Frantiček Klossner

Swiss contemporary artist Franticek Klossner lives in Bern. He is known for his works in the fields of video art, sculpture, installation, drawing and visual poetry. In his work he combines the artistic means of expression of the visual arts with those of the performing arts. With his cross-disciplinary video installations, which often have a performative character or seem like enigmatic scientific experiments, Franticek Klossner is one of the pioneers of the Swiss media art scene. His entire artistic oeuvre is permeated by existential questions, close to the reality of life. In his works, the human body acts as a representative for the processes of mental individuation and social interdependencies. Among his most famous groups of works are the "Melting Selves". The self-portraits, frozen in ice, clearly reveal the artist's inner attitude and tell in a haunting way what his art is about: the metamorphoses of life, the ego in transition, the interactions between external and internal forces. The striking aesthetics and vehemence of his pictorial language is supported by a very sensual materiality. Through this multi-layered sensuality, his works seduce the audience to question inner images and to examine their own thinking.


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Melting Selves, Franticek Klossner, frozen self-portrait, performative sculpture, series of works since 1990

Museums and Public Art Collections

Works by Frantiček Klossner are represented in numerous public art collections: Swiss National Museum, Kunsthaus Zürich, Reinking Collection Hamburg, Moses Mendelssohn Foundation Berlin, Federal Art Collection of the Swiss Confederation, Carola and Günther Ketterer-Ertle Art Collection, Musée d'art et d'histoire Fribourg MAHF, Prints and Drawings Collection of the Swiss National Library, Museum of Fine Arts Berne, Neuer Berliner Kunstverein, Ursula Blickle Videoarchiv, Österreichische Galerie Belvedere Wien, Center for Art and Media ZKM Karlsruhe, Tomarkin Collection Berlin, Museo de Arte Moderno de Buenos Aires MAMBA Argentina, Museum of Fine Arts Solothurn, Art Collection of the Canton of Bern, Art collection of the city of Zofingen, Arts Center Pasquart Biel-Bienne, Mobiliar Art Collection, Banque Bonhôte Neuchâtel Art Collection, Swiss Institute in Rome

Awards / Honors

2018 Network Association Honorary Award

2017 Winner of the competition "Kultur.Digital", Canton of Bern

2009 Art Position Award, Canton of Vaud
2009 Valiant Bank Media Art Award

2007 Grant from the Cultural Fund, Federal Office of Culture

1999 Nomination for the Böttcherstrasse Award, Bremen

1997 Grant from the UBS Foundation for Culture

1997 Video Art Award, Thuringia and Rhineland-Palatinate

1996 Member of the Swiss Institute in Rome

1992 Art Award of the Aeschlimann-Corti Foundation

1991 New York Studio Grant by the City of Bern

Education and Training

Frantiček Klossner trained as an artist at the F+F School of Art and Design in Zurich (1985–1989), among whose teachers were the artists Hansjörg Mattmüller, Hermann Bohmert, Norbert Klassen, Vollrad Kutscher, Valie Export, Peter Weibel, and the philosopher Gerhard J. Lischka, and among whose guest lecturers were Jean Baudrillard, Paul Virilio, and Vilém Flusser. On graduating, he won a City of Bern art scholarship, thanks to which he was able to move into a studio in the East Village in New York City and there focus on video art, performance, and installations. In 1995 he became a member of the Swiss Institute in Rome. After the two-year studio stay at the Institute, he settled in the eternal city, where he remained until 2000. On returning to Switzerland, he headed the exhibition project Identité mobile at the Murten arteplage of the Swiss National Exhibition, Expo.02.

Exhibitions

Since 1990, Klossner’s art has featured regularly in international exhibitions and media art festivals. Among the institutions to stage solo exhibitions of his work are the Kunsthaus Grenchen, CH (2001), Centro d’Arte Contemporanea, Bellinzona, CH (2002), Museo de Arte Moderno de Buenos Aires MAMBA, ARG (2004), Galeria de Arte Universal, Santiago de Cuba, CUB (2005), Centro de Expresiones Contemporáneas, Rosario, ARG (2007), Kunstmuseum Solothurn, CH (2008), Kunsthaus Interlaken, CH (2013), Kunsthalle Wil, CH (2014), and Kunstverein Ruhr in Essen, NRW, D (2015).

Teaching

From 1993 to 2001, he co-founded the Department of New Media at the F+F School of Experimental Design in Zurich and taught performance and video art. After the Swiss Expo.02 he was invited to lecture in media art at the Fachhochschule Nordwestschweiz FHNW and in performance art at the École cantonale d’art du Valais ECAV. In 2006 he took on a teaching position at the Bern University of the Arts HKB, where he has since taught at the Institute for Transdisciplinary Art and Research.


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Frozen self-portrait, Franticek Klossner, from the series "Melting Selves" since 1990

Frozen Self-Portraits

Frantiček Klossner calls his series of works with frozen portraits and bodies "Infinite Performance". The performative concept is not only designed for the duration of an exhibition, it already spans over 30 years, since his first "freezes" (1990) until today, each time in a new context in numerous installative or medial variations. Each new staging is a temporally limited process. Involuntarily, one thinks of transience and passing lifetimes. But the attraction of the work and its equally strong charisma are able in their totality to stimulate thoughts, feelings, and memories whose togetherness is already art-specific. So it's not just about a self-portrait made of ice that slowly melts away, but above all about a "human image of the present" that changes imperceptibly yet visibly, finally dissolving completely. The "becoming less and less" of the ice-solid sculpture is just as much a part of Franticek Klossner's understanding of the work and its concept as the ritual repetition and the ever-recurring "freezing of oneself". His work is in a constant state of flux between transience and reappearance. In doing so, the artist makes use of ambiguous symbolic settings and the conscious reactivation of millennia-old notions of time. He is concerned with a sculptural image of man that carries time within itself, as it were, and embodies various notions of time. In this way he also poses the existential question of the "inner time" and the "outer time" of man. (Dr. Peter Friese, Kunstverein Ruhr, Essen, 2015)

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«Hidden Assets», Walk-in cold room with frozen self-portraits by Franticek Klossner, Art Collection Rik Reinking Hamburg, Kunsthalle Osnabrück, 2011

We breathe in the Artwork

In the pale light of an incandescent lamp, Franticek Klossner stores a multitude of frozen self-portraits. The whimsical collection seems like a clinical experiment. The lucid heads are lined up frontally on metal shelves. Each head is shaped differently by the freezing process: Burst open, torn, split, or a perfect likeness, they reflect the full range of deformation and shape-shifting. Confronted with these "frozen selves," we involuntarily think of Richard David Precht's bestseller "Who am I - and if so, how many?" The vulnerable physicality of the stored "I's", becomes a symbol of human conditions. In the cold of the walk-in freezer, the processes of our perception intensify: with every breath the cold penetrates us! We breathe in the work ... and leave when exhaling, by the warming of our breath, a constantly growing hoarfrost on the frozen heads. Like a fine fur, the breath of the audience lays on the work of the artist. (Mechthild Zawadinsky, Kunsthalle Osnabrück, 2011)

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"Hidden Assets" - art encounter at minus 20 degrees: The visitors' breath settles as hoarfrost on the artworks.
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Melting self-portrait in the inner courtyard of the Kunsthalle Osnabrück, exhibition: "The Human Body in Contemporary Art", Reinking Collection Hamburg, 2011

Inge Herold, in: «The Upper Half / The Bust since Auguste Rodin», Städtische Museen Heilbronn, 2005

Like Dieter Roth, Franticek Klossner subjects his self-portrait to deformation and dissolution, but in his work the aspect of the cycle of becoming and passing away also plays an important role. Moreover, his material has a completely different quality than Roth's. Klossner's self-portraits, titled "Melting Selves," which he has been creating since 1990, are casts of frozen water that he uses in various ways in installations, performances, and video sequences. Water is not only the life-giving matter par excellence, it is also an extremely changeable element that occurs in three states: liquid, solid (snow and ice), and gaseous (haze, mist, steam). The processes of freezing and melting are - like baking in Quinn's works - deforming progressions that develop a strong momentum of their own, over which the artist has no control. Klossner counters the deformation and dissolution through melting - to be understood in his earlier works as a metaphor for time and transience - with the idea of rebirth and renewal in a video work developed especially for the exhibition "The Upper Half." Six busts of the artist decay and emerge anew in a rhythmic process accompanied by a minimalist sequence of sounds based on his heartbeats. The busts melt - with the drops metaphorically rising to the sky like thought bubbles - and reform from drops rising from below: a reversal of the actual process. Klossner combines the idea of an eternal cycle of life with the theme of self-exploration and the question of identity: "There is no such thing as an individual, we are liquid identity. Any arrest is meaningless - time is change of form."


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ex vivo - in vitro, Frantiček Klossner, video installation, Kunsthalle Wil/SG, 2014

Human states of aggregation

Frantiček Klossner's works are imbued with existential questions and address the processes of mental individuation and social interdependencies. The video installation "ex vivo - in vitro" shows this particularly vividly: the scenery is reminiscent of a collection of anatomical wet specimens in a museum of medical history. In large glass flasks immersed in liquid, isolated, preserved and separated from each other, we discover naked human bodies and talking heads. Bodies writhe in the confines of their encapsulation. Heads circle around their own axis like globes. The passing faces become world maps of lives already lived. The situation makes clear what social isolation and exclusion do to a person's psyche. Yet inside the glass bulbs germinates human resilience. In enigmatic words, the "shut-ins" speak to themselves and to us. They speak of love and longing, of closeness and distance, of hope and confidence. With their hypnotic voices and repetitive lyrics that overlap and contradict each other, they draw the audience under their spell. In this way, the individuals separated from each other convey an extremely powerful and topical image of today's society and the idea of what it might mean to be human.


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«ex vivo - in vitro», Multi-channel video installation, Frantiček Klossner, Kunsthalle Wil, 2014, Photograph: Simon Schmid

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«ex vivo - in vitro», multi channel video installation, Frantiček Klossner, Contemporary Art Collection Carola & Günther Ketterer Ertle, 2016

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ex vivo - in vitro, Frantiček Klossner, video installation, Kunsthaus Interlaken, 2016

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Exhibition view "Danse Macabre", Museum of Communication Bern, «X-ray of My Skull», Meret Oppenheim (1964) and «My skull is given a face», experimental X-ray video by Frantiček Klossner (1999)

My skull is given a face

Léonard Cuènoud, Hess Collection, catalog text, 2000: The skeleton of a human skull, moving vividly and looking at us from its bony eye sockets, has a frightening and irritating effect. In the flesh a skull, alive? The unconventional self-portrait in X-ray fluoroscopy is set in the classical-looking form of a medallion, referring to the pictorial characteristics of mourning jewelry from the postwar years. But Frantiček Klossner's video performance is a memento mori full of self-irony and palpable pleasure in artistic experimentation with medical imaging media. The oppressive associations are clearly contrasted by sly mischievousness and black humor. Death seems to want to tell us that life after death will be as sensual and whimsical as our contradictory existence in that time we call the present.


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«My skull is given a face» Frantiček Klossner, Autoscopy, 1999, Experimental X-ray video, Body painting with medical contrast agent, X-ray imaging in collaboration with the Institute for Radiology, University of Bern

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The Flaying of an Artist - Metamorphoses of an Individuation, Frantiček Klossner, Museum of Art and History Freiburg, exhibition «The Body and the Sacred», 2021

« ... The skin I no longer inhabit»

Dr. Caroline Schuster Cordone, Vice Director, Museum of Art and History Fribourg MAHF

The transformation and fragmentation of the body are central to the work of Frantiček Klossner. Since 1989, he has been making life-size "Flayings" out of natural rubber. These are realistic casts of his body that he uses to freeze his portrait busts made of ice, the "Melting Selves." The production of these works is the result of slow and careful work that resembles a ritual: the artist applies the material in thin layers, layer by layer, and allows it to dry between two applications. Many passes are necessary until the required density is achieved, imitating a real skin. Over the years, this has resulted in a series of peeled skins - like pupae from past lives - or relics from the past. The natural aging of these works (due to the darkening and drying of the material), as well as the traces of the working steps (scratches, cuts, injuries) give each one a unique appearance.

 

These fragments, which the artist molds and preserves from his own body, can be read as ritualized stations in a process of human and artistic individuation. Klossner's "Flayings" are also part of the artist's dialogue with ancient tradition, the Bible, and cultural history. One thinks of the myth of Marsyas, the music-making satyr who was flayed by Apollo, or of Bartholomew, the flayed apostle whose skin became an attribute. A final inspiring connection arises especially in a group presentation of works in an exhibition. The hanging of several skins then takes the form of a phantasmagoric vision. The skins seem to float, eyelids closed, facing an imaginary world. One inevitably thinks of Francisco de Goya's famous etching El sueño de la razon produce monstruos (The Sleep of Reason Produces Monsters) from his series Los Caprichos. In it, the sleeping painter creates flying and menacing night creatures. According to Goya, "without reason, imagination produces impossible monsters: united with it, however, it is the mother of the arts and the source of miracles." The connection to Klossner is twofold: formally in the vision of a mysterious and unsettling flight of fancy that originates from the artist, but also in the relationship between reason and imagination. For Frantiček Klossner's practice combines enlightened philosophical thought with an artistic freedom that corresponds to his imagination to express simultaneously the emergence of the self, its metamorphosis and its extinction.


Finally, shedding his own skin enables Klossner to embody the passage of time, to visualize the stages of his personal development as a human being and as an artist, to embody his metamorphoses and his life's journey like a snake repeatedly shedding its own skin to give birth to itself anew.


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«Flaying», 2001, the skin I no longer inhabit, Frantiček Klossner, Carola and Günther Ketterer Ertle Contemporary Art Collection

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Signature on my body, public tattoo-performance for the inauguration of the site-specific artwork at the Swiss Institute in Rome, 1998

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Swiss Institute in Rome, Permanent installation, Visual poetry, Handwritten notes, Sandblasting technique on glass facade, Franticek Klossner, 1998

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How art is created and one is connected with the other, Franticek Klossner, Visual poetry, sandblasting technique on metal, 50x50cm, 2018

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«Bilateral Relations», Visual Poetry, Franticek Klossner, 2014, City Presidents Alexander Tschäppät and Klaus Wowereit with a text panel from the series: Art and Politics, Photo: Simon Schmid

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«Generation Head Down», Multi Channel Video Installation, Frantiček Klossner, Kunsthaus Zofingen, 2017, Photograph: Timo Ullmann

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«Generation Head Down», Multi Channel Video Installation, Frantiček Klossner, Kunsthaus Zofingen, 2017, Photograph: Timo Ullmann

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Detail from the video installation «Generation Head Down», Kunsthaus Zofingen, 2017, Photograph: Timo Ullmann

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«Talk to me», Interactive video sculpture, Frantiček Klossner, Bern University of Applied Sciences - Faculty of Economics, 2019

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«A Call For Peace», Interactive Video Installation, Franticek Klossner, Kunstmuseum Solothurn, 2001

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Heracles in the plenary hall of the European Parliament in Strassbourg, interpreted by actor Ben Gageik, video installation from the exhibition "Facing History" by Franticek Klossner, Collection of Antiquities of the University of Bern, 2019

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«Mess Up Your Mind», high speed videos, multi channel video installation, Franticek Klossner, Kunsthaus Grenchen, 2001

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A rather different «last supper», eight-channel video installation with talking bread, Franticek Klossner, Kunstmuseum Solothurn, 2008

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«Echo and Narcissus», interactive video installation, Franticek Klossner, Mobiliar art collection, Exhibition view: «The Mirror of Narcissus», Kunsthalle Tirol, Taxispalais Innsbruck, 2012

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«Art does Politics», interactive video installation, archive on the Bernese cultural scene, Franticek Klossner, Kornhausforum Bern, 2003

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«The artist Christo is wrapped by Josy Kraft», drawing, pencil on paper, Franticek Klossner, from the series: «art does politics», Harald Szeemann memorial exhibition, Kunsthalle Bern, 2006

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«The art historian Hans Christoph von Tavel carries two flags by Meret Oppenheim across the bridge with clouds», drawing, pencil on paper, Franticek Klossner, Kunsthalle Bern, Harald Szeemann memorial exhibition, 2006

The art whisperer

Michaela Nolte, on the series of works "Kunst macht Politik", 2007: In his interactive performance archive "Kunst macht Politik" (from 2003), Frantiček Klossner weaves a dialog loop of diverse networks with video recordings of around 500 cultural workers to date. It is not a conventional collection, but a rhizomatic meshwork, with the artist as community benefactor for human, artistic and media interference. Cultural workers, cultural mediators and cultural politicians are animated by Frantiček Klossner to spontaneous actions, performances or intimate improvisations, from which - in the sense of Gaston Bachelard's "The flower is always already in the almond" -, poetic and surreal miniatures emerge. The Paradise performance by Sandra Gianfreda and Bernhard Mendes Bürgi at the Lemon Tree of Knowledge in the Kunstmuseum Basel, for example, or the artist collective that Klossner lures in front of his camera with the simple instruction from the peacock-like flat-sharing table: "Just go up the walls!" The artist as animator makes you think the impossible and puts it into action. The artist as archivist creates unconventional documents based on the desire for art, including numerous now historic moments such as the performance of Martha and Maurice E. Müller with shovel and pick in the excavation pit of the nascent Zentrum Paul Klee or the "Abbey Road" performance with Balthasar Burkhard, Claude Kuhn, Gerhard Johann Lischka and Alexander Tschäppät on a crosswalk in the Bernese embassy district. "Fundamental to the manifold manifestations of performance art [...] is the physical execution of an action," a performance reader states. Apart from the fact that this sounds like force majeure, Frantiček Klossner refutes such a definition with his intermedial works, in which video, performance, photography or installation always point beyond the one medium. Not the physical execution, but rather the physical pleasure and interaction of performers and viewers appear as a central moment in the artist's work; humor as another. Humor as catharsis. From the visual arts Klossner acts cheekily, cunningly and innovatively. Examining the body as sculpture, as a dissolving and self-generating work of art, he quite naturally allows dance, language, drawing and writing to flow into the crossing of boundaries as a basic performative attitude. Thus it seems only consistent that the physical execution is completely suspended in what Klossner calls "the most ultimate performance". Tim Steiner, an artist friend of Frantiček Klossner, who wears a work by Wim Delvoye on his back as a living image carrier, had to have the famous tattoo cut open for a medical procedure. Frantiček Klossner accompanied his friend during the anesthesia in the operating room and documented the surgery together with photographer Simon Schmid. "The loss of consciousness made a deep impression on me and led to the question of whether consciousness is needed at all for the performance. Tim Steiner's body, suspended in anesthesia, was incredibly present and, in its absolute passivity, provided a fascinating counterpoint to the active will to create art." The performance of the anesthetized friend becomes an immersive experience of art, of being art, completely imbued with authentic self-evidence, where images do not erode but continue to work and inspire the (seemingly) impossible. The artist becomes an art whisperer. On the borderline of explicitness and implicitness, Klossner's art releases energy and holds potential for contagion.


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«The Art Commission faces a riddle», Franticek Klossner, drawing from the series: «art does politics», Kunsthalle Bern, Harald Szeemann memorial exhibition, 2006

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«On the changing table of cultural history», Franticek Klossner, 1996, photograph from the series: «His- & Herstory», Museum of Fine Arts Bern Collection

Exploring Masculinity Through Art

Museum of Fine Arts Bern, 2013

«Masculinity Under Scrutiny - How Art Pictures the New Male»

curated by Kathleen Bühler

 

Franticek Klossner works mainly in the fields of video art and performance. His photographic series "His- & Herstory" (1996) occupies a special position in his oeuvre. The square, enlarged, black-and-white photographs show him naked in a two-way conversation with the Greek and Roman sculptures of the Antikensammlung Bern as well as in public or secret places in the city of Rome and in Ostia. The artist had settled in the city of Rome after a two-year fellowship at the Swiss Institute, where he remained until the year 2000. The photo series was created at the same time as his highly acclaimed video installations with "Talking Busts". In a street survey he had asked passers-by about their "First Experiences with Art". Projected as video mapping onto the antique busts, their stories resulted in an extremely poetic discourse on contemporary art, between Hermes of Olympia and Apollo of Belvedere. On another level, however, these video installations were also a cunning response by the video pioneer to the polemics of the time, which devalued media art in comparison to painting and sculpture on the grounds that video tapes were not originals, but only copies. Franticek Klossner opposes this conservative attitude in a pleasurably physical way and proves with his actions that even the heren sculptures in the antique collections are merely plaster copies and that ultimately only his own naked body is an original. Thus, on the one hand, the performance and media artist rebels against the conventional concept of art of the 1980s and 1990s, on the other hand, he provokes the bourgeois perception of art by unconcernedly including the famous works of Greek antiquity (such as the Apollo from the Belvedere, the discus thrower from Myron, or the Barberian Satyr) as performance partners and playing with props such as an inflatable rubber doll or the plaster cast of Pipilotti Rist's right breast. In this way, the artist signaled his closeness to gender issues, which he repeatedly incorporates strongly in his work. In a poetic and often almost restrained manner, his works repeatedly encourage viewers to examine their own thinking and question gender norms and gender identity. His thought-provoking pieces are not intrusive but rather cunning and seductive. They allow the audience enough time and seduce them to question inner images. This is precisely why his photographic series of works is of particular interest for the exhibition curated by Kathleen Bühler on "Questioning Masculinity" at the Kunstmuseum Bern. Cultural diversity, social change, and the examination of old and new notions of masculinity are inextricably linked to Franticek's work. So it is not surprising that in the Museum of Antiquities he disrobes and teasingly and with great humor confronts the concept of "kalokagathia," the Greek ideal of physical and mental excellence, murmuring softly: "kalòs kaì agathós."


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«When you lose your head, you are often rewarded by finding it again in a completely unexpected place», Franticek Klossner, 1996, photograph from the series: «His- & Herstory», Museum of Fine Arts Bern Collection

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Artistic statement at the place of Pier Paolo Pasolini's death in Ostia near Rome, 1997, Performance by Franticek Klossner photographed by Gian Paolo Minelli
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«In a tender dialogue with cultural history», Performance by Franticek Klossner, photographed by Gian Paolo Minelli, Monte Pincio, in the park of 229 busts, Rome, 1997


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the work to the viewer: «You can see me - and I can feel your glances», Franticek Klossner, 2018, Photography, overlaid with handwriting in glass, Visual poetry from the series: «Eudaimonia and Ataraxis»

Drawings on skin - to tickle our mind

With ballpoint pen and felt-tip pen Frantiček Klossner draws the milestones of art history on the bellies of his friends. The body becomes the image carrier.... a mediator between recent art history and contemporary art. The belly button - umbilicus - acts in the drawings as a starting point and perky protagonist: with an open astonished mouth in the "Angelus Novus" after Paul Klee, as an acorn on the erect penis in the "Standing Man" after Pablo Picasso or hidden behind dense body hair in the "Déjeuner en fourrure" after Meret Oppenheim. The drawings scribbled on bodies not only tickle their wearers, they also tickle our minds: smiling, we rediscover art history. With mischievousness, Frantiček cracks the essence of the works cited and thus creates an extremely physical image for the personal appropriation of cultural history: art is incorporated with relish.

 

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«fur-covered teacup after Meret Oppenheim», Felt pen on Arthur, Drawing on skin, Franticek Klossner, 2015, from the series: «Art history tickles»

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"La sincérité", Franticek Klossner, choreography for the dance company of the Stadttheater Bern, interdisciplinary ballet evening "Beauty More Than Me", 2017

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"La sincérité", Franticek Klossner, choreography for the dance company of the Stadttheater Bern, interdisciplinary ballet evening "Beauty More Than Me", 2017

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«Kairos and Chronos», performative video installation with melting portrait sculpture, Frantiček Klossner, Kunstmuseum Bern, exhibition "Feu Sacré", 2013

Kairos and Chronos

Above a large expanse of water hangs a self-portrait of the artist made of ice. At the beginning of its hanging, it is the exact 1:1 cast of the artist's head. Fresh from the cold room, hung upside down on a metal loop, this impressive ice body first covers itself with a velvety white layer of hoarfrost before gradually beginning to melt due to the room temperature. Finally, the fine white ice crystals dissolve and the falling water drops become the heart rhythm of the video installation. Projected onto the water, video footage of an attentive looking eye and the image of a naked young man in an embryonic pose appear alternately. A video projector has been placed in such a way that these images are precisely mirrored and magnified from the surface of the water onto the opposite wall of the room. The constantly falling irregular water drops of the melting artist's head, however, naturally create concentric pulsating circles on the water - like individual raindrops on a lake. And because the video projection is a "light image," the waves create multiple refractions and visual amplitudes within the mirror image as well as in the image projection. In this way, an impressive, constantly changing situation is created - both on the surface of the water and in the actual video, in which the viewer is drawn in as if of his own accord. It looks as if the viewer's gaze is answered by the hypnotic counter-gaze of the large eye, which is then followed by the huddled body of the naked young man. And all this is permeated by the dynamic concentric circles and oscillations emanating from the water drops, to finally condense into an impressive overall image that challenges the viewer's attention. (Kunstverein Ruhr, 2015)


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«Kairos and Chronos», performative video installation, Franticek Klossner, Kunstverein Ruhr, Essen, NRW, 2015

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«Kairos and Chronos», Frantiček Klossner, video art, Museum of Fine Arts Bern, exhibition «Feu Sacré», 2013

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"Brainwaves", performative sculptures from the series "Melting Selves", Franticek Klossner, Rolex Learning Center, Sanaa Building, EPF Lausanne, 2013

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"Body melts head", photographic series with frozen self-portraits, Franticek Klossner, Dampfzentrale Bern, 1990

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"Melting Selves" with "Tim" by Wim Delvoye, Reinking Collection
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Reinking Collection Hamburg, Museum Weserburg Bremen, 2014

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an attentive audience in the exhibition «Existential Visual Worlds» by Reinking Collection at Museum Weserburg Bremen, 2014

Franticek Klossner