Kendell
Geers
Kendell
Geers
Geers
In his 1995 manifesto, Kendell Geers wrote that “art must depict a violent, amoral and nihilistic age.” Barbed wire, burnt cars, broken bottles, sordid news items and human blood are among the materials the South African artist uses in his installations and performances.
The son of an Afrikaners, Geers campaigned against apartheid, went into exile in the United States and settled in Brussels. The Johannesburg-born artist’s eventful, committed career reflects the radicality of his work. Drawing on the vocabulary of conceptual art, ready-made art and activism, Geers unflinchingly addresses the themes of violence, sex and religion. “As an artist, I try to engage in a struggle with life where vital experiences are taken to extremes,” he says.
Geers' work was first presented by the Pinault Collection at the 2007 “Passage du temps” (“Passage of Time”) show at the Tri Postal in Lille.
The son of an Afrikaners, Geers campaigned against apartheid, went into exile in the United States and settled in Brussels. The Johannesburg-born artist’s eventful, committed career reflects the radicality of his work. Drawing on the vocabulary of conceptual art, ready-made art and activism, Geers unflinchingly addresses the themes of violence, sex and religion. “As an artist, I try to engage in a struggle with life where vital experiences are taken to extremes,” he says.
Geers' work was first presented by the Pinault Collection at the 2007 “Passage du temps” (“Passage of Time”) show at the Tri Postal in Lille.
