French conceptual artist Daniel Buren, internationally recognized for his distinctive vertical stripes, recently broke his silence about the fierce controversy surrounding his iconic installation at Paris's Palais-Royal forty years ago. The 87-year-old artist, who is arguably France's most globally renowned contemporary artist, spoke candidly about the heated public debate that erupted when his striped columns were first installed in 1986.
Buren's latest work, "La Façade aux acacias" (The Acacia Facade), has been installed without any public outcry at 30 rue des Acacias in Paris's 17th arrondissement. This permanent site-specific installation completely covers the building that houses the Reiffers Initiatives endowment fund, created to celebrate five years of their mentorship program. The project specifically honors Miles Greenberg, a 27-year-old Canadian performer and artist who gained attention at the Venice Biennale.
Reflecting on the Palais-Royal controversy, Buren expressed surprise at the intense reaction his work provoked four decades ago. "It was exactly forty years ago, which is enormous," he stated. "Never, when I was approached to create this site-specific work, and especially when I was selected, did I think it would be a problem. But the first problem that arose, and I believe there was no precedent for this, was the scale of public opposition."
The artist's "Les Deux Plateaux" (The Two Plateaus), featuring 260 truncated striped columns of varying heights installed in the courtyard of the Palais-Royal, became one of the most contentious public art installations in French history. The black and white striped columns, which have since become a beloved tourist attraction and Instagram backdrop, initially faced fierce resistance from critics who viewed them as an assault on the historic site's classical architecture.
When asked whether public art is more welcomed today than it was four decades ago, Buren remained cautious in his assessment. He noted that while the current installation at rue des Acacias has generated no controversy, this might be due to its location and context rather than a fundamental shift in public attitudes toward contemporary art in urban spaces.
Buren's career has been marked by numerous prestigious awards and international recognition, cementing his status as one of France's most significant cultural exports. His signature 8.7-centimeter vertical stripes have appeared in museums, galleries, and public spaces worldwide, consistently challenging viewers' perceptions of space and artistic intervention.
The artist's reflections come at a time when public art continues to generate debate in cities around the world. His experience with the Palais-Royal installation serves as a landmark case study in how controversial public artworks can evolve from objects of derision to beloved urban landmarks, ultimately becoming integral parts of a city's cultural identity and tourist appeal.
