Da un riquadro all'altro, 7 immagini, frammento di un modello di ritrasmissione, simultanea, scala1/1: "Recouvrant/effaçant"

 "Daniel Buren's motionless 'installation', an environment built with monitors and videotapes. On a stripy wall the areas of a few differently sized monitors were cut out. These were shot by a video camera that projected the wall stripes on monitors that were the same size of these areas, placed on the opposite wall. Every area seemed directly cut out over the monitor. This was the only installation we represented publicy". (Source : Maria Gloria Bicocchi, Tra Firenze e Santa Teresa. Dentro le quinte dell'arte ('73/'87), Venezia, Edizioni del Cavallino, 2003, p. 40, voir Alessandra Cigala, Valentini Valentini, Cominciamenti, p. 67, note 1 dans Cosetta G. Saba & Mirco Infanti, "art/tape/22. Conversation with Maria Gloria Bicocchi", Rewind Italia: Early Video Art in Italy, Laura Leuzzi & Stephen Partridge (dir.), John Libbey, New Barnet, 2016, p. 105.)

"Cosetta G. Saba: Yet another question about the content of Buren's 'motionless' installation that put his 'impersonal painting' in a closed circuit, towards which he had pointed his videocameras connected to monitors of different sizes, which he had not set to record, but only to [carry out] the "absolute and simultaneous" transmission. So, the monitors acted as frame and painting at the same time? Was that, in your opinion, an operation on the limits of a pictorial work or a critique of the video medium?
Maria Gloria Bicocchi: Daniel Buren's installation was the only 'event' of this type that we were involved with: it consisted of remaking, in honour of Gerry Schum, a work already planned for him years earlier. I saw Daniel working to create his works (three of which have been carried out in my houses, the last on the terrace of the house where I live now, in Procida), but that time the 'manual' work was collective, we were all together, and it was exciting. It was also one of few artist installations that undoubtedly referenced the framing of paintings and the paintings themselves, which were nothing more than sections cut out by Daniel from the opposite wall, covered with stripes". (Source : Cosetta G. Saba & Mirco Infanti, "art/tape/22. Conversation with Maria Gloria Bicocchi", Rewind Italia: Early Video Art in Italy, Laura Leuzzi & Stephen Partridge (dir.), John Libbey, New Barnet, 2016, p. 99-100.)