















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.
Hải Anh Triệu, HOW AM I SUPPOSED TO KNOW, 2025, 02:31.
Gabriele Stötzer, ich unter euch, 2014, p. 66.
Mia Göhring, Flirren, 2020, p. 166.
Kay Matter, Berlin City in 2025, 2025.
Christiane Seefeld, Sie nennen mich die Kiezmutter, 00:05:46.
Krylon Superstar,Punks dancing to Marvin Gaye, 00:02:28.
Paul B. Preciado, Countersexual Manifesto, 2018, p. 35.
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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.
Stefania, Wir wollen die Nacht zurück. Den öffentlichen Raum und unseren Körper, 00:00:54.
Gabriele Stötzer, ich unter euch, 2014, p. 67.
Christiane Seefeld, Sie nennen mich die Kiezmutter, 00:05:46.
Veronika, Wir wollen die Nacht zurück. Den öffentlichen Raum und unseren Körper, 00:06:58.
Mia Göhring, Flirren, 2020, p. 168.
Dirk Sorge, Wir bitten um Ihr Verständnis, 2025.
Sara Ahmed, Queer Use (lecture), 2018.
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.
Sara Ahmed, Queer Use (lecture), 2018.
Krylon Superstar, Punks dancing to Marvin Gaye, 00:06:49.
Nora Eckert, Die wilden Jahre des trans*Aktivismus - Berlin in den 1990er Jahren, 2025.
for the price of a midnight train
Audre Lorde, Die Quelle unserer Macht, 2020, p. 108.
TRANNIES know that they‘re not real. TRANNIES know that everyone else isn’t real.
Kay Matter, Berlin City in 2025, 2025.
Tanasgol Sabbagh in Zusammenarbeit mit LEGION SEVEN, nah, 2025.
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.
Hải Anh Triệu, HOW AM I SUPPOSED TO KNOW, 2025, 03:51.
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.
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.
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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.
Niemand hat dir einen Morgen versprochen.
Tanasgol Sabbagh in Zusammenarbeit mit LEGION SEVEN, nah, 2025.
Wenn er seinen Ausweis zeigt, sagt der Inhaber des DHL-Shops: "Wer soll das sein?"
Kay Matter, Berlin City in 2025, 2025.
Krylon Superstar, Punks dancing to Marvin Gaye, 00:05:51.
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, p. 32.
Countersexual society shall establish the principles of a countersexual architecture.
Paul B. Preciado, Countersexual Manifesto, 2018, p. 38.
Paul B. Preciado, Countersexual Manifesto, 2018, p. 35.
COVEN BERLIN, The Pisswashing Walking Tour presented by Tussicore Ensemble, 2025.
Christiane Seefeld, Sie nennen mich die Kiezmutter, 00:03:09.
Paul B. Preciado, Countersexual Manifesto, 2018, p. 34.
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.
Gürsoy Doğtaş, „Yassassin“: David Bowies Song zwischen Berliner Gastarbeiter*innenkultur und Mishima-Faszination, 2025.
Claudia Rankine, Citizen, 2014, p. 34.
Hải Anh Triệu, HOW AM I SUPPOSED TO KNOW, 2025, 10:29
COVEN BERLIN, The Pisswashing Walking Tour presented by Tussicore Ensemble, 2025.
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.
Dirk Sorge, Wir bitten um Ihr Verständnis, 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.
Gürsoy Doğtaş, „Yassassin“: David Bowies Song zwischen Berliner Gastarbeiter*innenkultur und Mishima-Faszination, 2025.
Krylon Superstar, Punks dancing to Marvin Gaye, 00:01:34.
COVEN BERLIN, The Pisswashing Walking Tour presented by Tussicore Ensemble, 2025.
Für mich ist – ungewollt – jede Bewegung im öffentlichen Raum eine Protestbewegung.
Dirk Sorge, Wir bitten um Ihr Verständnis, 2025.
Sara Ahmed, Queer Use (lecture), 2018.
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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.
Nora Eckert, Die wilden Jahre des trans*Aktivismus - Berlin in den 1990er Jahren, 2025.
Hải Anh Triệu, HOW AM I SUPPOSED TO KNOW, 2025, 03:27.
Gürsoy Doğtaş, „Yassassin“: David Bowies Song zwischen Berliner Gastarbeiter*innenkultur und Mishima-Faszination, 2025.
Am Ende der Straße steht das Ufo.
Mia Göhring, Flirren, 2020, p. 169.
Nora Eckert, Die wilden Jahre des trans*Aktivismus - Berlin in den 1990er Jahren, 2025.
Nora Eckert, Die wilden Jahre des trans*Aktivismus - Berlin in den 1990er Jahren, 2025.
Tanasgol Sabbagh in Zusammenarbeit mit LEGION SEVEN, nah, 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, p. 25.
Tanasgol Sabbagh in Zusammenarbeit mit LEGION SEVEN, nah, 2025.
Paul B. Preciado, Countersexual Manifesto, 2018, p. 32.