Paris

Daniel Spoerri

Centre Georges Pompidou

Some people collect art (or stamps or coins); others just collect. Daniel Spoerri is decidedly in the second category. As this retrospective demonstrated, he has been collecting everything from eyeglasses, vegetable peelers, and shoe trees, to artificial limbs, animal horns, and the worktables of his artist friends for at least the past 30 years. Unlike the rest of us, Spoerri has not simply filled his closets with the flotsam and jetsam of daily life. Nor, in most instances, has he opted for the artistic alternatives of estheticizing or appropriating it; rather, to use his own term, he has “trapped” it in a permanent, public form.

Spoerri first exhibited the object-laden tabletops and wall sections that he calls Tableaux-pièges (trap-panels) in 1960. By that time, he had a decade of dance and theater behind him, he had dabbled in concrete poetry, and through his friendship with Jean

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