Public Possession

The art of remaining open

There are projects that resist categorisation. Is Public Possession a label? An agency? Or a cultural platform? “We've never been able to answer the question 'What is Public Possession?' properly,” say founders Valentino Betz and Marvin Schuhmann. What began over a decade ago as a DJ and party collective has evolved into a multifaceted organism that brings together music, graphic design, textile production, and curatorial work.

That the project is deliberately fluid aligns perfectly with the mcbw motto—a catalyst, as the creators call it, for everything that interests them: “Graphics, music, text, design, architecture, humour, history, education.” For years, Public Possession has been using the city as a testing ground to invent formats and bring people together. From vinyl releases to club nights to exhibitions at the Haus der Kunst, the collective moves nomadically through Munich's cultural landscape, inhabiting venues as diverse as Charlie, the legendary Blitz Club, and the venerable museum on Prinzregentenstraße.

Flexibility as a principle

This spatial flexibility is no coincidence, but rather part of the program. “Just as we work with different media—textiles, paper, objects, music—the variety of spaces we can use is also a totally important privilege,” explain the creators. “It helps us try new things and stay curious.”

What sounds like playful ease is, of course, also a carefully considered strategy. Each space opens different possibilities, attracts a different audience, and demands different aesthetic decisions. In the club, the logic of the night, the body, and dance prevail. In the museum, conceptual and curatorial dimensions come to the fore. This versatility keeps the project vital and protects it from perhaps the greatest danger of creative work: routine. Sometimes there is a major cutting party in the store with the client Victorinox, sometimes a T-shirt collection in collaboration with Uniqlo, sometimes a series of graphics and animations for the DLD Conference, for which they collaborated with Hartmann's Studio Wiegand.

Culture for all – at least in theory

Public Possession also places importance on the social dimension of its work. Admission is free to the monthly „BONUS“ events at the Haus der Kunst, which take place every last Friday as part of the open house format. „In general, culture should absolutely be accessible to everyone," emphasize the founders. At the same time, they remain realistic: „Of course, this doesn't change the fact that you are often limited to a certain target audience. We think a lot about how we can look beyond our own horizons.“

This self-reflection is symptomatic of the collective's attitude. They are aware of their own limitations and privileges, yet refuse to accept them as immutable. It's about opening up spaces—not only physically, but also socially and culturally.

The development of Public Possession reads like a story of organic growth: a record label emerged that now releases music by artists from around the world, a design agency was formed, merchandising was added, curatorial projects followed. “Over time, something like an external mission developed,” explain the founders. “Because of the way our work is perceived, we are increasingly pleased that we can bring people together through P.P. activities.”

This point is central: Public Possession has not simply changed mediums but has translated its original mission—bringing people together, creating spaces for encounters—into different formats. “In a way, this brings us back to where we started. That's exactly what we did as DJs and party organisers.”

The four phases of the mcbw motto, “Empower. Explore. Act. Enrich.“, capture the heart of creative processes; for Public Possession, exploration is particularly crucial. “It's essential to take time for testing,” say the creators. “If it's all about implementation and execution, deadlines, then it becomes bland.”

This attitude is almost radical in a highly commercialised creative industry where efficiency often takes precedence over experimentation. Public Possession insists that good work needs time and space to breathe. “The core of our work at Public Possession has always been about being open. Taking advantage of opportunities as they arise. Trying new things. Then, in the best moments, the whole thing feels less like work and more like play.”

Munich as a laboratory

The city of Munich plays a distinctive role in this constellation. On the one hand, it is not necessarily considered a hotspot for progressive club culture; on the other hand, Munich offers precisely this advantage: less competition, yet more opportunities to build independent structures. Public Possession has made productive use of this position and established itself as a hub between the local scene and international networks.

“We are very grateful for everything that exists here and try to connect as much of it as possible,” say the founders about the local creative scene. “Exchange is one of the most important things; it's easy to be tempted to just do your own thing.” And there is considerable optimism in the scene itself: “What's missing will come, someone will do it—intuitively!”

This serenity is fueled by a deep conviction: that culture is not imposed from above but developed from below. That the most interesting things often emerge where no one expects them. And that it is more important to remain open and curious than to pursue a finished master plan—whether as a label or community, cultural platform or experimental laboratory—what matters is being locally rooted and globally networked.

The article on Public Possession also appears in mcbw magazine 2026.

Learn more about Public Possession