context

 

[…] Around the world, walls with broken glass protect property and guard prisoners. The geometry of Mondo Kane from 2002 and the order of The Forest of Suicides of 2004 begs the question: is this art or a nightmare? Geers takes political nightmares – a dramatic social metaphor for dreaming – into the realm of the physical. He has the capacity to represent that which is politically repressed, like memories of socio-political traumas and fantasies of power. Mondo Kane and The Forest of Suicides could be a homage to Merleau Ponty’s “Humanism and Terror”, a critique of the Marxist, Soviet and communist institutions. However, Geers understands that institutional terror and state terrorism is neither a monopoly of the left nor of any specific religion.[…]

extract from Here lies Kendell Geers, the cannibal, Paulo Herkenhoff (Irrespektiv)