1938年出生于布洛涅-比兰库尔（巴黎），如今仍在巴黎工作生活。
1960年代中期，布伦开始创作极具探索性的绘画作品，这些作品从根本上质疑并探索了他作品中使用的媒介经济学以及背景（支持介质）与形式（绘画）之间的关系。
1965年，当他创作结合了圆形形式和不同比例、颜色条纹的画作时，他选择了使用一种带有固定垂直8.7厘米宽条纹的工业面料，这些条纹交替出现白色和其他颜色。基于这一极为简单和平凡的视觉语言，布伦通过系统地重复这一设计，进一步简化了其作品，达到了零绘画的境地。这种思考使观察者的注意力从作品转移到艺术家介入的物理和社会环境中。
最终，他在1967年放弃了工作室，转而偏好现场创作，从街道开始，然后是画廊、博物馆、风景或建筑物。
他的“视觉工具”基于交替条纹的使用，这使他能够通过在特定且有时复杂的结构中运用这些条纹，揭示工作场所的显著细节，这些结构介于绘画、雕塑和建筑之间。
他的现场作品通过视角、空间、颜色、光线、运动、周围环境、角度或投影进行互动，通过彻底改变场地来获得装饰性力量。
布伦的作品尖锐、批判且具有参与感，一直在不断发展和多样化，始终引发评论、赞赏和争议。1986年，他完成了最具争议的公共委托作品《双平台》（Les Deux Plateaux），该作品如今被列为“历史纪念碑”，位于巴黎的皇家宫殿庭院。同年，他代表法国参加威尼斯双年展，并获得了最佳展馆金狮奖。
布伦是当今国际艺术界最活跃和最受赞誉的艺术家之一，他的作品在全球各大画廊和博物馆展出，并在各种场所展出。
2007年，丹尼尔·布伦获得了由日本天皇颁发的普拉埃米乌斯·英佩里亚莱奖（Praemium Imperiale），这一奖项被广泛认为是视觉艺术界的“诺贝尔奖”。
他近期的个展包括：“制作、拆除、重做：特定场域作品”，布翁塔伦蒂宫，皮斯托亚，意大利（2025）；“无论如何，特定场域作品”，意大利艺术博物馆，利马（2019），“如同儿戏”，马车创意空间，悉尼，澳大利亚（2018）；“当织物亮起时：编织的光学纤维，特定场域作品2013-2014”，开姆尼茨美术馆，德国（2018）；“丹尼尔·布伦–从半圈到一圈：彩色之旅，特定场域作品”，波哥大现代艺术博物馆（2017）；“预测/回顾，特定场域作品”，马拉加蓬皮杜中心，西班牙（2017）；“光的观测台，特定场域作品”，路易威登基金会，巴黎（2016）；“丹尼尔·布伦：一幅壁画”，布鲁塞尔美术宫，布鲁塞尔（2016）；“中心/偏移，特定场域作品”，多纳雷吉纳当代美术馆，那不勒斯，意大利（2015）；“丹尼尔·布伦：雷克林豪森的两座工厂”，雷克林豪森，剧院和艺术馆，德国（2015）；“另一个天井：迷宫，特定场域作品”，卡瓦尼亚斯救济所，瓜达拉哈拉，墨西哥（2014）；“尽其所能：特定场域作品”，波罗的海当代艺术中心，盖茨黑德，英国（2014）。同年，他在巴黎巴斯蒂尔歌剧院签订了拉威尔/米派德的芭蕾舞剧《达芙妮与克罗埃》的舞台设计。
Born in Boulogne-Billancourt (Paris) in 1938, lives and works in situ.
In the mid 60’s, Buren began to create paintings that radically questioned and explored the economy of the media used in his work and the relationship between background (support medium) and form (painting).
In 1965, when he was painting pictures that combined rounded forms and stripes varying in sizes and colours, he chose to use an industrial fabric with fixed vertical 8,7 cm-wide stripes alternating white with another colour. Beginning from this extremely simple and banal visual register, Buren further impoverished it by repeating it systematically to reach the grade of zero painting. This reflection will cause the observer’s attention to shift from the work to the physical and social environment within which the artist intervenes.
Eventually, he abandoned his studio in 1967, to favour work in situ, starting from the street, then the gallery, the museum, the landscape or the architecture.
His“visual tool”is based on the use of alternating stripes, which let him reveal the significant details of the site where he is working, by employing them in specific, and at times complex, structures lying somewhere between painting, sculpture and architecture.
His in-situ works play with points of view, spaces, colours, light, movement, the surrounding environment, angles or projections, acquiring their decorative force by radically transforming the sites.
Incisive, critical and engaged, Buren’s work is in a continual state of development and diversification, and never fails to stimulate comment, admiration and disagreement. In 1986, he realized his most controversial public commission, today classified as a "historical monument" Les Deux Plateaux (The Two Plateaus), for the Courtyard of Honour of the Royal Palace in Paris. In the same year, he represented France at the Venice Biennale, where he was awarded the Golden Lion for Best Pavilion.
Buren is one of the most active and acclaimed artists on the international art scene today, and his work has been shown in leading galleries and museums, and in a wide range of sites around the world.
In 2007, Daniel Buren received the Praemium Imperiale, awarded by the Emperor of Japan, a recognition which is widely regarded as the“Nobel Prize”for the Visual Arts.
Among his recent solo shows: Fare Disfare Rifare, lavori in situ e situati, Fondazione Pistoia Musei - Palazzo Buontalenti, 7th March - 27th July ( (2025); De cualquier manera, trabajos in situ, Museo de Arte Italiano, Lima (2019), Like Child’s Play, Carriageworks, Sydney, Australia (2018); Quand le textile s’éclaire: Fibres optiques tissées. Travaux situés 2013-2014, Kunstsammlungen, Chemnitz, Germany (2018); Daniel Buren–Del medio círculo al círculo completo: un recorrido de color, Obras in situ, MAMBO–Museo de Arte Moderno de Bogotà (2017), Proyecciones/Retroproyecciones. Trabajos in situ, Centre Pompidou Malaga, Spain (2017); L’Observatoire de la Lumière, travail in situ, Fondation Vuitton, Paris (2016); Daniel Buren. A Fresco, Bozar, Bruxelles (2016); Axer / Désaxer, work in situ, Madre, Naples, Italy (2015); Daniel Buren–Zwei Werke für Recklinghausen, Festspielhaus und Kunsthalle, Recklinghausen, Germany (2015); De un patio a otro: laberinto, trabajos in situ, Hospicio Cabañas, Guadalajara, Mexico (2014); Catch as Catch Can: works in situ, BALTIC Centre for Contemporary Art, Gateshead, United Kingdom (2014). In the same year he signed the scenography of the ballet Daphnis et Chloé, by Ravel/Millepied at the Opéra Bastille, Paris.
