2017-09-07

AfroPunk

EXHIBITION FROM 08.09 > 28.10.2017

BRUSSELS GALLERY WEEKEND

Friday 8 September - Sunday 10 September 2017

10h00 - 19h00 
http://www.rodolphejanssen.com
32 Rue Livourne - 1050 Bruxelles

http://www.didierclaes.art
14 Rue de l'Abbaye - 1050 Bruxelles

 

2014-12-13

Ani/Mystik/AKtivist, Goodman Gallery, Cape Town

2014-09-06

Crossing the Line

Download PDF

 

 

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

 

2014-05-18

The disappearence of the Fireflies

 

The Collection Lambert presents "The Disappearance of the Fireflies" , a unique project combining contemporary art, retrospection and the showcasing of heritage. The exhibition is housed at the Prison Sainte Anne, an emblematic heritage site in Avignon.

From May 18th till November 25th

Collection Lambert

 

 

 

 

2014-04-26

Solve et Coagula - Galerie Yvon Lambert

 

Kendell Geers

“Solve et Coagula”

 

"In the spring of 1912 Marcel Duchamp left Paris for Munich in a rite of passage that would ultimately lead him to giving up on painting a few years later. It is not exactly clear what he did, but he explained that he visited the Alte Pinokathek almost daily, fascinated by the elders. A century later in the spring of 2012, I found myself wondering around the Alte Pinokathek trying to shake off the paralysing effects of a depression I had been cast into by the injustices of an art system that cares little for its artists and even less for their vision or integrity.

 

I gazed upon Durer as I got lost in Cranach and traced the shadows of Leonardo upon the mysteries of Ingres, searching for that line which Duchamp threw down between himself and his own mentors. When the colours finally revealed themselves and the darkness began shedding wings of light, I understood that art can only be created and not produced. Blake offered me his Double Vision with which to see the secret worlds that Duchamp was so afraid to acknowledge outside of his circle. I understood that after a century of overrated silence, the time had come to lay the found object to rest and permit history its repeat, to once again paint with neither irony nor in parody.

 

For almost three decades I had nurtured a language and approach to art based upon the contradictions of my ethnicity as a White African. From Africa, the continent of my birth and Country of my Skull, I have learned the experiential value of art, the importance of rooting my work in the fresh grounds of lived experience. I learned to create art out of that which I am, from the perspective of a radical subjectivity that does not ask permission to speak my truth. The animists taught me the value of place and how to communicate with the spirit of objects. In time the African spirits demanded that I seek out my own ancestors and so I found my way to Europe and began making art between two worlds.

 

I was born within the illegitimate zone of Apartheid, the son of a crime against humanity, a run-away child protesting. From this illegitimacy, I soon found myself illegal, on trial for treason and so I had to start again and gave birth to my self in May 1968, the bastard child of revolution, the Frankenstein of European colonialism.

From the battlefields of the AngloBoer war to the flashpoints of the Anti-Apartheid Resistance Movement, I dragged my cultural and political heritage into the white cube gallery, marking its frontiers with Razormesh. This uniquely South African patented material is as alien in the art gallery as I find myself to be, too African to be European but too European to be African. I invoked the “Interzone” of Burroughs through the “Thousand Plateaus” of Deleuze and Guattari, tracing the lines of my flight from the streets, through the battlefields and on into the horizons of my transformation.

 

My subjectivity of perception and perceptions of subjectivity flowed through the borders of prejudice and through my expectations of an art system, giving me the strength to interrogate my own history and question my identity differently than ever before.

 

With the broken arm of my discontent ripped from my noble intentions by the blind mice of market and media, I threw my paint down in 2012, a protest upon a virgin white cotton canvas. I hurled my visceral disturbances into the infinite void, losing control in search of my self. The dark mistress of chaos teased my intentions like a teenager drunk with ecstasy in a fatal striptease of expectations. Painting was a calling that refused to be silenced, an animistic channelling of a spiritual bond, the perfect arranged marriage of my African and European ancestral spirits.

 

From the chaos, orders began to rise until eventually lines were crossed and forms found flesh. Ancient memories haunted my practice, memories I neither knew I possessed nor understood the meaning of, memories of other worlds and other ways of seeing. I found myself in a dialogue with signs, sigils and symbols that unlock perception, decoding consciousness through the unfolding of creation. My paintings are not pictures for they are embodied African totems and European talismans, challenging conceptions of art in an embrace with the infinite through which the imagination may open its doors to my perception.

 

A century after Marcel Duchamp decided to stop painting, I decided to start painting. We were both initiated in the Alte Pinokathek by Durer and Cranach, into the mysterious ways that artists perceive. I surrendered to the calling, allowing my self to be dissolved, my ego decimated through depression, prejudice abandoned in order that something inside may die in order that something else may be born again, Solve et Coagula. I carry my past with me and shall always be nailed to the cross of my identity with razormesh blades and so the real world of sculpture will always be my burden, but now I have a new mistress too, painting. Permit me to introduce you to our mysteries ..."

 



26.04.2014- 31.05.2014

Performance 'RitualResist' on 26.04.2014

Solve et Coagula, Galerie Yvon Lambert

108 rue Vieille-du-Temple

75003 Paris