Kendell Geers | the artist




The artist Kendell Geers
Born 1968, South Africa.
Lives and works in Brussels, Belgium.

Style and technique of the artist: Conceptual Art, Installation art, Berlin Biennial,


Biography and art, auction, artworks, interview, statement, website:









Original artworks, prints, exhibition posters, monographs, books, collectibles.

He hates the art establishment. In the Palazzo Grassi, he pissed into Duchamp’s urinal. For the exhibition “Crap Shoot,” he had Rudi Fuchs shadowed by a private detective for a week. In Glasgow, he blew a hole through the wall of the museum. He jerked off over a “Hustler” centerfold and hung it, framed, in an exhibition. The metal identity tag around his neck is going to be auctioned off to the highest bidder after his death, and he holds many of his works’ titles back from the public, referring to them as “Title Withheld.” We’re talking about a sensitive, articulate, widely read and often seemingly shy South African by the name of Kendell Geers…
Works and biography
Kendell Geers’ work has, over the years, examined the proliferation of violence in the mass media and how images of violence have become banalised through media-centric methods of representation. Often his work references political issues, racial politics and violence in South Africa, his country of origin…
Works and biography
Walking through The word made flesh, Kendell Geers’ recent solo show in London, I kept returning to a quote by Marquis de Sade: “You refuse to admit that vices exist, it is as unjust for you to punish them as it would be to jeer at a one-eyed man”. Like de Sade, Geers is no stranger to the relationship between vice and virtue and is also familiar with the tenuous relationship between human morality, politics and our Lady Justice. Geers and de Sade are however not alone here; the vain, the ambitious, in fact all kinds of so-called leaders are implicated. It is a dangerous and contested area. Were it not for the occasional court jester making a spectacle of it, it would remain the domain of gods and self-righteous sods only. To my mind, Geers is a modern-day jester, prodding at firmly held convictions and beliefs through his art. His primary tool is appropriation…


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