Cornelia Konrads

Pontoon

Site: bank of the canal de Bourgogne / harbour of Migennes (France)

wood, plastic containers, aluminiun

FACTSHEET:

Abmessungen : 150 cm x 120 cm x 900 cm (Height, Width, Depth)
Jahr : 2021
Material : Installation

Cornelia Konrads

My work is focused on site-specific installations for public and private spaces - they can be indoors or outdoors, temporary or permanent.

A reflection of the site and its particularities is always my starting point. So each work is developed in a close dialogue with the architecture, topography, vegetation and history of the surrounding area.

I understand the site not as a background, but as a texture. The goal is, that my work becomes a part of this texture – in the end, it should be unclear if it has always been there, if it will stay, change or disappear in the next second. The situation is ambivalent: Are the elements falling or rising? Dancing or fighting? Is this a downfall or a victory? Both alternatives are conceivable at the same time.

The questions I put in my work deal a lot with the perception of time and movement– often my installations appear as if a film has stopped for a moment– a moment of “frozen time”.

I’m intrigued by this transient thing, called “moment” or “presence” – the intangible rupture between past and future. Consequently I try to create a moment of irritation, by adding an element to the scenery, which refuses to fit into the expected order. If something doesn’t behave as it should, within the twinkling of an eye the inner monologue gets interrupted. One “arrives here and now”, in a mysterious world, where strange things (including oneself) have a unique meeting. For this moment of irritation I like to challenge what is supposed to be “reliable”: the laws of gravity, the solidity of walls or the ground under our feet.

As once a viewer has put it very well: there is always a “moment of catastrophe” in my work– but also a moment of humour.

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'drink my blood'
‘believe in me, love me, take me in so we will be connected. 'Everything is connected.’ A selfportet, refering to Christian traditions. The head and hands are cast in crystal glas. The inside is etched the rims polished. Inside there is red wine, diluted with water.
Fleur van den Berg, Glas, Mixed Media
Warten.......Mutter mit zwei Kindern
Eine Mutter mit zwei Kindern wartet. Wartet auf Asyl. Wartet auf Hilfe. Wartet auf einen netten Menschen. Sie tröstet und beruhigt ihre Kinder.
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Etxea - House
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Changes 2010
Greenham Business Park, the former Royal Air Force World War Two airbase, Berkshire This is Changes by the Icelandic sculptor Gudrun Nielsen, a monumental piece that has just been unveiled at Greenham Common where US bombers used to land – you get the references just by looking at it. Since the Greenham Common women saw off the last of the Right Stuff in 1988 the trees have returned along with the birds and the rest of the flora and fauna, and the military buildings have either been demolished or converted by the Greenham Common Trust which now owns it. Nielsen won a competition along with the late Michael Kenny, but that was 12 years ago and while Kenny’s large geometric form, Broken Symmetry, was unveiled almost immediately by Ringo Starr (a Kenny fan and local resident), Gudrun’s was a little tardy in taking off, as it were............... 17.11.2010 / Simon Tait's Diary http://www.artsindustry.co.uk/features/simon-taits-diary/45
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The match
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BRONZE SUN
Made from solid cast bronze on a square granite plinth.
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Chalet n° 1
Iron and wood sculpture painted in red.
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Remains
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iron rod and wood sculpture representing a barroque column.
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Odyssey
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Pontoon
Site: bank of the canal de Bourgogne / harbour of Migennes (France) wood, plastic containers, aluminiun
Cornelia Konrads, Installation
RADIATOR SHEEP
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Bee Banana
Bienen und Kunst, muß das sein? Baumstamm und Bienen, waren schon immer eine Einheit. Kunst und Banane gehen seit Thomas Baumgärtel auch gemeinsame Wege. Damit auch im Öffentlichen der Raum für Kunst wegweisend wird, hier die Banane, dreidimensional. Und die Bienen. Sie bestäuben ganz nebenbei das Umfeld; eine Befruchtung, die wir uns auch von der Kunst wünschen.
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The Kinks 02
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Geest - fliessende Steine
Landesmuseum für Natur und Mensch Oldenburg 2006
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The Kinks 01
The Kinks 01, a functional steppingstone sculpture allowing any desired ground cover to grow up through the concrete pieces. The Kinks sculptural steppingstone allows the user to create any pattern they desire. The off form concrete material is made up of 70% repurposed waste material from local heavy industries.
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PEN TREE
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Maria mit Kind, Figurenbeute
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Stay True
'Stay True' from the series 'Nomadic Vases'
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Casual
Klassisch, realistisch. Im Freizeitlook.
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Wegmarken
Wegmarken Ute Deutz/Rainer Düvell Installation zur BUGA 2015 bei Böhne
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PEN NIB SUN
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Genesis. Thought.
Project “Genesis. Dances with shadows” scrutinize feelings, mind, mental and physical, material. To Imagine. To Understand. To Feel. To See. My task is not only creation art images as a combination of different materials (included but not limited by glass, metal, wood and stone) but to understand what is the cornerstone of our consciousness, what is The Genesis? Thought. Imagination as basement, a freedom to think and to learn. The only first way to self cognition is Thought!
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Ancient head.
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Sprießel
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The way. Life and Death.
A mountain river as a simbol of infinite life. Two stones - two ways of existence. Wich way do you choose?!
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Ohne Titel
Frei Arbeit aus der Reihe Blätter. In Privatbesitz.
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Liveline
Abstrakte Frauenfigur, gefertigt aus Apfelholz
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Iron Lady
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Bird Lady
Seen from a low perspective, this woman figure shows herself in a confident pose.
Nicolet Boots, Gips, Textil
Dawiedort, eine Entscheidungshilfe / Thiswaythatway
Fichte verkohlt geölt / Pruce charred oiled Sockel Granit /socket granite
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Ohne Titel
Das größte Objekt aus der Reihe Blätter.
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LOVE THY NEIGHBOUR
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Clavia II
Jap. Schnurbaum geölt / Styphnolobium japonicum oiled
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Dried Poppy
Abstrakte Mohnkapsel, Eiche+Stahl Privatbesitz
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Charons Boot (Schifffisch) Bronzeguss poliert (8 Ex.)
Charons Boot (Schifffisch) Bronzeguss p0liert (8 Ex.)
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Auge II / Eye II
Kastanie, Feuer, Öl / chestnau, fire, oil
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Nest 1
Material: Bronze Weight: 0,6kg Year: 2015
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Odyssey
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Element Fire
flame- Fire - made from Oak wood
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Bilston Totems
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Wind house
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Ich gebe dir ZUKUNFT
Die Geste des Gebens ist für eine Bäckerei täglich Brot. Zur 60-Jahrfeier von Fischer Brot wurde ein Museum eingerichtet. Am Ende des Museums ist eine Hand mit Touchscreen installiert. Hier sieht man das Heute und die Visionen und Pläne für Morgen. Also "Ich gebe Dir Zukunft" . 420 Cr-Ni Buchstaben aus dem Firmennamen FISCHER BROT formen eine Hand die aus der Decke kommt und 1 Meter über dem Boden schwebt. Durch die Auflösung der Oberfläche in Buchstaben wird die Skulptur leicht und fügt sich elegant in die Eingangshalle ein. Im Inneren der Hand ist eine indirekte Beleuchtung eingelassen, dies unterstützt die Illusion der schwebenden Hand otimal.
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Rooting Garden
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Cornelia Konrads, Installation
Hostage.
Holzskulptur aus Eiche. Auseinandersetzung: Zuweilen wird die Welt ganz klein, als ob man unter einer Glocke lebt. Die eigenen Gedanken, die eigenen Gefühle, drücken einen zu Boden, umzingeln einen. Werden urplötzlich zu Gefahr, ketten einen, machen einen klein, machen einen niedrig.​ Und die Frage, die sich nun stellt: ​Was ist es das uns aus dem Kerker, aus unserem eigenen Panzer, zu befreien vermag.
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Seele des Baumes
Ein gesamter Baum wurde zerteilt und in einem leeren Becken installiert,
Frank Nordiek, Holz
Starke Schulter / Strong Shoulder
Andreas Rimpel / Ton / kubistische Skulptur
Andreas Rimpel, Ton, Bronze
Mother and Child
Optics and pattern combined with figurative exploration
Owen Johnson, Glas, Glas
Passage
Centre d‘Arts et de Nature, Domaine de Chaumont-sur-Loire (France) Site: forestborder, start of a narrow trail Materials: iron, steel cable, branches
Cornelia Konrads, Installation
Diomedes.
Holzskulpturen aus Robinie und Birke. Auseinandersetzung: Stärke vs. Schwäche Schild, Schutz, Verletzlichkeit Was muss geschützt werden? Was wollen wir sehen? Welches Bild wollen wir sehen? Was müssen wir schützen? Was wollen wir nicht sehen? Was ertragen wir zu sehen? Welchem Bild wollen wir glauben?
Sabrina Ferwagner, Holz
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