"Daniel Buren, Olivier Mosset, Niele Toroni" – [Manifestation 5]

8, rue Montfaucon, (ex Galerie J, directed by Jeanine Goldsmith, reopened on this event)

Paris,

1967

Exposition de groupe

In the exhibition, nine canvases, three by artist, are hung, each one having painted his own and those of the two others artists.

Thus, three paintings on pre-striped canvas, white and orange vertical stripes - whose colored stripes at each end were painted over in white - were completed, one by Daniel Buren, the second by Olivier Mosset and the third by Niele Toroni.

In addition, Daniel Buren completed two other canvases: one white in the middle of which was painted a black circle; the other with colored brush strokes arranged in staggered rows of a flat #50 paint brush on a white canvas.

"Until now, Buren, Mosset, Toroni have always presented:
.'a canvas with vertical stripes whose two end stripes are covered over with white being 'un Buren';
. 'a black circle in the middle of a white canvas being 'a Mosset'.
. brush strokes of a flat paint brush arranged arranged in staggered rows on a white canvas being 'a Toroni'.

Today, each presents the canvases of the two others plus his own, signing the three with his own name.

In the framework of art, as it has always existed before now, a work of art is authentic (2) or it is false (1),
1) To talk about a false one, that means referring to an original. In the case of Buren, Mosset, Toroni, where is the original work?
Would it be because each claimed who his stripes, who his circle, who his brush strokes, were painted by, by exchanging them, they were creating a false one? Who tells us that, from the beginning, each wasn't already making the painting of one of the other two? And if we compare all the canvases with vertical stripes, all those with a center circle, all those with brush strokes in the described pattern, who will be able to distinguish whether Buren or Mosset, or Toroni is the creator of it? Because each type of canvas is absolutely identical, no matter who the author was.

2) Would it be that the vertical stripes remain 'un Buren', a center circle 'un Mosset', the brush strokes in the five stroke pattern 'a Toroni', even if Buren, Mosset Toroni each made the canvas of the two others?

The work remains attached to the one who is known to have created the first. That would be, then, to establish an identity between Buren and his canvas, Mosset and his canvas, Toroni and his canvas.

But, then, since the work is always identical to itself, whoever the artist be, one must conclude that Buren, Mosset and Toroni, as individuals, are identical! That is not logical.

"True" or "false" are ideas that cannot be adapted to the paintings of Buren, Mosset, Toroni.

Buren, Mosset, Toroni claim, each, 'their canvas' and 'that of the two others' because each, truly, completed the three canvases. This is the only criteria which permits appropriating, 'signing' a work when it is a question of the painting of Buren, Mosset, Toroni. /..."

Text of the presentation of Michel Claura: "Buren, Mosset, Toroni".
December 2 - 25, 1967, 8, rue Montfaucon, Paris, 1967.

Petit journal d'exposition

Artworks

Peinture acrylique blanche sur tissu rayé blanc et orange December 4 1967

Cercle noir sur fond blanc par Daniel Buren December 4 1967

Des empreintes de pinceau n° 50 par Daniel Buren December 4 1967

Biblios

* Claura, Michel : [Buren, Mosset, Toroni], in Buren / Mosset / Toroni, Paris, 5 décembre 1967, cit. n. p.

* Parmentier, Michel : Le Groupe Buren-Mosset-Parmentier-Toroni n’existe plus : Tract, 6 décembre 1967, cit. n. p.

* Claura, Michel : “Buren, Mosset, Toroni”, in Les Lettres françaises, Paris, n° 1211, 6 décembre 1967, p. 313.

* Claura, Michel : “Paris Commentary”, in Studio International, Londres : Studio International, janvier 1969, anglais, cit. [pagination inconnue].

* Claura, Michel : Actualité, in VH 101, Paris : Éditions Esselier, n° 5, printemps 1971, cit. p. 45.

* Buren, Daniel : "Exposition–Position–Proposition (a) : Travaux faits entre Novembre 1965 et Mars 1972 et leur mode", in Documenta 5, Cassel : Documenta GmgH / Verlagsgruppe Bertelsmann GmbH / C. Bertelsmann Verlag, 1972, cit. B7, p. 17.32.

* Lippard, Lucy : “1967” [avec extraits repris de Manifestation 1 et Manifestation 4 - Buren, Mosset, Parmentier, Toroni], in Six Years: The dematerialization of the art object from 1966 to 1972, New York : Praeger Publishers, 1973, anglais, cit. p. 32

* Hahn, Otto : "Le groupe BMPT, la mort supposée de l'art", in Art Press, Paris : Hubert Goldet, n° 12, juin/juillet/août 1974, cit. p. 13

* Le Bouil, Charles : "D'une brosse à reluire, la nouvelle peinture en France, plupart synoptique et topographie du territoire : ajouts et compléments", in NDLR : écriture/peinture, Paris, n° 1, été 1976, cit. p. 24

* Restany, Pierre : L'autre face de l'art, Paris : Galilée, écritures/figures, février 1979, cit. p. 138

* Le Bouil, Charles : "quelqu'un / personne / digressions préliminaires à toutes fins utiles", in Toponymies, Limoges : : Éditions A.R.S.I.C., n° 2/3, été 1979, cit. n. p.

* Minh-Ha, Trinh T. : "4- Il neige, il pleut, il peint", in Un art sans œuvre ou L'Anonymat dans les arts contemporains, Lathrup Village, Michigan : International Book Publishers, Inc., Studies in Language and Literature, 1981, cit. p. 64

* Baldassari, Anne; Buren, Daniel : "Entrevue", in Daniel Buren / Entrevue : Conversations avec Anne Baldassari, Paris : Musée des Arts Décoratifs / Flammarion, 25 mars 1987, cit. p. 22.

* Syring, Marie Luise : "BMPT oder Die Erklärung über eine Kunst, die sich nicht als solche ausgibt", in Kunst in Frankreich seit 1966, Cologne : DuMont Buchverlag, DuMont Taschenbücher, 1987, allemand, cit. p. 58

* Poinsot, Jean-Marc : "Histoire d'une œuvre inachevée", in Michel Parmentier, Paris : Centre national des arts plastiques, 1988, cit. p. 21

* Baldassari, Anne; Buren, Daniel; Parmentier, Michel : Propos délibérés. Daniel Buren, Michel Parmentier, entretiens réalisés par Anne Baldassari les 11, 23 et 28 janvier 1990, Lyon / Bruxelles : Art édition / Palais des beaux-arts, 30 mai 1991, cit. p. 20, 23, 26

* Claura, Michel : "Paris Commentary", in Conceptual art: a critical anthology, Cambridge, Massachusetts / Londres : The MIT Press, Décembre 1999, anglais, cit. p. 84.

* Stange, Raimar : Fight for your (Copy)Right! / V. Kurzer Exkurs: historische Wiederholungstäter = Brief excursus : Historical recidivists, in Kunst nach Kunst / Art after Art, Brême : : Neues Museum Weserburg Bremen / Hauschild Verlag, août 2002, repr. p. 35.

* Buchloh, Benjamin H. D. : “The Group That Was (Not) One: Daniel Buren and BMPT”, in Art Forum, New York : Art Forum, mai 2008, anglais, cit. p. 311.

* “Daniel Buren : Rêvons de changer le monde”, in L’Humanité, Saint-Denis : L’Humanité, n° 20251, 9 décembre 2009, cit. p. 12.

* Dupont, Valérie : "Créer collectivement en 1968", in Les Malassis, une coopérative de peintres toxiques (1968-1981), Montreuil : L'échappée, octobre 2014, cit. p. 48