2015-02-13

The Importance of Being a Panorama on contemporary art with 40 Belgian artists in Latin America

Hanging Piece, 1993

13 February until 26 April 2015
 Museo Nacional de Bellas Artes, La Habana, Cuba
4 July until 12 September 2015
Museo de Arte Contemporáneo, Buenos Aires, Argentina
2 December 2015 until 14 February 2016
Museo de Arte Moderna, Rio de Janeiro, Brasil
11 July until 14 July 2016
Museu de Arte Contemporânea da Universidade de São Paulo, Brasi

13 February until 26 April 2015 Museo Nacional de Bellas Artes, La Habana, Cuba

4 July until 12 September 2015Museo de Arte Contemporáneo, Buenos Aires, Argentina

2 December 2015 until 14 February 2016Museo de Arte Moderna, Rio de Janeiro, Brasil

11 July until 14 July 2016Museu de Arte Contemporânea da Universidade de São Paulo, Brasil

2014-09-06

Crossing the Line

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Featured in the exhibition is a new body of work made from razor wire, a material that has been a signature for the artist throughout his career. Geers describes razor wire as 'the sign of my childhood, the symbol of my nation, the curse of my ancestors'. A new series of paintings feature classical iconography entwined with intersecting lines and geometric shapes rendered in gold. Inspired by the Sienese painters from the thirteenth to fifteenth century, Geers interweaves the razor mesh with traditional iconography and abstract forms. The end result is a subtle meditation on the sacred and the profane, a common thread in Geers' work.

In the painting ‘Ligne de Fuite 7487', the crucifixion is rendered in red and gold. While seemingly abstract, the imagery is immediately recognisable. By mixing the paint with gold pigment, the surface is suggestive of rust and alchemy. The paintings take their title from philosopher Gilles Deleuze's concept ‘Ligne de Fuite', developed with Felix Guattari, which relates to the act of fleeing or disappearing into the distance. As such, the lines embedded in these paintings question notions of space, borders, imprisonment and gateways.

A hanging sculpture features an infinite looping representation of razor wire, highly polished in stainless steel and elevated from its fierce undertone. The work relates to Geers' earlier installations like 'T.W. Exported' from 1993, which used razor wire fences to split the gallery in two. With the material sourced directly from a South African security company, 'T.W. Exported' was explicitly political and confrontational. This new work characterises a renewed state of mind for the artist, offering a more contemplative outlook on the hallmarks of his practice.

 

06.09.2014-04.10.2014

stephenfriedman.com

 

2014-12-01

Kendell Geers Solo Show at Goodman Gallery

More details soon