The new open access book, “Displacing Theory Through the Global South,” edited by Iracema Dulley and Özgün Eylül İşcen, is now available from ICI Berlin Press!

My contribution to the book is a chapter titled “Berlin’s Killjoys: Feminist Art from the Global South,” where I explore how women* artists challenge imposed notions of their migrant status and belonging in Berlin. Through two feminist initiatives I’ve been involved in, I demonstrate how these artists disrupt frameworks of inclusion and exclusion.

Access the book and explore other chapters:

I joined this two-day workshop organized by Einstein Fellow Pınar Yıldız and contributed with a presentation entitled Migration and Identity: Feminist Perspectives in Contemporary Turkish-German Documentaries. For more details on the workshop: please visit: 

I will be part of this year’s Berlin Critics’s Week debate program following the screening of Riar Rizaldi’s Notes from  Gog Magog and Omer Fast’s Abendland. The evening’s program, titled Carnival of Souls, will feature Omer Fast, Riar Rizaldi, Massimo Perinelli and myself, with the session moderated by Dennis Vetter.
We will delve into a discussion about the horror of capitalism, the surreality of politics, and the concept of masking in both playful and serious contexts. The conversation will explore the limits of the bearable and the unambiguity inherent in certain signs, faces and images, particularly in the realm of activist cinema.
The event will take place on Tuesday, February 20, at 8pm at Hackesche Köfe Kino.
For more information and tickets:

Happy to be part of this impressive collection on radical film, art, and digital media for ‘societies in turmoil’. I’ve written a chapter on LGBTI+ activism inspired by a video shot by Fatoş Erdoğan during the Istanbul Pride March 2021. The simple outcry, ‘Why can’t I walk in my own country?’, became a vital piece of resistance against stigmatizing narratives that criminalise members of queer and LGBTI+ communities. The chapter is available to read on Zenodo: You can also order the book from the publisher here:

10 November – 2 December 2023
Friday -Saturday, 15-19h

“Bakma” (Don’t look!), was a police announcement that echoed through the squares of Ankara and Istanbul during protests from the mid-90s to the uprising in 2013. video archiving collective takes its name from this command, but stands in stark opposition to the ongoing state oppression and censorship that ‘don’t look’ demands of us. started following the massive urban protests in 2013 known as the Gezi Uprising, since then the archive collection has expanded to cover political events and movements in Turkey from the 1960s to today. Its collections implicitly reveals what is missing from the archives in Turkey, where audiovisual archival material belonging to the invisible, silenced, and oppressed parties of dissent has otherwise remained unarchivable. has been in residence at AGIT since May 2023. During this period, they reanimated the archive by curating a series of both old collections and digitising new ones, as well as hosting public events that brought together contributors, users, and allies. By collectively sharing knowledge and memories, the residency has served as a space of empowerment to further radicalise the politics of the collection and expand the possibilities of creating a living memory of social movements.

Don’t look! will relocate the online archival footage of to the physical space of AGIT to further develop these connections and encounters. The exhibition showcases key aspects from’s archive including newly digitised material of video-activists, as well as older footage from the workers movements in Turkey. 

These photos were taken during the opening of the exhibition

What kind of curatorial practices do we need to connect with each other across time and geography and to form persistent, transglobal networks? Which curatorial practices challenge prejudices and expectations so that we can establish discursive and creative spaces for women* and negotiate the complex relational webs with institutions, artists, and audiences? How do we advocate for the inclusion of women* artists and other silenced voices without essentializing their identities? Join our workshop as we explore curatorial endeavors that defy predefined frameworks, and challenge curatorial norms and knowledge production. Engaging with vulnerable communities demands sincere care and collaborative efforts and dialogue. During the workshop, we will delve into strategies that aim to transcend traditional curatorial norms through the discussion of concrete examples, where emphasis is placed on decentralizing the curatorial process, transforming the ethics of collaboration between institutions, artists, and curators. With all their complexity, contradictions, and power, join us to redefine curatorial practice, amplify diverse voices, foster a culture of care, and preserve feminist curatorial legacies.

Photos taken during the workshop by Özlem Sarıyıldız.


It was an absolute delight to give this workshop in the context of the Hive International Short Film Days. The workshop delved into audio-visual media’s historical and contemporary use for political activism. From early film history to today’s protest movements, filmmakers have employed audio-visuality to convey political messages. The workshop examined the role of activist videos in challenging mainstream narratives, amplifying marginalized voices, and reshaping power dynamics. The workshop also addressed strategic video approaches, ethical considerations in documenting protests, and empowering individuals captured on camera. Participants with a background in filming or photographing protest scenarios participated and shared their insights, making the workshop a participatory exploration at the intersection of media, activism, and change.

Here are some Instagram posts from the workshop shared by colleagues and friends!


For this episode of Chromatic Wednesdays, four short films were selected around the theme of Mythology. The films featured not only draw on mythic narratives, but create their own. Using humor, irony, monsters, found footage, and mythic stories, they unravel the manipulative nature of myths as they incorporate them into their cinematic work to form enigmas to be deciphered again.


  • «Lake of Fire» by NEOZOON (2022, Germany, 11 min, English)
  • «A Demonstration» by Sasha Litvintseva and Beny Wagner (2020, Germany/ Netherlands/ United Kingdom, 25 minutes, English)
  • «Müjdeler Var Yurdumun Toprağına Taşına, Erdi Sinemam 100 Şeref Yaşına!» («We Bear Good News for Our Beloved Country, Our Cinema Is Celebrating Its 100th Anniversary!») by Hakkı Kurtuluş and Melik Saraçoğlu (2015, Turkey, 22 minutes, Turkish with English subtitles)
  • «On this shore, here» by Jasmina Metwaly (2022, Germany/ Belgium/ France, 23 minutes, English)
    The screening was followed by a Q&A session Jasmina Metwaly, Hakkı Kurtuluş and Melik Saraçoğlu, moderated by Şirin Fulya Erensoy.

To watch episode, please visit:

Images from the Q&A session following screenings of «A Letter from Raqqa» (2020, Arash Asadi) and «The Other Side of the River» (2021, Antonia Kilian). 

In the Kurdish struggle for freedom, resistance at the intersection of grassroots democracy and feminism has largely empowered the Autonomous Administration of Northern and Eastern Syria, known as Rojava, to assume authority over the fighting powers in the region. The short film «A Letter from Raqqa» and the feature-length documentary «The Other Side of the River» by Antonia Kilian and Arash Asadi, dealing with the dreams, memories and realities within revolution and war, were shot in this region. 

Watch the Q&A session here: