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Kendell Geers 肯德尔·戈尔斯｜参与意大利普利亚巴列塔城堡群展《无人性》@Barletta, Italy

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展览现场《无人性》普利亚市Barletta城堡 “INHUMAN”@Castello Barletta,Puglia

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Kendell Geers

肯德尔·戈尔斯

🌟Group exhibition 群览

INHUMAN@Castello Barletta, Puglia

《无人性》

·Show duration/展览时间: July 17- Oct 18,2020

·Curator/策展人：Giusy Caroppo

·Location/地点：Castello Barletta, Puglia 意大利普利亚市巴列塔城堡

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BANK is honored to announce that artist Kendell Geers' participation in “INHUMAN”, a group show organised by Circuit of the Contemporary at the Castello di Barletta,Puglia, Italy. Located in the basement rooms of the castle, the exhibition brings together works by international artists Kendell Geers, Oleg Kulik and Andres Serrano to explore the dehumanization of man through acts of violence and the misuse of power. Amongst the works on display is Geers' provocative 'Pro Aris et Focis', (for hearth and home) 2008 which comprises two Uzi guns covered in Gold Leaf and presented side by side in the sign of the cross.

BANK 荣幸地向大家宣布艺术家肯德尔·戈尔斯参与由意大利普利亚当代艺术环形道组织策划的群展《无人性》，在普利亚市Barletta城堡开展。展览在一座古堡的地下室空间，将三位包括肯德尔·戈尔斯的艺术家对非人性的手段——无尽的暴力与权利的滥用的批判作品展出。其中戈尔斯展出的激进作品《为灶台与家而作》（2018）的作品将两把金箔包裹的乌兹冲锋枪相对并峙，如十字架造型。

展览现场《无人性》普利亚市Barletta城堡 “INHUMAN”@Castello Barletta,Puglia

Artist Words 艺术家自述

“Capitalism only works if we hate everything about ourselves, from our hair to the colour of our skin, our age, body, height, weight and smell. We spend fortunes in an attempt to erase what defines us. ”

“只有当我们憎恨自己的一切，从头发到肤色、年龄、身体、身高、体重和气味，资本主义才会奏效。我们费心劳苦试图抹去那些我们的本源。”

展览现场《无人性》普利亚市Barletta城堡 “INHUMAN”@Castello Barletta,Puglia

" Extreme situations, unspeakable tortures, a claustrophobic imaginary studded with abuses and degradation, a theatre of violence that crucifies in the name of religion or ethnic conflicts. The path of the ‘Inhuman’ exhibition (curated by Giusy Caroppo, open until 18 October), which starts in the basement of the Barletta Castle to reverberate in the restless history of our present, does not invite pure contemplation. Moreover, one cannot think of a "comfortable" foray when three artists such as Andres Serrano, Oleg Kulik and Kendell Geers are exhibiting. The body, often vilified, violated, is the great protagonist, a disturbing presence. " I work with materials that interact with the physicality of the viewer as well as the content of the work incites their imagination. An object / subject that lives in space necessarily renegotiates it, making the viewer aware of his own body. Nothing is more obvious.”

“目前极端的情况，难以言说的痛苦，充满虐待和堕落的幽闭恐惧症，一个以宗教或种族冲突的名义钉死在十字架上的暴力剧场。《无人性》展览的道路，从Barletta城堡的地下室开始，在我们现在不安的历史中产生反响，并不会引发纯粹的沉思。“非人性”展览(由Giusy Caroppo策划，开放至10月18日)始于Barletta城堡的地下室，在我们现在不安的历史中回荡。此外，当安德烈斯·塞拉诺(Andres Serrano)、奥列格·库利克(Oleg Kulik)和肯德尔·戈尔斯(Kendell Geers)等三位艺术家展出时，这必然是一次舒适区外的体验。身体，常常被诽谤，被侵犯，却是伟大的主角，一个令人不安的存在。“我使用的材料与观众的身体互动，作品的内容本身试图激发他们的想象力。在空间中的的物体/主体必然会重新恰合，让观众意识到自己的身体存在。这一切都十分直接。”

Kendell Geers, ‘Pro Aris et Focis’, 2008

肯德尔·戈尔斯，《为灶台与家而作》乌兹冲锋枪，金箔，2008

更多关于艺术家

More about the artist

肯德尔·戈尔斯, 1968 年生于约翰内斯堡 , 南非最具代表性的艺术家 , 常年旅居欧洲、美国。作品本着对达达主义颠覆和挑战的态度 , 向当今消费化艺术提出质疑。擅长挪用或借助日常物件,以打破旧习的观念明确表达批判,赤裸裸的揭露直接或潜在的社会、历史、宗教、意识形态等问题 , 回复当下世界所面对的尖锐、邪恶、暴力、严酷、道德、性、恐惧等。

肯德尔格尔斯出生于种族隔离时期的约翰内斯堡一个普通工人阶级白人家庭,被取名为雅各布赫曼努斯皮特斯格尔斯。在1993年,他将自己的名字改为肯德尔格尔斯并且把自己的生日更改为1968年5月,回收了他的原有身份,想试图通过这种政治抵抗的方式来抵制他的家庭以至于整个社区所维护的政治立场、种族立场。伴随着年龄的增长,自我意识的增强,他越来越意识到自己国家的政治斗争问题,于是他在15岁的时候逃离了自己的家庭,参加了反种族隔离运动。肯德尔在1984年底的时候完成了自己的学业。1985年初,为逃避兵役, 他申请进修约翰内斯堡金山大学的美术学位。肯德尔·戈尔斯的作品在全世界范围广泛的展出过,参加的个展包括 Stephen Friedman 画廊, 伦敦; Yvon Lambert, 巴黎 ; Fin de Partie, 常青画廊，北京。他的作品也在 Ruffneck Constructivists, ICA, 费城 ; de Appel Arts Centre, 阿姆斯特丹等地展出过。

Kendell Geers was born in Johannesburg as Jacobus Hermanus Pieters Geers into a white working-class Afrikaans family during the time of apartheid. Rejecting everything his family and his community stood for, in 1993 he changed his name to Kendell Geers and his date of birth to May 1968 as a political act, reclaiming his identity. Becoming aware of the political struggles in his country, he ran away from home at the age of 15 to get involved in the anti-apartheid movement. Kendell finished his schooling at the end of 1984. At the beginning of 1985, to avoid conscription, he enrolled at the University of the Witwatersrand in Johannesburg for a Fine Arts degree.

In 1988, Kendell Geers was one of 143 young men who publicly refused to serve in the South African Defence Force and faced either a life in exile or six years' imprisonment in a civilian jail. In 1989 he left South Africa and lived for a brief period in exile in the United Kingdom and New York where he worked as an assistant to artist Richard Prince. It was only after Nelson Mandela and other political prisoners' release from prison, that Geers could return from exile to Johannesburg without fear of being imprisoned. In 1990, he returned to Johannesburg where he worked as an artist, and art critic, curator and performance artist. The first work of art he created back on South African soil was "Bloody Hell", a ritual washing of his white Afrikaaner Boer body with his own fresh blood. He moved to Brussels in 2000.

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