Cadere worked to a system of numerical order that he had developed himself, containing errors as a secret code. Cadere developed his Barres de Bois as mobile works of art in 1970, something that he could take everywhere with him and use at any time, anywhere. They are legitimized as works of art by being positioned in the context of art, and they can equally well be withdrawn from it.
He travelled all over Europe with his bars, and on to New York, turning up at openings by artists who were close to him like Robert Ryman and Barnett Newman, or at Biennales, uninvited or invited, and usually unwelcome. He would either keep the Barres de Bois in his hand, like a staff, or put them down in a carefully chosen place. Despite the simplicity of the resources he used, the bars developed such a strong presence that that they marked out an unmistakable territory of their own and made an impact on the exhibition.
Cadere wanted his interventions to create a disturbance, thus starting arguments about the art system, which he saw as representing other social systems.
I thought i was done with this shity blog, but now you [Martien] force me to comment on Cadere. because i like him very much.I got to know his work last year at the rietveld library by any chance. i do really love his work, i understood him immediately! we are connected! thanks for bringing him up again!
BeantwoordenVerwijderenthe red-man below: i do not really believe in him. i don't know why. sounds like some ol fashioned artist idea. i cannot explain. i think he makes a gesture with his red spots on the wall. yes, no painting but more a gesture - whatever it may be about...
oh by the way "cadere" means in romanian "the fall".
link
BeantwoordenVerwijderenNice link link zsolt!!
BeantwoordenVerwijderenFor Eugne: I think you could take him really serious and believe him.(probably believe is a a big word but loyal to his own production instead of the translation of yourself into art. I think it does undermine the fashionability of art but for me it becomes dematerialised - not conceptual nor gesture- it's the act of doing.
BeantwoordenVerwijderenMartien, you know i always take your advises very serious. ok then, let's give him another chance...but these red spots on the wall, they do sooo little to me.i need more substance, ew...!! the act of doing yea maybe, maybe i have to learn how these small steps can work for me too and
BeantwoordenVerwijderenwhy they could change something. they are maybe like some [animal] footprints,becoming the wall...
no seriously, for me "art" always has to get me to a point where i can say yes or no. in this case i stop already at a point where i cannot even take "shit" serious. you know, the gesture is too predictable, too much visibility for me. it doesn't thrill me long enough to get my attention there where i get into a new context. somewhere i know about but never have been to. to me its always like that: if it's too far away from me, too new i don't recognize "[good]stuff" as such.it's hard to believe! it's very hard to strip down my [oriental] mind sometimes, i think my brain works inna byzantinian way. and then suddenly to fall in love with some red spots on a wall,reminds me of an [inverse] alice in wonderland-situation.
if you know how to read Kafka in a funny way -then here the first sentence from "die Verwandlung"(the metamorphosis):
"When Gregor Samsa woke up one morning from uneasy dreams, he found himself changed in his bed into a monstrous insect."
Clear!
BeantwoordenVerwijderenClear!
BeantwoordenVerwijderen