“My burden is my soulmate” at Schwules Museum on 10 November 21

Starting from a research on resistant and tender images of the marginalized body, “My burden is my soulmate” is about how to address grief, anger and compassion when one is an incessant target of hate and disgust, how to embrace the wound and how to shoulder the burden.

By engaging with “tableaux vivant” corporeality but extending the “tableau”s timescale to hours, “My burden is my soulmate” delves into physical and emotional limits, boundaries and the potential of human-body throughout the lines of vulnerability, strength and care to hold space for one and each other. Within a shift between different states of stillness, almost-stillness and not-possible-stillness as well as urgencies to move that includes moving in relation to the physical and emotional limits&potentials, impossibilities&possibilities, inabilities&abilities, a re-arrangement of the-body manifest itself within a transcendental gate opening up in-now-and-here.

“My burden is my soulmate” is a dream of a polymorphic gathering after crossing the gate.

Leman Sevda Darıcıoğlu’s performance approach is traversing a curiosity towards exploring how corporal presences and time inhabit into/within each other; questioning how the bodyscape and time shape, impact/interfere with each other and how one can shift the time through the body(ies). Darıcıoğlu often uses restrictions and body interventions as a metaphor for marginalization, exclusion, oppression, violence systems and their impacts on the society as a queer person from Turkey.

Admission: regular admission (9€ regular/3€ reduced) until 6 PM, from 6 PM 4€

“My burden is my soulmate” is going to be simultaneously streamed through OyaBar, SüdBlock and SO36 at Kreuzberg, Berlin.

Funded by the Federal Government Commissioner for Culture and Media and SAHA Association. Supported by NEUSTART KULTUR, BBK, SAHA and Schwules Museum.
Thanks to Vera Hofmann, Kristina Kramer, Ali Emir Tapan, Hasan Aksaygın, Alper Turan, Banu Karaca, Umut A. Akkel and Performistanbul for their support during the realization of the process.
Performance: Leman Sevda Darıcıoğlu
Performers: Leman Sevda Darıcıoğlu and Anthony Hüseyin
Project coordinator: Serenad Yılmaz
Coordinator assistant: Öykü Inal
Multimedia producer: Ibrahim Karcı
Multimedia assistant: Beril Ece Güler
Production assistants: Özcan Ertek, Beril Ece Güler, Yazan Jarbou, Dominik Kunz, Taghan Ndjarimbi Marcelin, Sugano Matsusaki, Lisa Maria Steppacher
Photography: Erdem Akkaya, Önder Şimşek
Light design: Önder Şimşek
Translation from English to German: Burcu Lina Panebianco
Poster design: Zeynep Keskin

“SAFE HERE” in Kunsthalle St Annen between 15-19 September

Leman Sevda Darıcıoğlu
Live performance
5 days, 6 hours a day
Between 15 – 19 September 2021 – From 10:30 to 16:30
in St. Annen Kunsthalle

Within the collaboration of Haus der Kulturen Lübeck and Kunsthalle St. Annen
Funded by Kulturfunke Lübeck
Special thanks to Hêja Ölki, Dr. Antje-Britt Mählmann, Pascal Simm, Simge Burhanoğlu and Yener Bayramoğlu

SAFE HERE” is a critics of European immigration politics and gaze towards immigrants from the Global South and East. The 5 days long (6 hours each day) live performance addresses how Europe victimises and fetishises the migrants in order to create “European dream” while building an image as safety and freedom provider of itself.

Starting from here, “SAFE HERE” engages with the act of breathing as a backbone of living, as a matter of life/death, as a reciprocation and connection within the one and others and attempts to reveal vulnerability and fragility of the body as well as manifesting its strength.

Occupying coast, stringing out lines

Live performance
Curated by Malte Pieper and Maja Smoszna as part of the programme Existing Otherwise – Anders Existieren at Galerie Wedding 2021-22 Artistic director: Solvej Helweg Ovesen
18 August 2021
with Derin Cankaya
5 hours

Aiming to break away victimisation discourses on non-western queerness and create a new image of “Global southeast” queer migrant in joy and pleasure, “Occupying coast, stringing out lines” intends to create a surreal and joyful crack opening to an imaginary queer land from boring daily life and dreams for a future where the corporality and feelings would be a threshold matter for life; a future where we would only be determined by our connections within ourselves, each other and surroundings.

[DE] Occupying coast, stringing out lines (dt. Küste einnehmen, Linien aufspannen) zielt darauf ab Diskurse zu brechen, die nicht-westliche Queerness viktimisieren. Es soll ein neues Bild von queeren Migrant:innen des “globalen Südostens” in Spaß und Vergnügen geschaffen werden. Es geht darum, einen surrealen und lustigen Riss zu schaffen, der aus dem langweiligen Alltag in ein imaginäres queeres Land führt. Dort wird von einer Zukunft geträumt, in der die Körperlichkeit und die Gefühle eine entscheidende Rolle für das Leben spielen; eine Zukunft, in der wir nur durch unsere Verbindungen zu uns selbst, zueinander und zu unserer Umgebung bestimmt werden.

Apartment 52

Curated by Tuba Kocakaya and Lara Lakay
Between 26 April – 14 May 2021
Nemlizade sok. 52 Yeldeğirmeni Istanbul

From the curators’ text:

THE APARTMENT lat. ‘appartire’ {apart, to separate, divide up}

In his short story “A Bird With One Wing”, Yaşar Kemal tells the story of the characters who set out for that town, which, because of its desolateness and its poetic mystery, can never be reached. Those who run into each other en route somehow create an intertwined road narrative and ask Cassin’s absolute question to the reader: “When are you home*, where, with whom?”
The desire to knit the shattered pieces, to heal what the system has destroyed and will continue to do so. Meeting the modern hero, who divides the communal texture of life into pieces and rooms: the “Apartment”. In this diary made of concrete, forging a bond without ownership, with objects and breathing things alike. Relating to things through touch, sight and speech. The other side of the mirror…
“The only things that truly exist is your walk and your gaze; gravitating towards something and passing it by… Only and only your gaze which remembers the play of light and shape that happens everywhere – in your eyes, on the ceiling, on your feet, in the sky, inside your cracked mirror, on water and stone, among crowds.” (A Man Asleep, Georges Perec, Metis Pub., 2016)
While the dubious potion of modernity, in efforts to preserve itself, buries life into concrete, we are busy digging back the cluttered pieces and looking for the magic wand which will give life again in a way that will enable us to live together. We have to be determined to invent a language for this new spell – new words and new phrases.
You will weave all our togetherness fragments that appear and disappear suddenly, like an ancestral shaman whom you’ve always known. You will bring us together. Only together can we raise our houses again.
Not a barbarian who designs the new by stepping on the old, but a city protagonist who will bring together all the ages that have been and will be. The ultimate flaneur.
How would we live together again if we woke up somewhere else today?
Refusing the given, a being that forms its own meaningful relationships. A mass meeting, a ritual so that our togetherness is blessed.
Because where you are is my home.

Tempo Incognito: On Flows, Rhythm, and Movement

3 March – 18 April 2021

Curator: Rana Öztürk

Participating Artists: Ali Miharbi – Kerem Ozan Bayraktar – Sergen Şehitoğlu – Yağız Özgen, Alper Aydın & Ayşegül Düşek, Burçak Bingöl, Cevdet Erek, Deniz Üster & Gürçim Yılmaz, Ece Eldek, Ege Kanar, Ezgi Tok, Fiona Reilley, Handan Saatçioğlu, Hank Yan Agassi & Leman Sevda Darıcıoğlu, Linda Boļšakova, Louise Manifold, Nikolaus Gansterer, Selçuk Artut, Sinem Dişli

The exhibition Tempo Incognito: On Flows, Rhythm, and Movement will take place in Depo Istanbul between 3 March – 18 April 2021. With over 20 participants from Turkey, Ireland, Latvia, Austria, Scotland and Switzerland, the exhibition and its accompanying programme intends to examine the experience and conceptualization of “temporality” in contemporary societies, exploring how our current sense of time can clash or be in tune with natural, ecological and universal cycles.

Working with a variety of media ranging from painting, video, and sound, to storytelling, performance, and poetry, the artists investigate temporality within the shifting context of technological, economic and urban systems. The exhibition aims to highlight the co-existence of different scales of rhythms, cycles and movements that determine how time is experienced by humans, animals and plants, extending from biological time to the speed and flux of the city to deep time of geological formations.

The current experience of the pandemic has left us in a suspended place, where we can no longer continue our previous routines. It has also highlighted many of the urgencies and the damage caused by the accelerated rhythm of contemporary societies. Under these circumstances, the questions that the exhibition aimed to put forward are all the more pertinent: Is it possible to move beyond the great divide between the historical time of society and the time imposed by nature? How do we negotiate these various experiences of time that are both in harmony and in conflict with each other? What are their implications on the body and its environs, as a site of both individual and collective experiences?

Along with the exhibition, there will be a series of talks and events that will further expand on these questions. The programme will be announced shortly.

Tempo Incognito, is developed as an expansion of Repetition ∞ Cycle Talks and Performance Series, conceptualized and co-organized by Rana Öztürk and Sinem Dişli as an event of Her Hâl Collective, at SALT Galata in 2017 and 2018.

Realized with the support of:

VV Foundation
Culture Ireland
Avusturya Kültür Ofisi İstanbul

Thanks to:

The Empire Project
Zilberman Gallery

Come on bro! as part of Unboxing: masculinities at Hochschule Osnabrücke

Live performance
7 hours
30. January. 2021 12:00-19:00 (GMT +1 time)
As part of “Unboxing: masculinities” at Hochschule Osnabrücke
Can be watched from the Festival’s web platforms

7 hours-long drag-king performance Come on bro!, is an investigation of manhood’s body gestures and movements with the reference of Zeybek dance which is a folkloric dance from Aegean region. The name comes from guerilla fighthers of the region lived between 17 – 20 centuries: Zeybeks. They fighted with a vengeance against non-muslim forces during the Turkish War of Independence and since then, they have seen as nationalist heroes. The strictly gendered dance indicates man’s bravery and valor, contains some space holding movements, gives a eagle/hawk shape to man body. Some version of Zeybek contains also a female dancer who dances always delicately and acts like maintaining man’s space with a continuous watching the man. Today it is performed in many ceremonies at the region (including military ceremonies).

Taking the folkloric Zeybek dance, the dance which has been one the references of the Turkish Republic as a starting point, in Come on bro! Leman Sevda Darıcıoğlu questions the lines between gender and imitation, the body and performativity as well as the relationships between nationalism and masculinity.

With the curatorial support of Performistanbul International Performance Art Platform

For detailed info about the Festival and whole program:


White Roses, Pink Glitter as part of “Glitter and Grief”

Live performance
5 hours
As part of “Glitter and Grief”, organized by SoliTsoli, Nawara and Gay Shame
6. October. 2020 14:30 – 22:30
Haus der Statistik

Zak Kostopoulus (aka Zackie Oh) was a Greek drag queen artist, queer and HIV activist living in Athens. On the afternoon of September 21 in 2018, he had been beaten up by some men. The police
officers who came later continued to beat him even though he was lying down unmoving on the
ground. Afterwards he died in the ambulance. It has been two years now. Still, the killers are
unpunished and the trial continues.

While daily governmental violence and oppression towards LGBTI+ people are raising through exploiting of the COVID-19 crisis, in “White Roses, Pink Glitter”, Leman S. Darıcıoğlu remembers
Zak Kostopoulus and creates an image of queer resilience and mourning. Borrowing glitter by Zak’s
instagram-post, titled “What if we get lost? I just follow the glitter,” Darıcıoğlu uses the glitter as a
metaphor of queer strength and survival under the contemporary heteropatriarchal regime. While
the white roses generally used to express condolence in funerals in Germany, it is also referring to
the resistance group “White Rose,” under the Third Reich regime and furthermore, the pink
references the pink triangle of the Nazi’s symbol marking [male] homosexuals. By merging the Nazi
time references with the contemporaneity, the artist asserts that queers are resilient resistants of
today’s daily fascism which still causes countless deaths, violence and precariousness.

Thanks to SoliTsoli, Nawara, Gay Shame, Yener Bayramoğlu, Hasan Aksaygın, Performistanbul, Feo Marshmallow and Deniz Uysal for their support to make “White Roses, Pink Glitter” realize.