LOT DETAILS

Materials:

8 round bars of wood, Painted black, white, violet

Size Notes:

each

Description:

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Exhibited:

"André Cadere. Peinture sans fin" Staatliche Kunsthalle, Baden-Baden; Musée d'Art Moderne de la Ville de Paris, Paris; Bonnefantenmuseum, Maastricht 2007/2008, p 120 & 123 reprod.

Literature:

"André Cadere. Histoire d'un travail" 1982, nr. 17 "André Cadere. Unordnung herstellen. Geschichte einer Arbeit" Kunstverein München; Neue Galerie am Landesmuseum Joanneum, Graz 1996, p. 51 reprod. "André Cadere. Catalogue raisonné" Karola Grässlin e.a., Buchhandlung Walter König, Köln 2008, nr. A18-25 reprod. & reprod. on the cover

Provenance:

Gal. Folker Skulima, Berlin The order disrupter Somewhere in a corner, lying down or standing on the ground, wandering through the streets, ... one can bump anywhere into André Cadere's barre de bois. In any case, it won’t be hung neatly on a wall, as a "normal" work of art should be. One cannot describe a barre de bois exclusively being a sculpture or a painting. The object is a performance. It is peripheral art officially being on the outside of conventional institutions such as museums and galleries, and infiltrating them in a parasitic manner. André Cadere is a subversive figure in the art scene of the seventies. With or without an invitation, he appears in other artists’ exhibitions. He announces his presence, promenades his barre de bois through the Parisian boulevards and then poses him in a corner or against the wall of a museum or gallery. This action causes a dramatic shift in the exhibition in question, which Cadere claims to be his own. This performance-based work contrasts with the established art world and is a statement similar to the early work of the British duo Gilbert & George, close friends of Cadere. The barre de bois is an instrument of artistic intervention. Cadere uses a fixed formal idiom throughout his oeuvre with a conceptual approach that relates to the rise of semiotics. Thus he confuses the established art scene order: his work encourages to rethink how meaning functions and can be indicated, the object is a reference to something else. The spectator is challenged to reconstruct the underlying logic. Cadere questions the cultural sector, its institutes and its power, which, in his point of view, reflect a broader social system. The barres de bois are composed by several painted cylindrical segments whose length corresponds to their diameter. The segments are arranged according to a mathematical permutation system, each time an error perturbing the sequence. Every barre can be distinguished by four parameters: color, permutation, size and error. The error disturbs any attempt to decipher the mathematical system all too easily. Cadere creates an ambiguous game, parallel to the infiltration of his work in the art world. Instead of signing his works, Cadere provided every barre with an accompanying document that guarantees its authenticity and indicates the numerical code, diameter of the segments and the location of the error.