[{"content":"Welcome to the exhibition HAMMERSCHLAG about the “Hamburg Mirror Affair,” a campaign that led to the abolition of surveillance of gay men in public restrooms in Hamburg in 1980. On July 2, 1980, an anonymous collective smashed a spy mirror that had been installed in the public men’s restroom at the Jungfernstieg subway station. The Hamburg police had used this mirror to monitor men seeking sex with men and to illegally register them in so-called “Pink Lists” through checks, warnings, and bans from the premises.\nThe exhibition HAMMERSCHLAG explores police surveillance practices, the restroom space in queer art, and queer self-liberation practices in 1980. It thus traces the development of police surveillance in public restrooms in Hamburg, tells the story of queer resistance, and contextualizes these events within the broader historical landscape of the Federal Republic of Germany in the late 1970s. This text is intended to allow visitors to explore the installation and its stations on their own. In doing so, it will focus heavily on “uncovering” and “concealing,” on becoming “visible” and “invisible.” Some things will be brightly lit, while others will remain hidden.\nThe exhibition is an invitation to witness how a clandestine police practice became a public scandal through a concrete intervention—an act of political resistance.\nBefore we explore the main scene of that scandal, the restroom at Hamburg’s Jungfernstieg, we now enter the “antechamber,” a passageway designed to prepare us for this journey through time. Everything is at the beginning. The urinals are a bit too close together.\n","permalink":"https://hhammerschlag.de/en/tour/01_intro/","summary":"Station 1 – Introduction to the Exhibition Tour","title":"Intro"},{"content":"· 2:00 PM · Kampnagel K4 · Panel discussion with Shahrzad Golab, Vera Klocke, and Luna Möbius · Moderator: René Schaar Sarah Plochl ·\nIn this panel, we ask whether we are being unconsciously monitored today. How private or public are we actually (still)? And what does it mean for our lives to no longer be able to be “private”? What role do social media platforms play in current forms of surveillance? Can we use the idea of self-determined visibility and the overfulfillment of clichés to create a truly “private” self behind the mirror of social media? Or is that a myth of consumer culture?\nShahrzad Golab is a freelance journalist and host of the Deutschlandfunk podcast “Dark Agent.” She focuses on surveillance and its consequences for society, politics, and freedom.\nDr. Vera Klocke is a cultural studies scholar, screenwriter, and podcaster. She has taught at the Berlin University of the Arts, the University of Hamburg, and the Konrad Wolf Film University, and has headed the Center for Consumer Culture Research at the University of Hildesheim since April 2025. Together with Freya Herrmann, she produces the podcast “Fashion The Gaze” and organizes the TIKTOK KOLLOQUIUM at the Volksbühne Berlin, which explores the political potential of pop-cultural productions. @veraklocke\nSaxony-Anhalt’s finest rage girl Luna Möbius deliberately focuses on her home region of East Germany and asks how the New Right can be taken down a peg. As a content creator, she analyzes how political debates emerge and escalate on social media, shape public opinion, and how democrats can be part of them. @luna.moebius · website Luna Möbius is unable to attend due to illness.\nRené Schaar works as a Diversity Manager at NDR and is the creator of Elin, the first doll with a disability on the German version of “Sesame Street.” René has had a disability since birth. @rene_schaar · website René Schaar is unable to attend due to illness.\nSarah Plochl is a performer and coach. @saratoninne · website\nTickets for all events are available at this link.\n","permalink":"https://hhammerschlag.de/en/veranstaltungen/spiegelpanel/","summary":"\u003cp\u003e· \u003cem\u003e2:00 PM · Kampnagel K4\u003c/em\u003e\n\u003cbr\u003e· Panel discussion with \u003cem\u003eShahrzad Golab\u003c/em\u003e, \u003cem\u003eVera Klocke\u003c/em\u003e, and \u003cdel\u003e\u003cem\u003eLuna Möbius\u003c/em\u003e\u003c/del\u003e\n\u003cbr\u003e· Moderator: \u003cdel\u003e\u003cem\u003eRené Schaar\u003c/em\u003e\u003c/del\u003e \u003cem\u003eSarah Plochl\u003c/em\u003e ·\u003c/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003eIn this panel, we ask whether we are being unconsciously monitored today. How private or public are we actually (still)? And what does it mean for our lives to no longer be able to be “private”? What role do social media platforms play in current forms of surveillance? Can we use the idea of self-determined visibility and the overfulfillment of clichés to create a truly “private” self behind the mirror of social media? Or is that a myth of consumer culture?\u003c/p\u003e","title":"SPIEGEL Panel"},{"content":"The year is 1980: Helmut Schmidt is Chancellor, and the German public is slowly recovering from the “RAF terror”; the German Autumn of 1977 is over. The RAF’s actions have brought the issue of public safety to the forefront; the police have become increasingly militarized over the course of the 1970s, now appearing at demonstrations—for example, against nuclear power—in riot gear and with batons, and deploying tear gas . The “Free Wendland Republic” is cleared by the police in June 1980. To prosecute criminal offenses, the “Rasterfahndung” —the Word of the Year at the time—is developed. Surveillance and control experience a new heyday, driven by the increasing spread of electronic data processing (EDP), a development that is also increasingly subject to critical discussion within the middle class.\nWith the decriminalization of §175 of the German Criminal Code in 1969, publicly visible gay culture becomes possible for the first time: gay magazines (“Du\u0026amp;Ich;” available for general sale), openly gay bars like the Spundloch, and shops like the Revolt Shop are founded. At the same time, student-led gay groups of what would later be called the “Second German Gay Movement” could look back on a decade-long history. With the 1971 film “It Is Not the Homosexual Who Is Perverse, But the Situation in Which He Lives” by Rosa von Praunheim, action groups were founded nationwide, primarily in student circles. These groups were outward-facing through public actions and protests, while also working inwardly within the scene through self-awareness programs. They viewed the term “gay” not as a description of sexuality, but as a political identity. In Hamburg, the first groups emerged in this context, such as the theater group “Brühwarm,” which combined art and activism. For despite legal relaxations, there was still no broad societal acceptance of homosexuality in the 1970s, as gay people had to fear losing their jobs if they came out, for example. Even though Section 175 of the German Criminal Code (StGB) was further relaxed in 1973, making homosexual acts punishable only if the age of consent (18 years) was disregarded or if a relationship of dependency was exploited, homosexuality continued to be subject to the criminal “presumption of guilt.” The 1970s were marked by tensions between narrow-minded conservatism and liberation movements.\nEven the knowledge now widely accepted regarding the targeted persecution of gay men, lesbian women, and trans people under National Socialism only became widespread in the 1970s. “Brühwarm” addressed this topic (among several others) in their first play in 1978; one of the first monographs on this subject was published in 1981 by Hans-Georg Stümke and Rudi Finkler, under the title “Rosa Winkel, Rosa Listen. Homosexuelle und »Gesundes Volksempfinden« von Auschwitz bis heute.” It was only then that the homosexual community was recognized as a victim group of National Socialism, and thus public commemoration of them was officially established in the late 1970s and early 1980s.\n","permalink":"https://hhammerschlag.de/en/tour/02_eingang/","summary":"Station 2 – The Year 1980, the Second German Gay Rights Movement, and Section 175 of the German Criminal Code","title":"Entrance"},{"content":"· 4:30 PM – 6:30 PM · Kampnagel P1 · with Anahita Neghabat ·\nThis workshop explores how memes can be used as creative tools to convey messages in a pointed, humorous, and effective way. Together, we will analyze how memes function in digital communication spaces, develop our own memes, and discuss their potential as a tool for activism and educational work. The workshop is aimed at anyone who wants to do more than just consume memes—who wants to use them strategically. No prior knowledge is required.\nAnahita Neghabat, a social anthropologist and artist, directs the Institute for Migration Education in Vienna and works on issues of racism and feminism. @anahita.ne · @ibiza_austrian_memes · website ","permalink":"https://hhammerschlag.de/en/veranstaltungen/workshop/","summary":"\u003cp\u003e· \u003cem\u003e4:30 PM – 6:30 PM · Kampnagel P1\u003c/em\u003e\n\u003cbr\u003e· with \u003cem\u003eAnahita Neghabat\u003c/em\u003e ·\u003c/p\u003e\n\u003cp\u003eThis workshop explores how memes can be used as creative tools to convey messages in a pointed, humorous, and effective way. Together, we will analyze how memes function in digital communication spaces, develop our own memes, and discuss their potential as a tool for activism and educational work. The workshop is aimed at anyone who wants to do more than just consume memes—who wants to use them strategically. No prior knowledge is required.\u003c/p\u003e","title":"Workshop: MEME THE PAIN AWAY"},{"content":"· 7:00 PM · Kampnagel K4 · Panel discussion with Lie Ning Julia Stolba, Miriam Coretta Schulte, and Frederik Busch · Moderator: Dixi Glow ·\nThis panel explores art and activism that not only reexamine and reshape history but can also create utopias and alternative futures. What boundaries and possibilities lie hidden in this in-between world? To what extent is art that takes place in a public and political space always also activism? What can activism as art actually achieve that activism without art cannot?\nLie Ning is a London-based musician, model, dancer, art director, and LGBTQ+ and POC advocate. Lie Ning moves skillfully between indie, soul, and R\u0026amp;B, creating moments of timeless pop music as well as emotionally powerful images of dreamlike expansiveness and haunting sincerity. @lie__ning · website Lie Ning had to cancel at short notice.\nJulia Stolba is an artist and art theorist. From 2021 to 2026, she conducted research for her artistic-scientific doctoral dissertation titled “The Dissociative Archive: On Partisans, Ghosts, and Affects at the Museum Peršmanhof” at the HFBK Hamburg, funded by a doctoral fellowship from the Hans Böckler Foundation, on histories of violence in archives, the transgenerational transmission of trauma, dissociative dynamics, and the significance of affects in artistic, curatorial, and art education archival work. In her conceptual, artistically-research-based explorations at the intersection of theory and practice, she works with painting installations, drawing, sound, text, and psychoanalytic concepts to create resistant feminist and anti-fascist counter-narratives to the hegemonic canon of knowledge. @julia_stolba · website\nMiriam Coretta Schulte is a theater maker based in Berlin, Basel, and Cairo. In her current project “messy safety,” she develops visions for greater collective safety and fewer police. @miriam_coretta_mcshoe · website\nFrederik Busch (*1974) is a media artist, author, and performer. His work is interdisciplinary in nature and encompasses photography, performance, text, and film. It is committed to a shared aesthetic-political inquiry and evolves from a clearly recognizable artistic signature. This ongoing engagement with questions of visibility, the body, and power is more important than committing to a single medium. @frederik.busch · website\nDrag artist Dixi Glow has been walking the tightrope of fragile masculinities and binaries in Vienna since 2022. In April 2025, the Viennese performance artist settled in St. Pauli to now also provoke the cis-system north of the Weißwurstäquator. In addition to performances at various clubs and venues in Austria and Germany, Dixi Glow gives drag workshops, works in education and outreach at schools and renowned art institutions, and organizes their own events focusing on queer and trans* themes. @dixi.glow · linktree\nTickets for all events are available at this link.\n","permalink":"https://hhammerschlag.de/en/veranstaltungen/hammerpanel/","summary":"\u003cp\u003e· \u003cem\u003e7:00 PM · Kampnagel K4\u003c/em\u003e\n\u003cbr\u003e · Panel discussion with \u003cdel\u003e\u003cem\u003eLie Ning\u003c/em\u003e\u003c/del\u003e \u003cem\u003eJulia Stolba\u003c/em\u003e, \u003cem\u003eMiriam Coretta Schulte\u003c/em\u003e, and \u003cem\u003eFrederik Busch\u003c/em\u003e\n\u003cbr\u003e· Moderator: \u003cem\u003eDixi Glow\u003c/em\u003e ·\u003c/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003eThis panel explores art and activism that not only reexamine and reshape history but can also create utopias and alternative futures. What boundaries and possibilities lie hidden in this in-between world? To what extent is art that takes place in a public and political space always also activism? What can activism as art actually achieve that activism without art cannot?\u003c/p\u003e","title":"HAMMER–Panel"},{"content":"We are now entering the closet, because before we delve into the heart of the story, we must first acknowledge that not only have the circumstances of queer life changed since the 1980s, but so has the language used to describe them: To correctly interpret and contextualize the accounts from 1980 today, in the year 2026, we must bear in mind that terms associated with queerness and homosexuality had different meanings and connotations back then than they do today. So in the cleaning room, we’ll start by clearing up some terminology:\nSchwul In the early 1970s, activists deliberately appropriated the term “schwul” to describe a political sexuality lived openly, in contrast to one that was shamefully concealed. Not only did homosexual men identify as “schwul,” but so did lesbian women who organized together in gay groups.\nTunte The term “queer” referred to a man who deliberately behaved in an affected, extroverted, and “effeminate” manner and lived his orientation openly. In addition to their given names, many queers went by a “queer name” and used the pronouns “she/her” among themselves—regardless of their gender identity. Their casual attire was “der Fummel” (queer slang for outfit). In this way, they clearly distinguished themselves from those “closeted” homosexuals who continued to present themselves in a masculine-normative manner, thereby seeking to preserve their rightful place within the heart of bourgeois society (cf. Homonormativity).\nLesbisch At the beginning of the 20th century, “lesbian” was used as a derogatory term for criminal women who were alleged to be homosexual; it was not until the 1970s that homosexual women appropriated the term as a positive self-designation. Until the late 1970s, however, homosexual women continued to refer to themselves as “gay” (inspired by the English term) and were also an active part of the gay rights movement. Within the women’s movement, the term “lesbian” eventually gained acceptance.\nTrans Many people who would describe themselves as “trans” today were already part of non-heteronormative scenes and movements in the 1970s and 1980s. They were visible—though often under different terms and in different political contexts. Within the gay movement, the political identity of same-sex orientation was the primary focus, while questions of social gender identity played a secondary role. Trans women often moved within gay contexts and referred to themselves—depending on their self-understanding and the discourse—as “Tunte,” “transvestites,” or “transsexuals.” These terms reflect not so much a lack of trans existence as different linguistic and political framings of gender. From today’s perspective, this may appear as invisibility, but it is more a matter of a shift in terms and categories: trans lives were present, but were named, organized, or politically articulated in a different way than is the case today.\n","permalink":"https://hhammerschlag.de/en/tour/03_putzraum/","summary":"Station 3 – Tidying Up with Terms","title":"In the closet"},{"content":"· 9:00 PM · Kampnagel K4 · featuring Saeleen Bouvar (Transtronica) · Free admission ·\nSaeleen Bouvar is a musician, DJ, and founder of TRANSTRONICA Festival, the world’s first electronic music festival with an exclusively trans lineup. As the initiator of Salon Queertronique, she has been shaping Hamburg’s queer club culture since 2017. Her sets combine historical depth with sensual intensity and move between disco, Chicago house, acid, and techno, serving as sonic narratives of trans history and the present. @saeleenbouvar\n","permalink":"https://hhammerschlag.de/en/veranstaltungen/dj-set/","summary":"\u003cp\u003e· \u003cem\u003e9:00 PM · Kampnagel K4\u003c/em\u003e\n\u003cbr\u003e· featuring \u003cem\u003eSaeleen Bouvar (Transtronica)\u003c/em\u003e\n\u003cbr\u003e· Free admission ·\u003c/p\u003e\n\u003cimg src=\"/images/saeleen_bouvar.jpg\" alt=\"Saeleen Bouvar\" width=\"250\"\u003e\n\u003cp\u003e\u003cstrong\u003eSaeleen Bouvar\u003c/strong\u003e is a musician, DJ, and founder of \u003ca href=\"https://www.transtronica.com/saeleen-bouvar\"\u003eTRANSTRONICA\u003c/a\u003e Festival, the world’s first electronic music festival with an exclusively trans lineup. As the initiator of Salon Queertronique, she has been shaping Hamburg’s queer club culture since 2017. Her sets combine historical depth with sensual intensity and move between disco, Chicago house, acid, and techno, serving as sonic narratives of trans history and the present.\n\u003ca href=\"https://www.instagram.com/saeleenbouvar/\"\u003e@saeleenbouvar\u003c/a\u003e\u003c/p\u003e","title":"DJ Set"},{"content":"We see the main entrance to the public men’s restroom at Hamburg’s Spielbudenplatz, photographed in 1986 when it was already closed: In 1980, there were 244 public restrooms in Hamburg, many of which were closed in the following years due to budget cuts. In the absence of other venues, many men used restrooms, as well as public parks, for quick, casual sexual encounters (also known as “cruising”). The homophobic atmosphere of the 1960s made them subjects of police surveillance in these places, against whom the “Hammerschlag” campaign was ultimately directed.\nIn Rosa von Praunheim’s film “It Is Not the Homosexual Who Is Perverse, But the Situation in Which He Lives,” the Klappe is also examined in more detail:\nTo clear up a common misunderstanding: Even though the mirrors in the restroom at Spielbudenplatz were the first to be smashed on the night of June 29–30, 1980, the iconic photo of the hammering that we know from the media was not taken until a few days later at Jungfernstieg.\n","permalink":"https://hhammerschlag.de/en/tour/04_haupteingang/","summary":"Station 4 – the public toilet: Enter to Exit, Cruising","title":"The Main Entrance to the Toilet on Spielbudenplatz"},{"content":"On July 2, 1980, the mirrors in the men’s restroom at Jungfernstieg—behind which observation rooms were located—were smashed in a media-effective display. Prior to this, during a gay and lesbian demonstration, evidence was presented that the police were maintaining files on homosexuals, thereby continuing—or at least reviving—the practice of the so-called “Pink Lists” from the Nazi era.\nThe sequence of events: As part of Hamburg’s first “Gay Pride Week,” the first lesbian and gay demonstration took place in the Hanseatic city on June 28, 1980. Under the slogan “10 Years of Stonewall – Against the Oppression of Homosexuals,” 1,500 participants marched from Hansaplatz through the city center and ended with a picnic in Schanzenpark. Even during the demonstration, a VW van had attracted attention; it now approached the demonstrators in Schanzenpark, and photographs were taken from inside through rolled-down windows. When confronted, the photographer—a plainclothes police officer—stated that the photos would be used to update the police files. The demonstrators, enraged by this, demanded the handover of the film and blocked the VW van. A squad of a hundred police officers called to the scene broke up the demonstration using Chemical Mace . Kai Reinecke recounts more about this moment in an eyewitness interview.\nTo counter the now-documented surveillance practices, anonymous activists smashed the first surveillance mirror at Spielbudenplatz on the night of June 29–30. The mirror action was repeated on July 2 in the presence of the press—Corny Littmann, an openly gay theater producer and then-lead candidate of the Hamburg Greens for the 1980 federal election, volunteered to be the face of the action, as he had less to fear from repression than his comrades.\nSubsequently, activists compiled a documentation of the events, including a press review, under the title “Homosexuelle Bespitzelt” (Homosexuals Under Surveillance), which was publicly distributed at another demonstration with at least 250 participants on July 11 in the city center. Following the demonstration, a Rosa-Listen tribunal was also held in the main auditorium of the University of Hamburg.\nThe seating area contains documents and photos of the demonstrations, as well as documents detailing the sequence of events.\nIn addition to the historical context, we will examine further factors in the following sections that contributed to the success of such an action.\n","permalink":"https://hhammerschlag.de/en/tour/05_von_demo_zu_demo/","summary":"Station 5 – Two Demos, Pink Lists, and the Mirrors Are Smashed","title":"From Demo to Demo"},{"content":"The TucTuc café at Oelkersallee 5 was founded in 1979 as a collective bar for the second German gay rights movement. As a self-organized space with a regular program of events, it was an important meeting place for the scene: many artists, including such well-known names as Rosa von Praunheim, Nina Hagen, Corny Littmann, Gunther Schmidt, Dieter Rita Scholl, Ernie Reinhardt, and Felix Rexhausen, organized readings, film screenings, and concerts here, exchanged ideas, and were able to experiment. The monthly Saturday disco, which took place at the TucTuc in rotation with the women’s bar, was a magnet for interesting people beyond the regular clientele.\nOn the upper floor was a meeting room where political gay groups such as “Schwusel” or “HAH” gathered. The “Stonewall” demonstration on June 28, 1980, as well as the demonstrations against the “Rosa Lists” on July 11, were likely planned here. As a political venue, the TucTuc had a major influence on the new organizations founded in the 1980s and 1990s; today’s institutions such as the mhc, the Café Gnosa , and the Schmidt Theater are just a few of them. Despite constant financial struggles and high turnover within the collective, the TucTuc remained open until 1995.\nUlrich Würdemann writes in 2mecs.de about the TucTuc, noting that it was “the first gay café without a doorbell and without darkened or covered windows, but rather fully visible,” and furthermore “a non-commercial venue that, beyond consumption and fun, offered space for politics and experiments of all kinds.” In an interview, Corny Littmann confirms its character as a creative playground. Here, many things could be tried out quite easily, with even unfinished works making it onto the stage.\nAs an example of some of the plays performed at the TucTuc, we can cite the sketch “What Is Homosexuality (1981)” by the group “Transitiv,” consisting of Claus Plänkers, Rita Dieter Scholl, and Ernie Reinhard. Another original video from the TucTuc is the SR documentary “Let’s Live Our Lives. Gay Men and Their Songs”, in which members of various theater and music groups in Hamburg’s gay scene around the café have their say and also discuss the founding of the TucTuc.\nA glance at the hostile attacks makes it clear that the TucTuc, as a utopian space, could by no means exist “just like that,” but had to be not only rescued from the brink but also kept afloat through a collective effort. In the first four months alone, it was attacked at least five times by gangs described by eyewitnesses as “teenagers,” “bikers,” or “neo-fascists.” To protect against such attacks, a telephone chain was established, demonstrating a close-knit network of supporters in the surrounding community. ","permalink":"https://hhammerschlag.de/en/tour/06_das_tuctuc/","summary":"Station 6 – Gay bar, art venue, meeting place for social movements","title":"The TucTuc"},{"content":"The “Hamburg Mirror Affair” action, which staged the smashing of surveillance mirrors, would be nothing without its aesthetic precursors and echoes. The influence of other images becomes extremely clear when we look at how sequential photography works against a grid-patterned background:\nThe sequential photographs of the individual phases of a galloping horse by the British-American photographer Eadweard Muybridge remain in our collective memory to this day, albeit more as an animated GIF. It’s hard to believe that they were published as early as 1878—100 years before the founding of Café TucTuc. Muybridge worked in California and published the photo book “The Human Figure in Motion, an Electro-Photographic Investigation of Consecutive Phases of Muscular Action” in 1901, featuring 87 photographic sequences of human movement that convey a forensic objectivity. Anyone who thinks of Leonardo da Vinci’s Vitruvian Man is not mistaken, as the aim here is also to create an ideal image: In the preface, Muybridge writes\n“The great number of men were students or graduates […], each one of whom had a well-earned record in the field selected for illustration. […] they are reproduced without the slightest attempt being made to improve them; and are presented with all their faults, precisely as taken in the camera.” (“The great number of men were students or graduates […], each of whom had a well-earned distinction in the field selected for illustration. […] They are reproduced without the slightest attempt to improve them, and are presented with all their flaws, exactly as captured by the camera.”)\nThe method of measurement, however, is based less on the proportions of the body parts to one another and more on the relationship of the human being to their surroundings. The visual grid in the background makes the human’s movement measurable; their status as a representative is made possible only by the consistent, superficial order of the background. The measured human in Muybridge’s images, however, does not occur to rebel against the scale and throw his stone at the visual grid in the background. Doing so would cause him to leave his place within the regime of images and shake the foundation of his existence.\nThe toilet itself, too, is a subject of artistic exploration due to its significance for several generations of gay men and queer people, as demonstrated by works by Pjotr Nathan (“Das Versteck der Lust”) and Tony Just. The artist duo Dümadissima has erected a monument to the “hammer blow” itself in a diorama made from a mandarin orange crate titled “Pauline’s Hammer,” which is now on display at the Gay Museum in Berlin.\n","permalink":"https://hhammerschlag.de/en/tour/07_die_transparenz_toilettenkabine/","summary":"Station 7 – Aesthetic Models, Artistic Replicas, Queer Art, and Activism","title":"The Toilet Stall of Transparency"},{"content":"The Hamburg Tuntenchor is representative of the artistic groups active in the Hamburg gay scene around 1980. It was founded by Gunther Schmidt, a church musician who had been unemployed since coming out. The choir performed a total of eight shows in Hamburg and Berlin with its in-house ballet “Alsterelsen” and the subgroup “Budaschwestern,” including at the Tunten- und Narzissenball on April 21, 1980, at the Hamburg Markthalle. They were known for rewriting well-known pop songs and hits, which they always performed on stage together with new lyrics—some bawdy, some political. On the occasion of the Spiegel scandal, they rewrote Mike Krüger’s then-current hit “Der Nippel” to reference the Spiegel and presented the “Hammersong” to the audience:\nPhotographer Rüdiger Trautsch plays an important role in preserving this legacy. His publication “Hardly anyone did it out of love!” follows the openly gay protagonist Reinhold through various moments of his daily life and unpretentiously portrays the life of a completely “normal” gay man.\nRüdiger Trautsch’s estate, including many of his photographs documenting gay life in Hamburg in the late 1970s and early 1980s, is now accessible to researchers at the Archive of the Gay Museum in Berlin.\n","permalink":"https://hhammerschlag.de/en/tour/08_die_tuntenchor_toilettenkabine/","summary":"Station 8 – a choir of queers, rewritten songs, photographer Rüdiger Trautsch","title":"The Queer Choir Toilet Stall"},{"content":"Before §175 of the German Criminal Code (StGB) was relaxed in 1969 and homosexual desire was no longer punishable per se, it had to seek out its own paths and places: beyond the visible, in the shadows of society. It was on the margins of urban space—parks under the cover of night, public restrooms, abandoned harbor piers, industrial ruins—that a desire took shape which had no place in public life and, precisely because of this, found its own form. What began as repression became a living practice: a knowledge of small gestures and signs, hidden moments of attention, the codes of cruising. Through art, through bodies, through expression, these places were transformed. In this act of appropriation, the forbidden and the repurposing gave rise to a desire of its own, a resistance. An early form of what we today call queer joy: born not in spite of, but precisely from the experience of exclusion and marginalization.\nThis energy continues today: it pulsates in club culture, in dance culture, opening up spaces where none existed before. This history is audible in the music of that era—for example, here in Saeleen Bouvar’s set inspired by FRONT, one of Hamburg’s first gay techno clubs. It will also be audible in the future, for instance in the music of a queer community that remains marginalized, which can be experienced at the Transtronica Festival at Kampnagel.\n","permalink":"https://hhammerschlag.de/en/tour/09_cabin_of_queer_joy/","summary":"Station 9 – Trans-Lesbian-Gay Joy of Life, Toilets, Habitats","title":"Disco Toilet of Queer Joy"},{"content":"The knowledge now widely accepted regarding the persecution of gay men under National Socialism was first addressed in the mid-1970s, initially within the gay rights movement and later among the general public.\nThe first program of the theater group \u0026ldquo;Brühwarm\u0026rdquo; from 1976 included a scene that addressed this persecution. The authors Hans-Georg Stümke and Rudi Finkler, who were also active in the Hamburg gay rights movement, published the monograph Rosa Winkel, Rosa Listen. Homosexuals and \u0026ldquo;Healthy Public Sentiment\u0026rdquo; from Auschwitz to the Present.\nOn the occasion of the performance of the play \u0026ldquo;Rosa Winkel\u0026rdquo; by American author Martin Sherman at the Theater der Stadt Essen, ARD Panorama reported in December 1980, featuring eyewitness accounts, on the situation of those who wore the pink triangle in the Nazi concentration camps.\n","permalink":"https://hhammerschlag.de/en/notizen/homosexuellealsopfergruppe/","summary":"\u003cp\u003eThe knowledge now widely accepted regarding the persecution of gay men under National Socialism was first addressed in the mid-1970s, initially within the gay rights movement and later among the general public.\u003c/p\u003e\n\u003cp\u003eThe first program of the theater group \u003ca href=\"https://de.wikipedia.org/wiki/Br%C3%BChwarm\"\u003e\u0026ldquo;Brühwarm\u0026rdquo;\u003c/a\u003e from 1976 included a scene that addressed this persecution.\nThe authors\nHans-Georg Stümke and Rudi Finkler, who were also active in the Hamburg gay rights movement, published the monograph \u003ca href=\"https://archive.org/details/rosawinkelrosali0000stum/page/n7/mode/2up\"\u003eRosa Winkel, Rosa Listen.\nHomosexuals and \u0026ldquo;Healthy Public Sentiment\u0026rdquo; from Auschwitz to the Present.\u003c/a\u003e\u003c/p\u003e","title":"Homosexuals as a Victim Group under the Nazis"},{"content":"In this interview, eyewitness Kai Reinecke recounts the confrontation between the police and demonstrators in Schanzenpark following the “Stonewall” demonstration on June 28, 1980.\nSo, the demonstration ended in Schanzenpark; it was damp and cold. We were all wearing parkas because it was damp and cold, and back then parkas were in style, even in the gay scene, in weather like that. And we didn’t know how we were supposed to have a picnic on that wet grass in Schanzenpark, and we just stood there somehow—I don’t even know if there was anything to eat for a picnic. I have no idea. I never really noticed—it probably got lost in the rain or the chaos, since it wasn’t exactly cozy either. And a lot of people had already left. And then people must have spotted that VW bus again; it was parked less than 40—well, I can’t say exactly—I’d say less than 40 meters from where we were all standing, and [those people] had approached Corny. Who did they approach? Corny. I don’t even know if he was one of the organizers of the demonstration; that could very well be the case. In any case, they asked him if he could get the films handed over. So, to go over to the bus, because he’d been taking photos throughout the demonstration. Then he went over there—as far as I could tell. I think I just caught that in passing at the beginning. Then the two police officers in the bus immediately rolled up the windows. Because of the rain, they didn’t want to take photos through the raindrops on the windows. They kept taking photos, though. And then they rolled up the windows, and in response to Corny’s polite—or not-so-polite, since he isn’t always polite—question about whether he could have the film, they rolled up the windows, didn’t respond, and kept taking photos.\nAnd then we—well, I certainly wasn’t one of the first; I don’t want to put myself in the spotlight here—but a lot of people went over, and I did too, and we surrounded the bus; we hung our parkas over the windows so they couldn’t take any more photos. We started rocking the bus, and then—though I only realized this later—they were really scared in there because they didn’t know what was happening. They couldn’t see anything anymore. And the left-wing extra-parliamentary opposition—what was it called? Not the APO, the really bad ones… I mean the RAF! The RAF hadn’t been around for very long. And the police probably still had some memories of that, and they didn’t know: Is this that kind of thing? Or what’s going on, what’s happening here? And they didn’t dare do anything anymore. And while we were working on the bus, Corny made his way to a superior, but they had all disappeared. The police officers were nowhere to be seen; they were behind the hill, and [Corny] negotiated with the supervisor and came back and—as far as I know—I don’t know if you can always rely on Corny, but that doesn’t matter—he said the supervisor, the squad leader—maybe there were only fifty people, I don’t know—promised to hand over the films.\nBy then, we’d customized the bus so much that it was way lower to the ground—someone had let the air out of the tires, someone else had unscrewed the spark plug wires in the back, and some guy in platform shoes—which were still kind of in back then—was dancing on top of the roof. And I, even though I’m actually a pretty good kid and not really the rebellious type, I bent the windshield wipers. *laughs* Let me put it this way: as if that were some great feat. Anyway, then this hundred-strong unit—or maybe a group of fifty—of police came down, visors up, batons in one hand and shields in the other, came over the hill, and headed toward the bus. And what do gay guys do—at least most of them: they back off, they’re cowards, not ready to fight. That’s exactly what happened, and the police started pushing the bus out of the park—as I’d argue, almost by the longest route. They could have actually pushed it down there, to the former Kiel train station, which would have been right below. No, they were basically heading toward Schulterstift—that’s across from the park behind, so to the right of the Schlump subway station—they were pushing it in that direction. And just before that, there was a path leading out, almost toward Schulterstift, and there are bushes to the left and right of the path, which means they wanted to push through there. And then someone said: “Come on, let’s all sit down on the path!” And then some people, two rows—I think five or six people in each row—sat down on the path in two rows. And I joined them, and I kept thinking: I’m not sitting on the path. It’s wet, it’s cold, and besides, I feel defenseless when I’m sitting. So I stood behind them. And everyone else then went behind us.\nYeah, and then the police came, and they were already moving in front of the bus in full gear to clear the way. And it was pretty clear where things were headed, and then it happened. I didn’t know what Chemical Mace was, but they just shoved me. So what they did to the people sitting down on the path, I didn’t even notice that anymore. They shoved me into the bushes, somehow, and at the same time fired chemical mace at us. Normally, I think you’re not allowed to use that from a distance of half a meter—they just did it anyway. Young, naive cops who just did it because they couldn’t think of anything better—no idea! Then you’re lying there in the bushes—I didn’t stay there long—and you can’t see anything anymore; it’s burning everywhere. I think the effect is the same as tear gas. I don’t even know if it has any other effects. I also don’t know if the police have to maintain a different distance with tear gas than with chemical mace. I think after two years at most, the police stopped using chemical mace. It doesn’t matter; I couldn’t see anything anymore, and then people pulled me out of the bushes and took those of us who couldn’t see anything to the nearest bar in the sports center on the corner—it’s basically a sports bar. It’s not a community center, but a clubhouse, run by the sports association or something like that. And in the bar, they had lemons, and you could use those to neutralize the effects of the chemical mace. That probably took about half an hour, then I could see again, and so could the others. And then I didn’t really notice much else that happened after that. They took the bus—I still remember that—they pushed it out onto the street and then parked it properly. *laughs* So it wasn’t exactly ready to drive.\n","permalink":"https://hhammerschlag.de/en/geschichte/kaireinecke_schanzenpark/","summary":"\u003cp\u003eIn this interview, eyewitness Kai Reinecke recounts the confrontation between the police and demonstrators in Schanzenpark following the “Stonewall” demonstration on June 28, 1980.\u003c/p\u003e\n\n  \u003caudio controls preload=\"auto\" src=\"/audio/260220_Kai_Reinecke_Stonewall_ChemicalMace_45kbps.mp3\"\u003e\u003c/audio\u003e\n\n\n\u003cblockquote\u003e\n\u003cp\u003eSo, the demonstration ended in Schanzenpark; it was damp and cold. We were all wearing parkas because it was damp and cold, and back then parkas were in style, even in the gay scene, in weather like that. And we didn’t know how we were supposed to have a picnic on that wet grass in Schanzenpark, and we just stood there somehow—I don’t even know if there was anything to eat for a picnic. I have no idea. I never really noticed—it probably got lost in the rain or the chaos, since it wasn’t exactly cozy either. And a lot of people had already left. And then people must have spotted that VW bus again; it was parked less than 40—well, I can’t say exactly—I’d say less than 40 meters from where we were all standing, and [those people] had approached Corny. Who did they approach? Corny. I don’t even know if he was one of the organizers of the demonstration; that could very well be the case. In any case, they asked him if he could get the films handed over. So, to go over to the bus, because he’d been taking photos throughout the demonstration. Then he went over there—as far as I could tell. I think I just caught that in passing at the beginning. Then the two police officers in the bus immediately rolled up the windows. Because of the rain, they didn’t want to take photos through the raindrops on the windows. They kept taking photos, though. And then they rolled up the windows, and in response to Corny’s polite—or not-so-polite, since he isn’t always polite—question about whether he could have the film, they rolled up the windows, didn’t respond, and kept taking photos.\u003c/p\u003e","title":"Interview with Kai Reinecke: After the Demonstration in Schanzenpark"},{"content":"The British gay eccentric Quentin Crisp writes the following about police decoys in public restrooms in his 1968 book The Naked Civil Servant (translated into German in 1988 as Crisperanto):\nCW: racist stereotypes, the N-word\nThe main area of operation for this particular strategy was the dimly lit public restrooms in the less densely populated areas of London. While a plainclothes detective paced back and forth across the street with watchful indifference, his accomplice—selected by superiors for his natural, job-appropriate physique—stood there at the urinal and “showed off”—he displayed his DIY apparatus to anyone who happened to walk in. (One cannot imagine what an equipment inspection—which would, after all, have to take place before every shift—would look like.) The trap worked well, and many of the most unbelievable people were lured to their doom in this manner. More recently, now that everyone is familiar with these maneuvers, they have fallen out of fashion. Common knowledge robs them of their effect. They also offend the sporting instinct of the British people. They are seen as a trick, like placing a diamond bracelet on the sidewalk and pouncing from ambush on anyone who bends down to pick it up. Almost exclusively, it was borderline cases that were caught. Those whose idea of a pleasant evening consisted of wandering from one “gentleman” to another quickly learned to recognize a cop even by touch. People who had never heard of homosexuality but whose natural curiosity was aroused by any manifestation of strange human behavior were put in such danger by these police techniques. Even if you had a good night, asking the officer what on earth he was doing there would certainly lead to arrest; if it was a bad night, a brief glance in his direction was enough. The worst consequence of the decoy system , however, was that for a police officer assigned to such a post who happened to have no sympathy for gay men, aversion quickly turned into the most savage hatred. Conversely, gay men who originally feared the police—which some might consider a good thing—now developed contempt for them.\nFrom the perspective of the law, the only weakness of the decoy system was the fact that it took two police officers to catch a sex offender. That was a waste of manpower. The police viewed homosexuals the way the Native Americans viewed bison. They racked their brains over how to exterminate them in herds. With the help of informants, they found out where the big gay parties were held, and that’s where they focused their attention.\u0026quot;\n– Quentin Crisp: \u0026ldquo;Crisperanto,\u0026rdquo; Amman Verlag 1988, p. 96ff.\n","permalink":"https://hhammerschlag.de/en/notizen/polizeilockvogel/","summary":"\u003cp\u003eThe British gay eccentric \u003ca href=\"crisperanto.org\"\u003eQuentin Crisp\u003c/a\u003e writes the following about police decoys in public restrooms in his 1968 book \u003cem\u003eThe Naked Civil Servant\u003c/em\u003e (translated into German in 1988 as \u003cem\u003eCrisperanto\u003c/em\u003e):\u003c/p\u003e\n\u003cp\u003e\u003cem\u003eCW: racist stereotypes, the N-word\u003c/em\u003e\u003c/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003eThe main area of operation for this particular strategy was the dimly lit public restrooms in the less densely populated areas of London. While a plainclothes detective paced back and forth across the street with watchful indifference, his accomplice—selected by superiors for his natural, job-appropriate physique—stood there at the urinal and “showed off”—he displayed his DIY apparatus to anyone who happened to walk in. (One cannot imagine what an equipment inspection—which would, after all, have to take place before every shift—would look like.) The trap worked well, and many of the most unbelievable people were lured to their doom in this manner. More recently, now that everyone is familiar with these maneuvers, they have fallen out of fashion. Common knowledge robs them of their effect. They also offend the sporting instinct of the British people. They are seen as a trick, like placing a diamond bracelet on the sidewalk and pouncing from ambush on anyone who bends down to pick it up. Almost exclusively, it was borderline cases that were caught. Those whose idea of a pleasant evening consisted of wandering from one “gentleman” to another quickly learned to recognize a cop even by touch. People who had never heard of homosexuality but whose natural curiosity was aroused by any manifestation of strange human behavior were put in such danger by these police techniques. Even if you had a good night, asking the officer what on earth he was doing there would certainly lead to arrest; if it was a bad night, a brief glance in his direction was enough. The worst consequence of the \u003cmark\u003edecoy system\u003c/mark\u003e , however, was that for a police officer assigned to such a post who happened to have no sympathy for gay men, aversion quickly turned into the most savage hatred. Conversely, gay men who originally feared the police—which some might consider a good thing—now developed contempt for them.\u003c/p\u003e","title":"Police Decoys in Quentin Crisp's *The Naked Civil Servant* (1968)"},{"content":"Rüdiger Trautsch, who was closely associated with the Café TucTuc from 1979 to 1981, studied photography at the Academy of Fine Arts during that time. For his thesis project, “Hardly Anyone Did It Out of Love!”, he staged scenes from the everyday life of an ordinary gay man (Martin Dannecker and Reimut Reiche).\nThe large-format booklet feels substantial in the hand; with ample white space and a deliberately balanced placement of text and images, Trautsch gives his protagonist Reinhold—a middle-aged window dresser—the space he needs to stroll through the IGA wearing makeup, receive a visit from his aunt, cruise through parks and cruising spots, and dance through the nightlife in a grand evening gown. A touching portrait.\nThe publication appeared in 1981 from material-Verlag at the HFBK Hamburg. A good insight into Trautsch’s work is provided by the zine created for a 2023 retrospective, featuring an essay by Peter Rehberg. Given that Reinhold was apparently able to go public with his homosexuality so effortlessly, I envisioned a model report on homosexual emancipation that would serve as a photo-text documentation for discussion among gay activist groups. For over a year, I took photos and conducted interviews with Reinhold, gaining a completely different perspective from close up—images that still reveal despair even when attempting a joyful break from internalized bourgeois morality, an attempt that ultimately leads only to a dead end.\n– Rüdiger Trautsch\nundefined\n","permalink":"https://hhammerschlag.de/en/notizen/ausliebe/","summary":"\u003cp\u003eRüdiger Trautsch, who was closely associated with the \u003ca href=\"/en/tour/06_das_tuctuc/\"\u003eCafé TucTuc\u003c/a\u003e from 1979 to 1981, studied photography at the Academy of Fine Arts during that time. For his thesis project, “Hardly Anyone Did It Out of Love!”, he staged scenes from the everyday life of an \u003ca href=\"https://jungle.world/artikel/2024/21/50-jahre-studie-der-gewoehnliche-homosexuelle-zwischen-subkultur-und-normalitaet\"\u003eordinary\u003c/a\u003e \u003ca href=\"https://www.queer.de/detail.php?article_id=49924\"\u003egay man\u003c/a\u003e (Martin Dannecker and Reimut Reiche).\u003c/p\u003e\n\u003cp\u003eThe large-format booklet feels substantial in the hand; with ample white space and a deliberately balanced placement of text and images, Trautsch gives his protagonist Reinhold—a middle-aged window dresser—the space he needs to stroll through the IGA wearing makeup, receive a visit from his aunt, cruise through parks and cruising spots, and dance through the nightlife in a grand evening gown. A touching portrait.\u003c/p\u003e","title":"Rüdiger Trautsch »Hardly Anyone Did It Out of Love!«"},{"content":"Corny Littmann smashes the Spiegel in a relatively unspectacular manner. He recounts it here.\n","permalink":"https://hhammerschlag.de/en/notizen/der-spiegel/","summary":"\u003cp\u003eCorny Littmann smashes the Spiegel in a relatively unspectacular manner. He recounts it \u003ca href=\"https://www.spiegel.de/geschichte/corny-littmann-spricht-ueber-die-diskriminierung-von-homosexuellen-a-1087962.html\"\u003ehere\u003c/a\u003e.\u003c/p\u003e","title":"The Mirror"},{"content":"Surveillance in Hamburg restrooms can be traced back to August 1960, when the district office instructed the criminal investigation department to monitor the long line for homosexual activity, citing the protection of minors as the reason. Although the criminal investigation department did not observe any activity in the restrooms and could not confirm any danger to minors, surveillance continued. There are surveillance logs from the Youth Protection Unit, which monitored bars, meeting places, and restrooms. Due to the conspicuous presence of the officers, monitoring the restrooms proved difficult, which is why, starting in 1964, existing restrooms were equipped with spy mirrors offering a view of the urinals, such as those at Spielbudenplatz or Großneumarkt. This allowed officers to monitor restroom users unrecognized, check on users behaving “suspiciously,” and record their personal details. Starting in 1966, some newly constructed restrooms—such as those at Jungfernstieg (U2) in 1973 or at Rathausmarkt (S-Bahn) in 1974—were planned with built-in mirrors and observation chambers. In total, ten men’s restrooms were equipped with mirror systems by 1975. It was standard practice to issue a warning to “suspicious” users during an inspection, a measure that applied to all ten restroom facilities. If the individual were to behave “conspicuously” again at one of the ten specified restrooms and use them “inappropriately,” they would be barred from entering those very same ten restrooms. In the event of a further “inappropriate presence” within one of the ten restroom facilities, a criminal complaint for violating the ban would be filed. The stated goal of all three escalation levels of warnings and bans was deterrence. The police themselves note in their documents that the “conspicuous” behavior did not diminish, but at most shifted. Another objective, which was not officially noted due to its illegality, was the collection of personal data on men who had sex with men. As the Senate confirmed in retrospect, the names, addresses, and dates of birth of the men who were checked were entered into the Police Information System (POLAS), which could also be described as maintaining a homosexual registry.\nIn 1975, the Wandsbek Police Department also discussed installing a mirror system in the restroom facilities at Wandsbek Markt, as many men had been driven there by the surveillance in the city center. However, the installation of the mirrors was never carried out. Police authorities in other major German cities were also interested in mirror surveillance but ultimately decided against it as well, which is why the surveillance in Hamburg–Mitte—in this architectural form—is a unique case.\n","permalink":"https://hhammerschlag.de/en/tour/10_der_observationsraum/","summary":"Station 10 – Surveillance of Gay Venues by the Hamburg Police from 1960 to 1980","title":"The Observation Room – Visible"},{"content":"In the 2001 film »Gefängnisbilder« Harun Farocki shows excerpts from Jean Genet’s film \u0026ldquo;Un Chant d’Amour\u0026rdquo; (1950), in which a prison guard develops a voyeuristic fascination with the prisoners’ masturbation, “their love life.”\nThe prison is a place of prohibitions, and thus of secrets and transgressions, at least those hoped for and fantasized about. – Harun Farocki, \u0026raquo;Prison Images\u0026laquo;, DE 2000, Min. 08:05\nFilmmaker Farocki juxtaposes these excerpts with documentary footage from U.S. prisons, in which prisoners attempt to cover the transparent barred doors of their cells with their mattresses in order to create some semblance of privacy. These attempts are regularly and violently quashed with tear gas and physical force.\n","permalink":"https://hhammerschlag.de/en/notizen/gef%C3%A4ngnisbilder/","summary":"\u003cp\u003eIn the 2001 film \u003ca href=\"https://archiv.harun-farocki-institut.org/de/werke/film/gefaengnisbilder/\"\u003e»Gefängnisbilder«\u003c/a\u003e Harun Farocki shows \u003ca href=\"https://youtu.be/WMl10bafpWQ?si=q_dd7qClM-1APJpd\u0026amp;t=435\"\u003eexcerpts\u003c/a\u003e from Jean Genet’s film \u003ca href=\"https://www.openculture.com/2013/12/jean-genets-a-song-of-love.html\"\u003e\u0026ldquo;Un Chant d’Amour\u0026rdquo;\u003c/a\u003e (1950), in which a prison guard develops a voyeuristic fascination with the prisoners’ masturbation, “their love life.”\u003c/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003eThe prison is a place of prohibitions, and thus of secrets and transgressions, at least those hoped for and fantasized about. \u003cbr\u003e\n– Harun Farocki, \u0026raquo;Prison Images\u0026laquo;, DE 2000, Min. 08:05\u003c/p\u003e\n\u003c/blockquote\u003e\n\u003ciframe src=\"https://archive.org/embed/gefangnisbilder?start=436\" width=\"560\" height=\"384\" frameborder=\"0\" webkitallowfullscreen=\"true\" mozallowfullscreen=\"true\" allowfullscreen=\"\"\u003e\u003c/iframe\u003e\n\u003cp\u003eFilmmaker Farocki juxtaposes these excerpts with documentary footage from U.S. prisons, in which prisoners attempt to cover the transparent barred doors of their cells with their mattresses in order to create some semblance of privacy. These attempts are regularly and violently quashed with \u003ca href=\"/en/geschichte/chemical_mace/\"\u003etear gas\u003c/a\u003e and physical force.\u003c/p\u003e","title":"Voyeurism in Harun Farocki\u0026#x27;s \u0026#x27;Prison Pictures\u0026#x27;"},{"content":"The title of the film “Tearoom” by filmmaker William E. Jones plays on the term tearoom —which in slang refers to a place for quick sex.\nIn 1962, the police department of Mansfield, Ohio, shot an instructional video documenting their methods of prosecuting gay men. The door of a janitor’s closet in the public men’s restroom was fitted with a one-way mirror, allowing an officer to use a 16mm film camera to secretly monitor and film the men who met there for sex. The footage was subsequently used as evidence in court, resulting in all the accused men being found guilty and serving at least one year in prison. What is striking about the surviving recordings is that some faces have been burned out of the footage, rendering them unrecognizable. The artist suspects that these individuals may have been police officers who were covered by their colleagues. In 2008, William E. Jones released this educational film in its unedited form—as a radical example of using a film “as found”—thereby, on the one hand, making visible the police surveillance practices of the 1960s, while on the other hand highlighting the shift and, consequently, the mutability of the discourse over the past 50 years.\n","permalink":"https://hhammerschlag.de/en/notizen/tearoom/","summary":"\u003cp\u003eThe title of the film \u003ca href=\"https://www.williamejones.com/portfolio/tearoom\"\u003e“Tearoom”\u003c/a\u003e by filmmaker William E. Jones plays on the term \u003ca href=\"https://www.urbandictionary.com/define.php?term=tearoom\"\u003etearoom\u003c/a\u003e —which in \u003cem\u003eslang\u003c/em\u003e refers to a place for quick sex.\u003c/p\u003e\n\u003cp\u003eIn 1962, the police department of Mansfield, Ohio, shot an instructional video documenting their methods of prosecuting gay men. The door of a janitor’s closet in the public men’s restroom was fitted with a one-way mirror, allowing an officer to use a 16mm film camera to secretly monitor and film the men who met there for sex. The footage was subsequently used as evidence in court, resulting in all the accused men being found guilty and serving at least one year in prison. What is striking about the surviving recordings is that some faces have been burned out of the footage, rendering them unrecognizable. The artist suspects that these individuals may have been police officers who were covered by their colleagues. In 2008, William E. Jones released this educational film in its unedited form—as a radical example of using a film “as found”—thereby, on the one hand, making visible the police surveillance practices of the 1960s, while on the other hand highlighting the shift and, consequently, the mutability of the discourse over the past 50 years.\u003c/p\u003e","title":"William E. Jones »Tearoom«"},{"content":"What cannot be made visible are the specific documents that document the registration of men who have sex with men in Hamburg. These “Pink Lists”—lists containing the names, registered addresses, and dates of birth of the men who were monitored—are held in the Hamburg State Archives but are restricted until 2040 due to the retention periods for the personal data of those affected. This applies to the files with the following reference number: 441-2 (Office for District Administration), 523 file number 646.90-1/1\nNor can the perspective of the surveillors be presented in this space. As part of the research for this exhibition project, in cooperation with Queer History Month Hamburg , an attempt was made to conduct an interview with a person who, in the 1970s, assisted with surveillance while serving in the police force. The police department became aware of the planned interview and intervened: the former employer prohibited the interview.\nTo mark this gap, we are showing the film “Tearoom” by filmmaker William E. Jones. In 1962, the police department of Mansfield, Ohio, produced an instructional video documenting their methods of targeting gay men. The door of a cleaning closet in the public men’s restroom was fitted with a one-way mirror, allowing an officer to use a 16mm film camera to secretly monitor and film the men who met there for sex. The footage was subsequently used as evidence in court, resulting in all the accused men being found guilty and serving at least one year in prison. What is striking about the surviving recordings is that some faces have been burned out of the footage, rendering them unrecognizable. The artist suspects that these individuals may have been police officers who were covered by their colleagues. In 2008, William E. Jones released this educational film in its unedited form—as a radical example of using a film “as found”—thereby, on the one hand, making visible the police surveillance practices of the 1960s, while on the other hand highlighting the shift and, consequently, the mutability of the discourse over the past 50 years.\n","permalink":"https://hhammerschlag.de/en/tour/11_das_verborgene_im_observationsraum/","summary":"Station 11 – Missing Pieces, Gaps, Perpetrator's Perspectives","title":"The Observation Room – The Invisible"},{"content":"Perhaps at the end of this tour through the history of surveillance, the watchers, and the watched, all that remains is to put it into poetic words: In the summer of 1980, pasts and futures emerged from the shadows into the public eye. Just as the topic of “surveillance” emerged from the shadows into the light, we step out of the catacombs of the restroom—where gay sex and its surveillance had been confined until 1980—and up to street level. Here, in the daylight and in public, we can talk to one another about what we have seen, we can discuss, we can try to trace the ruptures and changes of the past decades, we can resolve to share the pain and also the joy.\nThe questions arise:\nWhat has become visible by shattering the mirrors? What has remained hidden? And also: What feelings and moments had to be concealed upon entering the public sphere? Looking at the present, the questions arise as to who, in the here and now, is affected by similar systems of control by the police and society. Which people are regularly checked at train stations? To whom is it being shown that they are not allowed to move freely, but rather do not fulfill the “purpose” of these spaces? Who is treated as “different” or “special” based on attributed characteristics? What consequences does this “coming into view” have for everyday life?\nAnyone interested in the conditions under which people become visible in current public spaces such as social media will be pleased to attend the »SPIEGEL PANEL« on Saturday, April 18, 2026, at 2:00 PM, featuring Shahrzad Golab, Dr. Vera Klocke, and Luna Möbius. Moderated by René Scharr, journalist Shahrzad Golab will share insights from her research on Palantir and technical surveillance today; Vera Klocke will discuss her research on staging strategies on TikTok; and activist content creator Luna Möbius will offer a behind-the-scenes look at image usage on social media.\nIn the workshop “MEME THE PAIN AWAY” with the Viennese Ibiza meme creator Anahita Neghabat, we’ll get cozy to spin empowering memes in a relaxed atmosphere and tickle the screens with creative fingertips.\nThe “HAMMER PANEL” on Saturday, April 18, at 7:00 PM with Lie Ning, Miriam Coretta Schulte, and Frederik Busch brings art and activism to the stage. Moderated by Dixi Glow, Lie Ning speaks about the journey as a QTBIPoC artist and what it means to have activism practically handed to you; Miriam Coretta Schulte reports on her research into the continuity of police violence in Namibia since the German colonial era; Frederik Busch demonstrates how, in his artistic biography, the focus on the social has evolved into a practice of social space.\nFor a lively conclusion to the day of discourse, Saeleen Bouvar, founder of the legendary TRANSTRONICA Festival, invites you on Saturday evening, April 18, to an exclusive DJ set in the exhibition to get your bodies moving in this fever dream of a public restroom.\nThe team bows and together finds “happiness in the restroom.”\n","permalink":"https://hhammerschlag.de/en/tour/12_zurueck_auf_die_strasze/","summary":"Station 12 – Back to the Present, Back into Public Life","title":"‘Out of the Restrooms, Into the Streets’"},{"content":"In his anthology Die Märchenklappe, author Felix Rexhausen publishes the text “On Official Business,” in which he captures the thoughts of a fictional police officer assigned to observe homosexuals from the police box at Spielbudenplatz. In contrast to his disinterested colleague, he seems to have a voyeuristic curiosity about the “view of Pissburg” (p. 64): “It’s crazy boring here today. Sure, still better than running around outside in this weather or sitting in the patrol car. But otherwise, I kind of liked it better; I always enjoy coming here.” (p. 65)\nRexhausen prefaces the satire with a poem:\nBehind mirrors,\ncrystal-clear,\nin urinals,\npublic ones,\nsat, sit\nhere and there\npolice officers\nto observe\nthe decline\nof proper morals\nand then to step in\nand protect\npublic decency.\n– Felix Rexhausen: “On Duty” 1982\nAccording to Queer.de, the content of the satire resembles the play “The Accidental Death of Christian K.” by director Ulrich Waller, which premiered in December 1980 at the Malersaal. There, the situation of the police officers is described as follows:\nPart of their professional duties is to closely observe the men on the other side of the mirror: Is that gentleman just shaking it off, or is he already jerking off? At one point, the police officer says to his colleague reading the “Bild” newspaper: “As if there weren’t more important things for people like us to do! Whether these gay pigs are groping each other here or somewhere else, it doesn’t give a damn—they’re doing it anyway.”\nOne almost feels sorry for the police officers, but this satire does not aim to elicit empathy for the law enforcement officers; rather, it points out that something is wrong with this constitutional state.\nFelix Rexhausen (1982): On Duty. In: Ibid.: Die Märchenklappe. Allerlei Zwischenmännlichkeiten. Rosa Winkel Publishing, Berlin: 1982, pp. 64–67. (CW: N-word, racism) ","permalink":"https://hhammerschlag.de/en/notizen/dienstlich_unterwegs/","summary":"\u003cp\u003eIn his anthology \u003cem\u003eDie Märchenklappe\u003c/em\u003e, author Felix Rexhausen publishes the text “On Official Business,” in which he captures the thoughts of a fictional police officer assigned to observe homosexuals from the police box at Spielbudenplatz. In contrast to his disinterested colleague, he seems to have a voyeuristic curiosity about the “view of Pissburg” (p. 64): “It’s crazy boring here today. Sure, still better than running around outside in this weather or sitting in the patrol car. But otherwise, I kind of liked it better; I always enjoy coming here.” (p. 65)\u003c/p\u003e","title":"Felix Rexhausen's »Dienstlich Unterwegs«; (Männerschwarm)"},{"content":"queer.de writes about it:\nThe \u0026ldquo;Peep Show for Cops\u0026rdquo; as a play at the Hamburg Schauspielhaus The scandal not only influenced socio-political consciousness but also stimulated creativity. As early as December 1980, the events were taken up in a play. In \u0026ldquo;The Accidental Death of Christian K.,\u0026rdquo; director Ulrich Waller critically examined the power of police officers in 20 short scenes. Here, they are \u0026ldquo;confronted with their stupidity and criminality; their perversions are exposed to ridicule\u0026rdquo; (\u0026ldquo;Du \u0026amp; Ich,\u0026rdquo; March 1981, p. 48). In all the scenes, Waller drew on real events, which he portrayed in a satirically exaggerated manner.\nThe short scene “Peepshow for Cops” centers on the police officers Oskar and Heinz, who have been sitting behind bathroom mirrors in Hamburg for 16 years, observing homosexuals. The play was performed in the “Malersaal” of the Deutsches Schauspielhaus in Hamburg, which serves as a rehearsal and experimental stage and is known for presenting the “more unusual and daring plays.”\nAs a satirical reflection from the perspective of fictional police officers, this theatrical scene resembles Felix Rexhausen’s satire “On Duty” (printed in his book “Die Märchenklappe,” 1982, pp. 63–67), which consists of a fictional monologue by a police officer on duty with his colleague. Part of their professional duties is to closely observe the men on the other side of the mirror: Is that gentleman just shaking it off, or is he already jerking off? At one point, the police officer says to his colleague, who is reading the “Bild” newspaper: “As if there weren’t more important things for people like us to do! Whether these gay pigs are groping each other here or somewhere else, it doesn’t give a damn—they’re doing it anyway.”\nOne almost feels sorry for the police officers, but this satire isn’t aimed at eliciting empathy for the law enforcement officers; rather, it points out that something is wrong with this constitutional state.\n","permalink":"https://hhammerschlag.de/en/geschichte/theaterst%C3%BCck-im-malersaal/","summary":"\u003cp\u003e\u003ca href=\"https://www.queer.de/detail.php?article_id=36465\"\u003equeer.de\u003c/a\u003e writes about it:\u003c/p\u003e\n\u003cblockquote\u003e\n\u003ch3 id=\"the-peep-show-for-cops-as-a-play-at-the-hamburg-schauspielhaus\"\u003eThe \u0026ldquo;Peep Show for Cops\u0026rdquo; as a play at the Hamburg Schauspielhaus\u003c/h3\u003e\n\u003cp\u003eThe scandal not only influenced socio-political consciousness but also stimulated creativity. As early as December 1980, the events were taken up in a play. In \u0026ldquo;The Accidental Death of Christian K.,\u0026rdquo; director Ulrich Waller critically examined the power of police officers in 20 short scenes. Here, they are \u0026ldquo;confronted with their stupidity and criminality; their perversions are exposed to ridicule\u0026rdquo; (\u0026ldquo;Du \u0026amp; Ich,\u0026rdquo; March 1981, p. 48). In all the scenes, Waller drew on real events, which he portrayed in a satirically exaggerated manner.\u003c/p\u003e","title":"Ulrich Waller »The Accidental Death of Christian K« (Malersaal)"},{"content":"Section 175 of the German Criminal Code had criminalized sexual acts between men* since 1871 and was used to persecute homosexuals, particularly after it was tightened by the Nazis in 1935. After years of lobbying by the homophile movement, it was relaxed in the Federal Republic of Germany on September 1, 1969. A second reform followed in 1973. Since then, sexual acts with male minors under the age of 18 were punishable, whereas the age of consent for lesbian and heterosexual acts was 14. It was not until June 10, 1994, that §175 was completely removed from the German Criminal Code (StGB); the convictions handed down under this provision were not largely overturned until 2017.\nThe first reform in 1969 made it possible to legally establish homosexual journals and magazines, as well as to open openly gay shops and businesses. The resulting infrastructure served as an important foundation for queer networks, as well as for the activism of the Second German Gay Movement.\nMico Kaletta, owner of the gay bar Vulkan in Hanover, describes the evening of the repeal as follows:\n“We could hardly wait to be able to hug and kiss without punishment. We seized on the date and planned a celebration, treating everyone to two kegs of free beer. At 7 p.m. we opened the bar, and by 7:10 p.m. we actually would have had to put up a line because so many gay people had come. We also celebrated on the sidewalk. Our landlord, Mr. Blum, who was then chairman of the Jewish community in Hanover, congratulated us and gave us the green light for the noise. We were all in a frenzy of joy. Finally, we no longer had to hide. Overnight, there were two million fewer criminals.” 1\nRosenkranz, Bernhard/ Bollmann, Ulf: Hamburg auf anderen Wegen, Lambda Edition GmbH Hamburg, 2nd ed. 2005,\u0026#160;\u0026#x21a9;\u0026#xfe0e;\n","permalink":"https://hhammerschlag.de/en/geschichte/entschaerfung-des-175/","summary":"\u003cp\u003eSection \u003ca href=\"https://de.wikipedia.org/wiki/%C2%A7_175_Strafgesetzbuch_%28Deutschland%29\"\u003e175 of the German Criminal Code\u003c/a\u003e had criminalized sexual acts between men* since 1871 and was used to persecute homosexuals, particularly after it was tightened by the Nazis in 1935. After years of lobbying by the homophile movement, it was relaxed in the Federal Republic of Germany on September 1, 1969. A second reform followed in 1973. Since then, sexual acts with male minors under the age of 18 were punishable, whereas the age of consent for lesbian and heterosexual acts was 14.\nIt was not until June 10, 1994, that §175 was completely removed from the German Criminal Code (StGB); the convictions handed down under this provision were not largely overturned until 2017.\u003c/p\u003e","title":"Deregulation of §175"},{"content":"Chemical Mace was developed in the 1960s as a defensive spray for private use and was quickly adopted by the police as a supposedly non-lethal weapon for controlling demonstrations. During the incident in Schanzenpark as part of the first Stonewall demonstration in Hamburg on June 28, 1980, the police used CN gas against unarmed and peaceful demonstrators.\nIn English, the brand name mace is now used as a generic term for tear gas in general, while the name chemical mace in German media refers to sprays containing the active ingredient ω-chloroacetophenone (CN) . Due to its highly hazardous effects (possible consequences include blindness, skin cancer, and death from lung damage), CN gas may only be discharged from a sufficient safety distance and has gradually been replaced by 2-chlorobenzylidene malonic acid dinitrile (CS) (tear gas) and pepper spray. The effects of CN were widely discussed in the 1970s in the German media as part of coverage of the militarization of the police and the increasingly violent crackdown on demonstrators.\n","permalink":"https://hhammerschlag.de/en/geschichte/chemical_mace/","summary":"\u003cp\u003e\u003cem\u003eChemical Mace\u003c/em\u003e was developed in the 1960s as a defensive spray for private use and was quickly adopted by the police as a supposedly non-lethal weapon for controlling demonstrations. During the \u003ca href=\"/en/geschichte/kaireinecke_schanzenpark/\"\u003eincident in Schanzenpark\u003c/a\u003e as part of the first \u003ca href=\"/en/tour/05_von_demo_zu_demo/\"\u003eStonewall demonstration\u003c/a\u003e in Hamburg on June 28, 1980, the police used CN gas against unarmed and peaceful demonstrators.\u003c/p\u003e\n\u003cp\u003eIn English, the brand name \u003cem\u003emace\u003c/em\u003e is now used as a generic term for tear gas in general, while the name \u003cem\u003echemical mace\u003c/em\u003e in German media refers to sprays containing the active ingredient \u003ca href=\"https://de.wikipedia.org/wiki/%CE%A9-Chloracetophenon\"\u003eω-chloroacetophenone (CN)\u003c/a\u003e . Due to \u003ca href=\"http://umweltlexikon.katalyse.de/?p=4036\"\u003eits highly hazardous effects\u003c/a\u003e (possible consequences include blindness, skin cancer, and death from lung damage), CN gas may only be discharged from a sufficient safety distance and has gradually been replaced by \u003ca href=\"https://de.wikipedia.org/wiki/2-Chlorbenzylidenmalons%C3%A4uredinitril\"\u003e2-chlorobenzylidene malonic acid dinitrile (CS)\u003c/a\u003e (tear gas) and \u003ca href=\"https://de.wikipedia.org/wiki/Pfefferspray\"\u003epepper\u003c/a\u003e \u003ca href=\"https://www.wired.com/story/whats-inside-triple-action-mace-chili-peppers-and-uv-dye/\"\u003espray.\u003c/a\u003e The effects of CN were \u003ca href=\"https://www.spiegel.de/politik/wie-das-zeug-wirkt-a-be9420c2-0002-0001-0000-000041069380\"\u003ewidely discussed\u003c/a\u003e in the 1970s in the German media as part of coverage of the militarization of the police and the increasingly violent crackdown on demonstrators.\u003c/p\u003e","title":"Chemical Mace – CN Gas"},{"content":"Team Artistic Team Artistic Direction: Simon Schultz Production: Dana Tucker Johanna Thomas Scenography: Aria Gilani Anne Sofie Ravnsbæk Geertsen Daniel Pietschmann Tour Concept and Performance: Sarah Plochl Nina Kuttler Sound: keos Layout: Mawuto Dotou Social Media: Kenneth Komlan Soussoukpo Documentation: Maik Gräf Discourse Program: Stefan Valdés Tittel Anouar Merabet Dramaturgy: Lucien Lambertz Acknowledgments This project would not have achieved this level of quality without the support and groundwork of the following individuals and institutions:\nAnja Steidinger, Nora Sternfeld, Mira-Kristin Saitzek, Kai Reinecke, Tarek Shukrallah, Phileas, Ulf Treger, Eberhard Raithelhuber, Felix Schultz von Dratzig, Vivien Friedrich, Carmen Ripper, Emre Abut, Daniela Nicolò, Enrico Casagrande, Doro Halbrock, Thomas Herrmann, Gottfried Lorenz, Ulf Bollmann, Wolfgang Krömer, Klaus-Dieter Begemann, Ulrich Würdemann, Corni Littmann, Daniel Frahm, Riso Print Hamburg, Fuck Yeah Sexshop Collective, Schwules Museum Berlin, Queer History Month Hamburg, Pink Channel, Gängeviertel Hamburg, Yamaguchi Center for Arts and Media, Research Center for Contemporary History in Hamburg, Hamburg Hochbahn Archive, and all those who contributed anonymously.\nFunding The project development was funded by the Fund for the Performing Arts and the Co-financing Fund of the City of Hamburg’s Department of Culture and Media. With the kind support of Eeden e.V. \u0026amp; the Friedrich Ebert Foundation (Northern Regional Office).\nLegal Notice\n","permalink":"https://hhammerschlag.de/en/credits/","summary":"\u003ch2 id=\"team\"\u003eTeam\u003c/h2\u003e\n\u003ctable\u003e\n  \u003cthead\u003e\n      \u003ctr\u003e\n          \u003cth style=\"text-align: left\"\u003eArtistic Team\u003c/th\u003e\n          \u003cth style=\"text-align: left\"\u003e\u003c/th\u003e\n      \u003c/tr\u003e\n  \u003c/thead\u003e\n  \u003ctbody\u003e\n      \u003ctr\u003e\n          \u003ctd style=\"text-align: left\"\u003e\u003cstrong\u003eArtistic Direction:\u003c/strong\u003e\u003c/td\u003e\n          \u003ctd style=\"text-align: left\"\u003e\u003ca href=\"https://simonschultz.net\"\u003eSimon Schultz\u003c/a\u003e\u003c/td\u003e\n      \u003c/tr\u003e\n      \u003ctr\u003e\n          \u003ctd style=\"text-align: left\"\u003e\u003cstrong\u003eProduction:\u003c/strong\u003e\u003c/td\u003e\n          \u003ctd style=\"text-align: left\"\u003e\u003ca href=\"https://www.instagram.com/tallulahfreeway/\"\u003eDana Tucker\u003c/a\u003e \u003cbr\u003e \u003ca href=\"https://www.linkedin.com/in/johanna-thomas-02367a202/\"\u003eJohanna Thomas\u003c/a\u003e\u003c/td\u003e\n      \u003c/tr\u003e\n      \u003ctr\u003e\n          \u003ctd style=\"text-align: left\"\u003e\u003cstrong\u003eScenography:\u003c/strong\u003e\u003c/td\u003e\n          \u003ctd style=\"text-align: left\"\u003e\u003ca href=\"https://arialoea.net/cv\"\u003eAria Gilani\u003c/a\u003e \u003cbr\u003e  \u003ca href=\"https://www.linkedin.com/in/anne-sofie-ravnsb%C3%A6k-geertsen-45806b202/\"\u003eAnne Sofie Ravnsbæk Geertsen\u003c/a\u003e \u003cbr\u003e \u003ca href=\"https://danielpietschmann.de/\"\u003eDaniel Pietschmann\u003c/a\u003e\u003c/td\u003e\n      \u003c/tr\u003e\n      \u003ctr\u003e\n          \u003ctd style=\"text-align: left\"\u003e\u003cstrong\u003eTour Concept and Performance:\u003c/strong\u003e\u003c/td\u003e\n          \u003ctd style=\"text-align: left\"\u003e\u003ca href=\"https://guiltless-beryllium-bf9.notion.site/saratoninne-308c3ae9e8a1806eaca1d4411979431a\"\u003eSarah Plochl\u003c/a\u003e  \u003cbr\u003e  \u003ca href=\"http://www.ninakuttler.com/\"\u003eNina Kuttler\u003c/a\u003e\u003c/td\u003e\n      \u003c/tr\u003e\n      \u003ctr\u003e\n          \u003ctd style=\"text-align: left\"\u003e\u003cstrong\u003eSound:\u003c/strong\u003e\u003c/td\u003e\n          \u003ctd style=\"text-align: left\"\u003e\u003ca href=\"https://keos.club/\"\u003ekeos\u003c/a\u003e\u003c/td\u003e\n      \u003c/tr\u003e\n      \u003ctr\u003e\n          \u003ctd style=\"text-align: left\"\u003e\u003cstrong\u003eLayout:\u003c/strong\u003e\u003c/td\u003e\n          \u003ctd style=\"text-align: left\"\u003e\u003ca href=\"https://mawuto.de/\"\u003eMawuto Dotou\u003c/a\u003e\u003c/td\u003e\n      \u003c/tr\u003e\n      \u003ctr\u003e\n          \u003ctd style=\"text-align: left\"\u003e\u003cstrong\u003eSocial Media:\u003c/strong\u003e\u003c/td\u003e\n          \u003ctd style=\"text-align: left\"\u003e\u003ca href=\"https://www.instagram.com/sir.sou/\"\u003eKenneth Komlan Soussoukpo\u003c/a\u003e\u003c/td\u003e\n      \u003c/tr\u003e\n      \u003ctr\u003e\n          \u003ctd style=\"text-align: left\"\u003e\u003cstrong\u003eDocumentation:\u003c/strong\u003e\u003c/td\u003e\n          \u003ctd style=\"text-align: left\"\u003e\u003ca href=\"https://www.maikgraef.de/\"\u003eMaik Gräf\u003c/a\u003e\u003c/td\u003e\n      \u003c/tr\u003e\n      \u003ctr\u003e\n          \u003ctd style=\"text-align: left\"\u003e\u003cstrong\u003eDiscourse Program:\u003c/strong\u003e\u003c/td\u003e\n          \u003ctd style=\"text-align: left\"\u003e\u003ca href=\"https://www.instagram.com/s__v__t\"\u003eStefan Valdés Tittel\u003c/a\u003e \u003cbr\u003e  \u003ca href=\"https://www.instagram.com/anuardaimon\"\u003eAnouar Merabet\u003c/a\u003e\u003c/td\u003e\n      \u003c/tr\u003e\n      \u003ctr\u003e\n          \u003ctd style=\"text-align: left\"\u003e\u003cstrong\u003eDramaturgy:\u003c/strong\u003e\u003c/td\u003e\n          \u003ctd style=\"text-align: left\"\u003e\u003ca href=\"https://www.linkedin.com/in/lucien-lambertz-6ab19a209/\"\u003eLucien Lambertz\u003c/a\u003e\u003c/td\u003e\n      \u003c/tr\u003e\n  \u003c/tbody\u003e\n\u003c/table\u003e\n\u003ch2 id=\"acknowledgments\"\u003eAcknowledgments\u003c/h2\u003e\n\u003cp\u003eThis project would not have achieved this level of quality without the support and groundwork of the following individuals and institutions:\u003c/p\u003e","title":"Credits"},{"content":"On July 2, 1980, an anonymous collective smashed a spy mirror that had been installed in the public men\u0026rsquo;s restroom at the Jungfernstieg subway station. Hamburg police used this mirror to monitor men seeking sex with men and to illegally register them in so-called “pink lists” through checks, warnings, and bans from the premises. The exhibition “Hammrschlag” deals with police surveillance practices, the toilet space in queer art, and queer self-liberation practices in 1980.\n-\u0026gt; Exhibition -\u0026gt; Timeline -\u0026gt; 00 – Intro\n","permalink":"https://hhammerschlag.de/en/start/","summary":"\u003cp\u003eOn July 2, 1980, an anonymous collective smashed a spy mirror that had been installed in the public men\u0026rsquo;s restroom at the Jungfernstieg subway station. Hamburg police used this mirror to monitor men seeking sex with men and to illegally register them in so-called “pink lists” through checks, warnings, and bans from the premises. The exhibition “Hammrschlag” deals with police surveillance practices, the toilet space in queer art, and queer self-liberation practices in 1980.\u003c/p\u003e","title":"Hammerschlag"},{"content":"Impressum Inhaltlich verantwortlich:\nSimon Schultz – Atelier – Caffamacherreihe 39\n20355 Hamburg\nE-Mail: hello simonschultz.net Web: http://simonschultz.net\nHaftungshinweis: Trotz sorgfältiger inhaltlicher Kontrolle übernehmen wir keine Haftung für die Inhalte externer Links. Für den Inhalt der verlinkten Seiten sind ausschließlich deren Betreiber verantwortlich.\nInformationen zum Copyright: Der Inhalt dieser Webseiten ist urheberrechtlich geschützt. Alle Abbildungen und fotografischen Bilder auf der Webseite dürfen nicht ohne Genehmigung übernommen, vervielfältigt und verbreitet werden.\nDiese Webseite erhebt keine personenbezogenen Daten.\n","permalink":"https://hhammerschlag.de/en/impressum/","summary":"\u003ch1 id=\"impressum\"\u003eImpressum\u003c/h1\u003e\n\u003cp\u003eInhaltlich verantwortlich:\u003c/p\u003e\n\u003cp\u003eSimon Schultz \u003cbr\u003e\n– Atelier – \u003cbr\u003e\nCaffamacherreihe 39\u003cbr\u003e\n20355 Hamburg\u003c/p\u003e\n\u003cp\u003eE-Mail: hello simonschultz.net \u003cbr\u003e\nWeb: \u003ca href=\"http://simonschultz.net\"\u003ehttp://simonschultz.net\u003c/a\u003e\u003c/p\u003e\n\u003cp\u003eHaftungshinweis: Trotz sorgfältiger inhaltlicher Kontrolle übernehmen wir keine Haftung für die Inhalte externer Links. Für den Inhalt der verlinkten Seiten sind ausschließlich deren Betreiber verantwortlich.\u003c/p\u003e\n\u003cp\u003eInformationen zum Copyright: Der Inhalt dieser Webseiten ist urheberrechtlich geschützt. Alle Abbildungen und fotografischen Bilder auf der Webseite dürfen nicht ohne Genehmigung übernommen, vervielfältigt und verbreitet werden.\u003c/p\u003e\n\u003cp\u003eDiese Webseite erhebt keine personenbezogenen Daten.\u003c/p\u003e","title":"Impressum"},{"content":"Art Dries Verhoeven — \u0026raquo;Wanna Play\u0026laquo; Nesterval – \u0026raquo;The Nameless\u0026laquo; Joëlle Mesén-Ramírez – \u0026raquo;The Blood Diaries\u0026laquo; Emre Abut – \u0026raquo;Library of Stretching and Loosening up\u0026laquo; Leaky Vessel City Data Explosion – \u0026raquo;I-See (Remake)\u0026laquo; Jill Magid – \u0026raquo;Evidence Locker\u0026laquo; https://858.ma/ Stefan Wahler and Julia Stolba – »Affective Archive« Political Education Heike Schader – \u0026raquo;Lacune\u0026laquo; Queer History Month Hamburg A Thousand Channels – a queer mapping platform Pink Channel – queer radio in Hamburg Mohamed Amjahid – \u0026raquo;Just Isolated Incidents? The System Behind Police Violence\u0026laquo; Tarek Shukrallah – \u0026raquo;Not the First. Movement Histories of Queers of Color in Germany\u0026laquo; Kuku Schrapnell – \u0026raquo;Gender Punks\u0026laquo; Maria Bühner – \u0026raquo;Rebellion and Tenderness. On the History of Lesbian Life in the GDR\u0026laquo; Ulrich Würdemann – »2mecs.de« Monty Arnold – »The St. Georg Herald« Martha Roth – »The Heartbreak Machine: Nazis in the Echo Chamber« ","permalink":"https://hhammerschlag.de/en/links/","summary":"\u003ch2 id=\"art\"\u003eArt\u003c/h2\u003e\n\u003cul\u003e\n\u003cli\u003eDries \u003cstrong\u003eVerhoeven\u003c/strong\u003e — \u003ca href=\"https://driesverhoeven.com/en/project/wanna-play/\"\u003e\u0026raquo;Wanna Play\u0026laquo;\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003cstrong\u003eNesterval\u003c/strong\u003e – \u003ca href=\"https://www.nesterval.at/die-namenlosen-verfolgt-in-hamburg-d/\"\u003e\u0026raquo;The Nameless\u0026laquo;\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003eJoëlle \u003cstrong\u003eMesén-Ramírez\u003c/strong\u003e – \u003ca href=\"https://www.joellemesenramirez.com/works/the-blood-diaries\"\u003e\u0026raquo;The Blood Diaries\u0026laquo;\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003eEmre \u003cstrong\u003eAbut\u003c/strong\u003e – \u003ca href=\"https://www.kunstmuseumbochum.de/ausstellung-veranstaltung/details/tea-talk-in-der-library-of-stretching-and-losening-up-tunay-oender-emre-abut-laden-zum-tea-talk-ein/\"\u003e\u0026raquo;Library of Stretching and Loosening up\u0026laquo;\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.instagram.com/leaky.vessel/\"\u003e\u003cstrong\u003eLeaky Vessel\u003c/strong\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://citydataexplosion.tumblr.com/post/806094642375507968/i-see-wege-durch-die-stadt\"\u003e\u003cstrong\u003eCity Data Explosion\u003c/strong\u003e\u003c/a\u003e – \u003ca href=\"https://i-see.citydataexplosion.de/hamburg-downtown/\"\u003e\u0026raquo;I-See (Remake)\u0026laquo;\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003eJill \u003cstrong\u003eMagid\u003c/strong\u003e – \u003ca href=\"https://www.biennial.com/artists/jill-magid/\"\u003e\u0026raquo;Evidence\u003c/a\u003e \u003ca href=\"https://www.jillmagid.com/projects/evidence-locker-2\"\u003eLocker\u0026laquo;\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://858.ma/\"\u003e\u003cstrong\u003ehttps://858.ma/\u003c/strong\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003eStefan \u003cstrong\u003eWahler\u003c/strong\u003e and Julia \u003cstrong\u003eStolba\u003c/strong\u003e – \u003ca href=\"http://affective-archive.org/\"\u003e»Affective Archive«\u003c/a\u003e\u003c/li\u003e\n\u003c/ul\u003e\n\u003ch2 id=\"political-education\"\u003ePolitical Education\u003c/h2\u003e\n\u003cul\u003e\n\u003cli\u003eHeike \u003cstrong\u003eSchader\u003c/strong\u003e – \u003ca href=\"https://lacune-map.de/\"\u003e\u0026raquo;Lacune\u0026laquo;\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://queerhistoryhamburg.de/\"\u003e\u003cstrong\u003eQueer History Month Hamburg\u003c/strong\u003e\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.a-thousand-channels.xyz/\"\u003e\u003cstrong\u003eA Thousand Channels\u003c/strong\u003e\u003c/a\u003e – a queer mapping platform\u003c/li\u003e\n\u003cli\u003e\u003ca href=\"https://www.pinkchannel.net/\"\u003e\u003cstrong\u003ePink Channel\u003c/strong\u003e\u003c/a\u003e – queer radio in Hamburg\u003c/li\u003e\n\u003cli\u003eMohamed \u003cstrong\u003eAmjahid\u003c/strong\u003e – \u003ca href=\"https://mamjahid.net/about/\"\u003e\u0026raquo;Just Isolated Incidents? The System Behind Police Violence\u0026laquo;\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003eTarek \u003cstrong\u003eShukrallah\u003c/strong\u003e – \u003ca href=\"https://www.assoziation-a.de/buch/Nicht_die_Ersten/\"\u003e\u0026raquo;Not the First. Movement Histories of Queers of Color in Germany\u0026laquo;\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003eKuku \u003cstrong\u003eSchrapnell\u003c/strong\u003e – \u003ca href=\"https://www.verbrecherverlag.de/shop/gender-punks/\"\u003e\u0026raquo;Gender Punks\u0026laquo;\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003eMaria \u003cstrong\u003eBühner\u003c/strong\u003e – \u003ca href=\"https://www.academia.edu/124359120/Rebellion_und_Za_rtlichkeit_Zur_Geschichte_lesbischen_Lebens_in_der_DDR\"\u003e\u0026raquo;Rebellion and Tenderness. On the History of Lesbian Life in the GDR\u0026laquo;\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003eUlrich \u003cstrong\u003eWürdemann\u003c/strong\u003e – \u003ca href=\"https://www.2mecs.de/wp/2025/11/mein-beinahe-erstes-tattoo/\"\u003e»2mecs.de«\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003eMonty \u003cstrong\u003eArnold\u003c/strong\u003e – \u003ca href=\"https://blog.montyarnold.com/2022/05/21/20716/\"\u003e»The St. Georg Herald«\u003c/a\u003e\u003c/li\u003e\n\u003cli\u003eMartha \u003cstrong\u003eRoth\u003c/strong\u003e – \u003ca href=\"https://media.ccc.de/v/39c3-the-heartbreak-machine-nazis-in-the-echo-chamber\"\u003e»The Heartbreak Machine: Nazis in the Echo Chamber«\u003c/a\u003e\u003c/li\u003e\n\u003c/ul\u003e","title":"Links"},{"content":"Ewa Majewska – \u0026raquo;Public against their will. The production of subjects in the archives of “Hiacynt Action”\u0026laquo;\n","permalink":"https://hhammerschlag.de/en/notizen/operation_hyacint/","summary":"\u003cp\u003eEwa Majewska – \u003ca href=\"https://ewa-majewska.com/project_hiacynt/about/\"\u003e\u0026raquo;Public against their will. The production of subjects in the archives of “Hiacynt Action”\u0026laquo;\u003c/a\u003e\u003c/p\u003e","title":"Operation »Hyacint« – Poland 1985–87"}]