The BMPT is virtually unrivaled in the world: it is truly a new dawn in the world of armored vehicles.
When tanks and BMPT are used together, the efficiency is achieved through allocation of targets: fortifications and heavily armored vehicles are destroyed by tanks, while manpower, antitank weapons and lightly armored vehicles are engaged by the BMPT.
Since his practice is obliquely positioned relative to that of his peers--whether the lyrical gesturalism of Hans Hartung, the performative monochromy of Yves Klein, or the ludic astringency of BMPT
(Daniel Buren, Olivier Mosset, Michel Parmentier, and Niele Toroni)--Barre's role in a history of postwar art is at once foundational and perversely, perhaps purposefully, slight.
, it carries a low-profile turret armed with a 2A42 twin-barrel 30 mm canon mount fed by an 850-round magazine and flanked by two pairs of Shturm-SM missile launchers.
The leadership of UralVagonZavod Scientific Industrial Corporation hopes that the joint venture with Kazakhstan for the production of Terminator BMPT tank support fighting vehicles will be established in the future.
Within the framework of this partnership, the Russian side would provide combat modules and spare details for the BMPT, and Kazakhstan the chassis, according to Maslov.
It is known, by contrast, that neither Roland Barthes nor Michel Foucault (the artist's other, hidden philosophical Penates) ever paid any attention to Buren and BMPT.
One conflict was the claim that BMPT had never been a group, as Buren has insisted for years afterward (according to him, it was the critic Otto Hahn who got it all wrong by homogenizing the individuals into a false group identity).
(Buren, Mosset, Parmentier, Toroni) and Martin Barre.
Having made the astute decision to begin the show with work from 1966 rather than 1970 (the year of Supports/Surfaces's christening), the organizers undermined their efforts by failing to address the group's (conflictual) relations with BMPT
(Buren, Mosset, Parmentier, Toroni), whose successful institutional guerrilla strategies and radical stylistic positions functioned as an obvious early model for Supports/Surfaces.