![]() ![]() One of his earliest works, which is simply called Sans tit re (“Untitled”), made in 1968 and now housed at the Centre Pompidou in Paris, refers precisely to Op Art: shapes that seem almost produced by the effect of hallucinogens, sinuous and nervous at the same time, with the acid colors and strongly marked contours typical of so much psychedelic art, mingle, blend and overlap to the point that they seem to come out of the confines of the painting.Īndré Cadere, Sans titre (1968 oil on canvas, 129.5 x 195 cm Paris, Centre Pompidou)īut it was in 1970 that his art experienced a decisive turning point. For an artist, growing up in the years of Ceau? dictatorshipescu meant dealing almost exclusively with socialist realism, but George Saru’s art, with its fragmented, rounded motifs vaguely reminiscent of Byzantine mosaics, had opened up for André the path to abstractionism, which he got to deepen in Paris by coming into contact with the Op Art movement, the avant-garde movement that sought three-dimensional effects through the use of optical effects and illusionistic games, almost always through the use of bright, psychedelic colors. ![]() And the only way out of a difficult situation, for a man who came from a country under communist dictatorship and had nothing but his art studies to rely on, is precisely to put all his eggs in the art basket. A particularly difficult situation, in short. And in fact, after an initial period that the artist spends settling in, he does not find it all that difficult to fit into the artistic circles of Paris at the time, although without ever achieving complete integration: throughout the rest of his life, André Cadere will continue to feel anyway that he is different, an émigré, a nomad who happened to be there after abandoning an Eastern Europe that at the time was seen almost as an alien planet, a communist who is not really a communist because in his country he is considered a traitor who has gone on the run. The choice of Paris is also made because of the influence that French culture has always exerted on Romanian culture. As many artists who left Romania for France used to do, the young man takes on a “Frenchified” version of his name: Andrei C?dere thus becomes André Cadere. The destination is the capital of France. This was the turning point, the year that changed André’s life, and from here on he would begin to carve out a space for himself to enter art history. The situation, however, must have been untenable to the point that it led him, in 1967, to the decision to leave Romania never to return. He had, however, managed to get some practice in painting through the courses he had taken at the Bucharest Academy of Fine Arts, where he had taken classes for some time with one of the most fashionable Romanian painters of the day, George Saru. Too free-spirited was his spirit to survive a regime as rigid as Ceau?escu’s. His name was André Cadere (Warsaw, 1934 - Paris, 1979) and he was a young man who had wanted to leave the dictatorship behind: he was in fact from Romania, and it is said that he did not have a very easy life. And with a strange, colorful wooden bar always on his shoulders. In the Paris of the early 1970s, it was not uncommon to come across a man with a bizarre appearance: tall and thin, dressed as a modern bohemian, long hair framing a face with vaguely Middle Eastern features, a gaze always absorbed to the point of looking constantly lost. One of the most interesting figures in contemporary art is Romanian André Cadere, the artist famous for his subversive round wooden bars. ![]()
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