Made in the summer of 2016, BURY ME in SHOC KING PINK captures the "politik und party" of LGBTQ culture in the German capital, where the line between the two is thin. A visual account of my immersion in the Berlin queer scene, it is one chapter in my ongoing ethnographic research on global queer identities.
In Berlin, I discovered LGBTQ communities structured as distinct collectives reminiscent of those in the United States during the 1960s and 70s. Identities are based on this spirit of separatism. While politics are interwoven with everyday life in the form of solidarity parties, there is no broad national movement for gay and lesbian rights. Rather, privacy is paramount. This identification, ironically, is reflected in a ubiquitous textual element--the city's vibrant street art and graffiti--both matter-of-factly and metaphorically. BURY ME in SHOC KING PINK captures this tendency, with ads and posters functioning as portraits. While language is used to define and categorize, there is no word for queer but queer.