I’ve been slacking on my discussions about other artists. I discovered Andre Cadere about a year ago and was impressed by his particular solution to the problems of exhibition and curation. He essentially reclaimed artistic opportunities by carrying and exhibiting his sculptures in museums and gallery shows uninvited; He would leave behind his self-styled striped pole sculptures in spaces without permission, foregoing traditional ideas about hierarchical curation and the role of the artist as a vetted commodity. Here is some biographical information about him that I found and some photographs.
André Cadere was born in Poland, grew up in Romania and, before his early death from cancer in Paris in 1978, was a nomadic presence in the European art world. He was best known for his Barres de bois rond (Round Wooden Bars, 1970–78) – long poles made of coloured wooden cylindrical units. The colours on each rod were arranged according to a system, yet each stick contained one anomaly, confounding attempts to identify the system with ease. On a formal level his work certainly disrupted the traditional boundaries of painting and sculpture (disturbing the distinctions of these two media in a completely different way from Donald Judd’s ‘Specific Objects’), but in the context of 1970s’ art made in Paris the work was relatively traditional. (Just compare a hand-painted wooden object with a conical cut in a disused building by Gordon Matta-Clark.) Because his objects were ostensibly polite, it remains even more compelling just how challenging his practice was as a whole. This is a result of the ways in which Cadere chose to deploy these poles. Cadere was one of the first artists to realize that objects were inseparable from market and institutional contexts: half of his focus was on the systems of distribution in the art world. His Barres could be positioned in all sorts of relations to their surroundings (on walls, floors, propped between the two and so on), but he would also carry them around a number of outdoor locations and, most famously, into other people’s shows and openings, even when not invited.