















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