Karsten Konrad

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*1962 Würzburg
1984–1985 Kunstakademie Mainz
1986–1992 Bildhauerei, Universität der Künste Berlin, Master student David Evison
1991 Royal College of Art, London
2010–2013 Guest professorship Bildhauerei, Universität der Künste Berlin
2013–2015 Guest professorship Malerei, CDK Hangzhou, China
2016 Professorship Bildhauerei, Universität der Künste Berlin
  Lives and works in Berlin

Grants / Scholarships

1993–1994 London-Scholarship of the Berliner Senat
2000 Prize of the Konrad Adenauer Stiftung
2001 Work-Scholarship of the Berliner Senats
2003 Catalog Grant of the Senatsverwaltung für Wissenschaft, Forschung und Kultur, Berlin
2012 1. Prize, 53. Oktobersalon, Belgrade, Serbia

Solo exhibitions

2019 The Cage, ArtBerlin
  submarines & turbotowers, Cultural Center, Belgrade, Serbia
2018 M. et al., IG Metall/Haus am Lützowplatz, Berlin
2017 Duo mit Marlene Duus, Pablo's Birthday, New York, USA
2016 Go Chrome, Larry’s Show, Berlin
  Roomservice, SMAC, Berlin
  Bol d’or, Galerie Strzelski, Stuttgart
2015 Skulptur am Kamin, Galerie Ochs Private, Berlin
  Entrelac, Cafe C/O, Berlin
2014 pik 7x7, Silver Convention, Galerie Diehl, Berlin
2013 aldo's haus, Galerie Ruth Leuchter, Düsseldorf
2012 Elegantly Wasted (Duo), Landskrona Konsthal, Sweden
2011 Gutterpearls, Pablo’s Birthday, New York, USA
2010 Zuspiel, Künstlerhaus Bethanien, Berlin

Group exhibitions

2023 <<sans transition>>, Projektraum studio. curated by Evelyn Drewes | Galerie, Hamburg
  ON AIR, Schloss Düneck currated by Evelyn Drewes | Galerie und Jan Kage, Moorrege
2022 Elb/Hängung #2, Villa am Elbhang, Hamburg
  Form Spiel, Evelyn Drewes | Galerie, Hamburg
2021 Direkte Auktion, Rahmen &Kunst, Berlin
  broken romantik, Kunstforum51, Hamburg
2020 reflections of our time, Museum of Contemporary Art, Belgrade, Serbia
  40 x 30, Lachenmann Art, Konstanz
  so wie wir sind 2.0, Museum Weserburg, Bremen
2019 Vertikalwinkel, Schaufenster, Berlin
  En bloc, Galerie A.G., Schwerin
  Ein Monument für Wolfgang Neuss, HAL, Berlin
  modell-skulptur, b-part, Berlin
  Der Funke Gottes, Diözesanmuseum, Bamberg
  alternative facts, Galerie Laura Mars, Berlin
2018 Bottom up, Kühlhaus, Berlin
  Where have all the flowers gone?, alexander ochs private, Berlin
  I left my dog in the car, Galerie Russi Klenner, Berlin
  Wir wollten…, Codex, Berlin
2017 Wir nennen es Arbeit, Opere Scelte, Turin, Italy
  1000 Sterne, Galerie Mikael Andersen, Copenhagen, Denmark
  No image, Arndt Art Agency, Berlin
2016 Struktion, Kühlhaus, Berlin
  Miniatures, Galerie Nicole Gnesa, Munich
  Die Geschichte hat einen Fehler…, Kunstverein Gütersloh
2015 Radikal Modern, Berlinische Galerie
  Wo ist hier, Kunstverein Reutlingen
  MucheKonradRöchelmeyer, Kunsthaus Essen
2014 Bielefeld Contemporary, Kunstverein Bielefeld
  Sammlung Florian Peters-Messer, Kunsthaus Potsdam
  Stahlskulptur in Deutschland, Kunstverein Wilhelmshöhe
2013 Abstract Possibilities, Galerie Roger Björkholmen, Stockholm, Sweden
  Nur hier, Sammlung des Bundes, Bundeskunsthalle Bonn
2012 53. Oktobersalon, Belgrade, Serbia
  Robert Jacobsen, Up to date, Kunstmuseum Esbjerg, Denmark
  Caleidoscope, Patrick Heide Gallery, London, UK

Having studied at Hochschule der Künste in Berlin and at the Royal College of Art in London in the late 1980s both under English sculptor David Evison and Yugoslavian performance artist Marina Abramović, Karsten Konrad's reoccurring themes are »Identity and Memory«, »Material and History«, »Structuralism and Linguistics«, as well as »Urbanity and Urbanism«.

For more than 20 years his work has been exhibited in museums and institutions throughout Europe, North-America, and Asia. For example, in autumn of 2012 he was awarded with the Great Prize of the 53rd Belgrade October Salon for his site-specific intervention at the Geozavod / Belgrade Cooperative-building (1907).

Between 2010–2013 he has been professor at Universität der Künste Berlin and the China Academy of Art Hangzhou.

Sculpture for Konrad is an unerring instrument of analysis in order to examine and inspect our reality. Archaeologically he digs out the buried hopes and modernist utopias inscribed in discarded commodities, furniture, machines, and architectures. In a kind of modernist ›house clearing‹ he surveys a future that was – art history (e.g. Smith, Caro, Stella) as well as the social dreams located covertly in articles of daily use – for its contemporary capability; thus, relocating it into our very own present.