Duchamp’s Endgame (4/4): Points of Contact, Points of Resistance
An interview with Kendell Geers
In his recent book Duchamp’s Endgame and a related series of essays for GLEAN, Kendell Geers guides us through layers of meaning and misunderstanding surrounding Duchamp’s mission to put ‘art back in the service of the mind’. This spring, he also curated ‘Everything is True – Nothing is Permitted’, a group exhibition at Brutus in Rotterdam. The artist, writer and curator explains how both endeavours connect.
TB: (Tamara Beheydt) You recently published a book on how Marcel Duchamp was influenced by masters such as Da Vinci, Dürer and Ingres, and how he left clues in his art for perceptive viewers to ‘decipher’. Then you expanded on the arguments in the book by writing three complementary essays for GLEAN. Let’s start at the beginning, with your artistic relation to Duchamp.
KG: (Kendell Geers) Duchamp has been a compass in my practice since the very beginning. I grew up in Apartheid-era South (…)
