Kendell Geers is a contemporary artist. His work confronts universal themes of love, resilience, and hope, driven by his belief that the act of making art is what defines humanity itself. In times of social crisis and political extremism, his work challenges audiences to consider how art can build bridges and restore a sense of shared humanity.

Born in apartheid-era South Africa, Geers' journey from a working-class family to an artist in exile has profoundly shaped his unique artistic language, defying simple categorization. With a practice rooted in a deep engagement with his identity as a white African, Geers' oeuvre stands as a testament to his enduring commitment to grappling with the intricacies of race, power, and social justice. His works challenge viewers to confront uncomfortable truths and question preconceived notions, offering a nuanced and thought-provoking exploration of the human experience. 

Geers gained international recognition early in his career, with notable participation in the 1997 Johannesburg Biennale and Documenta 11 in 2002, curated by Okwui Enwezor. In 2013, Enwezor further cemented Geers' significance by curating his retrospective at the prestigious Haus der Kunst in Munich. Now based in Brussels, Geers continues to push artistic boundaries, creating works that resonate globally while remaining firmly rooted in his African identity and experiences.

Geers’ latest book Duchamp’s Endgame: da Vinci, Dürer, Ingres, Poussin is a passionate tale about the fundamental mysteries of what the work by the Godfather of Dada and Pope of Surrealism.

For the first time since the Summer of 1912, Geers opens our eyes to exactly what Duchamp was doing in Munich and why he stopped painting in 1919. The mystery has been hidden in plain sight for over a century because every work of art he made holds the key to understanding another work of art.