Frank Wasser is an Irish artist and writer based in Vienna, London and Dublin. Wasser is a lecturer in Art (Studio Practice) and Critical Studies at Goldsmiths, University of London. Wasser is supported by the Arts Council of Ireland, Visual Arts Bursary Award.
For a full dossier of work please contact contact@frankwasser.info
Frank Wasser is now represented by COMMUNE
Portfolio of a Selection of recent Exhibitions and Projects
'The Irish Face' at Tate Britain (October 2025)
'Debt' at Salzburger Kunstverein (February 2025)
'Plot-Holes' at the University of Oxford (December 2024)
'Welcome to the Neighbourhood' - Askeaton Contemporary (June 2024)
'Title, to be announced' at Steamworks, London (March 2024)
'Loading Bay' at the National Sculpture Factory (Ongoing)
'Split - Zero Hour Fragments' at South London Gallery MA Bibliothéque (October 2023)
'After Forethought' at UCC, Ireland (June 2023)
'On Tenterhooks' at PPS (October 2022)
Selected Recent Writing and Criticism
Researcher on Child Led project at Turner Contemporary (2018 -2022)
Education Work at Tate Modern and Tate Britain (2012 - 2025) (video from 2013)
News
Salzburger Kunstverein will be holding the launch of the catalogue reader of the 2024/2025 exhibition 'Debt curated by Hana Ostan-Ožbolt-Haas on the 12th of December at 7pm featuring Gleb Amankulov and FrankWasser.
This publication is both a document of the exhibition and an extension of its (spatial) narrative into the form(at) of a book. To make a book about debt in times of debt is to take part in a fragile economy of care. It means insisting that thought, like art, still matters, even when everything around us suggests austerity, delay, and scarcity. It asks how debt can be read, not only as an economic or political condition but as an emotional, symbolic, and even psychoanalytic relation.
The publication includes texts and essays by Mirela Baciak, Hana Ostan-Ožbolt-Haas, Benjamin Hirte, Miriam Stoney, Frank Wasser, and Alenka Zupančič and is published by DISTANZ Verlag and Salzburger Kunstverein.



Scene 93 OMITTED
Exhibition open:
18.10.14 – 9.11.14
SCENE 94 INT RESTAURANT NIGHT
ELLIE comes into the darkened restaurant, following the source of the flickering light. A candle burns at a table in the corner.
JOHN HAMMOND sits at the table, alone. There is a bucket of ice cream in the middle, and he's eating a dish of it, staring down morosely.
Ellie draws up to the table and Hammond looks up at her. His eyes are puffy, his hair is messed up - - for the first time we've seen him, the fire is gone from his eyes.
(Taken from the original script for Jurassic Park)
Taking this 5 second camera panning as a point of departure 'Scene 93 Omitted' is a review, reconfiguration and reevaluation of the year 1993 as remembered by Wasser, then 5 years old.
Jurassic Park and its exclusive branding haunt lucid memories of that year: a small neurotic child runs up and down a living room in Jurassic Park PJs spelling out in the air the title credits of the movie accompanied by the humming of the soundtrack; he insists on green jelly for dessert on Sundays because that's what Tim eats in the film; Santa brings a plethora of dinosaur themed toys that Christmas, but anything without the film's trademarked logo on it is rejected as ‘extinct’. [1]
The promise of merchandise is a tactile relationship with a fictional world. In Scene 94 Jurassic Park approaches the edge of self-reflexivity as the camera pans across the gift shop, showing kids' pajamas, lunch boxes and toy dinosaurs all emblazoned with the theme park’s logo. But these branded objects fall short of the slick design characteristic of actual merchandise surrounding a film. The ersatz aura of these things then prefigures, exploits and undermines the possibility of entering Jurassic Park. SCENE 93 OMITTED unearths the problems that these types of material remnants pose for experiences of nostalgia and cultural memory, and exploits the discrepancies between their various appearances.
[1] In the description box of videoSTORK's YouTube clip JURASSIC PARK & pity for UNSOLD PRODUCTS, videoSTORK describes the camera panning that opens scene 94 of the screenplay: Dr. Ellie Satler (Laura Dern) and John Hammond (Richard Attenborough) debate the psychology of consumption and product seduction. In Jurassic Park, Speilberg's pathos extends to this emotional scene in lamentation of unsold products beginning with a heartbreaking pan across the shelves (93 omitted). The products won't be sold in the fictional story, but luckily for these orphaned t-shirts and sports bottles the consumer guilt worked its movie magic and a mint was made on Jurassic Park merch anyhow. http://www.youtube.com/watch?v=KQ2OxVzleaE[accessed 22/09/2014]