THE GHOST OF CADERE
2008, wood, resin, paint.
“The walking stick reappears now striped black, blue, and white resting against a gallery wall and bearing the title Ghost of Cadere (2008). Here Walker & Walker make indirect reference to Friedrich’s Wanderer, perhaps, but the gesture of this object’s inclusion in the exhibition conjures the spirit of André Cadere. Cadere was born in Poland and moved to Paris to become the consummate flâneur of the Situationist generation. He died in 1978 at the age of 45 and has since gathered something of an underground cult following. He would leave his sticks (les barres du bois ronds) at art world and other events to which he hadn’t, or sometimes had, been invited.
For example, in the autumn of 1972 in Paris one barre could be found in the Sonnabend Gallery, then at Yvon Lambert, later in the window of Darcy’s Bakery Shop, and finally in an exhibition space called Le Grand Chic Parisien devoted to the sartorial trends of the 1930’s. The peripatetic rods accompanied him on random walks and scheduled street appearances through cities as well – ventures all carefully documented with maps and type-written texts. The sticks were assembled of small blocks of wood painted in bold primary colors. In construction, the blocks were alternated to form a pattern of color determined by indecipherable mathematical formulas. Cadere claimed to have included a small error in each pattern -- a metaphor perhaps for his own inobtrusive interruptions of the art world’s business as usual. The 180 barres de bois aren’t the essence the practice that Cadere referred to as “painting without end” and blurring the boundaries delineating sculpture, performance, institutional critique, logic, living, walking, and painting. They function indexically like lines of graffiti reading “André was here.” They are what he left behind.”
Extract from Two Point(s) North, Claire Daigle.
See also Ill heard, ill seen
2008, wood, resin, paint.
“The walking stick reappears now striped black, blue, and white resting against a gallery wall and bearing the title Ghost of Cadere (2008). Here Walker & Walker make indirect reference to Friedrich’s Wanderer, perhaps, but the gesture of this object’s inclusion in the exhibition conjures the spirit of André Cadere. Cadere was born in Poland and moved to Paris to become the consummate flâneur of the Situationist generation. He died in 1978 at the age of 45 and has since gathered something of an underground cult following. He would leave his sticks (les barres du bois ronds) at art world and other events to which he hadn’t, or sometimes had, been invited.
For example, in the autumn of 1972 in Paris one barre could be found in the Sonnabend Gallery, then at Yvon Lambert, later in the window of Darcy’s Bakery Shop, and finally in an exhibition space called Le Grand Chic Parisien devoted to the sartorial trends of the 1930’s. The peripatetic rods accompanied him on random walks and scheduled street appearances through cities as well – ventures all carefully documented with maps and type-written texts. The sticks were assembled of small blocks of wood painted in bold primary colors. In construction, the blocks were alternated to form a pattern of color determined by indecipherable mathematical formulas. Cadere claimed to have included a small error in each pattern -- a metaphor perhaps for his own inobtrusive interruptions of the art world’s business as usual. The 180 barres de bois aren’t the essence the practice that Cadere referred to as “painting without end” and blurring the boundaries delineating sculpture, performance, institutional critique, logic, living, walking, and painting. They function indexically like lines of graffiti reading “André was here.” They are what he left behind.”
Extract from Two Point(s) North, Claire Daigle.
See also Ill heard, ill seen