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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, p. 26.
Krylon Superstar, Punks dancing to Marvin Gaye, 00:05:51.
Gürsoy Doğtaş, „Yassassin“: David Bowies Song zwischen Berliner Gastarbeiter*innenkultur und Mishima-Faszination, 2025.
COVEN BERLIN, The Pisswashing Walking Tour presented by Tussicore Ensemble, 2025.
Paul B. Preciado, Countersexual Manifesto, 2018, p. 34.
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, p. 30.
Wenn er seinen Ausweis zeigt, sagt der Inhaber des DHL-Shops: "Wer soll das sein?"
Kay Matter, Berlin City in 2025, 2025.
Für mich ist – ungewollt – jede Bewegung im öffentlichen Raum eine Protestbewegung.
Dirk Sorge, Wir bitten um Ihr Verständnis, 2025.
Stefania, Wir wollen die Nacht zurück. Den öffentlichen Raum und unseren Körper, 00:00:54.
Veronika, Wir wollen die Nacht zurück. Den öffentlichen Raum und unseren Körper, 00:06:58.
Sara Ahmed, Queer Use (lecture), 2018.
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, p. 88.
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, p. 77.
Paul B. Preciado, Countersexual Manifesto, 2018, p. 35.
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, p. 25.
Am Ende der Straße steht das Ufo.
Mia Göhring, Flirren, 2020, p. 169.
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.
Niemand hat dir einen Morgen versprochen.
Tanasgol Sabbagh in Zusammenarbeit mit LEGION SEVEN, nah, 2025.
Paul B. Preciado, Countersexual Manifesto, 2018, p. 32.
Christiane Seefeld, Sie nennen mich die Kiezmutter, 00:05:46.
Hải Anh Triệu, HOW AM I SUPPOSED TO KNOW, 2025, 03:51.
Gabriele Stötzer, ich unter euch, 2014, p. 66.
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.
Sara Ahmed, Queer Use (lecture), 2018.
Stefania, Wir wollen die Nacht zurück. Den öffentlichen Raum und unseren Körper, 00:00:54.
Nora Eckert, Die wilden Jahre des trans*Aktivismus - Berlin in den 1990er Jahren, 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.
Kay Matter, Berlin City in 2025, 2025.
Tanasgol Sabbagh in Zusammenarbeit mit LEGION SEVEN, nah, 2025.
Nora Eckert, Die wilden Jahre des trans*Aktivismus - Berlin in den 1990er Jahren, 2025.
COVEN BERLIN, The Pisswashing Walking Tour presented by Tussicore Ensemble, 2025.
Paul B. Preciado, Countersexual Manifesto, 2018, p. 35.
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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, p. 30.
Mia Göhring, Flirren, 2020, p. 168.
for the price of a midnight train
Audre Lorde, Die Quelle unserer Macht, 2020, p. 108.
Countersexual society shall establish the principles of a countersexual architecture.
Paul B. Preciado, Countersexual Manifesto, 2018, p. 38.
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, p. 11.
Gabriele Stötzer, ich unter euch, 2014, p. 67.
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
TRANNIES know that they‘re not real. TRANNIES know that everyone else isn’t real.
Kay Matter, Berlin City in 2025, 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, p. 32.
COVEN BERLIN, The Pisswashing Walking Tour presented by Tussicore Ensemble, 2025.
Mia Göhring, Flirren, 2020, p. 166.
Krylon Superstar, Punks dancing to Marvin Gaye, 00:01:34.
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, p. 32.
Claudia Rankine, Citizen, 2014, p. 34.
Nora Eckert, Die wilden Jahre des trans*Aktivismus - Berlin in den 1990er Jahren, 2025.
Krylon Superstar, Punks dancing to Marvin Gaye, 00:06:49.
Christiane Seefeld, Sie nennen mich die Kiezmutter, 00:03:09.
Gürsoy Doğtaş, „Yassassin“: David Bowies Song zwischen Berliner Gastarbeiter*innenkultur und Mishima-Faszination, 2025.
Tanasgol Sabbagh in Zusammenarbeit mit LEGION SEVEN, nah, 2025.
Nora Eckert, Die wilden Jahre des trans*Aktivismus - Berlin in den 1990er Jahren, 2025.
Hải Anh Triệu, HOW AM I SUPPOSED TO KNOW, 2025, 02:31.
Gürsoy Doğtaş, „Yassassin“: David Bowies Song zwischen Berliner Gastarbeiter*innenkultur und Mishima-Faszination, 2025.
Dirk Sorge, Wir bitten um Ihr Verständnis, 2025.
Nora Eckert, Die wilden Jahre des trans*Aktivismus - Berlin in den 1990er Jahren, 2025.
Dirk Sorge, Wir bitten um Ihr Verständnis, 2025.
Christiane Seefeld, Sie nennen mich die Kiezmutter, 00:05:46.
Krylon Superstar,Punks dancing to Marvin Gaye, 00:02:28.
Hải Anh Triệu, HOW AM I SUPPOSED TO KNOW, 2025, 03:27.