Kendell Geers: In Gozi We Trust

Kendell Geers: In Gozi We Trust
23 November - 13 January 2020
Installation View
Kendell Geers: In Gozi We Trust
23 November - 13 January 2020
Installation View
Kendell Geers: In Gozi We Trust
23 November - 13 January 2020
Installation View
Kendell Geers: In Gozi We Trust
23 November - 13 January 2020
Installation View
Kendell Geers: In Gozi We Trust
23 November - 13 January 2020
Installation View
Kendell Geers: In Gozi We Trust
23 November - 13 January 2020
Installation View
Kendell Geers: In Gozi We Trust
23 November - 13 January 2020
Installation View
Kendell Geers: In Gozi We Trust
23 November - 13 January 2020
Installation View
Kendell Geers: In Gozi We Trust
23 November - 13 January 2020
Installation View
Kendell Geers: In Gozi We Trust
23 November - 13 January 2020
Installation View
Kendell Geers: In Gozi We Trust
23 November - 13 January 2020
Installation View
Kendell Geers: In Gozi We Trust
23 November - 13 January 2020
Installation View
Kendell Geers: In Gozi We Trust
23 November - 13 January 2020
Installation View
Kendell Geers: In Gozi We Trust
23 November - 13 January 2020
Installation View
Kendell Geers: In Gozi We Trust
23 November - 13 January 2020
Installation View
Kendell Geers: In Gozi We Trust
23 November - 13 January 2020
Installation View

Kendell Geers

Masking Tradition DLXVI, 2018 Acrylic on canvas

Kendell Geers

Petals of Blood 204, 2019 Acrylic on canvas

Kendell Geers

Daemon Est Deus Inversus 8929, 2019 Acrylic on canvas

Kendell Geers

Petals of Blood 596, 2019 Acrylic on canvas

Kendell Geers

A Rose by Any Other Name, 2007 Gold plated police batons

Kendell Geers

Petals of Blood 523, 2019 Acrylic on canvas

Kendell Geers

Mined, 2010 18 Carat gold 9.5 x 7.5 x 6 cm

Kendell Geers

Flesh of the Spirit 1409, 2019 Bronze

Kendell Geers

Wretched of the Earth 3007, 2019 Rust on paper

Kendell Geers

Age of Iron XCIX, 2013 Rust on paper

Kendell Geers

Flesh of the Spirit 1454, 2019 Bronze and custom made plinth

Kendell Geers

Wretched of the Earth 3031, 2016 Rust on paper

Kendell Geers

Les Fleurs du Mal 452, 2018 Acrylic on canvas

Kendell Geers

Age of Iron XCVI , 2013 Rust on paper

Kendell Geers

Daemon Est Deus Inversus 299, 2019 Acrylic on canvas

Kendell Geers

Daemon Est Deus Inversus 989 2019, 2019 Acrylic on canvas

Kendell Geers

Wretched of the Earth 3011, 2016 Rust on paper

Kendell Geers

Age of Iron XCVII, 2013 Rust on paper

Kendell Geers

Daemon Est Deus Inversus 199, 2019 Acrylic on canvas

Kendell Geers

Les Fleurs du Mal 403, 2019 Acrylic on canvas

Kendell Geers

Wittgenstein's Beetle 2831, 2019 Acrylic on canvas

Kendell Geers

Wittgenstein's Beetle 4358, 2019 Acrylic on canvas

Kendell Geers

Wittgenstein's Beetle 372, 2019 Acrylic on canvas

Kendell Geers

Wittgenstein's Beetle 3581, 2019 Acrylic on canvas

Kendell Geers

Daemon Est Deus Inversus 9807, 2019 Acrylic on canvas

Kendell Geers

Flesh of the Spirit 205, 2016 Bronze

Kendell Geers

Flesh of the Spirit 201, 2016 Bronze and custom made plinth

Kendell Geers

Flesh of the Spirit 211, 2016 Bronze

Kendell Geers

Rising Sign 524, 2012-2018 Bronze

Kendell Geers

Blows Blind Another Tame , 2015 Lead batons, iron base

Kendell Geers

Saint Johns Pendulum V, 2010-2018 Bronze and chain

Kendell Geers

Venus Blinds her Lover's Shame , 2015 Copper batons, iron base

No 3D loaded yet

Goodman Gallery Johannesburg
23 November – 18 January 2020

Goodman Gallery is pleased to present In Gozi We Trust, Kendell Geers’ sixth solo exhibition with the gallery in his hometown of Johannesburg. The exhibition follows critically successful solo presentations of Geers’ work in Amsterdam, Dublin, Barcelona and Budapest.

The title might translate as “In DANGER We Trust” or be read as “In Jozi We Trust”, a subtle reference to William Kentridge’s animation Johannesburg, 2nd Greatest City After Paris (1989). This play with words is typical of Geers’ trickster sensibilities and references the Nguni words for danger (ingozi) and God (nkosi) via the slogan ‘In God We Trust’. The works on the exhibition examine the role that threat and danger play in the construction of Johannesburg’s identity and the consoling habit of finding comfort through the beauty of art.

In Gozi We Trust blends the emotional geography of suburban paranoia with the very real dangers that make Johannesburg one of the most psychologically complex cities in the world to feel safe,” says Geers. “The comfort zones of security fences and lavish décor are thrown up against the border that is at once freedom on the one side and a prison on the other”.

By breaking down the classic art historical divide between conceptualism and expressionism, Geers uses his acerbic wit, together with paint, to spin a web of words into images that are layered with multiple meaning.

In Gozi We Trust is a resurrection of spirit through an invocation of nature,” Geers explains. “Pierneef painted the landscape without people because he was a prisoner of his perception. This exhibition is a return to the traditions of Still Life and Landscape painting in which conceptual language is flipped on its head with a conceptual-expressionist twist.”

Digging in to his Afrikaans roots, Geers questions the landscape traditions that began with Pierneef by resurrecting dead Acacia trees in the Kruger Park as Yggdrasil, the mythological world tree. The dead tree is both symptomatic of climate change and a spiritual call to arms. Inspired by shamanic practices as much as by the Kabbalistic Tree of Life, In Gozi We Trust is a resurrection of spirit through an invocation of nature.

Kendell Geers

South African-born, Belgian artist Kendell Geers changed his date of birth to May 1968 in order to give birth to himself as a work of art. Describing himself as an ‘AniMystikAKtivist’, Geers takes a syncretic approach to art that weaves together diverse Afro-European traditions, including animism, alchemy, mysticism, ritual and a socio-political activism laced with black humour, irony and cultural contradiction.

Geers’s work has been shown in numerous international group exhibitions, including the Venice Biennale (2007) and Documenta (2002). Major solo shows include Heart of Darkness at Iziko South African National Gallery in Cape Town (1993), Third World Disorder at Goodman Gallery Cape Town (2010) and more recently Songs of Innocence and of Experience at Goodman Gallery Johannesburg (2012). His exhibition Irrespektiv travelled to Newcastle, Ghent, Salamanca and Lyon between 2007 and 2009. Geers was included on Art Unlimited at Art 42 Basel in 2011. Work by Geers was included on Manifesta 9 in Genk, Limburg, Belgium and a major survey show of his work was exhibited at Haus der Kunst, Munich, Germany in 2013. Earlier this year Geers held a solo exhibition, The Second Coming (Do What Thou Wilt), at Rua Red in Dublin.