Unlike conventional galleries designed to elevate art into luxury objects, Brutus embraces its gritty materiality — a gesture that aligns perfectly with Geers’ vision. The exhibition becomes an anti-gallery, a site where meaning emerges from tension, not from polished presentation. In a moment where global biennials and fairs increasingly dictate artistic value based on market trends, “Everything Is True, Nothing Is Permitted” reminds us of art’s capacity to be a tool of resistance — not just another luxury good.
Walking through the exhibition, one senses that Geers has constructed a kind of modern ritual space — a site where art is an invocation, a spell, a weapon. The artists assembled refuse to play the game of visibility and market success. Their works evoke danger, sacredness, and rebellion — an antidote to the market-friendly spectacle that dominates so much of contemporary art.
Rather than creating a seamless viewing experience, the show forces its visitors to navigate discomfort. It breaks down the illusion that art should be pleasing, quiet, or apolitical — a stance that speaks directly against the sanitised environments of elite galleries and institutions. Borrowing its title from a subversion of the famed Sufi saying “Nothing is true, everything is permitted” (popularised in Western thought via Nietzsche and later counterculture), the exhibition grapples with the collapse of meaning in a post-truth era — where every truth is contested, and every lie might masquerade as fact.
Geers, an artist long known for his radical stance against institutional and market-driven art systems, has curated an exhibition that is less about aesthetics and more about rupture — a call to rethink what art can be when stripped of its commercial value and market validation.