The work of Kendell Geers places viewers in disquieting and even threatening situations. By way of bomb threats, thrown bricks and exploded walls, Geers has developed a hybridpractice that resides somewhere between conceptual art and political activism. This exhibition focuses on works that place the viewer in uncomfortable physical and psychological spaces through a series of drawings, murals and sculptural installations. Geers places a particular emphasis on the relationship of the body – that of both the viewer and the artist – to each of the works in the show. He utilizes this platform to reflect upon the fragility of the human condition.
Much of the work in Hung, Drawn and Quartered also exposes language as a weapon that is simultaneously malleable and resolute. Geers borrows phrases and texts from a variety of sources including pop culture, film, art history, current politics, philosophy, literature and music; re-contextualizing them and pointing them toward his own brand of political and social commentary. He frequently plays with dual tendencies in his work; apparently simple and seductive works reveal deeper, disturbing themes. Conversely, works that first seem aggressive prove to be rich and layered with subtle meanings. Geers reminds us that every object, image, gesture and word is politicized.
Kendell Geers has exhibited extensively throughout the world. He has had numerous solo exhibitions including shows at the Centre Pompidou and the Palais de Tokyo in Paris, Inova in Milwaukee, Migros Museum in Zurich, Vienna Secession in Austria and ArtPace in San Antonio. Geers participated in the Istanbul Biennial (2003), Documenta 11 in Kassel, Germany (2002), and the Carnegie International in Pittsburgh (1999).