















Gürsoy Doğtaş, „Yassassin“: David Bowies Song zwischen Berliner Gastarbeiter*innenkultur und Mishima-Faszination, 2025.
It was about bringing a sense of African-American heritage in community and a queer expression to Germany, to Berlin. community and a queer expression to Germany, to Berlin. Just to be able to present culturally being queer and black and in the world to a space like Berlin of an authentic truth, you know. But it was also about bashing gender norms.It was also about bashing gender norms, being non-binary, bringing down any form of hierarchy and really embracing subculture.
Krylon Superstar, Punks dancing to Marvin Gaye, 00:01:34.
Krylon Superstar, Punks dancing to Marvin Gaye, 00:06:49.
Nora Eckert, Die wilden Jahre des trans*Aktivismus - Berlin in den 1990er Jahren, 2025.
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For Serena, the daily diminishment is a low flame, a constant drip.
Every look, every comment, every bad call blossoms out of history,
through her, onto you. To understand is to see Serena as hemmed
in as any other black body thrown against our American background.
Claudia Rankine, Citizen, 2014, S. 32.
Tanasgol Sabbagh in Zusammenarbeit mit LEGION SEVEN, nah, 2025.
Nora Eckert, Die wilden Jahre des trans*Aktivismus - Berlin in den 1990er Jahren, 2025.
Paul B. Preciado, Countersexual Manifesto, 2018, S. 35.
Krylon Superstar, Punks dancing to Marvin Gaye, 00:05:51.
In any case, it is difficult not to think that if Serena lost context by abandoning all rules of civility, it could be because her body, trapped in racial imaginary, trapped in disbelief –code for being black in America– is being governed not by the tennis match she is participating in but by a collapsed relationship that had promised to play by the rules.
Claudia Rankine, Citizen, 2014, S. 30.
Tanasgol Sabbagh in Zusammenarbeit mit LEGION SEVEN, nah, 2025.
Sara Ahmed, Queer Use (lecture), 2018.
Hải Anh Triệu, HOW AM I SUPPOSED TO KNOW, 2025, 10:29
Gürsoy Doğtaş, „Yassassin“: David Bowies Song zwischen Berliner Gastarbeiter*innenkultur und Mishima-Faszination, 2025.
Nora Eckert, Die wilden Jahre des trans*Aktivismus - Berlin in den 1990er Jahren, 2025.
Dirk Sorge, Wir bitten um Ihr Verständnis, 2025.
Claudia Rankine, Citizen, 2014, S. 34.
Am Ende der Straße steht das Ufo.
Mia Göhring, Flirren, 2020, S. 169.
Gürsoy Doğtaş, „Yassassin“: David Bowies Song zwischen Berliner Gastarbeiter*innenkultur und Mishima-Faszination, 2025.
Tanasgol Sabbagh in Zusammenarbeit mit LEGION SEVEN, nah, 2025.
Gabriele Stötzer, ich unter euch, 2014, S. 66.
for the price of a midnight train
Audre Lorde, Die Quelle unserer Macht, 2020, S. 108.
Dirk Sorge, Wir bitten um Ihr Verständnis, 2025.
Hải Anh Triệu, HOW AM I SUPPOSED TO KNOW, 2025, 03:27.
Paul B. Preciado, Countersexual Manifesto, 2018, S. 34.
Stefania, Wir wollen die Nacht zurück. Den öffentlichen Raum und unseren Körper, 00:00:54.
COVEN BERLIN, The Pisswashing Walking Tour presented by Tussicore Ensemble, 2025.
Es gab eine Zeit in der ich nicht habe aufschauen müssen, um zu wissen, dass du da bist.
Tanasgol Sabbagh in Zusammenarbeit mit LEGION SEVEN, nah, 2025.
Nora Eckert, Die wilden Jahre des trans*Aktivismus - Berlin in den 1990er Jahren, 2025.
Paul B. Preciado, Countersexual Manifesto, 2018, S. 32.
Sara Ahmed, Queer Use (lecture), 2018.
Kay Matter, Berlin City in 2025, 2025.
Wenn er zu den Nachbar*innen im EG geht, muss er behaupten, das Paket sei für seine Freundin.
Kay Matter, Berlin City in 2025, 2025.
COVEN BERLIN, The Pisswashing Walking Tour presented by Tussicore Ensemble, 2025.
COVEN BERLIN, The Pisswashing Walking Tour presented by Tussicore Ensemble, 2025.
Niemand hat dir einen Morgen versprochen.
Tanasgol Sabbagh in Zusammenarbeit mit LEGION SEVEN, nah, 2025.
Krylon Superstar,Punks dancing to Marvin Gaye, 00:02:28.
Nora Eckert, Die wilden Jahre des trans*Aktivismus - Berlin in den 1990er Jahren, 2025.
Hải Anh Triệu, HOW AM I SUPPOSED TO KNOW, 2025, 03:51.
Again Serena’s frustrations,
her disappointments,
exist within a system you
understand not to try to
understand in any fair-minded
way because to do so is to
understand the erasure if the
self as systemic, as ordinary.
Claudia Rankine, Citizen, 2014, S. 32.
Veronika, Wir wollen die Nacht zurück. Den öffentlichen Raum und unseren Körper, 00:06:58.
Christiane Seefeld, Sie nennen mich die Kiezmutter, 00:03:09.
COVEN BERLIN, The Pisswashing Walking Tour presented by Tussicore Ensemble, 2025.
I speak without concern for the accusations
that I am too much or too little woman
that I am too Black or too white
Audre Lorde, Die Quelle unserer Macht, 2020, S. 88.
Ich schreibe Dir diesen Brief, um Dir die Geschichte zu erzählen, wie Du zu mir gekommen bist.
Hải Anh Triệu, HOW AM I SUPPOSED TO KNOW, 2025, 02:04.
Paul B. Preciado, Countersexual Manifesto, 2018, S. 35.
Nora Eckert, Die wilden Jahre des trans*Aktivismus - Berlin in den 1990er Jahren, 2025.
Wenn er seinen Ausweis zeigt, sagt der Inhaber des DHL-Shops: "Wer soll das sein?"
Kay Matter, Berlin City in 2025, 2025.
What does a victorious or defeated black woman’s body in a historically white space look like? Serena and her big sister Venus Williams brought to mind Zora Neale Hurston’s „I feel most colored when I am thrown against a sharp white background.“ This appropriated line (…) seemed to be ad copy for some aspect of life for all black bodies.
Claudia Rankine, Citizen, 2014, S. 25.
Countersexual society shall establish the principles of a countersexual architecture.
Paul B. Preciado, Countersexual Manifesto, 2018, S. 38.
Gabriele Stötzer, ich unter euch, 2014, S. 67.
Christiane Seefeld, Sie nennen mich die Kiezmutter, 00:05:46.
Und dass wir ungestört sind und dass die Männer oder Frauen auch mal küssen konnten. Auf der Straße ging das ja nicht, die Männer und Frauen, die sich geküsst haben auf der Tanzfläche, die wurden auseinandergetrieben. Und die Frauen auch. Weil es nicht gestattet war, das war “unnormal”, es passte nicht in die Norm der DDR.
Christiane Seefeld, Sie nennen mich die Kiezmutter, 00:05:46.
Für mich ist – ungewollt – jede Bewegung im öffentlichen Raum eine Protestbewegung.
Dirk Sorge, Wir bitten um Ihr Verständnis, 2025.
Hải Anh Triệu, HOW AM I SUPPOSED TO KNOW, 2025, 02:31.
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Perhaps this is how racism feels no matter the context –randomly the rules everyone else gets to play by no longer apply to you, and to call this out by calling out „I swear to God!“ is to be called insane, crass, crazy. Bad sportsmanship.
Claudia Rankine, Citizen, 2014, S. 30.
Mia Göhring, Flirren, 2020, S. 168.
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Hurston’s statement has been played out on he
big screen by Serena and Venus: they win sometimes (…)
and through it all and evident to all were those
people who are enraged they are there at all –
graphite against a sharp white background.
Claudia Rankine, Citizen, 2014, S. 26.
Oh my God, I didn’t see you.
You must be in a hurry, you offer.
No, no, no, I really didn’t see you.
Claudia Rankine, Citizen, 2014, S. 77.
Mia Göhring, Flirren, 2020, S. 166.
TRANNIES know that they‘re not real. TRANNIES know that everyone else isn’t real.
Kay Matter, Berlin City in 2025, 2025.
Stefania, Wir wollen die Nacht zurück. Den öffentlichen Raum und unseren Körper, 00:00:54.
When you arrive in your driveway and turn off the car,
you remain behind the wheel another ten minutes.
You fear the night is being locked in and coded on a cellular
level and want time to function as a power wash.
Sitting there staring at the closed garage door you are
reminded that a friend once told you there exists the
medical term –John Henryism– for people exposed to stresses
stemming from racism.
(…)
You hope by sitting in silence you are bucking the trend.
Claudia Rankine, Citizen, 2014, S. 11.
Sara Ahmed, Queer Use (lecture), 2018.