Aktenschränke mit geöffneten Schubladen, aus denen Zettel fliegen, eine Uhr und ein Stundenglas, oben links ein Schild mit der Jahreszahl 1976

Art Theft for Turkish Migrants in West Berlin?

Ulay’s “Da ist eine kriminelle Berührung in der Kunst” inaugurated a profound challenge to the authority of German cultural institutions by calling attention to their implication in the societal exclusion of migrants. Thirty-eight years after Ulay’s art theft, the artist Aykan Safoğlu formulated an artistic intervention in response to the action.

geöffnete Aktenschränke, Uhren, Papiere, ein Schild mit der Jahreszahl 1980

The Turkish Ensemble. Experimenting with a theatre of migration

In 1980, "Giden Tez Geri Dönmez" ("Those Who Leave do not Easily Return") premiered in Berlin. The production was a landmark and it inaugurated a new project within the theatre: the Turkish Ensemble. At a time in which Turkish cultural production was slowly gaining visibility in West Germany, the project was a unique attempt at developing a major Turkish speaking theatre in Berlin. Looking at the history of the project gives us insight into the expectations from migrant cultural production at the time and the difficulties faced by those committed to making space for it in Germany.