Join us for the 2018 edition of the Amsterdam Art Weekend, that will take place from November 22 until November 25
Please note that during Amsterdam Art Weekend Galerie Ron Mandos has adjusted opening times:
Friday 23 November 10.00 - 21.00 hrs
Saturday 24 November 12.00 - 20.00 hrs
Sunday 25 November 12.00 - 17.00 hrs
Kendell Geers invites you to join him in a journey that is "Voetstoots" – an Afrikaans word meaning “sold as seen”. In this multimedia performance, presented without reservation or qualification and spoken with his tongue firmly in his cheek, Geers weaves together historical fact, mythology, fiction and fantasy with an uncompromising interrogation of his personal identity. Tighten the seat belts of your expectations and open your minds to a race through time in a spectacular detour through history by a master trickster of the spoken word.
Please find our complete program for the upcoming days below:
FRIDAY 23 NOVEMBER
10.00 - 15.00 hrs | Gallery preview for Art Professionals
17.00 - 21.00 hrs | Vernissage Amsterdam Art Weekend 22-25 Nov
The Evening Vernissage will be accompanied by bites and special drinks from South-Africa and the Czech Republic
17.00 - 18.00 hrs | Gallery Tour by curator Marian Cousjin
19.00 - 20.00 hrs | Gallery Tour by curator Marian Cousjin
SATURDAY 24 NOVEMBER
16.00 - 17.00 hrs | Artist Talk by Kendell Geers
17.00 - 18.00 hrs | Meet and Greet with Kendell Geers
Supported by Castello di Ama
SUNDAY 25 NOVEMBER
13.00 - 13.30 hrs | Gallery Tour by team Ron Mandos
14.00 - 14.30 hrs | Gallery Tour by team Ron Mandos
15.00 - 15.30 hrs | Gallery Tour by team Ron Mandos
ABOUT Kendell Geers
Born into a working class Afrikaans family during the height of Apartheid, Kendell Geers quickly found himself fighting a Crime Against Humanity on the front lines of activism and protest. Running away from the military regime and a six year prison sentence, he escaped to London in 1988 as a political refugee. In 1989 he moved on to New York where he found employ as Richard Prince’s full time assistant. Following the release of Nelson Mandela, Geers returned to South Africa in 1990 to help build the new democracy.
From his strong experiences as a revolutionary, he developed a psycho-social-political practice that held ethics and aesthetics to be opposite sides of the very same coin, spinning upon the tables of history. In his hands, the discourse of art history is interrogated, languages of power and ideological codes subverted, expectations smashed and belief systems transformed into aesthetic codes. The raw energy of a Punk attitude is blended with the visceral visionary philosophy of poets like Rimbaud, Blake and Burroughs in an uncanny cocktail of unexpected contrasts.
A European by descent, an African by birth, Kendell Geers work embodies the contradictions of his identity, being both Animist and Mystic, Shaman and Alchemist, Punk and Poet . The warp of popular culture is woven into the weft of poetry, painting, literature and ritual. He uses experience to colour perception, spiritualising matter and materialising spirit, mocking tradition like an iconoclast whilst celebrating history like a Medieval Monk.
Believing that art is as political as it is spiritual, Kendell Geers’ varied practice cannot be simplified, cannot be reduced to cliché or fashion. Working as an artist, musician, designer and writer, his strategies are without compromise because he believes that “Art changes the world - one perception at a time.”
ABOUT Krištof Kintera
Krištof Kintera (1973) is probably today’s most challenging and respected artist working in the Czech Republic. His works mainly explore the boundaries of contemporary sculpture. Kintera’s practice unfolds from public installations to small kinetic devices. What makes his work special is that he despite this obvious catchiness; he is able to make sharp, often intuitive decisions that produce a far more multi-layered experience. This results in poetic images and an ambiguity, notably in his sculptures, in their engagement with main topics of our times.
The artist oeuvre is rooted in the ‘after the wall’ period of the 90’s, a decade of wild capitalisation in Central and Eastern Europe accompanied by aggressive advertising campaigns in the public space. In this period Kintera produced his now famous Appliances series. These beautiful products, sculptures slickly enclosed in commercial packaging have no other goal than to seduce you. These absurd household appliances clearly illustrate the artist’s ability to create sculptures that are iconic works by engaging with the materiality of objects and with issues of ecology and consumption.