Mosset was born in 1944 in Bern, Switzerland and moved to Paris in 1965, where along with artists Daniel Buren, Michel Parmentier and Niele Toroni he founded the minimalist art collective BMPT (named after the initials of their last names).
Mosset was a key figure of geometric abstraction in 1960s France, and BMPT was an important movement that continues to influence contemporary art.
In 1977, Mosset moved to New York where he became a part of the Radical Painting Group, which like BMPT was interested in returning to the root of painting, and focusing on the media and techniques by which art is made.
Features of the substrates: The features of the substrates including the elemental composition MC TS VS pH values and the BMPT are presented in Table 1.
BMPT for different rice straw to buffalo dung ratios.
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.
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.