howmayihelpyou.nl is a digital library that delves into the phenomena, people, things and places developed by Studio Makkink&Bey. beep. In order for new dialogues, commissions and collaborations to occur. beep. beep. This digital publication is initiated after fifteen years of artistic services, during which the collective has performed works in various domains such as product design, interior architecture, beep, exhibition design, curating, applied arts and public space. beep. beep. Compile a logbook. beep. Zooming in and out from product scale to urban planning. beep. Did the invention of elevators give rise to the skyscraper, or did high-risers necessitate elevators? beep. beep. Various edited logbooks are available. Ka-Ching. Do you want your receipt with you, or in the bag? Have a nice day.
The essay is a fictional call for applications to a non-existing internship opportunity with a critical thinker, maker and squatter whose practice certainly doesn’t fit into common formats of living and working. Readers are invited to imagine their own suitability for a placement as the one described below as they are subtly confronted with the ambitions and challenges of a life dedicated to cultural production on the fringes of society.
Applications are invited for a placement with Hieronymus Bosch, freelance writer, researcher, community organiser and maker with a focus on themes such as Everyday politics, Situationist actions, dialogical design, DIY culture and critical thinking. The placement can be situated between an internship and a non-didactic educational program of individual tuition.
The placement will facilitate for the successful applicant to explore modes of living and creative expression with an experimental attitude. Emerging as a skilled amateur, the intern will explore notions of independence, inter-dependence, self-empowerment and self-directed exploration within a complex network of realities.
Hieronymus Bosch partners with people at all levels focusing on the critical reflection on culture and society, radical education and collective initiatives as three main areas of interest. These three main areas are implemented through the following strategies:
Critical Reflection on Culture and Society
Interested in culture at the fringes and outside of what’s considered ‘the mainstream’, the practice of Hieronymus Bosch focuses on the analysis of socio-cultural phenomena with help of methodologies stemming from contextual design practices. Bosch considers an analytical and critical creative practice as an opportunity for public empowerment and skill sharing, as a tool for everyday political engagement. Bosch is dedicated to the facilitation of events of doubt in dialogue with his surrounding environment.
Hieronymus Bosch is engaged in a non-didactic educational practice which places dialogue and conversation at its centre. As a basis for the collective generation of knowledge he experiments with non- or ‘lesser hierachical’ formats in order to facilitate informal situations of exchange, curious exploration and confrontation. His ambition is to generally work on a contextually specific and analytical, non-universal and situationist basis.
Hieronymus Bosch engages in various self-directed and often self-initiated projects which focus on social responsibility and placemaking. As member of a community of artists and squatters, he has gained ample experience in supporting the development of a general sense of solidarity and team-building as well as the strengthening of trust in individual and collective abilities and decision making processes as the production of Everyday politics.
The focus of the placement will include:
Duties and Responsibilities
The intern’s duties and responsibilities will be established collaboratively, based on the selection of focus and upon need of the studio. More importantly though, an essential part of the placement consists of a reflective practice which the intern is free to choose form and method of.
It’s of advantage if the applicant shares interest in skills such as writing, dialogue, publishing, handmade printing, bookbinding, graphic design, event organisation, photography, woodwork, metalwork, bicycle mechanics, sound, performance, acrobatics or related subjects as this will grant opportunities for skill sharing within the studio. Nevertheless, if the intern puts forward other creative interests the placement will benefit from trans-disciplinary exchange.
Education and Skills
No particular professional experience is required.
If the presented profile doesn’t seem to fit the individual applicant but the ambition to collaborate on the proposed engagement persists nevertheless, the establishing of respective skills can be facilitated, where possible.
This is not an unpaid internship. The candidate may acquire compensation through barter, the use of facilities or skill sharing. The details of monetary or non-monetary compensation are to be discussed.
For the duration of the placement, a housing option on the premises of the workplace will be provided. This is to ensure for the intern to create a close bond with the lived experience of work and to, therefore, allow for the reflection upon activities and thoughts to be of intense and authentic nature.
In preparation, applicants are encouraged to reflect upon the video work by Superflex ‘The Working Life’ in order to challenge common work arrangements and modes of structuring life. In this regard, a familiarity with the oeuvre of artists Marie Cool and Fabio Balducci will establish an appropriate basis for the reflection upon the notions of working and living. Further, applicants are assumed to be familiar with the concept of ‘Universal Basic Income’, which imagines possibilities for the creation of spaces to act ‘freely’ as a result of an increasing integration of machine-production and the idea of a resulting liberation of workers.
A reading of Hakim Bey’s text ‘Temporary Autonomous Zone’ and Hermann Hesse’s ‘Siddhartha’ is essential and will be presupposed. Equally, a familiarity with performative choreographic as well as written works by Tino Sehgal is essential to be established in preparation for the placement.
Please include a letter of interest and a sample of work produced for the purpose of introducing personal modes of reflecting on socio-cultural complexity as well as laying open individual notions of criticality.
Applications are welcome on an ongoing basis until the position is filled.
Jeannette Petrik is a cultural producer with a background in design and research. She’s interested in culture at the fringes or outside of what’s considered ‘the mainstream’ and its position in contrast to popular culture. She chooses to actively engage in projects that she understands as radical, honest and critical.
DUST • verb: dust; 3rd person present: dusts; past tense: dusted; past participle: dusted; gerund or present participle: dusting.
1. Fine, dry powder consisting of tiny particles of earth or waste matter lying on the ground or on surfaces or carried in the air. “the car sent up clouds of dust”. 2. Any material in the form of tiny particles. “coal dust”. 3. Remove the dust or dirt from the surface of (something) by wiping or brushing it. “I broke the vase I had been dusting”.
Synonyms: fine powder, fine particles, wipe, clean, buff, brush, sweep, mop.
Origin: Old English dūst, of Germanic origin; related to Dutch duist ‘chaff’.
In today’s Western society, time has become an expensive commodity that leads us to demand everything to be low-maintenance and easy to clean. There is an urgent need for a new appreciation of the care and devotion involved in housework.
In China, Communist propaganda posters used to feature smart, well-groomed workers with radiant smiles. Appreciation of the value of cleaning could be similarly promoted by producing cleaning tools in luxurious materials, adorned with delicate visual images that convey a message of appreciation and care for objects around us.