Kendell GeersBORN: MAY 1968 Lives and works in Brussels SOLO EXHIBITIONS (Selection):
GROUP EXHIBITIONS (SELECTION):
PUBLIC COLLECTIONS: Chicago Art Institute, Chicago; FNAC, Paris; S.M.A.K., Ghent LITERATURE (SELECTION): "Review" The Art Newspaper No 94, July‑August 1999, Page 66 “Review,” Tilman Baumgärtel, Springer, October/November 1996, Pages 68-69 "Art in Review," Holland Cotter, New York Times, 21 June 1996 “Scenes de la destruction et autres images de la souffrance” Philippe Dagan, Le Monde, 23 Janvier 2000, pg 23 “Cross/ing: Time, Space, Movement,” Mathew DeBord, Flash Art, March April 1998, Page 80 "Occupied Territories: Power, Access, and African Art," Okwui Enwezor, Frieze, January 1996, pages 37 ‑ 41 "Moving In," Okwui Enwezor & Octavio Zaya, FlashArt, January ‑ February 1996, Pages 84 ‑ 89 “Altered States: Die Kunst des Kendell Geers” Okwui Enwezor, Inklusion Exklusion, Dumont, Koln 1997, pgs 202 - 205 “Reading the Contemporary - African Art from Theory to the Marketplace,” Okwui Enwezor and Olu Oguibe, MIT Press, Cambridge, Massachusetts, pg 380 “Performative Recollections: An Interview with Artists Olu Oguibe and Kendell Geers” Laurie Firstenberg, Chcago Art Journal, Spring 1999, pg 102 - 108 “Cityscape Johannesburg” Laurie Firstenburg, Flashart No. 208, October 1999, pg 69 - 70 "Review", Laurie Firstenburg Flash Art, Vol 32 No 209, November‑December 1999, Page 118 "Der melancholische Schrecken", Nikolai B. Forstbauer, Stuttgarter Nachrichten, February 2001 “Artiste du Mois” Catherine Francblin, Beaux Arts, Fevrier 2000, pg 27 “Paradoxes de la Mondialisation” Catherine Francblin ArtPress, Special Numero 22, 2001, page 165 “Picturing Health and Illness,” Sander L Gilman, John Hopkins University Press, Baltimore,1995, Pages 182 - 3 "Review 99", Katerina Gregos, Noticias ARCO No 15, September 1999, Page 8 "Kendell Geers", Katerina Gregos, Contemporary Visual Arts, issue 25, October 1999, Page 56 “Video et photographie scellent leurs noces au Printemps de Cahors” Michel Guerrin, Le Monde, 23 Juin 1999“ “CREAM,” Hou Hanru et al, Phaidon Press, London, 1998, Pages 136-139 “Authentic / Ex-Centric, Conceptualism in Contemporary African Art” Salah M. Hassan and Olu Oguibe, la Biennale di Venezia,Forum for African Arts, New York, 2001 "The Hottentot Venus," Jean‑Yves Jounnais, Art Press, Paris, May 1994, pages 33 ‑ 4O “Extra et Ordinaire” Evelyne Jouanno, Flashart, October 1999 “Contemporary African Art” Sidney Littlefield Kasfir, Thames and Hudson, London, 1999 pg 165 “Art of Darkness: Darkness of Art,” Clive Kellner, NKA, Number 9, Fall/Winter 1998, Cornell University, New York, pages 68 - 69 "Review", Sarah Kent, Time Out London, 30 June‑7 July 1999, Page 55 "There’s a Bomb in This Exhibition: Kendell Geers charged", Ruth Kerkham, Parachute 99, pages 30‑40 “Review,” Pascal Lampert, Metropolis M, Nummer 4, August/September 1997, Page 61 "The 9 Cards of Chameleon Geers," Stephen Laufer, Weekly Mail, Johannesburg, 25 February 1994, page 11 “Ghetto Blaster” Jade Lindgaard, Les Inrockuptibles, Paris, No 228 1 - 7 Fevrier 2000, pg 56 - 57 “Micro Politiques” Parpaings, #10 Fevrier 2000, Pg 20 –23 "The art of the Phoenix", interview Christine Macel and Kendell Geers, ArtPress 257, Pages 28‑33 "Motho Ke Motho Ka Batha Babang," Teresa Macri, Virus, Milan, November 1994, pages 34 ‑ 35 "High Red Center", Elisabeth Mahoney, Art Monthly No 224, March 1999, Pages 27‑29 "Report from Johannesburg Towards a World‑Class City?" Thomas McEvilley, Art in America, September 1995, pages 45‑49 "Crapshoot," Stuart Morgan, Frieze, Issue 29, June/July/August 1996, Pages 64‑65 “Portrat des Kunstlers als Voyeur und Exhibitionist” Otto Neumaier, Noema, Nr 51 Mai - Jun 1999, pgs 46 - 51 “Kratzen, wo es nicht juckt” Otto Neumaier, Frame, 06 mar/apr 2001, pages 94 - 99 Video Impressionnante,” Michel Nuridsany, Figaro, 1 Fevrier 2000 “Video: Un Art Contemporain” Françoise Parfait, Editions du Regard, 2001, pages 166, 226, 227, 242, 246 "Review," John Peffer‑Engels, African Arts, Winter 1997, pages 75 ‑ 77 “Art and Artifact, The Museum as Medium” James Putnam, Thames and Hudson, London, 2001, page 108 "About Face Aspects of Art History and Identity in South African Visual Culture," Colin Richards, Third Text, London, Autumn/Winter, 1993, pages 1O1 ‑ 133 "Retaining This Fire," Colin Richards, Atlantica, Number 11, Pages 31 ‑ 44 / 132 ‑ 144 “Landmines in the Gallery” Jerome Sans, TRANS > #8, 2000, pages 268 - 274 “Review,” Dierk Schmidt, Springer, October/November 1996, Page 68 "Separate and Equal," Andrew Solomon, The New York Times Magazine, New York, 27 March 1994, pages 44 ‑ 89 “Infinite Justice” Eric Troncy, Les Editions du Reel, Dijon, 32 - 43 “Making Whiteness Strange” Liese van der Watt, Third Text 56, London, Autumn 2001, pages 63 - 74 “South Africa,” Cumulus, Hamza Walker, Parkett 52 1998, page 177 "South African Art ‑ Out of Time," Benjamin Weil, Flash Art, January ‑ February 1995, pages 74 ‑ 76 "Crossing The Boundaries: Two examples in South African Art," Benjamin Weil, Atlantica, Number 8, Autumn 1994, pages 19 ‑ 27, 13O ‑ 134 "Resistance Art in South Africa," Sue Williamson, David Philip, Cape Town, 1989, Page 69 WRITING BY THE ARTIST (SELECTION): “The Affluence and the Effluence” The Bastard, Metronome no. 7, 2001, pages 193-199 "Argot," Kendell Geers, Published by Chalkham Hill Press, 1995 “Art as Propaganda Inevitably Self‑Destructs," Kendell Geers, Art From South Africa, MOMA, Oxford, 199O pages 23 ‑ 24 Cover - Atlantica, Number 22, 1999 Project Pages, Atlantica, Number 22, pages 56 - 65 1999 "Contemporary South African Art ‑ The Gencor Collection" Jonathan Ball Publishers, Johannesburg, 1997 "First Johannesburg Biennial," Kendell Geers, ArtPress, May 1995, pages IV ‑ V "For or Against," Kendell Geers, South African Association of Art Historians National Conference, Wits University, 7 July 1995 "Fuck Art: The Prose of a Con‑Artist," Kendell Geers, National Sculpture Symposium, Pretoria Technikon, 4 July 1995 “The Horror, The Horror,” CAPC Bordeaux, France May 1998 “The Horror, The Horror,” Kendell Geers, Stopping The Process? Contemporary views on art and exhibitions, NIFCA, Helsinki, Finland, 1998, pages 163 - 173 "Third World Bites Back," Kendell Geers, Art Ventilator, Johannesburg, September 1994, pages 12 ‑ 15 “What is the Artist’s Role Today ?” Jérôme Sans and Marc Sanchez, Palais de Tokyo, Paris 2001 Page 66
LITERATUR Williamson, Sue: ”Resistance Art in South Africa”. Cape Town, 1989, S. 69. Richards, Colin: ”About Face”-Aspects of Art History and Identity in South African Visual Culture. Third Text, London, Herbst/ Winter 1993, S. 101-133. Herwitz, Daniel: ”Different and Alike”. Modern Painters, London, Herbst 1993, S. 76-79. Femina: ”The Ten Most Intriguing South Africans”. Cape Town, Oktober 1993, S. 64-71. Vinassa, Andrea: ””Art for Africa?” House and Leisure, Cape Town, Dezember 1993, S. 52-54. Solomon, Andrew: ”Seperate and Equal”. The New York Times Magazine, New York, 27. März 1994, S. 18. Vinassa, Andrea: ” Exposure”, The London Sunday Times Magazine, London, 27. März 1994, S. 18. Jounnais, Jean-Yves: ” The Hottentot Venus”. Art Press, Paris, Mai 1994, S. 33-40. Laufer, Stephen: ”The 9 Cards of Chameleon Geers”. Weekly Mail, Johannesburg, 25. Februar 1994, S. 11. Bristowe, Anthea: ”Getting into Geers despite Static”. Business Day, 23. August 1994, S. 14. Friedman, Hazel: ”Two Artists who are Legends in their minds...”. The Star Tonight, 22. August 1994, S. 3. Green, Michael: ”Con-Artists on the Loovre”. You Magazine, 1. Septemcer 1994, S. 139-140. Weil, Benjamin: ” Crossing the Boundaries: Two Examples in South African Art. Atlantica, Nummer 8, Herbst 1994, S. 19-27, 130-134. De Vries, Fred: ”Het Oproer Van De White Boys”. Elsevier, Amsterdam, 22. Oktober 1994, S. 104-107. Macri, Teresa: ”Motho Ke Motho Ka Batha Babang”. Virus, Milan, November 1994, S. 34-35. Weil, Benjamin: ”Out of Time - South African Art”. Flash Art, Milan, Jänner/ Februar 1995, S. 74-76. KendeII GeersIt is very difficult for me, having been born into and growing up in apartheid South Africa, not to be influenced by the events I witnessed first hand, as weIl as those through the mass media. It is impossible for me to separate the personal from the political. I have always tried with my art to engage the moral and ideological construction of reality, believing that "Ethics and aesthetics are one and the same" (Wittengstein). By political art I mean art that positions itself ideologically both within the present as weIl as historically. It is work that in the past would have been referred to as "Avantgarde." It is an understanding of both art politics and the daily politics of survival that guides my work. The political strategies used in the liberation movement inform what I do as an artist because, while the ideological construction of reality may have changed in South Africa, it has not in Europe, which was that from which apartheid was cloned. I have always conceived of myself as some sort of Frankenstein, an Anglo-Dutch ideological scientific engineering experiment that went wrong, and now I am returning to haunt that which created me. I remain critical of any prescriptive cultural structure, be it the institution of art, demands of the art market, or even Afrikaner nationalism. I try, with every work I produce, to address the specific context. (An extended version of this interview is published in ..Performative Recollection: Interviews with Artists Olu Oguibe and Kendell Geers. Chicago Art Jounal. Spring 1999). .... Kendell Geers Texte, Objekte, Installationen, Aktionen und Videoarbeiten hintenfragen kritisch das Verhältnis von Ethik und Ästhetik und scheinen mit dem politischen Engagement des in Johannesburg/Südafrika geborenen Künstlers eng verbunden zu sein. Die Literatur beschreibt Geers als .“Aesthetic terrorist" oder als „South African Anarchist“, und tatsächlich ist die künstlerische Praxis KendlI Geers in den Kontext der südafrikanischen Gesellschaft eingeschrieben. In einer Dialektik, gekennzeichnet durch die Erfahrungen der europäischen und amerikanischen Moderne und durch die politsche Realität Südafrikas, sind Kendell Geers Arbeiten von der Einfachheit der Mittel und der Gewalttätigkeit ihres Inhaltes bestimmt... Auszug aus dem Pressetext der Wiener Secession 1999 |
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