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Prof. Freeters

MULTIPLE PERSONALITY, MULTIPLIED PERSONALITIES, OR COLLECTIVE CONSCIOUSNESS?

With the studio and workshop on Lievelingsweg, a place has developed over the years that functions as the heart and the engine of the Freeters project and which has charisma beyond its spatial boundaries. Spanning 1,000 square meters, the complex in Bonn’s Nordstadt encompasses a broad concept of home. The premises offer a home base for workshops, color laboratories, material storage, studio space, and desk space. And ideas gather in the niches – in other words, the boundaries between artistic freedom, professional production processes, and idea workshops are sometimes fluid and create added value in a magical way through multiple, synergetic use in the sense of the collective idea.

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Beyond its spatial organization, the space embraces a social dimension of home with various programs and regular events, such as the artist in residence program, the weekly pub night with band rehearsal, the annual exhibition, and the quarterly salon. Meeting rooms, seating areas, outdoor exhibition spaces, and the large pizza oven provide space for different  ways of being together. Spontaneous guests and friends, clients and other interested parties are equally welcome to come to the Magic Ground at any time for inspiration and coffee. 

 

In this way, the collective idea finds a natural home in an atmosphere of colorful spots, Monday colloquia, shared lunchtime cuisine, music, urban gardening, the familiar sounds of the workshop, and fruitful niche conversations.

Johannes Hess
Bernhard Zünkeler
Maya Moll
Pasquale Deemeco
Sandra Freygarten
Ingrid Blessing
Michael Sistig
Johanna Hendel
Florian Benet-Riedel
Ludger Molitor
Ben Beyer
Sebastian Chorus
Amely Spötzl
Frowin Schweer
Rafael-Maria Hildebrandt
Silke Mattern-Specht
Nils Machel
Miriam Nolte
Sebastian Keller
Roman Thomas
Rita Baus
The place
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//Application professorship for painting//

Dear colleagues of the hiring panel,
Dear Director Prof. Petzinkar

with this letter, we, the artist Collective Freeters eG, apply for the Professorship of Painting position at the Kunstakademie Düsseldorf. We would like to take on as a collective the pedagogical and artistic responsibility of guiding a class of artists. We intend to shape and coexist with groundbreaking currents in Contemporary art as an international collective movement. Our students will profit from a multifunctional and interdisciplinary approach, preparing them well to take on the even more global future of art to come.

We are confident the following pages of our application will meet your criteria for the advertised Professorship of Painting position at the Kunstakademie Düsseldorf. We are fully aware that our proposal for a poly-identity structure for a professorship may have legal implications, since it appears to be ahead of its time and certainly a challenge to the spirit of German civil service code. But considering the open spirit Düsseldorf has had in the past and the LGBTO+ currents in society, where ONE person can identify as MANY, we feel that MANY can equally act as ONE. Especially in the context of an development, with our approach we hope to vitalize the values of synergy and sustainability, bringing fresh perspectives into art education. With these ideas in mind, we respectfully ask you to consider our application as more than just a thought experiment.

As the Kunstakademie Düsseldorf has always been at the forefront of new currents in art we hope to convince you of a spectacular new way of interpreting what a professorship in the 21 st century can mean. In the following pages we give you a brief overview of who we are and what opportunities we bring to a holistic teaching experience.
Freeters originated a decade ago from a loose group of advance various projects as a collective. Freeters is a legal entity; it is registered as a Genossenschaft, or cooperative society. Our explorations went from being an artistic cooperation partner in industrial or administrative contexts, to being a freelance artist collective. What was initially smirked at as "beautification" through art on walls has increasingly inspired, transformed, and polarized ways of thinking, especially in the working world. These impactful new ways are now being discussed with passion as Future Work or New work. We call this artistic work Artistic Intelligence Method and Projects. In short, we discovered a critical way in which art creates an important portal into our society.

To give some examples of our work Freeters has influenced the redesign of the Deutsche Telekom AG headquarters it. Bonn, as as the main offices of its consulting affiliate Detecon in Cologne, Frankfurt, Dresden, Munich, and San Francisco. Another major industrial project has been the reinterpretation of space for the Bosch start-up platform grow in Ludwigsburg. Based on our positive public reception, Freeters was invited by ORGATEC the world's largest office environment trade fair, takes place at the Cologne Trade Fair, to inspire new concepts and artistic thinking across 600 square meters of open floor space, Interventional and conflict-reducing artworks have also been developed in social contexts, such as the shared accommodation refugee housing in Kiel.

Nonetheless we consider our key resource to be our core artistic work, Where all individual ideas are melted into an everlasting chamber of ideas. Our collaborations with other collectives and institutions also fall into this category, Among Other things, we want to mention our projects with ESMoA, an LA-based art laboratory exploring new collaborations ranging from neighborhood projects like Mychal's Learning Centerto big art institutions like LACMA or the Getty Center, We have helped to launch the Elsegundissimo Experience, which will eventually lead to an urban transformation of one ofihe most interesting industrial parts of LA.

The Freeters collective includes academically trained artists as well as artists from various other professional backgrounds, yet all of them look back on many years of experience as curators or cultural workers, Which brings us back to our original objective, answering your call for applications for the Professorship of Painting and demonstrating our ability to interpret painting beyond conventional definitions. As a collective, we intend to summon all our abilities and synergetic forces in order to meet and exceed the requirements of this position. The collective currently consists of 12 permanent members and has acquired years of experience and expertise in practically every aspect of the job profile. In addition, we are widely networked with national and international artists, curators fairs, companies, corporations, and museums.
2012: Founding of Freeters.
2012–14: Refresh/redesign, Detecon Cologne (head office), Munich, Berlin, Frankfurt, Dresden, San Francisco.
2014–17: Refresh campaign, Deutsche Telekom AC Headquarters Bonn, three construction phases.
2016–18: Renovation redesign, IGLO Headquarters, Hamburg
2016: Shared accommodation and housing for asylum seekers, in cooperation with AWO / City of Kiel.
2017–18: Concept and design of the start-up platform grow, Bosch GmbH, Ludwigsburg.
2018: Refresh campaign, Deutsche Telekom AG, Stuttgart; Plant 10.1 central event space at Orgatec, Cologne Trade Fair, by special request of director Thomas Postert, cologne; Establishment of Freeters eG.

SHORT BIOGRAPHIES OF THE BOARD MEMBERS

Amely Spötzl, board of directors, Freeters eG. 1991-2001: Studies in sculpture and liberal arts. Alanus University of Arts and Social sciences, Alfter/Bonn. 2003: Diploma in Sculpture. Liberal arts teaching assignments at various universities for drawing and mixed media; workshops and seminars in adult education; international scholarships, exhibitions in nationally and internationally renowned galleries and museums. www.amelyspoetzl.de

Michael Sistig, board of directors and artistic direction, Freeters eG. 2003–2009: Studies in painting with Prof. Oehlen and Prof. Peter Doig, Kunstakademie Düsseldorf. 2008: studies at the Royal Academy Arts, London. 2009: Academy brief at the Kunstakademie Düsseldorf; master's student with prof. Peter Doig. Numerous exhibitions and scholarships in national and international galleries and museums. www.michaelsistig.com

Johannes Hess, Member of the board, Freeters eG. 2004–2010: Studies in sculpture and liberal arts, Alanus University of Arts and Social Sciences, Alfter/Bonn. 2008: Diploma in Sculpture, Liberal Arts. 2010: Master of Fine Arts with distinction. 2011–2015: Teaching in the Department of Sculpture and Architecture, Alanus University of Arts and Social Scuiences, Alfer/Bonn. www.johannes-hess.com

Bernhard Zünkeler, Chairman of the supervisory board, Freeters eG. Studied law and received his doctorate with a thesis on the free movement of workers in Europe. For more than ten years worked as a lawyer and focused on restructuring processes in international companies. In 2009 cofounded the research institute artlab21, from whose work the laboratory ESMoA in Los Angeles emerged in 2012. ESMoA is an urban intervention project in the various dimensions of art's are investigated. As a founding partner of EICS GmbH, primarily concerned with the integration of art thinking into operational processes and the impementation of participative methods in urban development. www.esmoa.org

Industrial Monument coking Plant Hansa, Ruhr 2010 Dortmund- 2009: Just a Moment, Taipei / Berlin / san Francisco / Los Angeles; Just a Moment, Gallery E 105, Bonn. 2006: Rosa Canina. Christuskirche Cologne. 2004: Museé d'Art contemporain, Lyon; Played from the page, Goethe Institut Lyon. Exhibitions (selection) 2014: Silence, ESMoA El Segundo Los Angeles; Signs + Wonders. Gallery Etos, Bonn. 2013: Desire ESMOA, El Segundo / Los Angeles; Art Works, Gallery El 05, Berlin; Frankfurt, 2012: Extraschicht Industrial Monument Coking Plant Hansa, Dortmund; Insight Cologne, Detecor-t. Cologne, 2011: Interface Patterns - Biology and Art Society for Art and Design, Bonn (catalogue); FORTUNA, Caltery E105. Berlin. 2010; GET CLOSER, Aki Gallery, Taipei / Art stage Singapore; ONE ON ONE, High-rise Hansa. Dortmund: society for Art and Design, After Nature. Science Centre, Bonn; WORSHIP/ Celebrity vault, Hollywood (catalogue); urban Intervention. Los Angeles (catalogue). 2009; Open Your Mind - New German Art, AKI Gallery, Taipei (catalogue); Beyond the Surface, artlab21 , Contemporary Fine Art, Los Angeles (catalogue); Members Choice, Kunstverein Heidelberg: Kunstvereiti Bonn (annual gifts 2009).2008: GOOD VIBRATIONS. Geometry and Art, Collections for Art and Dresden (catalogue); Thorns and Devilish Beasts, Frauenrnuseum Bonn (catalogue); Blind Date, Gallery E 105, Bonn (catalogue); Art Fair 21 Cologne, 2007: Gallery EIOS, Art Fair cologne; Kunstsalon Berlin, 2006: Transformation, Gallery E IOS, Bonn (catalogue). 2005: Gallery Arsenal Festival Inner spaces IF-Museum Poznan (catalogue).

Dr. Bernhard Zünkeler, gallery and museum director 2013: Museum director, founder of El Segundo Museum of Art curated and 41 exhibition projects inside and outside the museum, some of them in cooperation with the Getty center and the Los Angeles County Museum of Art. 2005-2012: Gallery E 105, Bonn, Berlin. Los Anaeles, Taipei - Numerous exhibitions and projects, catalogue productions; Revitalization projects with the Stiftung Industriedenkmal NRW, artlab21, Bonn. Segundo; Co-founder of the research instituto from ESMoA emerged after of activity, Los Angeles

Pasquale Demeco, founding member and organizer 2019: since May temporary showroom of Freeters www.kunst-bedarf-kunst.de).2017: Provision of the premises for Videonale.PARCOURS, 2014-18: Participation in the Bonn launch. 2012: SYLANTENHEIM / Art supply Quarter (Art Project/Offspace), Bonn, initiator and administrator. Probably the only exhibition space that guarantees all artists an exhibition. It is financially and conceptually independent; self-managed, self-financed, radical and consistent. Since its inception over 100 exhibitions. concerts, performances; readings have been organized on our own initiative. Parallel development of a collection currently consisting of over 90 pieces. 2006-2009: SUPPORT YOUR LOCAL ARTIST, Bonn, the association has opened at least one exhibition every month, making it possible to implement international exchange projects and print exhibition catalogues. The LVR supported the project in the exhibition year 2007/08. The association has mainly financed itself through membership fees, as well as the exhibition rooms and studios (200 square meters).

PUBLICATIONS (selection)

2017: ICU, Distanz Verlag, Berlin, 2014. M-Theorie Kunstraum Fuhrwerkswaage, Kunstverein Kirschenpflücker, Cologne. 2012: Michael Sistig, Elementarbrechung, Kerber Verlag Berlin; Van Sinnen - Perception in Contemporary Art, Kerber Verlag, Berlin; Pentaton, Artlab 21 Press, Berlin. 2011: Rising - Young Artists to Keep an Eye On!, Daab Verlag, Cologne; Interface Pattern - Biology and Art Society for Art and Design, Bonn. 2010: Urban Intervention, Art Association, Los Angeles; WORSHIP Celebrity Vault, Hollywood, 2009: Open Your Mind - New German Art, AKI Gallery, Taipei; Beyond the Surface, artlab21 Contemporary Fine Art LOS Angeles. 2008: GOOD VIBRATIONS / Geometry and Art, University Collections for Art and Technology, TU Dresden; Thorns and Devilish Beasts, Frauenmuseum Bonn; Blind Date, Gallery El 05, Bonn. 2006: Transformation, Gallery E105, Bonn. 2005: Arsenal Gallery, Festival Inner Spaces, IF Museum Poznan, Poland.

It should be mentioned that all members of the collective have at least a degree in the arts and/or art therapy. In addition, most of the members have experience in art education, adult and youth education, as well as academic teaching assignments and artistic collaboration at various art colleges. A wild mix of work experience in various sectors ensures a well-integrated knowledge of artistic fields of exploration. This is also supported by experiences made in leading positions in the gastronomic sector or managing positions in the performing arts, decades of experience in body art, collective interventions in public and museum spaces. Our expertise includes knowledge of Anthroposophy, Christianity, Buddhism, Islarn, and nature religions. This is not an accumulation of random experiences, but authentic characteristics of our poly-identity. We feel justified in saying that we are living diversity and that we are experts in diverse fields. As a collective, we not only have a command of the German language, but also English, Spanish, French, and Italian. To make it even more authentic, we love to speak Swiss German, as well as various dialects such as Rhenish, Bavarian, Ruhr German, Catalan, and Roman.

EXHIBITIONS
Due to our collective's very large number of different exhibition projects we take the liberty, for the sake of an overview, of using four of our members as examplesr listing their artistic and curatorial activities to date. /p>

Michael Sistig, freelance artist 2018: Cloud Chamber, Aki Gallery. Taipei (solo). 2017: The Grand Design, Kunstverein Sundern-Sauerland (solo). 2016: Matter, El Segundo Museum of Art, Los Angeles (solo). 2015: Mimacrocosmic, Aki Gallery. Taipei (solo); Matter-Antimatter, Daab Salon, Cologne (solo); Songs of the God Particles, Richard Haizmann Museum of Modern Art, North Frisia (solo). 2014: M.Theory, Kunstverein Fuhrwerkswaage and Kunstverein; Cherry Pickers, Cologne (solo): Silence, El Segundo Museum of Art/ Los Angeles (group). 2013: Anti-Ark Installation, El Segundo Beach, Los Angeles (solo); Desire, El Segundo Museum of Art, Los Angeles (group); Young German Art, Aki Gallery, Taipei (group). 2012: Von Sinnen, Kunsthalle zu Kiel (group); Michael Sistig / Roland Persson, E 105, Berlin (solo); Pentaton, Hansa Coking Plant, Dortmund (group). 2011: Michael Sistig, Firestation El Segundo. Artlab21 , Los Angeles (solo); Young German Art, Aki Gallery, Taipei (group), 2010: Worship, Artlab21, Los Angeles (group); One on One, Hansa Coking Plant, Dortmund (solo); Young German Art, Aki Gallery, Taipei (group); Veranda at the House to Hades, EIC5, Berlin (solo}. 2009: Beyond the surface, Artlab21, Los Angeles (group); Balloon Man / Head Walker, E 105, Bonn (solo). 2008: Klasse Doig, Zollverein Coal Mine Industrial Complex, Essen (group); Light and Irriicht, Oechsner Gallery, Nuremberg, 2007: Sturm und Orange Gallery E 10S. Bonn (group); Archaeologies, Oechsner Gallery, Nuremberg (solo). 2006: Man's End? , Space Art and MusiC Cologne (solo). 2005: Kunstveroin Malkasten, Düsseldorf (group).

Amely Spötzl, freelance artist Grants and fellowships 2014: Artist in Residence Fellowship, ESMoA. EI Segundo / Los Angeles. 2011: Visual Arts Fellowship, Lucas Arust5 Residency Program, Montalvo Art Center Saratoga, CA. 2010; 1 St Alanus Prize for Visual Arts. 2009: Project grants Just a Moment, artlab21 , Berlin, Los Angeles. 2007-2012: Studio Grant of the City of Bonn Kunstverein Bonn, 2003: Representative Of the Art Liaison, Kunstmuseum Bonn / Musée d'Art Contemporain Lyon; Exhibition grant, FICF Germany/ltaly. Lo Spirito del Tempo, Rapallo, Italy. 2002-2007: Support Studio Frauenmuseum, Bonn. Art jn public space (selection) 2014: Phytomagnetics Post Office, El Segundo / Los Angeles; Phyto-Organic Systems, Gallery Valentien, Stuttgart. 2011 Just a Moment, Berlin. Main Station; Just a Moment, Brussels; phytornagnetics, Gallery EIOS. Berlin (catalogUe); First Alanus Prize for Visual Arts, Stadtmuseum Siegburg (catalogue); Amely Spötzl, Art Association Linz. 2010: Plantas Part, Stadtrnuseum Siegburg; Blattvverk Foundation.

ALTERNATIVE SCIENTIFIC RESEARCH

We focus our artistic research on the phenomenon of creative collectivity. We explore origins and developments of collective ideas including all aspects of collective consciousness and awareness. In recent societal developments, it has become more and more apparent that monocausal, egocentric, and fragmented approaches are a major cause for conflict and monopolistic worldviews that are even harder by self-centered social media algorithms. In contrast to these developments, various collectives have become increasingly present in public perception. In art in general, collective creativity is not new. Throughout history, artist collectives have always played a major role in driving art development: from the architectural workshops that built the European cathedrals to the painters' workshops of the Renaissance, from the smallest collective consisting of just two people, such as the Yes Men, to postwar painters' collaborations, such as Warhol, Clemente, and Basquiat, or more recently, the Center for Political Beauty, which has attracted attention through its consistent actions, or the Indonesian collective ruangrupa curating documenta 15. We would like to explore with our work how a collective as a swarm can be more flexible, more agile, and quicker to react to social and aesthetic questions. We would like to see how uniqueness and individuality can merge and survive in a holistic and synergy„driven collective. We believe we are a collective because art makes us one, We seek to explore the boundaries. Since future artistic and socio-political paths can only emerge through exploration and transgressing boundaries, we see it as our task to point out these aspects of our research and carry them forward both pedagogically and artistically. There are boundaries between art and design, applied art and industrial production, They are not clearly distinguishable, very rarely discernible. The role of art in this struggle between individualism and collectivism is a great field of discovery to and hopefully benefits individual freedom and social solidarism. The individual generally in a struggle with society, today possibly more than ever, and at the same time a struggle for the self has also broken out. The self seems to separate itself from family, nation, religion, and politics and willingly merges with them as well. Self-optimization is cultivated, new traditions discovered, Old visions abandoned. The permanent fathoming and oscillation between boundaries are often connected with suffering, but inevitably lead to the future. Art may be at the center of it. Maybe art is the borderlands, keeping doors open to contradiction, transgressiom and oscillation. Art seems to form the perpendicular to the future we would like to explore even more.
With our application we hope to offer you a truly unique option to reinvent the Professorship Of Painting at the Kunstakademie Düsseldorf. An easy opportunity to get 12 for the price one! Not only in the sense of an individual person and his or her individual achievements, but in the sense of having a self-sustaining collective approach on your faculty. We would be happy to answer any questions, and we look forward to receiving feedback from you.

Kind regards,

Michael Sistig
(representing Freeters)
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