/the-opening-of-the-daniel-buren-and-miles-greenberg-exhibition-at-reiffers-initiatives\/\"><strong>Buren<\/strong><\/a>, it is clear that he has long understood, as evidenced by his often captivating <em>\u00c9crits<\/em>, that no one does it better than him. As I pen lines that pay yet another tribute to an oeuvre I have never ceased to admire, I\u2019m trying hard to bear that in mind.<\/p><\/p>\n\n<figure data-wp-context=\"{&quot;imageId&quot;:&quot;6a20ef84b84b5&quot;}\" data-wp-interactive=\"core\/image\" data-wp-key=\"6a20ef84b84b5\" class=\"wp-block-image size-full wp-lightbox-container\"><img loading=\"lazy\" decoding=\"async\" width=\"900\" height=\"600\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on--pointerdown=\"actions.preloadImage\" data-wp-on--pointerenter=\"actions.preloadImageWithDelay\" data-wp-on--pointerleave=\"actions.cancelPreload\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2025\/10\/wetransfer_1971-et-2005-guggenheim_2025-07-21_1458_2005_new_york_PH0120.jpg\" alt=\"daniel buren reiffers initiatives \" class=\"wp-image-744660\"\/><button\n\t\t\tclass=\"lightbox-trigger\"\n\t\t\ttype=\"button\"\n\t\t\taria-haspopup=\"dialog\"\n\t\t\tdata-wp-bind--aria-label=\"state.thisImage.triggerButtonAriaLabel\"\n\t\t\tdata-wp-init=\"callbacks.initTriggerButton\"\n\t\t\tdata-wp-on--click=\"actions.showLightbox\"\n\t\t\tdata-wp-style--right=\"state.thisImage.buttonRight\"\n\t\t\tdata-wp-style--top=\"state.thisImage.buttonTop\"\n\t\t>\n\t\t\t<svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"12\" height=\"12\" fill=\"none\" viewBox=\"0 0 12 12\">\n\t\t\t\t<path fill=\"#fff\" d=\"M2 0a2 2 0 0 0-2 2v2h1.5V2a.5.5 0 0 1 .5-.5h2V0H2Zm2 10.5H2a.5.5 0 0 1-.5-.5V8H0v2a2 2 0 0 0 2 2h2v-1.5ZM8 12v-1.5h2a.5.5 0 0 0 .5-.5V8H12v2a2 2 0 0 1-2 2H8Zm2-12a2 2 0 0 1 2 2v2h-1.5V2a.5.5 0 0 0-.5-.5H8V0h2Z\" \/>\n\t\t\t<\/svg>\n\t\t<\/button><figcaption class=\"wp-element-caption\"><em>Photo-souvenir : Around the corner,<\/em> in situ work, in \u201cThe Eye of the Storm\u201d, Guggenheim Museum, New York, March-June 2005. Detail. \u00a9 DB-ADAGP Paris. Photo David Heald.<\/figcaption><\/figure>\n\n<h2 class=\"wp-block-heading\">Rethinking the dynamics between the artwork and the viewer<\/h2>\n\n<p class=\"wp-block-paragraph\"><p class=\"p1\">These days, <a href=\"https:\/\/numero.com\/en\/mode\/elle-fanning-julia-ducournau-daniel-buren-the-september-issue-of-numero-255\/\"><strong>Buren<\/strong><\/a> is busier than ever. His installations proliferate in both public and private settings, in response to the commissions he receives. As analyses of his work, the articles and monographs about Buren make clear the acuity and inventiveness of his proposals as he experiments with new materials, combining glass and Plexiglas, or LEDs with the most cutting-edge techniques.<\/p><\/p>\n\n<p class=\"wp-block-paragraph\"><p class=\"p1\">As<strong> Loran Stosskopf<\/strong> already noted back in 1991, \u201c<em>Neither painting, sculpture, architecture, or decoration, each of Buren\u2019s realizations renews the relationship between the work, the place, and the viewer<\/em>.\u201d The haters \u2013 for he still has some, and always will \u2013 denounce what they see as his incredible prolixity. To those who say he\u2019s overdoing it, he responds by producing even more, devising mechanisms that never cease to surprise us and draw us irresistibly into his world.<\/p><\/p>\n\n<p class=\"wp-block-paragraph\"><p class=\"p1\">So solid are the foundations on which he built his <strong>method<\/strong>, he can deploy ever more ambitious proposals without renouncing his initial conceptual framework. Though he never ceases to \u201cdeconstruct\u201d the sites he transforms, he plays with colour and materials with constantly renewed virtuosity, his Daedalian devices leading him to develop an ever more complex and playful relationship to <strong>architecture<\/strong>. Since Buren has fun, so do we!<\/p><\/p>\n\n<figure data-wp-context=\"{&quot;imageId&quot;:&quot;6a20ef84b88a6&quot;}\" data-wp-interactive=\"core\/image\" data-wp-key=\"6a20ef84b88a6\" class=\"wp-block-image size-full wp-lightbox-container\"><img loading=\"lazy\" decoding=\"async\" width=\"900\" height=\"600\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on--pointerdown=\"actions.preloadImage\" data-wp-on--pointerenter=\"actions.preloadImageWithDelay\" data-wp-on--pointerleave=\"actions.cancelPreload\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2025\/10\/2016_Paris_34196-1.jpg\" alt=\"daniel buren fondation louis vuitton\" class=\"wp-image-744674\"\/><button\n\t\t\tclass=\"lightbox-trigger\"\n\t\t\ttype=\"button\"\n\t\t\taria-haspopup=\"dialog\"\n\t\t\tdata-wp-bind--aria-label=\"state.thisImage.triggerButtonAriaLabel\"\n\t\t\tdata-wp-init=\"callbacks.initTriggerButton\"\n\t\t\tdata-wp-on--click=\"actions.showLightbox\"\n\t\t\tdata-wp-style--right=\"state.thisImage.buttonRight\"\n\t\t\tdata-wp-style--top=\"state.thisImage.buttonTop\"\n\t\t>\n\t\t\t<svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"12\" height=\"12\" fill=\"none\" viewBox=\"0 0 12 12\">\n\t\t\t\t<path fill=\"#fff\" d=\"M2 0a2 2 0 0 0-2 2v2h1.5V2a.5.5 0 0 1 .5-.5h2V0H2Zm2 10.5H2a.5.5 0 0 1-.5-.5V8H0v2a2 2 0 0 0 2 2h2v-1.5ZM8 12v-1.5h2a.5.5 0 0 0 .5-.5V8H12v2a2 2 0 0 1-2 2H8Zm2-12a2 2 0 0 1 2 2v2h-1.5V2a.5.5 0 0 0-.5-.5H8V0h2Z\" \/>\n\t\t\t<\/svg>\n\t\t<\/button><figcaption class=\"wp-element-caption\"><em>Photo-souvenir : L\u2019Observatoire de la Lumi\u00e8re<\/em>, in situ work, Fondation Vuitton, Paris, May 2016. Detail. \u00a9 DB, ADAGP.<\/figcaption><\/figure>\n\n<h2 class=\"wp-block-heading\">Historic works, from Palais-Royal to the Venice Art Biennale<\/h2>\n\n<p class=\"wp-block-paragraph\"><p class=\"p1\">Does this mean the work loses its analytical power? That the discourse on which it hinged has been forsaken? Has the notion of \u201cinstitutional critique,\u201d to which he himself greatly contributed before it was coopted by critical exegesis, become obsolete? Has <strong>Buren<\/strong> disavowed his own convictions in increasingly complex works that lead him to disrupt each of the spaces he engages with? \u201cDisrupt,\u201d or as others might say \u201cupset\u201d or \u201cupend.\u201d This playing with words is my way of emphasizing that, in an artistic context which delights in illustrating the world\u2019s misfortunes, Buren\u2019s work refuses commiseration, preferring instead the force of subversion to challenge traditional hierarchies and the established order.<\/p><\/p>\n\n<p class=\"wp-block-paragraph\"><p class=\"p1\">Let us not forget <em>Les Deux Plateaux<\/em> (1986) in the courtyard of the <strong>Palais-Royal<\/strong> in Paris! Or his Golden Lion-winning Pavillon that same year at the <strong>Venice Art Biennale<\/strong>, which saw him dare to carve 8.7 cm stripes into the neoclassical walls of the French pavilion! Or the insolence of <em>Le Mus\u00e9e qui n\u2019existait pas<\/em> (The Museum That Did Not Exist), a true defence of the Mus\u00e9e national d\u2019Art moderne\u2019s presence in the <strong>Centre Pompidou<\/strong> (2002)!<\/p><\/p>\n\n<p class=\"wp-block-paragraph\"><p class=\"p1\">Or <em>L\u2019Observatoire de la lumi\u00e8re<\/em>, a site-specific installation at <a href=\"https:\/\/numero.com\/en\/art\/architecture\/frank-gehry-frees-forms-for-louis-vuitton-2\/\"><strong>Frank Gehry<\/strong><\/a>\u2019s <strong>Fondation Louis Vuitton<\/strong> (2016)! Four examples, four French milestones among dozens of other projects that are just as ambitious: Buren, who is always ready to saddle up once more, sketching out his projects like \u201cvanishing points\u201d or axonometric drawings similar to the flows that, according to Deleuze and Guattari, \u201cdeterritorialize\u201d us.<\/p><\/p>\n\n<figure data-wp-context=\"{&quot;imageId&quot;:&quot;6a20ef84b8c60&quot;}\" data-wp-interactive=\"core\/image\" data-wp-key=\"6a20ef84b8c60\" class=\"wp-block-image size-full wp-lightbox-container\"><img loading=\"lazy\" decoding=\"async\" width=\"712\" height=\"900\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on--pointerdown=\"actions.preloadImage\" data-wp-on--pointerenter=\"actions.preloadImageWithDelay\" data-wp-on--pointerleave=\"actions.cancelPreload\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2025\/10\/wetransfer_1971-et-2005-guggenheim_2025-07-21_1458_1971_1152_014_new_york.jpg\" alt=\"daniel buren reiffers initiatives\" class=\"wp-image-744667\"\/><button\n\t\t\tclass=\"lightbox-trigger\"\n\t\t\ttype=\"button\"\n\t\t\taria-haspopup=\"dialog\"\n\t\t\tdata-wp-bind--aria-label=\"state.thisImage.triggerButtonAriaLabel\"\n\t\t\tdata-wp-init=\"callbacks.initTriggerButton\"\n\t\t\tdata-wp-on--click=\"actions.showLightbox\"\n\t\t\tdata-wp-style--right=\"state.thisImage.buttonRight\"\n\t\t\tdata-wp-style--top=\"state.thisImage.buttonTop\"\n\t\t>\n\t\t\t<svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"12\" height=\"12\" fill=\"none\" viewBox=\"0 0 12 12\">\n\t\t\t\t<path fill=\"#fff\" d=\"M2 0a2 2 0 0 0-2 2v2h1.5V2a.5.5 0 0 1 .5-.5h2V0H2Zm2 10.5H2a.5.5 0 0 1-.5-.5V8H0v2a2 2 0 0 0 2 2h2v-1.5ZM8 12v-1.5h2a.5.5 0 0 0 .5-.5V8H12v2a2 2 0 0 1-2 2H8Zm2-12a2 2 0 0 1 2 2v2h-1.5V2a.5.5 0 0 0-.5-.5H8V0h2Z\" \/>\n\t\t\t<\/svg>\n\t\t<\/button><figcaption class=\"wp-element-caption\"><em>Photo-souvenir : Guggenheim International Exhibition<\/em>, 1971, Solomon R. Guggenheim Museum, New York. Photo: Robert E. Mates. \u00a9 Solomon R. Guggenheim Foundation, New York. All Rights Reserved.<\/figcaption><\/figure>\n\n<h2 class=\"wp-block-heading\">The art of location and of in situ<\/h2>\n\n<p class=\"wp-block-paragraph\"><p class=\"p1\">Behold the website listing all his works! Behold the absurd titles he gives them, as well as the <em>Photos-Souvenirs<\/em> he makes of each one, which preserve the memory of often ephemeral realizations. Behold all the places where <strong>Buren<\/strong> intervenes, \u201c<em>free of pounding beat, heavy or terse<\/em>,\u201d [Paul Verlaine, <em>Art po\u00e9tique<\/em> from <em>Jadis and Nagu\u00e8re<\/em> (1885)] \u201c<em>where the indecisive joins the precise<\/em>.\u201d<\/p><\/p>\n\n<p class=\"wp-block-paragraph\"><p class=\"p1\">Yes, there is no doubt a <strong>poetic art<\/strong> at the heart of Buren\u2019s work, a poetic art but also an oeuvre in which \u201c<em>Nothing will have taken place but the place<\/em>,\u201d as Mallarm\u00e9 postulated [St\u00e9phane Mallarm\u00e9, A Throw of the Dice Will Never Abolish Chance (1897)], and which <strong>Guy Lelong<\/strong> references in one of the most subtle texts written to date about the artist. A way of reminding unhappy people that <strong>Modernism<\/strong> \u2013 and not modernity, whatever some pessimists may think \u2013 remains an unfinished project and that Buren is fully armed to prove it to us.<\/p><\/p>\n\n<p class=\"wp-block-paragraph\"><em>\u201cDaniel Buren and Miles Greenberg.\u201d 2025 Mentorship exhibition, from October 24th to December 13th, 2025, at\u00a0<a href=\"https:\/\/www.reiffersartinitiatives.com\/en\/\">Reiffers Initiatives<\/a>, 30 rue des Acacias, Paris 17th.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Num\u00e9ro art 17 is available at newsstands and on iPad since October 18th,\u00a02025. Daniel Buren, [&#8230;]<\/p>\n<p><a class=\"btn btn-secondary understrap-read-more-link\" href=\"https:\/\/numero.com\/en\/art-design\/numero-art-en\/why-is-daniel-buren-still-so-relevant-today-bernard-blistene-answers-us\/\">Read More&#8230;<span class=\"screen-reader-text\"> from Why is Daniel Buren still relevant today? Bernard Blist\u00e8ne answers us<\/span><\/a><\/p>\n","protected":false},"author":10,"featured_media":743205,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"categories":[78,76,3182],"tags":[9990,9925,2112,9924],"class_list":["post-755155","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art-en","category-art-design","category-numero-art-en","tag-art-basel-paris-en","tag-daniel-buren-en","tag-paul-emmanuel-reiffers-en","tag-reiffers-art-initiatives-en-2"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.7 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Artist Daniel Buren transforms the fa\u00e7ade of Reiffers Initiatives<\/title>\n<meta name=\"description\" content=\"French artist Daniel Buren is celebrated at Reiffers Initiatives during Art Basel Paris, from October 24th to December 13th, 2025.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/numero.com\/en\/art-design\/numero-art-en\/why-is-daniel-buren-still-so-relevant-today-bernard-blistene-answers-us\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Artist Daniel Buren transforms the fa\u00e7ade of Reiffers Initiatives\" \/>\n<meta property=\"og:description\" content=\"French artist Daniel Buren is celebrated at Reiffers Initiatives during Art Basel Paris, from October 24th to December 13th, 2025.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/numero.com\/en\/art-design\/numero-art-en\/why-is-daniel-buren-still-so-relevant-today-bernard-blistene-answers-us\/\" \/>\n<meta property=\"og:site_name\" content=\"Num\u00e9ro\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/numeromagazine\/\" \/>\n<meta property=\"article:published_time\" content=\"2025-11-07T13:19:03+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2025-11-07T13:20:07+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/numero.com\/wp-content\/uploads\/2025\/10\/thumb-daniel-buren.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1300\" \/>\n\t<meta property=\"og:image:height\" content=\"1634\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Louise Menard\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@NumeroMagazine\" \/>\n<meta name=\"twitter:site\" content=\"@NumeroMagazine\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Louise Menard\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"8 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"NewsArticle\",\"@id\":\"https:\\\/\\\/numero.com\\\/en\\\/art-design\\\/numero-art-en\\\/why-is-daniel-buren-still-so-relevant-today-bernard-blistene-answers-us\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/numero.com\\\/en\\\/art-design\\\/numero-art-en\\\/why-is-daniel-buren-still-so-relevant-today-bernard-blistene-answers-us\\\/\"},\"author\":{\"name\":\"Louise Menard\",\"@id\":\"https:\\\/\\\/numero.com\\\/en\\\/#\\\/schema\\\/person\\\/235286b398c7cf9f7e43209a61397cbd\"},\"headline\":\"Why is Daniel Buren still relevant today? 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