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The artistic classes

Studying in artistic classes is what makes an art academy special and defines the entire working atmosphere, but also the institutional organisation of the university. Students from all semesters and degree courses work in studio communities of around 15 to 35 people under the guidance and supervision of international artists. The diversity of artistic positions in teaching as well as the joint study of students from the Fine Arts degree course and the teaching degree programmes ensure a consistently high level and stimulating potential of artistic studies.

Prof. Mariana Castillo Deball


Ph. +49 251 83 61147
Leonardo-Campus 2
Room 147

Mariana Castillo Deball was born in Mexico City in 1975. She lives and works in Berlin. Castillo Deball studied visual arts at the Universidad Nacional Autónoma de México, Mexico City, graduating with a Master of Arts degree in 1997. In 2003, she completed her postgraduate studies at the Jan Van Eyck Academy in Maastricht (NL). Mariana Castillo Deball combines her artistic practice with seminars, lectures and workshops.

Solo exhibitions

New Museum, New York, USA (2019); MUMA, Monash University, Melbourne, AU (2019); Reva and David Logan Center for the Arts, University of Chicago, USA (2018); Museo Amparo, Puebla, Mexico (2018); SCAD Museum of Art, Savannah Georgia, USA (2018); Galerie Wedding, Berlin, Germany (2017); San Francisco Art Institute, San Francisco, USA (2016); Museo de Arte Contemporáneo de Oaxaca, Mexico (2015); Hamburger Bahnhof, Berlin, Germany (2014); Musée Régional D’art Contemporain, Sérignan, France (2015); CCA, Glasgow, Great Britain (2013); Chisenhale Gallery, London, Great Britain (2013); Museo Experimentelles El Eco, Mexico City, Mexico (2011); Museum of Latin American Art, Long Beach, USA (2010).

Group exhibitions (selection)

Fondazione Sandretto Re Rebaudengo, Turin, Italy (2018); LACMA, Los Angeles, USA (2017); 32nd São Paolo Biennial, Brazil (2016); Liverpool Biennial, Great Britain (2016); 8th Berlin Biennale, Berlin, Germany (2014); documenta 13, Kassel, Germany (2013); 54th Venice Biennale, Venice, Italy (2011).

Mariana Castillo Deball closely interlaces art and research. Her artistic works often focus on archaeological finds, which the artist analyses and presents in terms of their cultural utilisation. In this, traces of use of the objects come into focus as do the artist’s own free associations with the history of the found or already archived objects. This process of deconstruction gives rise to works in very different media, such as drawing, film, sculpture, installation and performance, with which Castillo Deball considerably expands the possibilities of artistic representation.

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    bb8 installation view

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    Feathered-Serpent Kadist-SF 2016

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    Feathered-Serpent Kadist-SF 2016

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    Hypothesis of a tree 2016

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    In tlilli in Tlapal

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    Installation view of Finding oneself outside, New Museum, 2019

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    Installation view of Finding oneself outside, New Museum, 2019

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    MCD This constructed disorder El Eco, 2011

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    Point kurimanzutto New York

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    Point kurimanzutto New York

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    Them inside the skin

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    Them inside the skin

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    Todar Liverpool Biennial, 2016

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    Todar Liverpool Biennial, 2016

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    Vista de ojos

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    Vista de ojos

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    What we caught Chisenhale London, 2013

  • [Translate to english:] What we caught Chisenhale London, 2013

The class of Mariana Castillo Deball is an interdisciplinary working artist class. In this context, students engage with their individual points of view in the form of different media and modes of expression.

The interpretation of the concept of art itself can be found in the works in the following way: art is an essential part of life, but not the only relevant one. That is why it is important to integrate the other areas of life into art and to engage with them reciprocally.

The discourse in the class deals intensively, among other things, with various cultural, social and linguistic phenomena, which result in particular from the internationality of many of the students.

Prof. Marieta Chirulescu


Ph. +49 251 83 61029
Office hours: by appointment
Leonardo-Campus 2
Room 029

Marieta Chirulescu (*1974) lives and works in Berlin. She studied at the Academy of Fine Arts in Nuremberg and at the Hungarian University of Fine Arts. She has received numerous scholarships and awards, including the German Academy Villa Massimo, Rome (2015); Lingen Art Prize, Lingen (2014); Villa Aurora Residency, Los Angeles (2012); German Academic Exchange Service (DAAD), Bucharest (2006).

  • 2021: Gregor Podnar, Berli
  • 2020: Galeria Plan B, Berlin
  • 2019: Foksal Galerie, Warschau
  • 2016: Pale Fire, Kurimanzutto, Mexico City
  • 2016: CYTWOMBLY CYFONTI, Galleria Fonti, Napoli
  • 2014: Kunsthalle Lingen, Lingen
  • 2013: Ileana, Micky Schubert
  • 2013: Meessen De Clercq Gallery, Brüssel
  • 2011: White Cube Bermondsey, London
  • 2011: Kunstverein Nürnberg
  • 2011: Werke aus der Sammlung Martin, Neues Museum, Nürnberg
  • 2010: Kunsthalle Basel, Basel
  • 2009: Kunsthalle Mainz, Mainz
  • 2021: Parthenope, Lighea ed altre storie, Villa Doria d'Angri Napoli
  • 2020: Local talent, Sprüth Magers, Berlin
  • 2017: THE GAP BETWEEN THE FRIDGE AND THE COOKER, The Modern Institute, Glasgow
  • 2017: Sammlung Kienzle, Kunstmuseum Lichtenstein
  • 2016: #12 / Folies d’hiver, Villa Medici, Rome
  • 2016: HOW TO BE UNIQUE – Show 15, Sammlung Kienzle, Berlin
  • 2016: Image Support, Bergen Kunsthall, Bergen
  • 2015: Mapping Bucharest, Vienna Biennale
  • 2015: MAK, Wien
  • 2014: Attention Economy, Kunsthalle Wien, Wien
  • 2014: Space, Space, curated by Dora Maurer, Museum Vasarely, Budapest
  • 2013: Nur was möglich ist ist möglich, Museum Folkwang, Essen
  • 2012: Les ateliers de Rennes, Biennale d‘art Contemporain, Rennes
  • 2012: Minimal Myth, Museum Boijmans Van Beuningen, Rotterdam
  • 2012: Made In Germany Zwei, Sprengel Museum, Hannover
  • 2010: Fade Into you, Herald St, London
  • 2009: La preuve concrète, Centre Européen d’Actions Artistiques Contemporaines, Strasbourg
  • 2009: Against Interpretation, Studio Voltaire, London
  • 2009: Nothing to say and I am saying it, Kunstverein Freiburg, Freiburg

In her works, Marieta Chirulescu reflects on the aesthetic and conceptual preconditions of contemporary painting as well as on the conditions of the image in the present. Chirulescu’s approach of non-figurative painting recalls the 20th-century history of abstraction, while on the other hand, it also incorporates digital printing processes and possibilities of image creation such as scan, screenshot and photography into her work. Moreover, through a process of technological reproduction and manipulation, Chirulescu disassembles and erases found images, of which often only sediments and traces remain; in this way, she simultaneously refers to the status of the original and to constructions of seeing in the painting of today.

  • Untitled, 2011, inkjet print on canvas, 47 x 35 cm

  • Untitled, 2021, inkjet print, gesso, pigment on canvas, 48 x 34 cm

  • Untitled, 2019, inkjet print on canvas, 46 x 33 cm

  • Exhibition view, Gregor Podnar, Berlin, 2022

  • Untitled, 2020, acrylic, UV-print on canvas, 42 x 73 cm

  • Exhibition view, Galeria Plan B, Berlin, 2020

  • Exhibition view, Galeria Plan B, Berlin 2020

  • Untitled, 2014, inkjet print an laquer on canvas, 46 x 33 cm

  • Exhibition view, Galeria Plan B, Berlin, 2020

  • Exhibition view, Pale Fire, Kurimanzutto, Mexico City, 2016

  • Untitled, 2015, inkjet print on thin cotton streched over canvas, 170 x 100 cm

  • Untitled, 2015, Inkjet print on canvas, 60 x 90 cm

  • Untitled, 2014, Inkjet print on canvas, 135 x 200 cm

  • Exhibition view, Kurimanzutto, Mexico City, 2013

  • Untitled, 2013, photo print, concrete, 30 x 22 x 2,5 cm

  • Exhibition view, Kunstverein, Nürnberg, 2011

  • Exhibition view, Kunsthalle Basel, 2010

born 1977 in Tel Aviv, Israel

Keren Cytter creates films, performances, drawings and photographs on topics of social alienation, language representation, and the function of individuals in predetermined cultural systems through experimental modes of storytelling and human perception.

  • 2022: Ludwig Forum Aachen
  • 2020: Kunstmuseum Winterthur
  • 2016: Center for Contemporary Art, Tel Aviv and  Museion Bolzano (both in 2019) Künstlerhaus – Halle für Kunst & Medien, Graz
  • 2015: Museum of Contemporary Art Chicago
  • 2014: The Kunsthal Charlottenborg, Copenhagen State of Concept, Athens
  • 2012: Tate Modern Oil Tanks, London

Cytter was awarded the Guggenheim Fellowship in 2021.

Prof. Nicoline van Harskamp

Performative art

Nicoline van Harskamp was born in the Netherlands in 1975 and attended the Royal Academy of Fine Arts in Den Haag, Chelsea College in London and the Rijksakademie in Amsterdam.

Her performative works were staged live at, among others, the Steirischer Herbst in Graz, Stedelijk Museum in Amsterdam, Tate Modern in London, KunstWerke in Berlin, Witte de With in Rotterdam, New Museum in New York, Arnolfini Gallery in Bristol, Archive Kabinett/Scriptings in Berlin, Tenderpixel in London and the Kaaitheater in Brussels.

Nicoline van Harskamp's recent solo exhibitions include Project Arts Centre in Dublin, Kunsthalle Münster, BAK in Utrecht, C3A in Cordoba and Kunstraum in London. She has taken part in numerous group exhibitions such as at the Van Abbe Museum in Eindhoven, Frac Lorraine in Metz, Nasjonalmuseet in Oslo, De Appel in Amsterdam, Frankfurter Kunstverein, Clark House in Bombay, Ellen Art Gallery in Montreal, Ujadovski Castle in Warsaw, MUAC in Mexico City, Serralves Museum in Porto, Waterside Contemporary in London, Manifesta 9 in Genk, Performa 11 in New York, and the biennales of Sydney, Gothenburg, Taipei, Moscow, Ireland (Limerick), Bucharest and Shanghai.



Nicoline van Harskamp works with video, installation, and scripted live performance. Her projects can take several years to complete, and are exhibited in various stages of the process.

In Yours in Solidarity (2010 – 2013) she tells histories from the global anarchist movement after 1989, starting from a letter archive. In the series Englishes (2014 – 2016), she uses varieties of internationally-spoken English to propose a future shaped by the ubiquity and constant evolution of that language. The works PDGN (2016) and Some Name Some Noun Simply (2017) propose what such a spoken vehicular language might sound like in the future. My Name is Language/Mein Name ist Sprache (2018 – 2019) considers the translation and creolisation of personal names in multilingual societies. Englishes Mooc (2019 and ongoing) is an art project in the form of a Massive Online Open Course.


The students of the performative art class work in very different ways and media but share an interest in performativity in the broadest sense. Half of their spaces and resources are dedicated to studio practice, and half to programmed activities in the class' project area. They take from the tradition of performance art not only the media of body, voice, movement and time, but also the focus on cross-disciplinarity and solidarity. Collaborative practice is supported and valued as much as individual practice. Throughout the year they organize projects that allow (but do not oblige) students to research a specific methodology through the production of a work.

In Performance Room (since 2016), students each have one week to develop a performative work for the lens of a single camera. In Actors and Directors (2018), students instruct a professional actor in a work of their own, and then evaluate and adapt their directing skills with them. In 2019 the class focusses on scripting.

Guests that joined the colloquium since 2016 include the artists Mikhail Karikis, Roi Alter, Ahmet Ö?üt and Richard John Jones; the scholars Avishek Ganguly (Rhode Island School of Design, Providence) and Aneta Rostowska (Akademie der Kulturen der Welt); and the performers Monica Reyes, Serge Fouha and Kenneth Phillip George.

Some works of the class can be seen on vimeo:

Website of the class

Prof. Irene Hohenbüchler

Cooperative Strategies
  • Born in Vienna in 1964
  • 1984 – 1989: studied painting at the University of Applied Arts Vienna
  • 1990 – 1991: Postgraduate Study at the Jan van Eyck Academie, Maastricht
  • 2003 – 2006: visiting professor at the Academy of Fine Arts Vienna

Since 2011 professor at the University of Fine Arts Münster

Prof. Suchan Kinoshita

Professorship for Painting / Vice-Rector / Deputy Rector

Ph. +49 (0)251 83 61017
Office hours: by appointment
Leonardo-Campus 2
Room 017


Prof. Andreas Köpnick

Film / Video

Ph. +49 (0)251 83 61125
Office hours: by appointment
Leonardo-Campus 2
Room 013

Website of Andreas Köpnick
Website of the class of Köpnick

Andreas Köpnick, born in Bonn in 1960, studied sculpture, experimental film and media art at the University of Fine Arts Münster and the Academy of Media Arts Cologne in the 1980s and 1990s. Starting with fundamental research in the context of time-based art, installative and space-related video productions, his path led him to computer-based and net-based media sculptures and finally to the reloading of classical dramaturgies of narrative film. “Köpnick’s Videomagazyn” emerged, which is a virtual platform that deliberately positions itself outside artistic utilisation strategies. Taking into account current views of quantum theory, neuroscience and cognitive science as well as media archaeological perspectives, an “absolute theory of film” emerges as a spiritual answer to the rational concepts of “artificial intelligence” and “technological singularity”, which makes reality come alive as a self-referential, automedial phenomenon of consciousness.

Andreas Köpnick’s class for film, video and new media traces back to the film class founded by the experimental filmmaker Lutz Mommartz at the University of Fine Arts Münster in 1975. People were still working with analogue film on celluloid then. The free artistic approach to it as part of an art degree programme was an extraordinary innovation. In 1999, Andreas Köpnick took over the professorship, and the class was opened up to the rapidly expanding scope of digital production possibilities, video installation, photography and mixed media.

As the digital boom took on a life of its own, a return to the qualities of analogue media and perspectives began, along with their aesthetic interweaving with digital workflows. Classical forms of dramatic film are rethought and, on a range from “digital native” to “strictly analogue”, enter into dialogue with conceptual, participatory and net-based ways of thinking in contemporary art. Between narrative storytelling and non-linear hyperreality, between self-developed Super 8 film and fully digital cyberspace, there is just as much open and unbiased experimentation as between sound installation, sound design, performative intervention and newly experienced 2D ink drawing on handmade paper.

Prof. Maik Löbbert

Sculpture / Art in public space

Ph. +49 (0)251 83 61072
Office hours: by appointment
Leonardo-Campus 2
Room 072


Prof. Dirk Löbbert

Sculpture / Art in public space

Ph. +49 (0)251 83 61072
Office hours: by appointment
Leonardo-Campus 2
Room 072


Prof. Aernout Mik

Vice-Rector / Professorship for Sculpture

Ph. +49 (0)251 83 61052
Leonardo-Campus 2
Room 052

Website of the class of Mik

Aernout Mik, born 1962 in Groningen, Netherlands, lives and works in Amsterdam and Berlin. In 2007, he represented the Netherlands in the Dutch Pavilion at the 52nd Venice Biennale. Solo exhibitions in, among others: Art Sonje Center, Seoul; MoMA New York; BAK, basis voor actuele kunst, Utrecht; Haus der Kulturen der Welt, Berlin; Stedelijk Museum, Amsterdam; Jeu de Paume, Paris; Museum Folkwang, Essen; CA2M Centro de Arte Dos de Mayo, Madrid. Aernout Mik has participated in numerous international biennials, such as the Venice Biennial, Sao Paulo Biennial, Tirana Biennial, Art Focus – Israel Biennial, Istanbul Biennial, Berlin Biennial, Gwangju Biennial and Kochi-Muziris Biennial.

Mik’s film installations are often about social order and chaos, making it difficult for the viewer to distinguish between fiction and documentary. In his work, he creates a sense of disorientation through a choreography of gestures, which is reinforced by the huge screens surrounding the viewer. The spatial arrangement of the projection alone changes the way of viewing.

Previous video works by Aernout Mik focussed on bankers, religious preachers, truck drivers, refugees or earthquake victims. Yet, as curator Ralf Rugoff notes, “none of these figures are created as an independent personality or psychological subject”. Mik’s camera looks at them all with the same neutral gaze; peculiarities and differences become smaller and blurred. “We can only be guided by the collective identity of those who, in other circumstances, would probably have had a character of their own.”

  • Double blind, Videoinstallation, Gwangju Biennale 2018

The class explores video and video installation, performance and sculpture, but does not exclude other techniques. Sculpture is to be understood here as art that works with space in a broad and speculative sense – in private or public space, social or political space, media space, exhibition space. The class is a place for equal exchange, joint projects and collaborations.

  • 5 days 2 zones, Arbeit zum Rundgang 2016

  • [Translate to english:] 5 days 2 zones, Arbeit zum Rundgang 2016

  • [Translate to english:] 5 days 2 zones, Arbeit zum Rundgang 2016

Prof. Julia Schmidt


Ph. +49 (0)251 83 61019
Leonardo-Campus 2
Room 019

Julia Schmidt (*1976) lives and works in Berlin. She studied painting at the Academy of Fine Arts Leipzig and at the Glasgow School of Art.

She has received numerous scholarships and awards, including Deutsche Akademie Villa Massimo, Rome (2011), Villa Romana Prize (2008) and Stiftung Kunstfonds Bonn (2006).

Solo exhibitions (selection in German):

Saint-Trop, Kienzle Art Foundation, Berlin (2021), Core Silhouette, Meyer Riegger, Berlin (2018), Chromatic Mesh Logistics, Meyer Riegger, Berlin (2014), Rio 2345, Philara Collection, Düsseldorf (2013), A Painting Cycle, Nomas Foundation, Rome (2012), Economies of Hygiene, Meyer Riegger Berlin (2010), Stokroom, Galerie für Zeitgenössische Kunst, Leipzig (2009), Lavoro, Casey Kaplan Gallery, New York (2008), Tourism and Painting, Museum der bildenden Künste, Leipzig (2007), New Fabrics, Casey Kaplan Gallery, New York (2006).

Group exhibitions (selection in German):

VLSmPJS, Fahrbereitschaft, Berlin (2020), there/, Galerie Eigen + Art, Leipzig (2019), Fremde Mächte, Museum Franz Gertsch, Burgdorf (2019), I See You Man, Gallery Celine, Glasgow (2018), The Present Order II, Galerie für Zeitgenössische Kunst, Leipzig (2017), Bars and Cafes, Fahrbereitschaft, Berlin (2016), 140 K, Kunstraum Ortloff, Leipzig (2016), Never Look Back When Leaving, Casey Kaplan, New York (2014), Made in Germany Zwei, Kestnergesellschaft Hannover (2012), Villa Massimo in the Martin-Gropius-Bau, Berlin (2012) Control, Magazin4, Bregenzer Kunstverein, Bregenz (2011), Trouble with Realism, KOW, Berlin (2009), Freisteller, Villa Romana Prize Winner, Deutsche Guggenheim, Berlin (2008).

Julia Schmidt has taught as a Professor of Painting at the University of Fine Arts Münster since 2012.

Julia Schmidt examines the status and significance of painting practice in the light of art historical, aesthetic and economic questions. Existing visual material from different contexts as well as her own photographic shots form the starting point of her artistic exploration. A central aspect of her work is in selecting and combining these motifs, in valorising or devalorising them by realising them in painting and in shifting them into a new context of meaning. Schmidt produces and presents works in constellations or cycles, often extending the pictorial exploration through the use of installation elements and various printing processes.

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    Untitled (production), 2018, 72 x 109 cm, Öl auf MDF

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    Untitled (the pack), 2015, 112 x 83 cm, Öl auf MDF

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    Untitled (basement) II, 2010, 45 x 60 cm, Öl auf MDF

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    Julia Schmidt, Untitled (Purell), 2017, 128 x 81 cm, Öl auf MDF

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    Still life (bowl, coin, bread), 2009, 200 x 160 cm, Öl auf MDF

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    Installationsansicht Control, Magasin4 – Bregenzer Kunstverein, 2011

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    Installationsansicht Made in Germany Zwei, Kestnergesellschaft Hannover, 2012

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    Installationsansicht Freisteller, Deutsche Guggenheim Berlin, 2008

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    Practices, Procedures, Flows, Reversals, Künstlerbuch, hrsg. von Spector Books

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    Casual (reverse print), 2009, 109 x 145 cm, Öl auf MDF

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    Untitled (crotch), 2007, 107 x 149 cm, Öl auf MDF

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    Untitled (sack), 2014, 112 x 78,3 cm, Öl auf MDF

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    Installationsansicht STOK ROOM, Galerie für Zeitgenössische Kunst, Leipzig, 2009

A critical engagement with the practical and theoretical aspects of painting is essential to the discourse in this class. The roles and possibilities of painting are reflected upon in the context of its own history, but also with current visual culture and with social issues.

Against the backdrop of continuous studio practice, class study is structured by class meetings, individual and group discussions in which the students’ work is presented and discussed together. The use of different media is encouraged, as is an expansion of painting practices and engagement with research-based and conceptual projects.

The study programme is focussed on the development of one’s own artistic position based on the respective individual interests and motivations.

Joint projects, class exhibitions, publications, national and international excursions, regular guest lectures and workshops by artists and theoreticians complement the teaching.

  • Installation view, Rundgang 2017


  • Installation view, Rundgang 2018


  • Installation view, Rundgang 2018


  • Installation view, Rundgang 2014


  • Aduni Ogunsan, Edwardian Dykes, 2019, 115 cm x 75 cm, Acrylic on canvas



  • Lennart Haffner, Timeless, 2018, 42 x 53 cm, Oil on MDF


  • Zoe Eberl, Taube, 2019, 200 x 140 cm, Acrylic on canvas


  • Installation view, Rundgang 2016


  • Anne Gröblinghoff, Children become smokers, 2019, 50 x 100 cm, Acrylic on canvas


  • Installation view, Rundgang 2020, Svenja Schaaf, Remarkable, 2020, size variable, bath salts


  • Leah Morawe, Cold. Rain., 2020, 120 x 150 cm, Oil and charcoal on canvas


  • Hanna Kier, Installation view, Sponsorship Award, Kunsthalle Münster, 2014


  • Hanna Kier, Fragment EPAL, 2014, 8 x 10 x 15 cm, Concrete



  • Wiebke Arntz, Le Grand Petit-Dej, 2019, 43 x 53 cm, Oil on canvas



  • Helene Kuschnarew, Zone #1 Paradise, 2019, 30 x 50 cm, Oil on canvas


  • Installation view, Rundgang 2020, Adrian Ferdinand, upps, 2020, Bookazine, 48 Paiges


  • Daniel Schwinge, o.T., 2019, 30 x 60 cm, Acrylic on canvas


  • Installation view, Rundgang 2019


  • Lea Wächter, I hate flowers, 2016, 40 x 40 cm, Acrylic and Chalk on canvas


  • Installation view, Rundgang 2018, Lenny Liebig, Re-cording, 2018, C-Print on receipt, passbook and banner/scratch game


  • Arezoo Molaei, Without title, 2019, 200 x 165 cm, Acrylic on canvas


Michael Sistig

Interim Professorship for the subject painting

Michael Sistig (*12.10.1982 in Bonn) is a German painter, graphic artist and sculptor. He lives and works in Cologne and Bonn.

Michael Sistig studied at the Kunstakademie Düsseldorf from 2003 to 2008, first with Albert Oehlen and, from 2005, with Peter Doig.

He was at the Royal Academy Schools of Arts in London from 2008 to 2009.

In 2009, concluding his first-degree study, he received the “Akademiebrief” from the Kunstakademie Düsseldorf and became a Meisterschüler (master student, honorary title for outstanding artistic achievements) with Prof. Peter Doig.

From 2002 to 2010, Sistig had regular academic contact with Dr. Egon Schütz, professor emeritus from the University of Cologne. In numerous texts by Egon Schütz and several pictures by Michael Sistig, a parallel, phenomenological work on a wide variety of themes was developed over many years. (see   https://www.erziehungswissenschaften.hu-berlin.de/en/allgemeine-en/archives-of-egon-schuetz-1

Since 2009, Sistig’s interest has increasingly focused on the natural sciences, especially physics. In 2013, he received a scholarship at the National Metrology Institute (PTB) in Braunschweig. The interdisciplinary discourse with scientists from the field of physics has become an important factor in his artistic concept. The visualisation of physical phenomena was reflected in numerous groups of works.



  • 2021 Escaping Flatland, Aki Gallery Prospect, Spinnerei Leipzig, EA
  • 2020 Stardust, El Segundo Museum of Art, Los Angeles, GA
  • 2019 Europe calling, Aki Gallery, Taipei, GA
    Cloud Chamber, Freeters Showroom, Bonn, GE
  • 2018 Cloud Chamber, Aki Gallery, Taipei, EA
  • 2017 The Grand Design, Kunstverein Sundern-Sauerland, EA
  • 2016 Matter, El Segundo Museum of Art, Los Angeles, EA
  • 2015 Mimacrocosmic, Aki Gallery, Taipei, EA
    Materie-Antimaterie, Daab Salon, Köln, EA
    Gesänge der Gottesteilchen,
    Richard-Haizmann-Museum für moderne Kunst,
    Nordfriesland, EA
  • 2014 M-Theorie, Kunstverein Fuhrwerkswaage und Kunstverein
    Kirschenpflücker, Köln, EA
    Silence, El Segundo Museum of Art, Los Angeles, GA
  • 2013 Anti-Ark Installation, El Segundo Beach, Los Angeles, EA
    Desire, El Segundo Museum of Art, Los angeles, GA
    Young German Art, Aki Gallery, Taipei, GA
  • 2012 Von Sinnen, Kunsthalle zu Kiel, Kiel, GA
    Michael Sistig / Roland Persson, E105, Berlin, EA
    Pentaton, Kokerei Hansa, Dortmund, GA
  • 2011 Michael Sistig, Firestation El Segundo, Artlab21, Los Angeles, EA
    Young German Art, Aki Gallery, Taipei, GA
  • 2010 Worship, Artlab21, Los Angeles, GA
    One on One, Kokerei Hansa, Dortmund, EA
    Young German Art, Aki Gallery, Taipei, GA
    Veranda am Haus zum Hades, E105, Berlin, EA
  • 2009 Beyond the surface, Artlab21, Los Angeles, GA
    Ballonmann/Kopfgänger, E105, Bonn, EA
  • 2008 Klasse Doig, Zeche Zollverein, Essen, GA
    Licht und Irrlicht, Oechsner Galerie,Nürnberg.
  • 2007 Sturm und Drang, Galerie E105, Bonn, GA
    Archäologien, Oechsner Galerie, Nürnberg, EA
  • 2006 Man`s End?, Raum für Kunst und Musik, Köln, EA
  • 2005 Kunstverein Malkasten, Düsseldorf, GA
  • 2022 HELP! Artistic Intelligence, DCV Verlag, Berlin.
  • 2017 Intensiv Care Unit, Distanz Verlag, Berlin.
  • 2014 M-Theorie, Kunstraum Fuhrwerkswaage und Kunstverein
    Kirschenpflücker, Köln.
  • 2012 Michael Sistig, Elementarbrechung, Kerber Verlag, Berlin.
  • 2012 Von Sinnen - Wahrnehmung in der zeitgenössischen Kunst, Kerber
    Verlag, Berlin
  • 2012 Pentaton, Artlab 21 Press, Berlin.
  • 2011 Rising – young artists to keep an aye on!, Daab Verlag, Köln.
  • 2013 Artist in Residence, El Segundo Museum of Art, Los Angeles.
    Skulpturen Installation am Strand von El Segundo, El Segundo Museum of Art, Los Angeles.
  • 2013 Stipendium an der Physikalisch technischen Bundesanstalt, Braunschweig.
  • 2010 Reisestipendium Kalifornien, Artlab21 Fundation, Berlin und Los Angeles.

In the documentary series “Art is a state of mind” by Grimme Prize winner Aljoscha Pause, the last and sixth episode revolves around the artist collective Freeters of which Michael Sistig is a co-founder and board member. He also did the cover artwork.

The protagonist of the series, of the documentary, Dr. Bernhard Zünkeler is a fellow artist and museum director of the El Segundo Museum of Art in Los Angeles and also co-founder of the artist collective Freeters. Since Michael Sistig realised many projects with the protagonist, works by him appear from time to time in the last two episodes.

Prof. Cornelius Völker


Ph. +49 (0)251 83 61033
Office hours: by appointment
Leonardo-Campus 2
Room 033

Website of Cornelius Völker
Website of the class of Völker

Prof. Klaus Weber


Ph. +49 (0)251 83 61051
Office hours: by appointment
Leonardo-Campus 2
Room 051

Website of Klaus Weber
Website of the class of Weber