Opening April 1st, 2017

Konvent boots its cultural season 2017 and we start it from removals, questioning art as an object, people as art pieces and machinery cataloging as abandonment of the territory.



Thomas Keis is an artist that experiments with furniture, lines and matter. Originally from Germany but stablished at the foot of Montserrat mountain, he has defined himself from his experience. His pieces have a strong architectural content.

Furniture as a sculptural piece or as part of a property, to form a definition and a weight in personal life. Keis works from recicled material of all types, old ones specially, from antiques, markets or simply abandoned. He reuses them and mix them giving meaning all his creations and with an absolutelly personal touch.


The pieces are basen in a construction of minimalist volums, in blocks, that serve as a starting point of the next process.

The fabrication work creates a composition harmoniously balanced, using an industrialised material, that reminds in appearance a tree, with the intention to create a solid and defined structure.

Once the object is finished, a radical cut will transform the base in something completelly different-

The cut converts and transforms the minimalist volums in an element with its own personality where the original form disapears in order to give place to the intervention.

The cut, that has a dynamic potence and notable energy, contrasts with the harmony of the original form. The set is a reunification and connection of three elements: the material, the physical energy and the concentration.

Built-deconstruct to rebuild.

The cut is defined as a necessary process to get to the final piece, defined with a firm, secure and necessary action. A conscious action that acts in a defined temporal space.


Horizon as a definition, is the line that apparently separates sky from land. Seen from all angles, that is the line always appears at the height of the observer.

Black horizons, like sculptures in the wall, that can be zoomed in and out., give the viewer the complicity to define, zoom in and construct lines that transform the visual focus.

Black color marks the form with decision, defining the object in the place and its sorrounding.




A serial of images that Carles Generó has cataloged long time ago. They were very present for him until the day they took on significance. Suddently they became part of the author, to express how he feels in that precise moment, the time when routine and the smell of iron seized every minute of his jornal. Some time after that, when descovering the abbandoned warehouses of the river Ter and Llobregat industrial textile colonies, they make all the sense. He even believed he anticipated tooking them years before.

That way, the machines and the same “photo” object have found a place where they seem to fit. To cause the parallelism between machines and space, to create a new landscape where to belong. A portrait empty of beauty and sense, objective object, a catalog of a nowadays absent reality. Everyday landscape, a screen of ripped illusions.



El Konvent of Cal Rosal lost its religious functions by June of 1992. It is after a few months that the factory cedes the building to a young group from the same town in order to become a rehersal.

In 2006 it starts the reconvertion of the building into an art center and with the clear intention to bring culture that is far away from industry. From that point, Konvent hasn’t stopped its cultural task and of recuperation of the building, as though as the sorroundings of the textile fafactory of Cal Rosal.