Karsten Konrad

Karsten Konrad transforms bulky items into unique pieces of art, some with an architectural character, others are a reminiscence the the ready-mades by Marcel Duchamp or the collages by Kurt Schwitters. Konrad was born in Würzburg, Germany, in 1962 and studied art at various institutions in Germany and abroad in the 1980s and 1990s. He won a scholarship to go London in 1993 and various other art awards in the following years. From 1994 on, he took part in various single and group exhibitions.


  • uploads/tx_jwartsceneentities/020_mean_Machine_2009.jpg
    Karsten Konrad, Mean Machine, 2009
  • uploads/tx_jwartsceneentities/069_Orly_2013.jpg
    Karsten Konrad, Orly, 2013
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    Karsten Konrad, Big in Japan, 2009
  • uploads/tx_jwartsceneentities/Bol_d_or_2011.jpg
    Karsten Konrad, Bol d'or, 2011
  • uploads/tx_jwartsceneentities/stella_rossa____2007.jpg
    Karsten Konrad, Stella Rossa, 2007
  • uploads/tx_jwartsceneentities/x_for_you___2010_01.jpg
    Karsten Konrad, X for You, 2010
  • uploads/tx_jwartsceneentities/Stadtplaner_s_workshop_2003_1.jpg
    Karsten Konrad, Stadtplaner's workshop, 2003
  • uploads/tx_jwartsceneentities/Aldo_s_Haus_2002.jpg
    Karsten Konrad, Aldo's Haus, 2002
  • uploads/tx_jwartsceneentities/falscher_fuffziger_2008_02.jpg
  • uploads/tx_jwartsceneentities/Ipanema_2009.jpg

In the early 1990 Konrad started doing installations and objects out of bulky items or articles he had found on flee markets. He does not only compose pieces of art out of the frame of an old bicycle, but also out of clothes hangers, engine parts or backrests of broken chairs. Coincidence plays a major role in his works. Thus Konrad says: “I don’t look for things, I find them.” Coloring also is a subject to chance. He only uses the colors he finds some place. A major goal in his work is the creation of something new, but without hiding the old item completely. To do so, he deconstructs, saws and breaks his finds apart before rearranging them in a next step to a new object.

“I hate furniture out of chipboard, I also think the manual aspect of the Ikeacation is a downfall. Thus, I destroy them and they become something bigger. The material localizes me. I am co-owner of a bar. Somebody destroyed a bar stool someday and I thought to myself, I could attach it really well in my art. That way it once again gets a link to life.”


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