How can we change the field of the visible so that racist structures can be brought to account? How can (post)migrant realities and perspectives become visible and audible, loudly and clearly?<\/p>\n
Between 1999 and 2007, nine immigrants, all of them small businessmen, and one woman police officer were murdered in Germany. In three bomb attacks \u2013 including one in a shopping street in a Cologne neighbourhood home to many immigrants \u2013 numerous people were seriously wounded. The facts of these cases remained unexplained until the so-called National Socialist Underground (NSU) exposed itself in 2011 and admitted to the crimes. To this day the series of murders and attacks has not been completely clarified. There are still unresolved questions related to, for instance, the right-wing radical environment around the NSU, as well as to the role of the German domestic secret service (the \u00bbVerfassungsschutz\u00ab), which had numerous informants in the perpetrators\u2019 circle.What has become clear, however, is how deeply racism is entrenched in German society. We see this very strongly in the wilful ignorance of the police and security bodies. For many years, their investigations have consistently taken wrong directions, apparently failing to recognize racism as a motivation for the crimes. And they are still downplaying its centrality even now.
\nSPOTS are short audio-visual interventions into various facets of the NSU Complex. Some of them are meant to mobilize support for the Tribunal \u00bbUnravelling NSU complex\u00ab. All of them address the blind spots in the process of working through the NSU Complex. They throw spotlights on the racist circumstances that make right-wing networks and their crimes possible in the first place. SPOTS regard aesthetics as political action. These aesthetics counter the dominant visual politics and their visual fixation on the perpetrators, and the media\u2019s disinformation about the NSU complex. They reverse visibilities, represent gestures of resistance, formulate questions and accusations. And in doing so they look to initiate a wider debate within society.
\n\u2013 Tribunal \u00bbUnravelling NSU complex\u00ab<\/p>\n
Spotters
\nKhaled Abdulwahed, Ibrahim Arslan, Hatice Ayten, Aysun Bademsoy, Tom Ben, Mareike Bernien, Madeleine Bernstorff, Cana Bilir-Meier, Sebastian Bodirsky, Holger Borggrefe, Ascan Breuer \/ Dokumentarisches Labor, cin\u00e9ma copains, Ewa Einhorn, Amel Elzakout, Alex Gerbaulet, Yara Haskiel, Arne Hector, Betti Hohorst, Bani Khoshnoudi, Michel Kl\u00f6fkorn, Sara Lehn, Katinka Mach\u00e9, Vedrana Mad\u017ear, J\u00f6rn Neumann, ninotschka, Christian Oberm\u00fcller, Ebru Selin \u00d6zcan, Mayan Printz, Daniel Po\u0161trak, Daniel Roth, belit sa\u011f, \u00d6mer \u015eaml\u0131, Maya Schweizer, Minze Tummescheit, Joel Vogel, Fritz Laszlo Weber, Rixxa Wendland, Johanna W\u00f6lfing<\/p>\n
Contributors
\nAdel, Ahmed, Anna, Nanuk Arsla, Alex Arvaneh, Danny Arvaneh, Stefan Auch, bildargumente, Bj\u00f6rn, Maximilian Blass, Juli\u00e1n Bonequi, Melanie Brazzell, Sebastian Breitbach, Ufuk Cam, Sefa Defterli, Christian Diaz Orejarena, Roumen Dimitrov, Ali El-Hussein, g-2-e tribunal translation group, Michael Geck, Lola G\u00f6ller, Yasemin G\u00f6ze, Daniel Gr\u00fcnfeld, Maya Fischer, Nathalie Gerst, Timo Glatz, Leona Goldstein, Ay\u015fe G\u00fcle\u00e7, G\u00f6ksen G\u00fcntel, Thamar Hampe, Nanna Heidenreich, Imagine, Victor Jaschke, Camilla Kranzusch, Frank Lehner \/ Torus GmbH, Lilli, Rita Macedo,\u00a0 Magdalena Mach\u00e9, Margerita, Ines Meier, Henrik Meierkord, Miranda, Abdullah Mohamad, Cristina Moreno a.k.a Kalma, Charlotte M\u00fcller, \u00d6mer, Bernadette Paassen, pong film, Pudelskern, Gustav Pursche (jib collective), Natascha Sadr Haghighian, \u00d6zge Pinar Sarp, Mirko Reinhard \/ Torus GmbH, Fikri Sahin, Melih Sar\u0131g\u00f6l, Markus Seitz, Nikolai Sivertsen, Josef Maria Sch\u00e4fers, Markus Schlappig, Lukas Soboll, Sylvain, Ute Waldhausen, Mirko Winkel, Kutlu Yurtseven, Jenny Lou Ziegel<\/p>\n