KENDELL GEERS 1968 Born in () SOLO SHOWS 2003 TerroRealismus, migrosmuseum für Gegenwartskunst, Zürich (Switzerland) Rogue States, Stephen Friedman Gallery, (UK) 2002 MondoKane, Galleria Continua, San Gimignano (Italy) Luis Campaña Gallery, Köln (Germany) 2001 Where Angels fear to tread, Delfina Studios, London (UK) Televisionaries, Würtembergischer Kunstverein (Germany) 2000 Timbuktu, MAK, (Austria) ¡Ya Basta!, Le Consortium, Dijon (France) (catalogue) Ex Africa Semper Aliquid Novi, Marian Goodman Gallery, Paris (France) Arte all’Arte V edizione, curated by Roberto Pinto and Gilda Williams,Volterra (Italy) Inova, University of Wisconsin–Milwaukee, Milwaukee (USA) 1999 States of Emergency, Vienna Secession, Vienna (Austria) (catalogue) Heart of Darkness, South African National Gallery, Cape Town (South Africa) Stephen Friedman Gallery, London (UK) Project Rooms, Arco, Madrid (Spain) 1998 Guilty, Fort Klapperkop, Pretoria (South Africa) 98.3, ArtPace, San Antonio, Texas (USA) (brochure) Heart of Darkness, Gallery in the Round, Grahamstown (South Africa) (brochure) 1997 Memento Mori, de Vleeshal, Middelburg (Holland) 1996 Black on the Inside, (with Neil Goedhals), Galerie Metroplex, Johannesburg (South Africa) 16 June 1976, (with Willie Bester), Goodman Gallery, Johannesburg (South Africa) 1995 Work on Paper, Chalkham Hill Press Gallery, Johannesburg (South Africa) W.C., Villa Arson, Nice (France) Air de Paris, (with Joachim Schonfeldt), Everard Read Contemporary & ICA & Market Theatre Galleries, Johannesburg (South Africa) We are Johannesburg Artists and Nothing More, (with Joachim Schonfeldt), Michaelis Art Gallery, Cape Town (South Africa) 1993 The New Patron, (with Joachim Schonfeldt), Everard Read Contemporary, Johannesburg (South Africa) Threshold: The Exhibition, Everard Read Contemporary, Johannesburg (South Africa) Objects, Natal Technikon Art Gallery, Durban (South Africa) 1991 Mediations, Goodman Gallery, Johannesburg (South Africa) 1988 Box Theatre, University of the Witwatersrand, Johannesburg (South Africa) GROUP SHOWS (selection) 2003 La ciudad radiante, curated by Achille Bonito Oliva, Centro Cultural Bancaja, Valencia (Spain) The African Exile Museum, migrosmuseum für Gegenwartskunst, Zürich (Switzerland) Prove d’ascolto. Attacchi urbani per una civile convivenza, Galleria Civica d’Arte Contemporanea, Trento (Italy) Hardcore, curated by Jerome Sans, Palais de Tokyo, Paris (France) Red Snips, Prototype, a project by P. Codenys and Kendell Geers, Centre Pompidou, Paris (France) To actuality, project in process, curated by Maia Damianovic, AR/GE KUNST, Galerie Museum, (Italy) 2002 11, Kassel (Germania) 2001 ARS 01, Kiasma Museum, Helsinki (Finland) Marking the Territory, The Irish Museum of Modern Art; curated by Marina Abramovic Recasting the Past: Beneath the Hollywood Tinsel, curated by Juliet Rosati, Main Art Gallery, California; State University, Fullerton (California) The Short Century, curated by Okwui, Enwezor Museum Villa Stuck, Munich (Germany) and touring Sonsbeek, curated by Jan Hoet, Arnheim (The Netherlands) Skulptur – Biennale im Münsterland, 2001, curated by Christoph Tanner (Germany) Casino 2001, 1st Quadriennial of Contemporary Art, S.M.A.K., Gent () Biennale curated by Saskia Bos, Berlin (Germany) Trauma, curated by Katrina Brown, Dundee Contemporary Arts and Touring 2000 Pusan International Contemporary Art Festival 2000, curated by Hou Hanru, Pusan (Korea) (catalogue) The Sky is the Limit Taipei Biennial, curated by Jerome Sans, Taipei (Taiwan) (catalogue) 3 Räume – 3 Flüsse, curated by Jan Hoet, Hann. Münden, Kassel (Germany) (catalogue) The Invisible Touch, Kunstraum Innsbruck (Austria) Echigo-Tsumari Art Triennial, (Japan) (catalogue) VideoBrasil International Electronic Art Festival, curated by Clive Kellner, Sao Paulo (Brasil) (catalogue) Acts of Resistance, curated by Antonio Zaya, Koldo Mitxelena Kulturunea, San Sebastian (Spain) (catalogue) Untitled (Sculpture), Luhring Augustine, New York (USA) Inverse Perspectives, curated by Joseph Bakstein, Edsvik konst och kultur (Sweden) Positions Attitudes Actions, Foto Biennale Rotterdam (The Netherlands) (catalogue) Atmosfere Metropolitane, Openspace, Milano (Italy) Memórias íntimas Marcas, MUHKA, Antwerp (Belgium) (catalogue) Continental Shift/ For R.EAL, Bonnefantenmuseum, Maastricht (The Netherlands) (catalogue) Home, Art Gallery of Western Australia, Perth (Australia) Micropolitiques, Le Magasin, Grenoble (France) (catalogue) South Meets West, Kunsthalle Bern (Switzerland) (catalogue) HB First View, Camouflage, Johannesburg (South Africa) 1999 Zeitwenden, Kunstmuseum Bonn (Germany) (catalogue) Bodies of Resistance, Real Art Ways, Hartford, Connecticut (USA) South Meets, West, National Museum, Accra (Ghana) (catalogue) Carnegie International, Pittsburgh, Pennsylvania (USA) (catalogue) Five Continents and One City, Museo de la Ciudad de Mexico (Mexico City) (catalogue) Patentia, NIFCA Stockholm (Sweden) A3HB, Camouflage, (Belgium) Extra and Ordinaire, Printemps de Cahors, Cahors (France) (catalogue) Following and to be Followed, Le Consortium, Dijon (France) High Red Centre, Centre for Contemporary Art (Glasgow) Power, Galerie für Zeitgenössische Kunst, Leipzig (Germany) (catalogue) Traffique, S.M.A.K., Ghent (Belgium) (catalogue) Global Conceptualism: points of Origin 1950s-1980s, Queens Museum of Art, New York (USA) (catalogue) Entrée Libre, http://www.culture.fr/entreelibre 1998 Memórias Íntimas marcas Instituto de Arte Contemporânea, Lisbon (Portugal) Europa Afrika 7 Triennale der Kleineplastik; Südwest LB, Stuttgart (Germany) (Catalogue) Dark Continent; Klein Karoo Arts Festival (Outshoorn) Odradek Bard Center For Curatorial Studies, Annandale on Hudson (NewYork) City Canibal Paço Das Artes, Sao Paulo Biennale (Sao Paulo) (catalogue) Cross/ing,Track 16 Gallery, Santa Monica (USA); & University Galleries, Florida Atlantic University (USA) (catalogue) Medialization; Edsvik konst och kultur (Sweden) (catalogue) Alternating Currents, Johannesburg Biennale, Johannesburg (South Africa) (catalogue) Cross/ing, University of South Florida Art Gallery, Tampa, Florida (USA) (catalogue) Unplugged II Rembrandt van Rijn Art Gallery, Market Theatre, Johannesburg (South Africa) October, Norwich School of Art and Design Art Gallery, Norwich (UK) Purple and Green, Pretoria Art Museum, Pretoria (South Africa) 1996 Inclusion Exclusion, Kunstlerhaus, Graz (Austria) (catalogue) Simunye (We Are One) Adelson Galleries, New York (USA) Colours, Haus der Kulturen der Welt, Berlin (Germany) (catalogue) Egoists at Work, Forum Stadtpark, Graz (Austria) Crapshoot, de Appel, Amsterdam (The Netherlands) (catalogue) Unplugged, Rembrandt van Rijn Art Gallery, Market Theatre, Johannesburg (South Africa) The Young and the Restless, Sandton Art Gallery, Sandton (South Africa) 1995 On the Road, Delfina Studios, Africa95, London (UK) (catalogue) Mayibuye iAfrika, Bernard Jacobson Gallery, London (UK) Outside/Inside, Johannesburg Biennial, , Johannesburg (South Africa) (catalogue) Vita Art Now, Johannesburg Art Gallery, Johannesburg (South Africa) (catalogue) Aperto, Corderie Dell'Arsenale, XLVI Biennale Di Venezia, Venice (Italy) 1994 Vita Art Now, Johannesburg Art Gallery, Johannesburg (South Africa) (catalogue) Quinta Bienal de la Habana, Centro Wifredo Lam, Havana (Cuba) (catalogue) Un Art Contemporain d'Afrique du Sud, curated by Jean-Yves Jounnais, Galerie de l'Esplanade, La Defence, Paris (France) (catalogue) VI Biennale d'Arte Sacra, San Gabriele, Teramo (Italy) (catalogue) Identità e Rappresentazioni Cartografiche, Curated by Teresa Macri and Lucilla Meloni, Museo Nazionale Preistorico Etnografico Luigi Pigorini, Rome (Italy) (catalogue) The Netherlands Against , Amsterdam's Historisch Museum, Asterdam (The Netherlands) (catalogue) Zuiderkruis, Stedelijk Museum, Amsterdam (The Netherlands) (catalogue) State of The Art, Everard Read Contemporary, Johannesburg (South Africa) (catalogue) Volkskas Atelier, ABSA Gallery, Johannesburg (South Africa) (catalogue) 1993 Il Croce Del Sud - Affinities, 45 , Venice, and Sala 1, Rome (Italy) (catalogue) Volkskas Atelier, University of Pretoria Art Gallery, Pretoria and ICA, Johannesburg (South Africa) (catalogue) An-other Direction, Newtown Galleries, Johannesburg (South Africa) 1992 Les Tables Artistiques, Johannesburg Art Gallery, Johannesburg (South Africa) (catalogue) Vita Art Now, Johannesburg Art Gallery, Johannesburg (South Africa) (catalogue) Looking At Art: Looking At Watercolour, Goodman Gallery, Johannesburg (South Africa) Aids: The Exhibition, ICA, Johannesburg and Natal Technikon Art Gallery, Durban (South Africa) (catalogue) SELECTED BIBLIOGRAPHY Sue Williamson, David Philip, Resistance Art in South Africa, Cape Town 1989, Page 69 Colin Richards, About Face Aspects of Art History and Identity in South African Visual Culture,Third Text, London, Autumn/Winter, 1993, pages 1O1 - 133 Daniel Herwitz, Different and Alike, Modern Painters, London, Autumn, 1993, pages 76 - 79 The Ten Most Intriguing South Africans, Femina, Cape Town, October 1993, pages 64 - 71 Andrea Vinassa, Art For Africa?, House and Leisure, Cape Town, December 1993, pages 52 - 56 Andrew Solomon, Separate and Equal, The New York Times Magazine, New York, 27 March 1994, pages 44 - 89 Andrea Vinassa, Exspoure, The London Sunday Times Magazine, London, 27 March 1994, page 18 Jean-Yves Jounnais, The Hottentot Venus, Art Press, Paris, May 1994, pages 33 - 4O Stephen Laufer, The 9 Cards of Chameleon Geers, Weekly Mail, Johannesburg, 25 February 1994, page 11 Anthea Bristowe, Getting into Geers despite static, Business Day, 23 August 1994, page 14, (Reprinted in Art Ventilator, Johannesburg, September 1994, page 51) Hazel Friedman, Two Artists who are Legends in their minds..., The Star Tonight, 22 August 1994, page 3, (Reprinted in Art Ventilator, Johannesburg, September 1994, page 52) Michael Green, Con - Artist at the Loovre, You Magazine, 1 September 1994, pages 139 - 14O Benjamin Weil, Crossing The Boundaries: Two examples in South , Atlantica, Number 8, Autumn 1994, pages 19 - 27, 13O - 134 Fred de Vries, Het Oproer Van De White Boys, Elsevier, Amsterdam, 22 October 1994, pages 1O4 - 1O7 Teresa Macri, Motho Ke Motho Ka Batha Babang, Virus, Milan, November 1994, pages 34 - 35 Benjamin Weil, South African Art - Out of Time, Flash Art, January - February 1995, pages 74 - 76 Ruth Rosengarten, Inside Out, Frieze, Summer 1995, pages 43-49 Ruth Rosengarten, Biennial, Artnews, May 1995, page 168 Thomas McEvilley, Report from Johannesburg Towards a World-Class City?, Art in America, September 1995, pages 45-49 Sander L Gilman, Picturing Health and Illness, John Hopkins University Press, Baltimore,1995, Pages 182 - 3 , Occupied Territories: Power, Access, and African Art, Frieze, January 1996, pages 37 - 41 Colin Richards, Retaining This Fire, Atlantica, Number 11, Pages 31 - 44 / 132 - 144 Candice Breitz, Why Have There Been No Avant-Garde African Artists?, Atlantica, Number 11, Pages 52 - 64 / 145 - 157 Okwui Enwezor & Octavio Zaya, Moving In, FlashArt, January - February 1996, Pages 84 - 89 David Koloane, Africus, The Johannesburg Biennial, A Perspective, African Arts, Winter 1996, Pages 50 -56 Holland Cotter, Art in Review, New York Times, 21 June 1996 Lorna Ferguson and Thomas Mulclaire, Aperto, FlashArt, Summer 1996, Pages 89 - 91 Stuart Morgan, Crapshoot, Frieze, Issue 29, June/July/August 1996, Pages 64-65

John Peffer-Engels, Review, African Arts, Winter 1997, pages 75 - 77 Dierk Schmidt, Review, Springer, October/November 1996, Page 68 Tilman Baumgärtel, Review, Springer, October/November 1996, Pages 68-69 Sue Williamson and Ashraf Jamal, Art in South Africa, The Future Present, David Philip Publishers, Cape Town and Johannesburg, 1996, Pages 9, 15, 58-61, 64 Philippa Hobbs and Elizabeth Rankin, Printmaking in a Transforming South Africa, David Philip Publishers, Cape Town and Johannesburg, 1997, Pages 111, 120, 123-4 Pascal Lampert, Review, Metropolis M, Nummer 4, August/September 1997, Page 61 Mathew DeBord, Cross/ing: Time, Space, Movement, Flash Art, March April 1998, Page 80 Hamza Walker, South Africa, Cumulus, , Parkett 52 1998, page 177 Hou Hanru, CREAM, Phaidon Press, London, 1998, Pages 136-139 Clive Kellner, Art of Darkness: Darkness of Art, NKA, Number 9, Fall/Winter 1998, Cornell University, New York, pages 68 – 69 Elisabeth Mahoney, High Red Center, Art Monthly No 224, March 1999, Pages 27-29 Sarah Kent, Review, Time Out London, 30 June-7 July 1999, Page 55 Review, The Art Newspaper No 94, July-August 1999, Page 66 Katerina Gregos, Review 99 , Noticias ARCO No 15, September 1999, Page 8 Katerina Gregos, Kendell Geers, Contemporary Visual Arts, issue 25, October 1999, Page 56 Review, Flash Art, Vol 32 No 209, November-December 1999, Page 118 Christine Macel, The art of the phoeniix, interview with Kendell Geers, Art Press 257, Pages 28-33 Ruth Kerkham, There’s a Bomb in This Exhibition: Kendell Geers charged, Parachute 99, pages 30-40 Nikolai B. Forstbauer, Der melancholische Schrecken, Stuttgarter Nachrichten, February 2001 Ruth Handler, Durch den Tunnel der Gewalt, Art das Kunstmagazin, March 2001 Adrienne Braun, Von Schluchzern verfolgt, February 2001 Landmines in the Gallery, interview with Jerome Sans, Trans>arts.cultures.media No 8, 2000, Pages 268-274 Kratzen, wo es nicht juckt, interview with Otto Neumaier, Frame 06, March-April 2001, Pages 94-99 Arte all’Arte ‘00, V Edizione, Arte Continua, San Gimignano, Italy, 2000 (exhibition catalogue) >Play Short Stories, La Fabbrica del Vapore, Milano, Italy Sarah Kent, Review, Time Out London, 4-11 July 2001 Short Stories, new narrative forms in contemporary art, curated by Roberto Pinto, Milano 2001 Jean-Max Colard, Afrikan psycho, Les Inrockuptibles, May 29-June 4 2002 Jérôme Sans, Kendell Geers, Tema Celeste contemporary art, July-August 2002 Christine Macel, La vie sans pantoufles (Tristan Tzara), Beaux Arts magazine, special issue 2002 Joseph Whitt, The Passanger. Kendell Geers’s art of terror, Art papers, November-December 2002 Atmosfere metropolitane, curated by Roberto Pinto, Milano 2002 Kendell Geers, My Tongue in your Cheek, Les presses du réel, 2002 Tales of Identity, The Generation of Images 7, curated by Roberto Pinto, Milano 2002 Tutto normale, curated by Jérôme Sans et Ludovico Pratesi, Academie de France, Villa Medici, Roma 2002 Angelo Capasso, Aª L’arte per l’arte, Marta Massaioli Editore, Roma 2002 Hardcore, vers un nouvel activism, Palais de Tokyo, Edition cercle d’art, 2003 (exhibition catalogue) Jérôme Sans, Sand in the Vaseline, Art southafrica, autumn 2003 Writing by the artist (selection) Guest Editor, Documents Sur l’Art, Dijon, France Kendell Geers, Art as Propaganda Inevitably Self-Destructs, Art From South Africa, MOMA, Oxford, 199O pages 23 - 24 Kendell Geers, Third World Bites Back, Art Ventilator, Johannesburg, September 1994, pages 12 - 15 Kendell Geers, Argot, Published by Chalkham Hill Press, 1995 Kendell Geers, First Johannesburg Biennial, ArtPress, May 1995, pages IV - V Kendell Geers, Fuck Art: The Prose of a Con-Artist, National Sculpture Symposium, Pretoria Technikon, 4 July 1995 Kendell Geers, For or Against, South African Association of Art Historians National Conference, Wits University, 7 July 1995 The Horror, The Horror, CAPC Bordeaux, France May 1998 Contemporary South African Art - The Gencor Collection, Jonathan Ball Publishers, Johannesburg, 1997 Kendell Geers, The Horror, The Horror, Stopping The Process? Contemporary views on art and exhibitions, NIFCA, Helsinki, Finland, 1998, pages 163 – 173 Project Pages, Atlantica, Number 22, pages 56-65, 1999

Kendell Geers’ website at http://kendell.www.icon.co.za