Buren Chapter 5

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S.R. Does it ever happen that somebody tried to make a fetish out of a piece of wall with paper on it?

D.B. Not something I know directly, but I'm sure some people tried to do that. I take care now, but at the beginning I was always leaving paper. Already at that time you were having people ... can I have a piece of paper?, completely stupid under a frame. You cannot prevent that .... but ... it doesn't belong to my work, it's just some stupidity.... Unless you see it and then you can counter-attack but you cannot a priori make impossible someone to make a forgery from anything; so that's really close to that.

S.R. For example Blinky Palermo also did this blue triangles on the wall, and I know two collectors who took it from the wall because they moved to a different house. // D.B. ... and they kept it (laughs) // S.R. ... and they took it from the wall and put it somewhere else (laughs)... That for example is something like a forgery.

D.B. To me at least it looks like it; it all depends on the way the artist belongs to his own work. ... I do works where it's possible to be rebuilt some place else, when it's for example something absolutely easy to control like to say, use any room in your apartment and the work has to be on the windows. There does not exist an apartment without windows, so you don't have to go and see what is this kind of windows ...; you know that the subject matter remains, even if it's a big room like here or if it's a small bedroom with only a small window somewhere. For such a work, for example, I can make the wall if the people move they have to destroy it where they were before and in a certain way to use whatsoever the windows in such a manner that it remains under the same kind of work ... it's like a replay or it's like a re-interpretation inside a specific wall. But most of the time, if it's really specific and not specific but as an object like I take the window because it is really an object and I like to use the transparency, the light, the color ... if it's much more specific than that you cannot transport it ... and that's also the reason ... that so very few collectors are buying my work, because I'm sure they have somewhere in their head, "what can we do with that if we go out or if we change the place?" etc., and unless they can be interested with the works which can be manipulated on a certain wall, if they want something more specific but they don't like the idea to lose it one day, they don't go to the effort of buying When I said, it's very strict as a way to work, it's automatically also implying a position in front of the society; that means for example most of my work can be exchanged but one time. This is totally against capitalism; if you cannot exchange anytime you want for the rest of your life, you are breaking this connection. I don't want just to say this is the most important, but it's certainly something which is inside my work without having to speak about it.

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