A self-taught student, the artist takes classes at the „Nicolae Grigorescu” Institute of Fine Arts in Bucharest, he befriends Octav Georgescu adn Caius Ovidiu Pascu and poses for workers portraits in the workshops of some known painters. In the 60s he paints vividly coloured paintings, generally landscapes, always in search of abstract and geometrical formal solutions. He makes a reputation as a nonconformist artist and his works are bought by art collectors (Gh. Rădulescu). Between 1968-1971 he paints paintings and reliefs with abstract motives composed by wood chips, round and with different colours. The relief shapes become autonomous and turn into a sort of totems in order to finally become bars made of cylindrical coloured segments. These explorations lead to the “round wooden bar”, the name Adrian Cădere gives the object of his European and American pilgrimages. “The round wooden bar”, infinitely multiplied is a juxtaposition of wooden cylindrical segments, in different colours, assembled following a permutation system that always contains an error. The round wooden bar may be a sort of pilgrim’s cane, the ancient painter’s Malstock and, finally, by its modular structure recalls Brâncuși’s Column, association Adrian Cădere himself makes. The reference to Brâncuși is nonetheless common at that time with the American conceptualists. As a “work of art”, the round wooden bar is precarious, truly poor, with its semantic potential being revealed only in the scenarios of the diverse actions and events imagined by Adrian Cădere. Which is where the name of art of the behaviour applied to his actions comes from (Bernard Marcelis). There are five types of manifestations – isolated walks, programmed urban itineraries, taking part at collective exhibits, using art galleries and debates. All converge in the aspiration to break the artistic monopole of the galleries and build new relations between the artificial and conventional space of the gallery and the vivid reality of the city.  Adrian Cădere re-enacts and re-dimensions the concept of artistic bohemia, inventing new ways of contesting the artistic institutional system. He is among the most important French conceptualist artists of the 70s: among others, he worked with Christian Boltanski. He is accepted at Documenta Kassel in 1975 with the performance The Pilgrim from Kassel and then is rejected for not fulfilling the initial terms of the project.
Ioana Vlasiu



    (Warsaw, Poland, 1934 - Paris, 1978; since 1967 he lived in France)
    Member of the Romanian Union of Plastic Artists


    Individual exhibits:
    since 1973 – he exhibits in Paris, Brussels, Liège, Gand, Anvers, Rome, Milan, Genova, Bari, Brescia, Torino, Napoli, London, Berlin, Düsseldorf and New York.

    Posthumous exhibits:
    1989 - The Institute for Contemporary Art, P. S. 1 Museum, Long Island City, New York, USA;
             - Galerie des Beaux-Arts, Brussels, Belgium;
    1992 - Hommage à André Cădere - Musée d’ Art Moderne de la Ville de Paris, France;
                                                           - Institute for Contemporary Art, P. S. 1 Museum, New York, USA.
    Group exhibits:
    1978 - Matisse en de Hedendaagse Franse Kunst, Gand, Belgium;
             - Tendances de l’ Art en France 1968-1978, Musée d’ Art Moderne de la Ville de Paris, France;
             - Focus '78, Centre Culturel du Marais, Paris, France;
    1979 - Omtrent Kunstenaars, Cultureel Centrum, Waregem, Belgium;
             - Antwerpen (Palais des Beaux-Arts) / Charleroi, Biennale de la Critique, Belgium;
    1983 - Art en France 1960 - 1980, Coutances, France;
    1987 - Cădere, Köpcke, Palermo, Galerie des Beaux-Arts, Brussels, Belgium;
    1989 - Das Spiel des Unsagbaren, Wiener Secessión, Vienna, Austria;
             - L’ Art conceptuel, une perspective, Musée d’ Art Moderne de la Ville de Paris, France;
             - Le Jeu de l’ Indicible, Palais des Beaux-Arts, Brussels, Belgium;
    1991 - Une Scène Parisienne 1968-1972, Université Rennes 2, Rennes;
    1992 - Yvon Lambert collectionne, Villeneuve d’ Asq;
             - Manifeste, Centre Georges Pompidou, Musée National d’ Art  Moderne, Paris, France.

      - Tate Modern, London, Great Britain;
      - The Museum of Modern Art, New York, USA;
      - Musée National d’Art Moderne, Paris, France.

    1970 - Boy with Stick, Semiotext(e), vol. III, no. 2, Columbia University, New York, USA;
    1973 - Opus International (Paris), no. 43, nov. 1973;
             - Studio International (London), no. 961, dec. 1973;
    1974 - - +- 0 (Bruxelles), no. 4, apr. 1974;
             - Flash Art (Milano), no. 44-45, apr. 1974;
    1977 - Présentation d’ un travail / Utilisation d’ un travail, Hossman, Hamburg/MTL, 1977;
             - Domus (Milano), no. 573, august 1977;
             - Saman, nr. 11, nov. - dec. 1977;
    1980 - NDRL (Paris), no. 5-6, 1980;
    1982 - Histoire d’ un Travail, Gent, Herbert-Gewad, 1982.


    Bénézit, E., Dictionnaire critique et documentaire des peintres, sculpteurs, dessinateurs et graveures, Tomes I - VIII, Librairie Grüd, Paris, ediția a III-a, 1966.
    Fundația Culturală META, Un secol de sculptură românească. Dicționar A - D, Colecția SINTEZE, Editura META, 2001, pp. 106 - 110.
    Vlasiu, Ioana (coord.), Dicționarul sculptorilor din România. Secolele XIX-XX, vol. I, lit. A-G, Editura Academiei Române, București, 2011, pp. 113 - 114.

    Lauf, C., Marcelis, B., Criqui, J. P., Andrei Cădere, The Institute for Contemporary Art, P.S. 1 Museum, New York şi Musée d’ Art Moderne de la Ville de Paris, pp. 180.
    Titu, Alexandra, Experiment în arta românească contemporană după 1960/Experiment in Romanian Art since 1960, catalog, Centrul Soros pentru Artă Contemporană, București, 1997.

    Agalidi, în „Observatorul cultural”, nr. 402, dec. 2007.
    Pamfil, în „Arta”, nr. 1 . 2, 1993.
    Wulfen, T., Kunstforum International, nr. 125/1994, p.76.