Franziska Klotz Germany, b. 1979

As the year draws to a close, 69salon by KORNFELD invites you to a special dialogue:
In the exhibition “Doppelspiel”, the painter Franziska Klotz and the painter and ceramicist Fritz Bornstück meet for the first time – two Berlin-based artistic personalities who each, in their own way, explore the traces of our present.

Franziska Klotz’s painting is physical, probing, multi-layered. A tactile, exploratory way of painting lets objects, animals and figures emerge from the in-between. Her works speak of perception, memory and the tenderness of the moment.

Fritz Bornstück, in turn, brings the small relics of everyday life to life in his oil paintings and ceramic sculptures – furniture, vessels, fragments of technology – which gain a new presence infused with poetic melancholy and subtle humour.

In their interplay, a double game unfolds between closeness and distance, light and shadow, seriousness and a wink. The exhibition also marks the opening of the first winter salon at 69salon by KORNFELD – with a Christmas tree filled with small works and editions by artists who are friends of the gallery, and a book presentation by Marianne Ludes (“Trio mit Tiger”*).

„Freundschaft à la Carte“ von Christopher Lehmpfuhl
Mit 12 Künstlerinnen und Künstlern
„Kochen ist ein Freundschaftsdienst“, schreibt Christopher Lehmpfuhl im Vorwort des Buches. In diesem Sinne laden wir Sie herzlich zur Buchpremiere von „Freundschaft à la Carte“ in den 69salon by KORNFELD ein. Neben der Vorstellung des Kochbuchs werden an diesem Abend auch die Werke der beteiligten Künstler und Künstlerinnen präsentiert. Der Abend vereint Kunst und kulinarische Inspiration – eine besondere Gelegenheit, die Kreativität und Freundschaft der anwesenden Künstler und Künstlerinnen persönlich zu erleben.
BUCHPREMIERE
Datum: Mittwoch, 25. September 24
Uhrzeit: 18:30
Ort: 69salon by KORNFELD, Fasanenstr 69

We are proud to present two Berlin-based artists in a joint exhibition for the first time. Entitled 'Das jüngste Gerücht' (The Latest Rumour), the exhibition draws inspiration from a cabaret program by Wolfgang Neuss from 1963.

Both artists are inspired by images that catch their eye. These vary from documentation to images of historical events, to works of art, and digital or analog images illustrating current events. Their works are figurative, but both often work with structures that make their paintings and sculptures appear almost abstract.

Artist Talk: Friday, July 12 2024, 6:30pm
Asja Wolf in conversation with Franziska Klotz and Jan Muche

Franziska Klotz's works are windows into our world: they capture our gaze with painterly magic, but we see through them to the things that really concern us. In the exhibition GRUND RISSE Franziska Klotz presents her latest works at 69salon by Kornfeld.

Tammam Azzam, Elvira Bach, Stéphane Couturier, Nick Dawes, Paris Giachoustidis, Hubertus Hamm, Natela Iankoshvili, Rusudan Khizanishvili, Franziska Klotz, Tamara Kvesitadze, Christopher Lehmpfuhl, David Meskhi, Susanne Roewer, Hubert Scheibl, Martin Spengler, Jan Tichy, Ivana de Vivanco
Galerie Kornfeld is delighted to announce it's ten year anniversary exhibition, wich will feature the artists that have come along with us through the decade. The anniversary exhibition will reveal touching glimpses of the past and the future, sensitive and exciting exchanges between first artistic attempts and more mature works. The works on show hint at inner struggle and transformation, the eternal search for what is hidden behind the visible.

Inspired by her observations, thoughts, and feelings, Berlin painter Franziska Klotz distills contemporary history paintings from today’s flood of media images, interrogating the motif, confronting existential questions, and exploring the means of painting itself. These works are based on opposites: dark versus light, cold versus warm, form versus color, the defined versus the amorphous-chaotic.

This is an exhibition of two artists: Franziska Klotz and Patricia Ayres. Franziska Klotz paints landscapes, figures or structures that she observes in real life. The scrutiny of reality and existential questions of being are just as critical to her as the means of painting per se: Composition, colour, form and individual expression. Patricia Ayres makes sculptures out of fabric and other soft materials that evoke deformed archetypes of femininity. The vulnerability of the body becomes apparent, and also the striving of the soul for unconditional freedom.

Tom Anholt, Samuel Bassett, Armin Boehm, Fritz Bornstück, Hannah Dougherty, Farshad Farzankia, Robert Fry, Philip Grözinger, Michelle Jezierski, Franziska Klotz, Clemens Krauss, Manfred Peckl, Andrew Salgado, Sebastiaan Schlicher, Tina Schwarz, Joachim Stracke, Kristian Touborg
The exhibition Berlin Calling: Works on Paper, a selection of works with and on paper. In close collaboration with the Berlin artist Philip Grözinger, 16 contemporary artists – invited by Grözinger – will show works that express the diversity and variety of the medium of paper in striking fashion.
This involves drawing, painting and watercolouring, folding, gluing and collaging. Figuration is juxtaposed with abstraction, expression with introspection, plenitude with emptiness, image with text, fleeting sketches with pictorial compositions. Small formats are contrasted with larger works that branch out into room installations. Recourse to the medium’s centuries-old tradition is supplemented by artistic concepts that elicit completely new facets from paper.

After venturing to the limits of abstraction in recent years, and occasionally even exceeding them, Franziska Klotz returns to a style of painting more oriented on the object in her current works. At the center of our exhibition is a group of nine paintings that invariably depict faces of women who convey to their audience an air of seriousness and dignity, but above all self-confidence. Wholly motif – and at the same time wholly painting; strange and yet familiar, close yet remote.
A closer look reveals the specific features of these faces: the models of Franziska Klotz’s paintings are not girls and women sitting face-to-face with the artist, but portraits of women painted on thin wooden panels, who have not been amongst the living for nearly two thousand years.

Stéphane Couturier, Hubertus Hamm, Bertram Hasenauer, Natela Iankoshvili, Franziska Klotz, Tamara Kvesitadze, Christopher Lempfuhl, Olivia Mc Gilchrist, Anne Pantillon, Sandeep Mukherjee, Alexander Polzin, Susanne Roewer, Sonny Sanjay Vadgama
At a “Supper Club”, people who have generally never met before, get together in their host’s private rooms, where they are wined and dined with a self-prepared culinary menu. The idea of different people and cultures coming together through a shared interest is the inspiration for the group exhibition “Supper Club” that kick-starts the year 2017 at Galerie Kornfeld. We invited gallery artists, as well as exciting guest artists, to bring along one or two works as gifts for this exhibition, which unites a variety of artistic forms under one thematic framework.

In Franziska Klotz’s work, reflections on the self and the other lead to an exploration of images from her own family history. “Heimat” and “Heimat 2”, one of which was created while the artist was still living in Berlin, the other shortly after her arrival in Istanbul, are based on a theme, which for the artist is connected to a multiplicity of personal memories. The fabric’s Orientalizing ornaments seem like an anticipation of what might lie in store for her in the foreign country. Her study of Ottoman art, which neglects illustrative figuration in favour of the ornament, enabled Franziska Klotz to tell the stories of the images that underlie her paintings by the mere use of colour and form: a focus on textures, a rejection of the compositional structures of Western painting and an image build-up that largely relinquishes any spatial-illusory depth effect.

Maliheh Afnan, Robert Fry, Hubertus Hamm, Franziska Klotz, Tamara Kvesitadze, Alexander Polzin, Susanne Roewer, Hubert Scheibl, Leonardo Silaghi, Jan Tichy, Sonny Sanjay Vadgama
The exhibition “Paper Plains” will show a wide spectrum of techniques to working on paper, including etchings, prints, photographs, drawings and paintings. It brings together established artists with young emerging producers, tracing the significance of this simultaneously ancient and contemporary medium.
In a rapidly digitalising (art)world with the means to print perfect 3D sculptures, generate slick flawless imagery on photoshop and immaterial artworks making their way into galleries, it is curious to witness the return of paper as an important medium for artists.

Her most recent works are primarily based on historical photographs of the destruction of Dresden in 1945. The artist’s examination of this theme originates from her personal relationship to the events in her home town. Through her extensive research in the Dresden archives, the artist found a variety of formally impressive motifs of the ruined city, which she connects with motifs from other historical contexts, such as pictures of the burning oil fields in Kuwait, creating impressive compositions.
The title “H3PO4” – the chemical formula for phosphoric acid – opens another mental space, by alluding to the myth of the bombing of Dresden with phosphorus bombs: The boundary between experienced reality, imagination and myth-making is removed, resulting in a new, visual reality that moves away from the concrete event.

Robert Fry, Voldemars Johansons, Franziska Klotz, Christian Pilz, Alexander Polzin, Susanne Roewer and Michael Wutz
Drawing, as the origin of all graphic arts, is one of the oldest cultural techniques of humanity. The drawing, which can be implemented with simple technical means, is still the medium that gives the most direct expression to the ideas of artists. As a sketch, a study or preliminary drawing, it helps both in the transformation of what has been seen into an aesthetic form, as well as in the development of ambitious compositions. Etching and other graphic reproduction techniques developed over the centuries, and were initially intended to reproduce the ideas held in a drawing in order to share them with fellow artists and an ever-growing circle of interested people.

The powerful and intense paintings by Franziska Klotz bring the ancient medium of painting to life in a new way. Her contemporary historical paintings compress a variety of very personal impressions into autonomous painterly compositions. Areas where the paint is applied so thickly that its almost relief-like qualities stand in contrast with glaze-like, flowing sections. Fullness is next to emptiness, lightness alongside heaviness, the painterly next to the graphic, definition alongside deliquescence, representational next to the abstract. The unfinished and preliminary is part of the paintings, with elaborate detail set alongside vaguely sketched sections, where chaos continuously breaks into the deliberate ordering of the image field.