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The round bar of wood The round bar of wood
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‘L’espace et la politique’ ‘L’espace et la politique’
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Circulation Circulation
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Notes Notes
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11 André Cadere’s peripatetic art
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Published:October 2023
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Abstract
Shortly after relocating to Paris in the late 1960s, the Romanian artist André Cadere embarked on his seminal artistic venture known as Barres de bois rond (Round Bars of Wood), a collection of wooden cylinders painted in bright colours and arranged following a permutational system set in advance. Moreover, the size of each bar was determined by the artist’s own body, while their circular shape allowed them to be exhibited in a number of spatial circumstances. Specific morphological features of these colourful sticks, or unlimited paintings, as Cadere once called them, were conceived with a programme in mind – to slip ‘everywhere, through the streets, galleries, houses, museums, etc …’ and thus challenge the art establishment and its power dynamics. In this chapter, I look at a spatial relationship between a bar and its support, as well as analysing an elaborate system of mapping, including announcements, photographs and communiqués, that Cadere produced in order to record and communicate his whereabouts. I claim that by introducing a mobile, rather than a site-specific, situation as a critical vehicle, Cadere captured the crux of institutional power as the art world was undergoing paradigmatic infrastructural, logistical and communicational changes in becoming an ‘international labyrinth’ that increasingly relied on the mobility of the artists rather than the artworks.
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