Kendell Geers

South African, b. 1968

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Kendell Geers

South African, b. 1968

513
Followers
Biography

Incorporating language, ready-mades, broken glass, film, performance, and other elements, Kendell Geers creates work that disrupts social norms and codes. Employing a wide range of references—from art history to pornography, iconography to kitsch—Geers questions the value of aesthetics and thumbs his nose at the concept of originality. Laden with complex political references to racial or religious stereotypes, his work is challenging, confrontational, and, at the same time, humorous. His earliest and best-known work has its origins in the artist’s anti-Apartheid activities and subsequent exile from South Africa, incorporating the harsh visual and performative language of activism—in Title Withheld (Brick) (1994/96), Geers threw a brick through a gallery window; in Title Withheld (Deported) (1993/97), he constructed a charged electric fence to cordon off a gallery space from visitors. Geers made a splash in 1993 when he urinated in Marcel Duchamp’s iconic Fountain.

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Career Highlights
Learn more about artist insights.
Blue chip status
Blue chip representation
Represented by internationally reputable galleries.
User
Solo show at a major institution
Haus der Kunst
Group
Group show at a major institution
The Museum of Modern Art (MoMA), and 9 more
Institution
Collected by a major institution
Elgiz Museum
Publication
Reviewed by a major art publication
Artforum, and 1 more
Fair
Included in a major biennial
Venice Biennale National Pavilion, and 9 more
Biography

Incorporating language, ready-mades, broken glass, film, performance, and other elements, Kendell Geers creates work that disrupts social norms and codes. Employing a wide range of references—from art history to pornography, iconography to kitsch—Geers questions the value of aesthetics and thumbs his nose at the concept of originality. Laden with complex political references to racial or religious stereotypes, his work is challenging, confrontational, and, at the same time, humorous. His earliest and best-known work has its origins in the artist’s anti-Apartheid activities and subsequent exile from South Africa, incorporating the harsh visual and performative language of activism—in Title Withheld (Brick) (1994/96), Geers threw a brick through a gallery window; in Title Withheld (Deported) (1993/97), he constructed a charged electric fence to cordon off a gallery space from visitors. Geers made a splash in 1993 when he urinated in Marcel Duchamp’s iconic Fountain.

Career Highlights
Learn more about artist insights.
Blue chip status
Blue chip representation
Represented by internationally reputable galleries.
User
Solo show at a major institution
Haus der Kunst
Group
Group show at a major institution
The Museum of Modern Art (MoMA), and 9 more
Institution
Collected by a major institution
Elgiz Museum
Publication
Reviewed by a major art publication
Artforum, and 1 more
Fair
Included in a major biennial
Venice Biennale National Pavilion, and 9 more
Shows Featuring Kendell Geers
Articles Featuring Kendell Geers
Rodolphe Janssen, a Bastion of the Belgian Gallery Scene
Apr 15th, 2014
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