Mona Mahall / Asli Serbest - User contributions [en]

Spuren spuren: Athens

2026-07-26T13:09:25Z

Cmfiy:

''Collaborative speculative research and production, various media, 2015''

Conceived as speculative research on the current city of Athens, ''Spuren spuren'' applies the concept of collecting and producing traces at the same time. With this in-between process, Mahall/Serbest, together with Adelheid Schulz, aim at recording as well as triggering events and interventions in the city. Two snakes, capital (crisis), beach huts, a desert, and Hölderlin traverse these events and challenge strict oppositions between subject and object, between origin and derivative. They help questioning whether traces can be linked to any origin at all. Can there be determined one source at all, and can localities be maintained in the age of the Internet, enabling complete medial connectedness and diffusion?
Spuren spuren is set up as an open working space. Besides a presentation within the exhibition-space the latter becomes a place of production, of an ongoing process. During the exhibition a travel agency is installed, Greek language courses are offered. A seminar on the golden ratio is taking place. The exhibition becomes an open space. Package holidays and Ouzo refer to Germany's post-war period clichés concerning Greece. The inclusive situation is part confrontation with well-known preconceptions (especially intact during the crisis) while at the same time opportunity to get involved in conversations about the present.

[https://player.vimeo.com/video/263067429 Hermes, video excerpt, 17 min.]

Team: Wencong Li, Julia Zumkeller, Ioannis Michailidis, Sümeyye Yigit, Pavlina Zika, Lina Müller, Rafal Wójcik, Georgios Katsanos, Riin-Kärt Ranne, Anastasia Thanou, Katarzyna Wierzchnicka, Yuxuan Hu, Juliane Schwarz, Christos Antoniou, Philipp Schell, Billur Damla Üfler, Sarah Yaparsidi
With the help of Chrissi Nasz.

Many thanks to Hans Christ, Keller Easterling, Marina Fokidis, Elina Axioti, Andreas Angelidakis, Aristide Antonas, Angelo Plessas, Evelyn Steiner.

<h4>Württembergischer Kunstverein Stuttgart, 2015</h4>
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[[Category:Projects]]
[[Category:spuren spuren]]

Spuren spuren: Athens

2026-07-26T13:09:13Z

Cmfiy:

Natural Wifi: Los Angeles

2026-07-26T13:08:49Z

Cmfiy:

''Installation, various media, 2015''

[https://vimeo.com/448935829 excerpt from video]

'Natural Wifi' explores the material culture of the Internet to chart the shifted social relationships towards technology, 'nature' and between us. Through the lens of Los Angeles' evolving techno-landscape it looks for nature's synthetic and symbolic presence within our digital and physical spaces. The artificiality of 'nature' and the naturalness of technology are reflected in urban as well as private spaces, in how we relate to others.

The installation brings together various media and objects that show cosmetic or camouflage efforts to hide technological devices in the Californian area: cell tower concealments in the form of fake palm trees, cacti, and conifers, or plastic stones and boulders commonly used to hide various technical and electric equipment. At the same time, the archive documents those signs that explicitly refer to the Internet's material infrastructure, that is, fibre optic cables, buried underground and designated as "critical infrastructure" by Homeland Security.

We hear excerpts taken from an interview with a TaskRabbit employee, hired to talk about her work and exchange her experiences with the platform, the app, and employers.

With the support of Art Center Los Angeles / MDP.
Team: Nick Meehan, Selwa Sweidan, Erika Katrina Barbosa, Zhihan Ying

Art Center Los Angeles, 2015 <br>
Shenzhen Bi-City Biennale, 2015 <br>
Biennale di Venezia, 2021 <br>
e-flux Brooklyn, 2022

<h4>Art Center Los Angeles, 2015</h4>
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[[Category:Projects]]
[[Category:Natural Wifi]]

Temporary Cities: Gate

2026-07-26T13:07:53Z

Cmfiy:

''Object on castors, 2017''

Walter Benjamin asserts the importance of material presence to understand the city. In ''The Arcades Project'', he includes direct quotations from Siegfried Giedion's early work ''Construction in France'' to describe a modern iron and steel architecture, railroad stations, exhibition halls, winter gardens and department stores. However, by focusing on all kinds of decorative features in and around buildings, Benjamin goes beyond Sigfried Giedion's purist (placeless and timeless) modernism. He recognizes in the ephemeral elements "material of vital importance for us … In any case, material of vital importance politically; this is demonstrated by the attachment of the Surrealists to these things, as much as by their exploitation in contemporary fashion."
The spatial elements that emerge within ephemeral urbanism: stalls, draperies, and decorations, as well as containers, tents, and fences, collapse 'cities of dream,' to use Benjamin's notion, with cities of painful actuality exhibiting the political, social, economic, and environmental disparity of our world.

<h4>Pinakothek der Moderne, Munich, 2017</h4>
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[[Category:Projects]]
[[Category:Temporary Cities]]

Temporary Cities: Carpets

2026-07-26T13:07:18Z

Cmfiy:

''Spatial intervention, printed carpets, audio installation, 2017''

The installation includes carpets printed with satellite images of various temporary cities, as well as documents, books and sound on their material forms, politics, sociologies, economies, and aesthetics. These heterogeneous urban forms are spread across the globe, but are all characterized by ephemerality. On the carpets they are related and confronted: a refuge with a festival, a market with a military camp. While these forms often share materials and structures, they exhibit the inequity that exists between the North and South, between citizens and non-citizens, between the Oktoberfest and Talad Rom Hoob, a railway market in Thailand.

[https://soundcloud.com/user-857965153 Listen to the audio piece on SoundCloud]

The audio piece contracts field recordings from heterogeneous ephemeral urban phenomena taking place remotely but often simultaneously. Throughout one year, sounds from different temporary cities across the globe, a festival in Germany (Oktoberfest) and a celebration in India (Kumbh Mela), overlap with noise from a railway market in Thailand (Talad Rom Hoob), a military camp in Afghanistan (FOB Lightning), and an extraction site in Chile (Chuquicamata) etc.

Two books in the installation:
The books of festivals (Ottoman: Sūr-nāme) were written and drawn to give detailed account on the Ottoman festivals that were famously lasting 40 days and 40 nights. These illustrated albums recount the celebrations in the Ottoman Empire from Renaissance time to the 19th century. They include the temporal order of processions, grand entrance of the Sultan, feasts, entertainers, musicians, dancers, gift giving, firework displays, circumcision and wedding ceremonies. They also contain information about the ephemeral elements that were developed by architects to serve the festival and spectacle. In 1582, Ottoman architects designed a moving vehicle which was carrying a blooding hand and foot separated from its body. Also in that year, architect Ibrahim Efendi designed performances on ropes over the Golden Horn, the waterway inlet of the Bosphorus and thus turned the event into an acrobatic show.

In his media theory French philosopher Régis Debray retells the story of the exodus of the Israelites from Egypt as the invention of the portable God. As a wanderer, Israel could not offer an altar or a statue to their God. Following Debray, they therefore declared these heavy objects as anyway forbidden. Instead, the Israelites developed light-weight objects like the tefillin, mini leather boxes containing scrolls of torah verses, to be read through magnifying glasses. In a materialist interpretation Debray asserts that these religious devices not only allowed transportation but also meant transformation: Transmission is not a simple transfer from a sender to a receiver, but "a chain of incessant transformations". In these transformations "sender and receiver are modified from the inside by the message they exchange, and the message is itself modified by its circulation. He concludes: In transit, the Judaic God became a-topical, but accessible at any place and time. If we look at social media, digital market places, or online games today, all of them constituting sort of ephemeral cities, we might ask with Debray: in what ways do they transform the city as we know it?

<h4>Does Permanence Matter?
Pinakothek der Moderne, Munich 2017</h4>
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[[Category:Projects]]
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Dauerwelle: Travelling Art Space

2026-07-26T13:06:29Z

Cmfiy:

''Concept and spatial intervention for a travelling art space, 2018''

[https://vimeo.com/482061667 video on the boat]

To think of a ship as an exhibition space on the move means to imagine it as active: not so much an art container that can be visited, but rather itself an act of visiting. A ship approaches different sites as a guest or intruder, as a temporary neighbor in different localities, in urban or rural places, in dense or more scattered areas. It questions static institutional thinking, fixed spatial settings and organizational infrastructures, as well as the idea of an unchangeable public.
The 1960s East German excursion ship is turned into a mobile space for exhibitions, workshops, and various other interdisciplinary events. Travelling on the waterways through European places, it addresses the existing relations between water and land, center and periphery, as well as conventions and practices in different spheres of art, life, and education. The subtractive alterations transform the ship interior into an open hall with windows in two rows and a curtain.

If the ship can be described as a placeless place, it is, more than that, an active infrastructure connecting and confronting things, beings, and ideas, colonial history with a colonial present, one-day excursions with flight; relations of power and exploitation, but also of desire and imagination.
Arguably, the ship forges other forms of exhibiting and coming together with things and beings, as it gets into various contacts, enables and calls for new collective processes and different forms of making and perceiving things. As a floating space without fixed ground, the ship is set up to allow for encounters as political and aesthetic impulse. This impulse is decidedly feminist, as the name Dauerwelle already implies.

Commissioned by Hochschule für Künste Bremen.

<h4>Images from Bremen, Haaren, Gelsenkirchen and project process, 2017-2020</h4>
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[[Category:Projects]]
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Newold europe

2026-07-26T13:04:48Z

Cmfiy:

''Series of objects, 3D print, fiberglass, mineral coating, pigment, metal, 2026''<br>
''Screen prints, 2026''

[[newold europe (text)|excerpt → newold europe]]

From the Exhibition Guide:
"Mona Mahall and Aslı Serbest's newold europe continues their ongoing practice and research into the politics of public and personal spaces–spaces that have paradoxically become more distant as they are more closely networked. Recent developments demonstrate that distances have increased drastically, borders have become violently policed, and Europe has hardened into a frontier union, operating through colonial, patriarchal, and class-based structures, while claiming to uphold universal democratic values.

To imagine the borders of Europe as more elastic, one has to trace a deep past. Mahall and Serbest draw on Neolithic times to explore more generous forms of collective space and life, handed down through cultural remains such as prehistoric clay models and figurines. Found in sites stretching from the Danube Valley to Anatolia, these remains express a culture of "Old Europe", one that actually appears new and worth striving for: more egalitarian, heterarchical, peaceful, and highly developed. This Neolithic culture was first identified and named by the archaeologist, prehistorian, and anthropologist Marija Gimbutas.*

Mahall and Serbest's work displays two prehistoric temples reconstructed as overscaled keychains or handbag charms. Originally modeled in clay, these communal houses served not only as sites for ritual celebrations but also as shared workshops where textiles, household items, and tools were collaboratively produced. They fulfilled a myriad of other functions, from baking bread to serving as places for birth. Such architectures represent the proto-public spaces of societies that developed from 6500 B.C. onward. Reconfigured as charms, they echo the egalitarian relations, limited wealth, and minimal status differences of these societies, as well as their collective cultural practices.

Within these Neolithic societies, women played a significant role in evolving a culture based on the cyclical concept of time, regeneration, and profound connection to nature. Their culture persisted well into the second millennium B.C.; however, beginning around 3500 B.C., it was gradually destroyed by multiple waves of invasion from patriarchally organized Indo-European tribes.

The small keychains and handbag charms refer to Goddess figures, dating from 6500 to 5000 B.C. The Goddess was seen as a force manifested in various forms: a material condensation of life cycles, a symbol of birth, death, and regeneration, or an interface between human time and cosmic time. The figurines display bird attributes (symbolizing life, death, and the sky), egg-shaped buttocks, and often exaggerated breasts and hips – symbols of abundance and continuity. Some feature horns, while others appear almost alien-like. They all originate from "Old Europe," spanning present-day Hungary, Crete, Anatolia, Macedonia, and Ukraine.

newold europe echoes this Neolithic culture through a temporal and geographical shift of Europe. With it, Mahall and Serbest present a counter-history that is usually hidden behind the dominant and naturalized narrative of a patriarchal Indo-European lineage. Through shifts in the scale, they transform the clay fragments into both political monuments and intimate, everyday charms – objects that can be taken away and mobilized as speculative means to think otherwise about the present.

<nowiki>**</nowiki>
Mahall and Serbest's insights into Neolithic societies are indebted to Marija Gimbutas (1921-1994), a Lithuanian-American archaeologist, prehistorian, and anthropologist. Through her extraordinarily systematic research, she developed an extensive reconstruction of the social conditions within settled Neolithic villages across the Balkans and the eastern Mediterranean, extending into parts of Central and Northern Europe prior to the Indo-European migrations. Gimbutas argued that these societies were characterized by egalitarian social relations, minimal wealth and status differences, and a cultural framework in which women and men were equally valued. Central to her work was an interdisciplinary methodology combining archaeology, linguistics, ethnology, and the history of religion. She could read texts in thirteen languages enabling her to synthesize material culture, mythological motifs, and linguistic patterns across vast regions and historical periods. Following her death, her work faced decades of sharp critique and dismissal from large parts of the archaeological establishment. Her interpretations –particularly those concerning gender relations and social organization– were often rejected as speculative or ideologically driven. However, this reception has begun to shift with the emergence of new scientific techniques, such as ancient DNA analysis.

By bringing the temporal and geographic margins of Europe to the forefront of the narrative of Western civilization, Gimbutas challenged the dominant Eurocentric genealogies. In this sense, her work on "Old Europe" can be understood as negotiating European belonging from the perspective of historically marginalized regions and times. Read today, her work provides a valuable perspective on anti-hegemonic feminist debates, particularly regarding cultural appropriation, Eurocentrism, and the politics of origin narratives."

As a part of PresentAbsent, curated by Merve Elveren and Meriç Öner, at YUNT from October 11, 2025, to August 16, 2026.

<h4>Yunt, Istanbul, 2026</h4>
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[[Category:Projects]]
[[Category:Newold europe]]

Newold europe

2026-07-26T13:03:56Z

Cmfiy:

''Series of objects, 3D print, fiberglass, mineral coating, pigment, metal, 2026''<br>
''Screen prints, 2026''

[[newold europe (text)|excerpt → newold europe]]

From the Exhibition Guide:
"Mona Mahall and Aslı Serbest's newold europe continues their ongoing practice and research into the politics of public and personal spaces–spaces that have paradoxically become more distant as they are more closely networked. Recent developments demonstrate that distances have increased drastically, borders have become violently policed, and Europe has hardened into a frontier union, operating through colonial, patriarchal, and class-based structures, while claiming to uphold universal democratic values.

To imagine the borders of Europe as more elastic, one has to trace a deep past. Mahall and Serbest draw on Neolithic times to explore more generous forms of collective space and life, handed down through cultural remains such as prehistoric clay models and figurines. Found in sites stretching from the Danube Valley to Anatolia, these remains express a culture of "Old Europe", one that actually appears new and worth striving for: more egalitarian, heterarchical, peaceful, and highly developed. This Neolithic culture was first identified and named by the archaeologist, prehistorian, and anthropologist Marija Gimbutas.*

Mahall and Serbest's work displays two prehistoric temples reconstructed as overscaled keychains or handbag charms. Originally modeled in clay, these communal houses served not only as sites for ritual celebrations but also as shared workshops where textiles, household items, and tools were collaboratively produced. They fulfilled a myriad of other functions, from baking bread to serving as places for birth. Such architectures represent the proto-public spaces of societies that developed from 6500 B.C. onward. Reconfigured as charms, they echo the egalitarian relations, limited wealth, and minimal status differences of these societies, as well as their collective cultural practices.

Within these Neolithic societies, women played a significant role in evolving a culture based on the cyclical concept of time, regeneration, and profound connection to nature. Their culture persisted well into the second millennium B.C.; however, beginning around 3500 B.C., it was gradually destroyed by multiple waves of invasion from patriarchally organized Indo-European tribes.

The small keychains and handbag charms refer to Goddess figures, dating from 6500 to 5000 B.C. The Goddess was seen as a force manifested in various forms: a material condensation of life cycles, a symbol of birth, death, and regeneration, or an interface between human time and cosmic time. The figurines display bird attributes (symbolizing life, death, and the sky), egg-shaped buttocks, and often exaggerated breasts and hips – symbols of abundance and continuity. Some feature horns, while others appear almost alien-like. They all originate from "Old Europe," spanning present-day Hungary, Crete, Anatolia, Macedonia, and Ukraine.

newold europe echoes this Neolithic culture through a temporal and geographical shift of Europe. With it, Mahall and Serbest present a counter-history that is usually hidden behind the dominant and naturalized narrative of a patriarchal Indo-European lineage. Through shifts in the scale, they transform the clay fragments into both political monuments and intimate, everyday charms – objects that can be taken away and mobilized as speculative means to think otherwise about the present.

<nowiki>**</nowiki>
Mahall and Serbest's insights into Neolithic societies are indebted to Marija Gimbutas (1921-1994), a Lithuanian-American archaeologist, prehistorian, and anthropologist. Through her extraordinarily systematic research, she developed an extensive reconstruction of the social conditions within settled Neolithic villages across the Balkans and the eastern Mediterranean, extending into parts of Central and Northern Europe prior to the Indo-European migrations. Gimbutas argued that these societies were characterized by egalitarian social relations, minimal wealth and status differences, and a cultural framework in which women and men were equally valued. Central to her work was an interdisciplinary methodology combining archaeology, linguistics, ethnology, and the history of religion. She could read texts in thirteen languages enabling her to synthesize material culture, mythological motifs, and linguistic patterns across vast regions and historical periods. Following her death, her work faced decades of sharp critique and dismissal from large parts of the archaeological establishment. Her interpretations –particularly those concerning gender relations and social organization– were often rejected as speculative or ideologically driven. However, this reception has begun to shift with the emergence of new scientific techniques, such as ancient DNA analysis.

By bringing the temporal and geographic margins of Europe to the forefront of the narrative of Western civilization, Gimbutas challenged the dominant Eurocentric genealogies. In this sense, her work on "Old Europe" can be understood as negotiating European belonging from the perspective of historically marginalized regions and times. Read today, her work provides a valuable perspective on anti-hegemonic feminist debates, particularly regarding cultural appropriation, Eurocentrism, and the politics of origin narratives."

As a part of PresentAbsent, curated by Merve Elveren and Meriç Öner, at YUNT from October 11, 2025, to August 16, 2026.

Yunt Istanbul, 2026

== Gallery ==
<gallery mode="packed" heights="180">
File:NewoldEurope-Lead.jpg
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File:NewoldEurope-04.jpg
File:NewoldEurope-05.jpg
</gallery>

[[Category:Projects]]
[[Category:Newold europe]]

Newold europe

2026-07-26T13:03:42Z

Cmfiy:

''Series of objects, 3D print, fiberglass, mineral coating, pigment, metal, 2026''<br>
''Screen prints, 2026''
[[newold europe (text)|excerpt → newold europe]]

From the Exhibition Guide:
"Mona Mahall and Aslı Serbest's newold europe continues their ongoing practice and research into the politics of public and personal spaces–spaces that have paradoxically become more distant as they are more closely networked. Recent developments demonstrate that distances have increased drastically, borders have become violently policed, and Europe has hardened into a frontier union, operating through colonial, patriarchal, and class-based structures, while claiming to uphold universal democratic values.

To imagine the borders of Europe as more elastic, one has to trace a deep past. Mahall and Serbest draw on Neolithic times to explore more generous forms of collective space and life, handed down through cultural remains such as prehistoric clay models and figurines. Found in sites stretching from the Danube Valley to Anatolia, these remains express a culture of "Old Europe", one that actually appears new and worth striving for: more egalitarian, heterarchical, peaceful, and highly developed. This Neolithic culture was first identified and named by the archaeologist, prehistorian, and anthropologist Marija Gimbutas.*

Mahall and Serbest's work displays two prehistoric temples reconstructed as overscaled keychains or handbag charms. Originally modeled in clay, these communal houses served not only as sites for ritual celebrations but also as shared workshops where textiles, household items, and tools were collaboratively produced. They fulfilled a myriad of other functions, from baking bread to serving as places for birth. Such architectures represent the proto-public spaces of societies that developed from 6500 B.C. onward. Reconfigured as charms, they echo the egalitarian relations, limited wealth, and minimal status differences of these societies, as well as their collective cultural practices.

Within these Neolithic societies, women played a significant role in evolving a culture based on the cyclical concept of time, regeneration, and profound connection to nature. Their culture persisted well into the second millennium B.C.; however, beginning around 3500 B.C., it was gradually destroyed by multiple waves of invasion from patriarchally organized Indo-European tribes.

The small keychains and handbag charms refer to Goddess figures, dating from 6500 to 5000 B.C. The Goddess was seen as a force manifested in various forms: a material condensation of life cycles, a symbol of birth, death, and regeneration, or an interface between human time and cosmic time. The figurines display bird attributes (symbolizing life, death, and the sky), egg-shaped buttocks, and often exaggerated breasts and hips – symbols of abundance and continuity. Some feature horns, while others appear almost alien-like. They all originate from "Old Europe," spanning present-day Hungary, Crete, Anatolia, Macedonia, and Ukraine.

newold europe echoes this Neolithic culture through a temporal and geographical shift of Europe. With it, Mahall and Serbest present a counter-history that is usually hidden behind the dominant and naturalized narrative of a patriarchal Indo-European lineage. Through shifts in the scale, they transform the clay fragments into both political monuments and intimate, everyday charms – objects that can be taken away and mobilized as speculative means to think otherwise about the present.

<nowiki>**</nowiki>
Mahall and Serbest's insights into Neolithic societies are indebted to Marija Gimbutas (1921-1994), a Lithuanian-American archaeologist, prehistorian, and anthropologist. Through her extraordinarily systematic research, she developed an extensive reconstruction of the social conditions within settled Neolithic villages across the Balkans and the eastern Mediterranean, extending into parts of Central and Northern Europe prior to the Indo-European migrations. Gimbutas argued that these societies were characterized by egalitarian social relations, minimal wealth and status differences, and a cultural framework in which women and men were equally valued. Central to her work was an interdisciplinary methodology combining archaeology, linguistics, ethnology, and the history of religion. She could read texts in thirteen languages enabling her to synthesize material culture, mythological motifs, and linguistic patterns across vast regions and historical periods. Following her death, her work faced decades of sharp critique and dismissal from large parts of the archaeological establishment. Her interpretations –particularly those concerning gender relations and social organization– were often rejected as speculative or ideologically driven. However, this reception has begun to shift with the emergence of new scientific techniques, such as ancient DNA analysis.

By bringing the temporal and geographic margins of Europe to the forefront of the narrative of Western civilization, Gimbutas challenged the dominant Eurocentric genealogies. In this sense, her work on "Old Europe" can be understood as negotiating European belonging from the perspective of historically marginalized regions and times. Read today, her work provides a valuable perspective on anti-hegemonic feminist debates, particularly regarding cultural appropriation, Eurocentrism, and the politics of origin narratives."

As a part of PresentAbsent, curated by Merve Elveren and Meriç Öner, at YUNT from October 11, 2025, to August 16, 2026.

Yunt Istanbul, 2026

== Gallery ==
<gallery mode="packed" heights="180">
File:NewoldEurope-Lead.jpg
File:NewoldEurope-02.jpg
File:NewoldEurope-03.jpg
File:NewoldEurope-04.jpg
File:NewoldEurope-05.jpg
</gallery>

[[Category:Projects]]
[[Category:Newold europe]]

Feminist Utopian Spaces

2026-07-26T13:01:05Z

Cmfiy:

''Speculative research and production, various media, 2018''

[[Feminist Utopian Spaces Lexicon (text)|excerpt → Feminist Utopian Spaces Lexicon]]

The installation explores currents of thought and practice—from 1918 to 2018 by way of 1968—that have produced alternative futures through a feminist perspective: architectural projections and speculations, utopian ideas and visions are introduced and discussed in a moment of political and social regression. Reacting to the ideological implications and effects of modernism, these works produce concepts for new material, social, political and aesthetic spaces.
Among others, the lexicon includes Shulamith Firestone, Alice B. Toklas, Maria Telkes, Eleanor Raymond, Marlene Moeschke-Poelzig, Alison Smithson, Alice Constance Austin, Frances Gabe, Varvara Stepanova, Janelle Monáe, etc. In terms of structure, the lexicon is developed as an open and growing archive that can go from a word to a phrase, from a drawing to a floor plan, from a video to a model, from an argument to an entire text.

If a short text by Walter Benjamin introduces the ''destructive character'' (1931) as the (modern) activity of clearing away, of making room—in need for fresh air and open space—it seems to read back a Bauhaus program. Through complete reduction, thereby deleting the traces of its age and rooting out of its own condition, the destructive character obtains the potential for a new beginning. The zero point, a tabula rasa of form, allowed to start anew, to produce neutral, ultimately cleared spaces that could even impede leaving traces, as Benjamin noted in reference to glass architecture.

Once combined with a (structural) grid, glass architecture could actually deliver fresh air and open space—at any scale, be it furniture, a pavilion, school, skyscraper, or a city. The generic and radically rational nature implied in the grid system with glass surface is explored by Ludwig Hilberseimer's project for a ''Hochhausstadt'' (1924) organizing a city of three million inhabitants upon a calculation of one square window per person. In 1933, when the Gestapo accused the German architect and planner as "problematically left-wing", Hilberseimer emigrated to the U.S. where he started teaching in collaboration with Mies van der Rohe at the Illinois Institute of Technology. Simultaneously, Walter Gropius was heading the Harvard Graduate School of Design in Cambridge. Both became those heroic figures, made in the U.S., that allowed for the consolidation (commodification) of Bauhaus modernism and its reimport to Europe.

From the U.S. ''Bauhaus'' returned not just as a style, a new tradition that allowed for the identification with a free and democratic, capitalist West against a Communist East, ''Bauhaus'' also signified a spatial matrix of recycled military technologies through which expanding capitalism could advance globally after the Second World War. Thus, it helped shaping a techno-political postwar space that was paradoxically exposed to the threat of complete destruction through a new global war.

With some impact, the radical architecture and neo-avantgarde movements of the 1960s and 1970s, as well as so-called postmodern tendencies confronted classical modernism. Yet, architecture and the production of space as a mode of social and political engagement with a feminist agenda has remained almost invisible. Therefore, the installation aims at making room for a fragmentary collection and production of videos, plans, images, and models of feminist visions, as possible other ways of imagining how to live together.

50 Years after 50 Years of the Bauhaus
Württembergischer Kunstverein Stuttgart
May 4—September 23, 2018

<h4>Schluss mit reden, spielen wir!
Kunsthalle Lingen
June 7—August 25, 2019</h4>
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[[Category:Projects]]
[[Category:Feminist Utopian Spaces Lexicon]]

The House Alice Built

2026-07-26T13:00:17Z

Cmfiy:

''Installation, MDF, tee glasses, prints, text, video, 2018''

The model fragment results from a long-term research into (anti-)utopian projects that, informed by feminist theories and practices, have reimagined modern (domestic) space. It is part of a collection and speculation on houses and scenes that subtract from a given set of rooms, actors, and functions: these speculations remove the kitchen from the apartment, Romeo from Romeo and Juliet, the state from democracy, the patriarchy from almost any formation. Following a method of subtraction (n minus 1), they aim at a methodological activation of emancipatory ideas and practices to reshape our shared spaces.

Modernism has long been questioned for its grandios utopian aspirations regarded as bound up with paternalistic, colonial, and totalitarian attitudes. The n-1 drafts formulate not modernist major projects but concepts of minor operations that however allow for new spatial connections and relations. In that they provide the ground on which we might evolve more open social, political, and aesthetic forms of living together.

The House Alice Built responds to the Kitchenless House (1915) by architect Alice Constance Austin: a residential building that was designed without a kitchen for a socialist community in California at the beginning of the 20th century. The architect eliminated the kitchen from the private dwelling, in order to communalize it. A central kitchen, serving the whole community, should instead be operated through paid professionals. The intention was to change not just the life of women and their situation of unpaid and invisible housework but also to question the social relations between the community members and their environment. The house was never fully realized, and the community existed only between 1913 and 17.

<h4>Riverrun, Bunker Exhibitions, Istanbul
December 13, 2018 — January 26, 2019
Istanbul</h4>
<gallery mode="packed" heights="180">
File:HouseAliceBuilt-Lead.jpg
File:HouseAliceBuilt-02.jpg
File:HouseAliceBuilt-03.jpg
File:HouseAliceBuilt-04.jpg
File:HouseAliceBuilt-05.jpg
File:HouseAliceBuilt-06.jpg
File:HouseAliceBuilt-07.jpg
File:HouseAliceBuilt-08.jpg
</gallery>

[[Category:Projects]]
[[Category:The House Alice Built]]

The House Alice Built

2026-07-26T13:00:01Z

Cmfiy:

''Installation, MDF, tee glasses, prints, text, video, 2018''

The model fragment results from a long-term research into (anti-)utopian projects that, informed by feminist theories and practices, have reimagined modern (domestic) space. It is part of a collection and speculation on houses and scenes that subtract from a given set of rooms, actors, and functions: these speculations remove the kitchen from the apartment, Romeo from Romeo and Juliet, the state from democracy, the patriarchy from almost any formation. Following a method of subtraction (n minus 1), they aim at a methodological activation of emancipatory ideas and practices to reshape our shared spaces.

Modernism has long been questioned for its grandios utopian aspirations regarded as bound up with paternalistic, colonial, and totalitarian attitudes. The n-1 drafts formulate not modernist major projects but concepts of minor operations that however allow for new spatial connections and relations. In that they provide the ground on which we might evolve more open social, political, and aesthetic forms of living together.

The House Alice Built responds to the Kitchenless House (1915) by architect Alice Constance Austin: a residential building that was designed without a kitchen for a socialist community in California at the beginning of the 20th century. The architect eliminated the kitchen from the private dwelling, in order to communalize it. A central kitchen, serving the whole community, should instead be operated through paid professionals. The intention was to change not just the life of women and their situation of unpaid and invisible housework but also to question the social relations between the community members and their environment. The house was never fully realized, and the community existed only between 1913 and 17.

<h4>Riverrun, Bunker Exhibitions, Istanbul
December 13, 2018 — January 26, 2019
Istanbul<h4>
<gallery mode="packed" heights="180">
File:HouseAliceBuilt-Lead.jpg
File:HouseAliceBuilt-02.jpg
File:HouseAliceBuilt-03.jpg
File:HouseAliceBuilt-04.jpg
File:HouseAliceBuilt-05.jpg
File:HouseAliceBuilt-06.jpg
File:HouseAliceBuilt-07.jpg
File:HouseAliceBuilt-08.jpg
</gallery>

[[Category:Projects]]
[[Category:The House Alice Built]]

N minus 1

2026-07-26T12:58:31Z

Cmfiy:

''Installation, cardboard, tape, kitchen paper, 2019''

As part of a series of fragmentary works and speculative research on feminist spatial utopias "n minus 1" responds to the Kitchenless House (1915) by architect Alice Constance Austin. By exploring the process of subtraction (apartment minus kitchen), the aim is to activate emancipatory ideas and practices that might help reshape our shared spaces.

The installation alludes to a space opening up in between pillars in a floor plan where the kitchen is removed from the center. Instead, a fluid zone is produced blurring the borders between inside and outside and questioning fixed functions, conventions and usages. Perhaps the neighbors will pass through from time to time.

Exploring various situations and scenes that subtract from a given set of rooms, actors, and functions, the research is occupied with minor operations (Deleuze) that test aesthetic and political alternatives to modernist ideologies, based on the premise of endless growth.
Modernism has long been questioned for its grandios utopian aspirations regarded as bound up with paternalistic, colonial, and totalitarian attitudes. The n minus 1 drafts formulate not modernist major projects but concepts of minor operations that however allow for new spatial connections and relations. In that they provide the ground on which we might evolve more open social, political, and aesthetic forms of living together.

<h4>Kunsthalle Lingen
June 7—August 25, 2019</h4>
<gallery mode="packed" heights="180">
File:NMinus1-Lead.jpg
File:NMinus1-02.jpg
File:NMinus1-03.jpg
File:NMinus1-04.jpg
File:NMinus1-05.jpg
</gallery>

[[Category:Projects]]
[[Category:n minus 1]]

Self-Cleaning Houses

2026-07-26T12:58:07Z

Cmfiy:

''Model, acryl glass, stones, miniature plant, foam pump, 2018''

From a series of fragmentary works and speculative research on feminist spatial utopias: The acryl glass object is a model and a mechanism at the same time; it portrays the Self-Cleaning House (Frances Gabe, 1984) and provides a tool to douche itself. The drawings show two completely (inside and outside) tiled houses unfolded, as well as a pattern of a zeppelin.

The original self-cleaning house that the American inventor also inhabited, implies questions about the role of technology in dismantling patriarchic formations, not so much as it aims at liberating the (female) homeworker, but rather as it gives an idea of women's role in technological development. Contradicting the assumed rational and objective male space that integrates technology with prevailing structures of power, Frances Gabe's house was a space where she felt safe and assured to engineer, learn, and experiment.
The project by Frances Gabe is a patented invention (patent number: 4428085) that consists of sixty-eight appliances to make the house clean and dry itself. By pressing a button, sprinklers in the ceiling of each room are activated, to clean the room with detergent and water followed by hot air drying. The building construction does not only clean the house but also clothes, dishes and even the dog house. The "giant dishwasher", eliminates (mainly) women's reproductive labor and unpaid housework, in a completing of the Frankfurt kitchen concept.

<h4>50 Years after 50 Years of the Bauhaus
Württembergischer Kunstverein Stuttgart
May 4—September 23, 2018</h4>
<gallery mode="packed" heights="180">
File:SelfCleaningHouses-Lead.jpg
File:SelfCleaningHouses-02.jpg
File:SelfCleaningHouses-03.jpg
File:SelfCleaningHouses-04.jpg
File:SelfCleaningHouses-05.jpg
File:SelfCleaningHouses-06.jpg
</gallery>

[[Category:Projects]]
[[Category:Self-Cleaning Houses]]

Self-Cleaning Houses

2026-07-26T12:57:54Z

Cmfiy:

''Model, acryl glass, stones, miniature plant, foam pump, 2018''

From a series of fragmentary works and speculative research on feminist spatial utopias: The acryl glass object is a model and a mechanism at the same time; it portrays the Self-Cleaning House (Frances Gabe, 1984) and provides a tool to douche itself. The drawings show two completely (inside and outside) tiled houses unfolded, as well as a pattern of a zeppelin.

The original self-cleaning house that the American inventor also inhabited, implies questions about the role of technology in dismantling patriarchic formations, not so much as it aims at liberating the (female) homeworker, but rather as it gives an idea of women's role in technological development. Contradicting the assumed rational and objective male space that integrates technology with prevailing structures of power, Frances Gabe's house was a space where she felt safe and assured to engineer, learn, and experiment.
The project by Frances Gabe is a patented invention (patent number: 4428085) that consists of sixty-eight appliances to make the house clean and dry itself. By pressing a button, sprinklers in the ceiling of each room are activated, to clean the room with detergent and water followed by hot air drying. The building construction does not only clean the house but also clothes, dishes and even the dog house. The "giant dishwasher", eliminates (mainly) women's reproductive labor and unpaid housework, in a completing of the Frankfurt kitchen concept.

<h4>50 Years after 50 Years of the Bauhaus
Württembergischer Kunstverein Stuttgart
May 4—September 23, 2018</h4>

== Gallery ==

<gallery mode="packed" heights="180">
File:SelfCleaningHouses-Lead.jpg
File:SelfCleaningHouses-02.jpg
File:SelfCleaningHouses-03.jpg
File:SelfCleaningHouses-04.jpg
File:SelfCleaningHouses-05.jpg
File:SelfCleaningHouses-06.jpg
</gallery>

[[Category:Projects]]
[[Category:Self-Cleaning Houses]]

Sinop Biennial 7 / A Politics of Location

2026-07-26T12:57:13Z

Cmfiy:

''Conceptual framework and curation, 2019''

The Sinop Biennial is based on situated practices and collaborative processes. It finds a starting point at the former market place "Hal" in the center of Sinop, the northernmost coastal city of Turkey, to explore various localities in the Anatolian Black Sea region. Moving on collective routes, the aim is to gather diverse histories, experiences, and artistic inquiries in situ: in the local geo- and socio-political realities, the Black Sea's archival and colonized landforms and body of water. They pass over nation states and contain fragments from the past and future; the memory of a Russian spy whale from Cold War times, as well as perfectly intact ancient ships deep down in the dark sea together with tons of plastics. They are the site of particular relations and rites, of acts of political resistance and historical persistence; of changing infrastructures and movements from those who left and those who arrived—deliberately or not.

The place is also shaped by national mythologies and suppressed histories. They call for a politics of location. Formulated by the feminist poet Adrienne Rich (1929–2012), a politics of location aims to reconnect thinking and speaking with a situated experience, a particularity, a geography, a body. It aims to reconnect what has been disconnected: politics to ongoing lives, claims to the ground they are coming from, to places, times, cultures, conditions, classes, and movements. Translated into the curatorial concept, in situ processes, that is situated practices, become important; on the one hand, these practices are opposed to the masculine that coincides with the fixity of objects or finished works just dropped and presented in a place and dwelling on stable differences between roles, subjects, and hierarchies. On the other hand, situated practices are opposed to a notion of locality as the site of foundational knowledge and fixed identity. Rather, they understand location as the place of experienced connections and intersections—through routes rather than roots, that means through the beings and things that pass by, stop, stay or leave. Therefore, situated practices engage in relations, they look at historical contact to recognize change and becoming through a series of encounters, contacts, and conflicts, on routes that enable and discipline the movement and displacement of beings and things.

Routes to follow at the Black Sea are: the Danube downstream into the Black Sea, Diogenes' mythical travel from his hometown Sinop to Athens, the beltway connecting the six neighbors around the coast, the flows of oil, trash, data, swarms and pheromones from the Bosporus; to follow some of these routes might help us understand location as the relationship between things and beings.

While the biennial establishes contact zones on various routes, it is concerned with the potentials of discrepant movement, with tactics of translation and transgression, with encounters as political and aesthetic impulse. It aims to initiate active contacts and processes, establish collective practices between residents, guests, and (sub)urban region; it aims at art being produced rather than placed there, through transversal processes of conversation, translation and improvisation. We search for possible other and emancipated ways of connecting to things and beings, of recognizing and collectively producing alternative forms of knowledge with guests, the local environment and its inhabitants (animals, humans, plants, technology).

To move these forms of knowledge from the Black Sea Coast to Istanbul and other places, we produced an open and nomadic archive. There, the situated practices and collaborative processes will be continued and shared.
Conceptual framework by Asli Serbest and Mona Mahall

With contributions by Mobile Albania, Halil Altındere, Aristide Antonas, The Dynamic Archive, Elina Axioti, Mehtap Baydu, Banu Cennetoğlu, Övül Durmuşoğlu, Fulya Erdemci, Annika Eriksson, Hayırlı Evlat, Ana Filipovic, Marina Fokidis, Kevser Güler, Pauline Curnier Jardin, Philipp Mecke, Angela Melitopoulos, Mahir Namur, Samuel Nyholm, Pınar Öğrenci, Kemal Özen, Şener Özmen, theater.prekariat, For the Love of Bee! Collective, Kerstin Schroedinger, Hito Steyerl, Johannes Vogl, Sheri Wills, Brian Kuan Wood, Adnan Yıldız, Sibel Yılmazer, and others.

All photos by Laura Baumann.

[https://sinopbiennial.org sinopbiennial.org]

<h4>Hal and Buzhane, Sinop / Mars, Istanbul, August 16—September 15, 2019</h4>
<gallery mode="packed" heights="180">
File:SinopBiennial-Lead.jpg
File:SinopBiennial-02.jpg
File:SinopBiennial-03.jpg
File:SinopBiennial-04.jpg
File:SinopBiennial-05.jpg
File:SinopBiennial-06.jpg
File:SinopBiennial-07.jpg
File:SinopBiennial-08.jpg
File:SinopBiennial-09.jpg
File:SinopBiennial-10.jpg
File:SinopBiennial-11.jpg
File:SinopBiennial-12.jpg
File:SinopBiennial-13.jpg
File:SinopBiennial-14.jpg
File:SinopBiennial-15.jpg
File:SinopBiennial-16.jpg
File:SinopBiennial-17.jpg
File:SinopBiennial-18.jpg
</gallery>

[[Category:Projects]]
[[Category:Curatorial]]
[[Category:Sinop Biennial]]

Sinop Biennial 7 / A Politics of Location

2026-07-26T12:56:22Z

Cmfiy:

''Conceptual framework and curation, 2019''

The Sinop Biennial is based on situated practices and collaborative processes. It finds a starting point at the former market place "Hal" in the center of Sinop, the northernmost coastal city of Turkey, to explore various localities in the Anatolian Black Sea region. Moving on collective routes, the aim is to gather diverse histories, experiences, and artistic inquiries in situ: in the local geo- and socio-political realities, the Black Sea's archival and colonized landforms and body of water. They pass over nation states and contain fragments from the past and future; the memory of a Russian spy whale from Cold War times, as well as perfectly intact ancient ships deep down in the dark sea together with tons of plastics. They are the site of particular relations and rites, of acts of political resistance and historical persistence; of changing infrastructures and movements from those who left and those who arrived—deliberately or not.

The place is also shaped by national mythologies and suppressed histories. They call for a politics of location. Formulated by the feminist poet Adrienne Rich (1929–2012), a politics of location aims to reconnect thinking and speaking with a situated experience, a particularity, a geography, a body. It aims to reconnect what has been disconnected: politics to ongoing lives, claims to the ground they are coming from, to places, times, cultures, conditions, classes, and movements. Translated into the curatorial concept, in situ processes, that is situated practices, become important; on the one hand, these practices are opposed to the masculine that coincides with the fixity of objects or finished works just dropped and presented in a place and dwelling on stable differences between roles, subjects, and hierarchies. On the other hand, situated practices are opposed to a notion of locality as the site of foundational knowledge and fixed identity. Rather, they understand location as the place of experienced connections and intersections—through routes rather than roots, that means through the beings and things that pass by, stop, stay or leave. Therefore, situated practices engage in relations, they look at historical contact to recognize change and becoming through a series of encounters, contacts, and conflicts, on routes that enable and discipline the movement and displacement of beings and things.

Routes to follow at the Black Sea are: the Danube downstream into the Black Sea, Diogenes' mythical travel from his hometown Sinop to Athens, the beltway connecting the six neighbors around the coast, the flows of oil, trash, data, swarms and pheromones from the Bosporus; to follow some of these routes might help us understand location as the relationship between things and beings.

While the biennial establishes contact zones on various routes, it is concerned with the potentials of discrepant movement, with tactics of translation and transgression, with encounters as political and aesthetic impulse. It aims to initiate active contacts and processes, establish collective practices between residents, guests, and (sub)urban region; it aims at art being produced rather than placed there, through transversal processes of conversation, translation and improvisation. We search for possible other and emancipated ways of connecting to things and beings, of recognizing and collectively producing alternative forms of knowledge with guests, the local environment and its inhabitants (animals, humans, plants, technology).

To move these forms of knowledge from the Black Sea Coast to Istanbul and other places, we produced an open and nomadic archive. There, the situated practices and collaborative processes will be continued and shared.
Conceptual framework by Asli Serbest and Mona Mahall

With contributions by Mobile Albania, Halil Altındere, Aristide Antonas, The Dynamic Archive, Elina Axioti, Mehtap Baydu, Banu Cennetoğlu, Övül Durmuşoğlu, Fulya Erdemci, Annika Eriksson, Hayırlı Evlat, Ana Filipovic, Marina Fokidis, Kevser Güler, Pauline Curnier Jardin, Philipp Mecke, Angela Melitopoulos, Mahir Namur, Samuel Nyholm, Pınar Öğrenci, Kemal Özen, Şener Özmen, theater.prekariat, For the Love of Bee! Collective, Kerstin Schroedinger, Hito Steyerl, Johannes Vogl, Sheri Wills, Brian Kuan Wood, Adnan Yıldız, Sibel Yılmazer, and others.

All photos by Laura Baumann.

[https://sinopbiennial.org sinopbiennial.org]

<h4>Hal and Buzhane, Sinop / Mars, Istanbul, August 16—September 15, 2019<h4>
<gallery mode="packed" heights="180">
File:SinopBiennial-Lead.jpg
File:SinopBiennial-02.jpg
File:SinopBiennial-03.jpg
File:SinopBiennial-04.jpg
File:SinopBiennial-05.jpg
File:SinopBiennial-06.jpg
File:SinopBiennial-07.jpg
File:SinopBiennial-08.jpg
File:SinopBiennial-09.jpg
File:SinopBiennial-10.jpg
File:SinopBiennial-11.jpg
File:SinopBiennial-12.jpg
File:SinopBiennial-13.jpg
File:SinopBiennial-14.jpg
File:SinopBiennial-15.jpg
File:SinopBiennial-16.jpg
File:SinopBiennial-17.jpg
File:SinopBiennial-18.jpg
</gallery>

[[Category:Projects]]
[[Category:Curatorial]]
[[Category:Sinop Biennial]]

Sinop Biennial 7 / A Politics of Location

2026-07-26T12:55:15Z

Cmfiy:

''Conceptual framework and curation, 2019''

The Sinop Biennial is based on situated practices and collaborative processes. It finds a starting point at the former market place "Hal" in the center of Sinop, the northernmost coastal city of Turkey, to explore various localities in the Anatolian Black Sea region. Moving on collective routes, the aim is to gather diverse histories, experiences, and artistic inquiries in situ: in the local geo- and socio-political realities, the Black Sea's archival and colonized landforms and body of water. They pass over nation states and contain fragments from the past and future; the memory of a Russian spy whale from Cold War times, as well as perfectly intact ancient ships deep down in the dark sea together with tons of plastics. They are the site of particular relations and rites, of acts of political resistance and historical persistence; of changing infrastructures and movements from those who left and those who arrived—deliberately or not.

The place is also shaped by national mythologies and suppressed histories. They call for a politics of location. Formulated by the feminist poet Adrienne Rich (1929–2012), a politics of location aims to reconnect thinking and speaking with a situated experience, a particularity, a geography, a body. It aims to reconnect what has been disconnected: politics to ongoing lives, claims to the ground they are coming from, to places, times, cultures, conditions, classes, and movements. Translated into the curatorial concept, in situ processes, that is situated practices, become important; on the one hand, these practices are opposed to the masculine that coincides with the fixity of objects or finished works just dropped and presented in a place and dwelling on stable differences between roles, subjects, and hierarchies. On the other hand, situated practices are opposed to a notion of locality as the site of foundational knowledge and fixed identity. Rather, they understand location as the place of experienced connections and intersections—through routes rather than roots, that means through the beings and things that pass by, stop, stay or leave. Therefore, situated practices engage in relations, they look at historical contact to recognize change and becoming through a series of encounters, contacts, and conflicts, on routes that enable and discipline the movement and displacement of beings and things.

Routes to follow at the Black Sea are: the Danube downstream into the Black Sea, Diogenes' mythical travel from his hometown Sinop to Athens, the beltway connecting the six neighbors around the coast, the flows of oil, trash, data, swarms and pheromones from the Bosporus; to follow some of these routes might help us understand location as the relationship between things and beings.

While the biennial establishes contact zones on various routes, it is concerned with the potentials of discrepant movement, with tactics of translation and transgression, with encounters as political and aesthetic impulse. It aims to initiate active contacts and processes, establish collective practices between residents, guests, and (sub)urban region; it aims at art being produced rather than placed there, through transversal processes of conversation, translation and improvisation. We search for possible other and emancipated ways of connecting to things and beings, of recognizing and collectively producing alternative forms of knowledge with guests, the local environment and its inhabitants (animals, humans, plants, technology).

To move these forms of knowledge from the Black Sea Coast to Istanbul and other places, we produced an open and nomadic archive. There, the situated practices and collaborative processes will be continued and shared.
Conceptual framework by Asli Serbest and Mona Mahall

With contributions by Mobile Albania, Halil Altındere, Aristide Antonas, The Dynamic Archive, Elina Axioti, Mehtap Baydu, Banu Cennetoğlu, Övül Durmuşoğlu, Fulya Erdemci, Annika Eriksson, Hayırlı Evlat, Ana Filipovic, Marina Fokidis, Kevser Güler, Pauline Curnier Jardin, Philipp Mecke, Angela Melitopoulos, Mahir Namur, Samuel Nyholm, Pınar Öğrenci, Kemal Özen, Şener Özmen, theater.prekariat, For the Love of Bee! Collective, Kerstin Schroedinger, Hito Steyerl, Johannes Vogl, Sheri Wills, Brian Kuan Wood, Adnan Yıldız, Sibel Yılmazer, and others.

All photos by Laura Baumann.

[https://sinopbiennial.org sinopbiennial.org]

<h4>Hal and Buzhane, Sinop / Mars, Istanbul, August 16—September 15, 2019<h4>
<gallery mode="packed" heights="180">
File:SinopBiennial-Lead.jpg
File:SinopBiennial-02.jpg
File:SinopBiennial-03.jpg
File:SinopBiennial-04.jpg
File:SinopBiennial-05.jpg
File:SinopBiennial-06.jpg
File:SinopBiennial-07.jpg
File:SinopBiennial-08.jpg
File:SinopBiennial-09.jpg
File:SinopBiennial-10.jpg
File:SinopBiennial-11.jpg
File:SinopBiennial-12.jpg
File:SinopBiennial-13.jpg
File:SinopBiennial-14.jpg
File:SinopBiennial-15.jpg
File:SinopBiennial-16.jpg
File:SinopBiennial-17.jpg
File:SinopBiennial-18.jpg
</gallery>

[[Category:Projects]]
[[Category:Curatorial]]
[[Category:Sinop Biennial]]

Homes of the Internet

2026-07-26T12:54:04Z

Cmfiy:

''Series of c-prints, research, text, 2015/2021''

A clone of modernish Californian architecture: subdivided into multiple sandy volumes, decorated with large and long white studio windows, a pergola, palm trees, banana plants and the American flag. The building is a suburban home of the Internet: a cable landing point in technical terminology. It houses 'critical infrastructure,' those fibre optic cables of which Google has already quietly purchased 102.362 km to build up and out its very own internet of tomorrow. As one of many dispersed 'fibre huts' this house embodies above ground what actually sits below: 1.126.540 km of submarine cables networked into a contemporary version of the Roman road system (Lovink, 2019). While Google concentrates on South America with the cables, it aims at Africa with its balloons…

[[Homes of the Internet (text)|read more]]

Biennale di Venezia 2021, Austrian Pavilion<br>
Art Center Los Angeles, 2015

With the support of Art Center Los Angeles / MDP.
Team: Nick Meehan, Selwa Sweidan, Erika Katrina Barbosa, Zhihan Ying

<h4>Biennale di Venezia 2021, Austrian Pavilion</h4>

<gallery mode="packed" heights="180">
File:HomesOfInternet-Lead.jpg
File:HomesOfInternet-02.jpg
File:HomesOfInternet-03.jpg
File:HomesOfInternet-04.jpg
File:HomesOfInternet-05.jpg
File:HomesOfInternet-06.jpg
File:HomesOfInternet-07.jpg
</gallery>

[[Category:Projects]]
[[Category:Homes of the Internet]]

Homes of the Internet

2026-07-26T12:53:10Z

Cmfiy:

''Series of c-prints, research, text, 2015/2021''

A clone of modernish Californian architecture: subdivided into multiple sandy volumes, decorated with large and long white studio windows, a pergola, palm trees, banana plants and the American flag. The building is a suburban home of the Internet: a cable landing point in technical terminology. It houses 'critical infrastructure,' those fibre optic cables of which Google has already quietly purchased 102.362 km to build up and out its very own internet of tomorrow. As one of many dispersed 'fibre huts' this house embodies above ground what actually sits below: 1.126.540 km of submarine cables networked into a contemporary version of the Roman road system (Lovink, 2019). While Google concentrates on South America with the cables, it aims at Africa with its balloons…

[[Homes of the Internet (text)|read more]]

Biennale di Venezia 2021, Austrian Pavilion
Art Center Los Angeles, 2015

With the support of Art Center Los Angeles / MDP.
Team: Nick Meehan, Selwa Sweidan, Erika Katrina Barbosa, Zhihan Ying

<h4>Biennale di Venezia 2021, Austrian Pavilion</h4>

<gallery mode="packed" heights="180">
File:HomesOfInternet-Lead.jpg
File:HomesOfInternet-02.jpg
File:HomesOfInternet-03.jpg
File:HomesOfInternet-04.jpg
File:HomesOfInternet-05.jpg
File:HomesOfInternet-06.jpg
File:HomesOfInternet-07.jpg
</gallery>

[[Category:Projects]]
[[Category:Homes of the Internet]]

Homes of the Internet

2026-07-26T12:52:59Z

Cmfiy:

''Series of c-prints, research, text, 2015/2021''

A clone of modernish Californian architecture: subdivided into multiple sandy volumes, decorated with large and long white studio windows, a pergola, palm trees, banana plants and the American flag. The building is a suburban home of the Internet: a cable landing point in technical terminology. It houses 'critical infrastructure,' those fibre optic cables of which Google has already quietly purchased 102.362 km to build up and out its very own internet of tomorrow. As one of many dispersed 'fibre huts' this house embodies above ground what actually sits below: 1.126.540 km of submarine cables networked into a contemporary version of the Roman road system (Lovink, 2019). While Google concentrates on South America with the cables, it aims at Africa with its balloons…

[[Homes of the Internet (text)|read more]]

Biennale di Venezia 2021, Austrian Pavilion

Art Center Los Angeles, 2015

With the support of Art Center Los Angeles / MDP.
Team: Nick Meehan, Selwa Sweidan, Erika Katrina Barbosa, Zhihan Ying

<h4>Biennale di Venezia 2021, Austrian Pavilion</h4>

<gallery mode="packed" heights="180">
File:HomesOfInternet-Lead.jpg
File:HomesOfInternet-02.jpg
File:HomesOfInternet-03.jpg
File:HomesOfInternet-04.jpg
File:HomesOfInternet-05.jpg
File:HomesOfInternet-06.jpg
File:HomesOfInternet-07.jpg
</gallery>

[[Category:Projects]]
[[Category:Homes of the Internet]]

Homes of the Internet

2026-07-26T12:52:35Z

Cmfiy:

''Series of c-prints, research, text, 2015/2021''

A clone of modernish Californian architecture: subdivided into multiple sandy volumes, decorated with large and long white studio windows, a pergola, palm trees, banana plants and the American flag. The building is a suburban home of the Internet: a cable landing point in technical terminology. It houses 'critical infrastructure,' those fibre optic cables of which Google has already quietly purchased 102.362 km to build up and out its very own internet of tomorrow. As one of many dispersed 'fibre huts' this house embodies above ground what actually sits below: 1.126.540 km of submarine cables networked into a contemporary version of the Roman road system (Lovink, 2019). While Google concentrates on South America with the cables, it aims at Africa with its balloons…

[[Homes of the Internet (text)|read more]]

Biennale di Venezia 2021, Austrian Pavilion

Art Center Los Angeles, 2015

With the support of Art Center Los Angeles / MDP.
Team: Nick Meehan, Selwa Sweidan, Erika Katrina Barbosa, Zhihan Ying

<h4>Art Center Los Angeles, 2015</h4>

<gallery mode="packed" heights="180">
File:HomesOfInternet-Lead.jpg
File:HomesOfInternet-02.jpg
File:HomesOfInternet-03.jpg
File:HomesOfInternet-04.jpg
File:HomesOfInternet-05.jpg
File:HomesOfInternet-06.jpg
File:HomesOfInternet-07.jpg
</gallery>

[[Category:Projects]]
[[Category:Homes of the Internet]]

Digital Twin

2026-07-26T12:52:06Z

Cmfiy:

[[File:DigitalTwin-Lead.jpg|thumb|400px]]
''Installation, Tarabya, 2020 ongoing''

The 3d environment rebuilds the German embassy ground in Tarabya, Istanbul that is currently used as a residence for artists based in Germany. Started during the pandemic, the interactive model aimed to respond to the situation in isolation and to attempt a virtual escape. It turns into a phantom-like doppelganger addressing Tarabya's colonial history and present, its relationship to the current city, its borders, as well as its potentials.

The digital model can be visited and explored through an avatar, similar to a computer game. It is open source and accessible online and it will keep on evolving. In the current state, it includes contributions by ten artists, activists, and cultural workers based in Turkey. Visitors are invited to move through the environment and intervene while sketching, commenting, or placing objects.

The collective work takes place at the intersection of art, architecture, and activism, as it reflects how practices, institutions, histories, and the present materialize in the (built) environment. The residence in Tarabya is a particularly interesting place, behind a wall in an affluent neighborhood, with a well-tended garden adjoined by a forest. The wooden buildings are bright white showing traces of political conflicts, eclectic architecture, and ornamentation from colonial times, overlapping with current representational and security requirements of an embassy site. In the past, all major European colonial powers had residences in Tarabya. Today, Erdogan owns a heavily secured summer palace nearby. The view of the Bosporus disrupts this context aesthetically as well as logistically.

<h4>Kunstraum Kreuzberg, Berlin, September 3 – October 31 2021</h4>
<gallery mode="packed" heights="180">
File:DigitalTwin-Lead.jpg
File:DigitalTwin-02.jpg
File:DigitalTwin-03.jpg
File:DigitalTwin-04.jpg
File:DigitalTwin-05.jpg
File:DigitalTwin-06.jpg
File:DigitalTwin-07.jpg
File:DigitalTwin-08.jpg
File:DigitalTwin-09.jpg
</gallery>

[[Category:Projects]]
[[Category:Digital Twin]]

As We Used to Spell

2026-07-26T12:51:32Z

Cmfiy:

''Series of works, diverse media, research, text, 2025''

As words extend faster and further into public and personal spaces than ever before, they reclaim their agency in real time, as spells. The operative power of phrases, prompts, and protests over our lives is at the center of this exhibition and research project, which explores how emergent and residual spell practices act through embodied and spatial forms.

The exhibition takes place at Barın Han, a modernist building in Çemberlitaş/ Istanbul that housed the printing and bookbinding workshop of Emin Barın, a renowned Turkish artist and calligrapher with ties to the historic Bauhaus and the Leipzig Academy of Fine Arts. In this context, As We Used to Spell offers a critical reflection on modernist "truths", those spells of techno-rationalism that continue to shape the way we think, speak, and build. It investigates how these "truths-for" (Sylvia Wynter) are continuously spatialized through bodily and machinic reproductions and repetitions. Their loops sustain a logic of patriarchal capitalist extraction and, at the same time, provoke transformations, whether pragmatic, poetic, or parodic.

Through various collaborations, As We Used to Spell seeks emancipatory and transformative spell practices that question systems of domination while invoking everyday lore, generosity, and humor.

<h4>Barın Han, Istanbul, 2025/2026</h4>
<gallery mode="packed" heights="180">
File:AsWeUsedToSpell-Lead.jpg
File:AsWeUsedToSpell-02.jpg
File:AsWeUsedToSpell-03.jpg
File:AsWeUsedToSpell-04.jpg
File:AsWeUsedToSpell-05.jpg
File:AsWeUsedToSpell-06.jpg
File:AsWeUsedToSpell-07.jpg
File:AsWeUsedToSpell-08.jpg
File:AsWeUsedToSpell-09.jpg
File:AsWeUsedToSpell-10.jpg
File:AsWeUsedToSpell-11.jpg
File:AsWeUsedToSpell-12.jpg
File:AsWeUsedToSpell-13.jpg
File:AsWeUsedToSpell-14.jpg
File:AsWeUsedToSpell-15.jpg
File:AsWeUsedToSpell-16.jpg
File:AsWeUsedToSpell-17.jpg
File:AsWeUsedToSpell-18.jpg
</gallery>

[[Category:Projects]]
[[Category:As We Used to Spell]]

I'm not good at catchy one-liners, but who can say no to a laser proposal?

2026-07-26T12:50:33Z

Cmfiy:

''Laser projection on the bridges of the Bosphorus, 2023/2025/2026''

Taking their point of departure from the Women's Library in Fener, the group of activists, researchers, artists, and writers gathered to engage with situated queer feminist ideas and practices. They collected and created a fragmentary poetic text related to emancipatory politics, specifically addressing the relationship of queer bodies and the city as a hetero-patriarchal urban land- and waterscape.

At a first instance, the text was published through a laser projection, from a boat, on the bridges of the Bosphorus —a transformation of a popular marriage proposal medium.

The collective project refers to the essay „What Would a Non-Sexist City Be Like?" by Dolores Hayden. In 1980, the American historian called for a careful urban politics, characterized by an attachment to place and involving active collective work on physical, symbolic and relational transformations. She was concerned with the (re)production of social, political and ecological spaces as well as with the care for each other and for marginalized groups, their histories and futures. The theoretical approach is more relevant than ever and focuses particularly on those (gender and sexual) minorities that have recently been most targeted.

The aim is to imagine a (queer)feminist city where barriers —physical and social—become fluid, where all bodies are welcomed and embraced. Ultimately, fluidity is a quality that connects text, water, and bodies.

Laser projection on the bridges of the Bosphorus, 2023<br>
Video projection, poster poem, to take away, Tarabya Kulturakademie, 2023/2025<br>
On-site laser projection, fog machine, Barın Han, 2025

Collective Poem: Aslı Serbest, Mona Mahall, Ayşenaz Toker, Yelta Köm, Merve Tuna, Ömer Tevfik Erten, Pınar Üzeltüzenci, Tanja Ostojić

<h4>Laser projection on the bridges of the Bosphorus, 2023</h4>
<gallery mode="packed" heights="180">
File:LaserProposal-Lead.jpg
File:LaserProposal-02.jpg
File:LaserProposal-05.jpg
File:LaserProposal-06.jpg
File:LaserProposal-03.jpg
File:LaserProposal-04.jpg
</gallery>

[[Category:Projects]]
[[Category:Laser]]

MediaWiki:Common.css

2026-07-26T12:47:16Z

Cmfiy:

/* Logo ausblenden — dieser Block (#p-logo, 200x160px) saß ganz
oben im Sidebar und war die eigentliche Ursache des großen
Abstands über "About" */
#p-logo,
.mw-wiki-logo,
.mw-logo,
.mw-logo-icon,
.mw-logo-wordmark,
.vector-logo {
display: none !important;
visibility: hidden !important;
height: 0 !important;
width: 0 !important;
}
/* Gesamte Seite schwarz machen */
body {
background-color: #000 !important;
color: #fff !important;
border: none !important;
box-shadow: none !important;
text-decoration: none !important;
}
/* Inhaltsbereich (Artikel) */
.mw-body {
background-color: #000 !important;
color: #fff !important;
border: 0px solid #444 !important;
box-shadow: none !important;
text-decoration: none !important;
}
/* Überschriften weiß machen */
h1, h2, h3, h4, h5, h6 {
color: #fff !important;
box-shadow: none !important;
text-decoration: none !important;
}
/* Spezielle MediaWiki-Trennlinien entfernen */
.mw-headline, .firstHeading, .mw-title {
border: none !important;
box-shadow: none !important;
text-decoration: none !important;
}
/* Pseudo-Elemente, die Linien erzeugen könnten, entfernen */
h1::after, h2::after, h3::after, h4::after, h5::after, h6::after {
content: "" !important;
display: none !important;
box-shadow: none !important;
text-decoration: none !important;
}
/* Entfernt alle möglichen Linien in MediaWiki */
hr, .mw-content-ltr hr, .mw-parser-output hr {
display: none !important;
border: none !important;
height: 0 !important;
box-shadow: none !important;
text-decoration: none !important;
}
/* Kopfzeile und Navigation */
#mw-head,
#p-personal,
#mw-panel {
background-color: #000 !important;
color: #fff !important;
box-shadow: none !important;
text-decoration: none !important;
}
/* Menüleisten und Boxen */
.vector-menu-content,
.vector-menu-content ul {
background-color: #000 !important;
color: #fff !important;
box-shadow: none !important;
text-decoration: none !important;
}
/* Eingabefelder, Suchbox */
input, textarea {
background-color: #222 !important;
color: #fff !important;
border: 0px solid #444 !important;
box-shadow: none !important;
text-decoration: none !important;
}
/* Links */
a {
color: #4aa5ff !important;
}
a:visited {
color: #9c77ff !important;
}
/* Tabellen, Boxen, Panels ohne Ränder */
table, th, td, .mw-body-content, .vector-menu-content, .vector-menu-tabs {
border: none !important;
background-color: #000 !important;
box-shadow: none !important;
text-decoration: none !important;
background-image: none !important;
background: none !important;
}
/* Dropdown-Menüs */
.vector-dropdown {
background-color: #000 !important;
color: #fff !important;
box-shadow: none !important;
text-decoration: none !important;
}
/* Footer (unten) */
#footer, #footer li, #footer a {
background-color: #000 !important;
color: #fff !important;
}
/* Hauptnavigation oben */
#mw-head,
#p-personal,
#left-navigation,
#right-navigation {
background-color: #000 !important; /* Schwarzer Hintergrund */
color: #fff !important; /* Weiße Schrift */
box-shadow: none !important;
text-decoration: none !important;
}
/* Tabs ("Read", "Discussion", etc.) */
#p-views .vector-menu-content ul {
background-color: #000 !important;
box-shadow: none !important;
text-decoration: none !important;
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/* Einzelne Tabs */
#p-views li {
background-color: #000 !important;
border: 0px solid #444 !important; /* Optional: Dunkle Ränder */
box-shadow: none !important;
text-decoration: none !important;
}
/* Ensure "Main Page" and "Discussion" links match the sidebar links */
#p-views li a,
#p-namespaces li a,
#p-variants li a {
color: #4aa5ff !important; /* Same blue as sidebar links */
text-decoration: none !important;
}
/* Hover effect */
#p-views li a:hover,
#p-namespaces li a:hover,
#p-variants li a:hover {
color: #9c77ff !important; /* Same as visited links */
}
/* Make the top navigation links match the sidebar link colors */
#p-views a,
#p-views a:visited,
#p-views a:active,
#p-views a:hover {
color: #4aa5ff !important; /* Same blue as sidebar links */
text-decoration: none !important;
}
/* If you want a hover effect */
#p-views a:hover {
color: #9c77ff !important; /* Same as visited links */
}
/* Falls noch weiß auftaucht, versuche dies für spezifische Skins */
.vector-menu-tabs li,
.vector-menu-tabs a {
background-color: #000 !important;
color: #fff !important;
box-shadow: none !important;
text-decoration: none !important;
background-image: none !important;
background: none !important;
}
/* Remove background gradients from menu tabs and headings */
#mw-head .vector-menu-dropdown .vector-menu-heading,
.vector-legacy-sidebar .vector-menu-portal .vector-menu-heading {
background-image: none !important;
background: none !important;
}
/* Dropdown-Menüs (z. B. "Mehr") */
.vector-dropdown {
background-color: #000 !important;
}
/* Suchleiste */
#p-search input {
background-color: #222 !important;
color: #fff !important;
border: 1px solid #444 !important;
}
/* ALLE Trennlinien entfernen */
hr,
.mw-body hr,
.vector-menu-content ul,
.vector-menu-content li,
.vector-menu-tabs li,
.vector-menu-tabs a,
table, th, td,
.mw-panel,
.vector-dropdown,
#footer {
border: none !important;
box-shadow: none !important;
}
/* Tabellen ohne Linien */
table, th, td {
border: none !important;
background-color: #000 !important;
}
.vector-legacy-sidebar .vector-menu-portal .vector-menu-heading {
background-image: none !important;
background: none !important;
}
/* Hide Tools box that Vector 2022 renders itself */
#p-tb {
display: none;
}
/* Hide "Powered by MediaWiki" */
.mw-footer .poweredby {
display: none !important;
}
/* Hide the "navigation" heading in the sidebar */
#p-navigation h3,
#p-navigation .vector-menu-heading,
#p-navigation .vector-pinnable-header-label {
display: none !important;
}
/* ============================================================
ADDED 2: text sizes — content area and sidebar.
============================================================ */
#content,
.mw-body,
.mw-body-content {
font-size: 18px !important;
}
#firstHeading, .firstHeading { font-size: 38px !important; }
.mw-body-content h2 { font-size: 32px !important; }
.mw-body-content h3 { font-size: 30px !important; }
.mw-body-content h4 { font-size: 28px !important; }
.vector-legacy-sidebar a,
.portlet a,
.pBody a,
#mw-panel a {
font-size: 18px !important;
line-height: 1.2 !important;
padding-left: 0 !important;
margin-left: 0 !important;
}
.portlet h3,
.portlet h5,
.vector-menu-heading,
.mw-portlet .vector-menu-heading,
.vector-pinnable-header-label {
font-size: 18px !important;
font-weight: normal !important;
line-height: 1.2 !important;
margin-left: 0.5em !important;
}
/* ============================================================
ADDED 3: turn off dark mode toggle, Create account, Log in
============================================================ */
#pt-darkmode,
#pt-darkmode-sticky-header,
#pt-createaccount,
#pt-login {
display: none !important;
}
#ca-talk {
display: none !important;
}
/* ============================================================
ADDED 4: close the gap above and below the page title.
============================================================ */
#content {
padding-top: 0.3em !important;
}
#firstHeading, .firstHeading {
margin: 0 !important;
padding: 0 !important;
line-height: 1.3 !important;
overflow: visible !important;
}
#siteSub, #contentSub, #contentSub2, .mw-indicators {
display: none !important;
margin: 0 !important;
padding: 0 !important;
}
#mw-content-text,
#mw-content-text > .mw-parser-output {
margin-top: 0 !important;
padding-top: 0 !important;
}
.mw-parser-output > p:first-of-type,
.mw-parser-output > p:first-child,
#mw-content-text p:first-of-type,
#firstHeading + p,
.firstHeading + p {
margin-top: 0 !important;
padding-top: 0 !important;
}
/* ============================================================
ADDED 5: force black text on the printable version
============================================================ */
@media print {
body, .mw-body, .mw-body-content,
p, li, td, th, dd, dt,
h1, h2, h3, h4, h5, h6, .firstHeading,
a, a:visited {
color: #000 !important;
background: #fff !important;
}
}
/* ============================================================================
============================ CRAZY VERSION ===============================
Every PAGE gets ONE of 10 color schemes (chosen from the page name by
MediaWiki:Common.js) + ONE of 3 random background images (BaGr1/2/3.jpg).
To turn OFF: delete from here to the end of the file, and blank Common.js.
============================================================================ */
/* ---- links: DEFAULT browser states + yellow hover ----
unvisited = blue #0000FF · visited = purple #800080 · hover = yellow bg
· active = red #FF0000.
NOTE: to make VISITED bright magenta instead of purple, change #800080
to #ff00ff on the ":visited" rule below.
The sidebar selectors carry #mw-panel (an id) so they must be repeated on
EVERY state, otherwise the plain-link rule wins and visited/hover fail. */
/* unvisited */
body[class*="crazy-scheme-"] a:link,
body[class*="crazy-scheme-"] #mw-panel a:link,
body[class*="crazy-scheme-"] .vector-legacy-sidebar a:link,
body[class*="crazy-scheme-"] .portlet a:link,
body[class*="crazy-scheme-"] .pBody a:link,
body[class*="crazy-scheme-"] .mw-parser-output a:link {
color: #0000ff !important;
text-decoration: underline !important;
}
/* visited */
body[class*="crazy-scheme-"] a:visited,
body[class*="crazy-scheme-"] #mw-panel a:visited,
body[class*="crazy-scheme-"] .vector-legacy-sidebar a:visited,
body[class*="crazy-scheme-"] .portlet a:visited,
body[class*="crazy-scheme-"] .pBody a:visited,
body[class*="crazy-scheme-"] .mw-parser-output a:visited {
color: #000000 !important; /* visited = BLACK */
text-decoration: underline !important;
}
/* hover — link TEXT turns RED (order: after visited) */
body[class*="crazy-scheme-"] a:hover,
body[class*="crazy-scheme-"] #mw-panel a:hover,
body[class*="crazy-scheme-"] .vector-legacy-sidebar a:hover,
body[class*="crazy-scheme-"] .portlet a:hover,
body[class*="crazy-scheme-"] .pBody a:hover,
body[class*="crazy-scheme-"] .mw-parser-output a:hover {
color: #ff0000 !important; /* hover = RED */
}
/* active (while clicking) = red */
body[class*="crazy-scheme-"] a:active,
body[class*="crazy-scheme-"] #mw-panel a:active,
body[class*="crazy-scheme-"] .vector-legacy-sidebar a:active,
body[class*="crazy-scheme-"] .portlet a:active,
body[class*="crazy-scheme-"] .pBody a:active,
body[class*="crazy-scheme-"] .mw-parser-output a:active {
color: #ff0000 !important;
}
/* ---- let the random background image show through the content column ---- */
body[class*="crazy-scheme-"] #content,
body[class*="crazy-scheme-"] .mw-body,
body[class*="crazy-scheme-"] .mw-body-content,
body[class*="crazy-scheme-"] #bodyContent,
body[class*="crazy-scheme-"] #mw-content-text,
body[class*="crazy-scheme-"] .mw-parser-output,
body[class*="crazy-scheme-"] table,
body[class*="crazy-scheme-"] th,
body[class*="crazy-scheme-"] td {
background: transparent !important;
}
body[class*="crazy-scheme-"] {
background-attachment: fixed !important;
background-repeat: repeat !important;
}
/* ---- NO colored background behind images / galleries ---- */
body[class*="crazy-scheme-"] .gallery,
body[class*="crazy-scheme-"] .gallerybox,
body[class*="crazy-scheme-"] .thumb,
body[class*="crazy-scheme-"] .thumbinner,
body[class*="crazy-scheme-"] figure,
body[class*="crazy-scheme-"] img {
background: transparent !important;
}
/* packed galleries: left-align the last (short) row instead of centering it */
body[class*="crazy-scheme-"] .mw-parser-output .mw-gallery-packed,
body[class*="crazy-scheme-"] .mw-parser-output ul.gallery.mw-gallery-packed,
body[class*="crazy-scheme-"] .mw-parser-output .mw-gallery-packed-hover,
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text-align: left !important;
justify-content: flex-start !important;
}
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body[class*="crazy-scheme-"] #firstHeading,
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font-weight: bold !important;
font-size: 18px !important;
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text-transform: none !important;
padding: 0.05em 0.25em !important;
margin: 0 0 0.3em 0 !important;
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/* ---- section headings: same size as text, color highlight behind text ---- */
body[class*="crazy-scheme-"] .mw-body-content h2,
body[class*="crazy-scheme-"] .mw-body-content h3,
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body[class*="crazy-scheme-"] .mw-body-content h3 { background: var(--h2b) !important; }
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body[class*="crazy-scheme-"] .mw-parser-output > p,
body[class*="crazy-scheme-"] .mw-parser-output > blockquote,
body[class*="crazy-scheme-"] .mw-parser-output .reflist,
body[class*="crazy-scheme-"] .mw-parser-output .references,
body[class*="crazy-scheme-"] .mw-parser-output ol.references,
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line-height: 1.3 !important;
padding: 0.05em 0.3em !important;
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body[class*="crazy-scheme-"] .mw-parser-output > blockquote,
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line-height: 1.35 !important;
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/* all content list items are white */
body[class*="crazy-scheme-"] .mw-parser-output > ul:not(.gallery) > li { background: #ffffff !important; color: #000 !important; }
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body[class*="crazy-scheme-"] #mw-panel,
body[class*="crazy-scheme-"] .vector-legacy-sidebar,
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body[class*="crazy-scheme-"] #content {
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body[class*="crazy-scheme-"] #mw-panel,
body[class*="crazy-scheme-"] .vector-legacy-sidebar,
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body[class*="crazy-scheme-"] #mw-panel .vector-menu-content,
body[class*="crazy-scheme-"] #mw-panel .vector-menu-content ul {
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body[class*="crazy-scheme-"] #mw-panel a,
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body[class*="crazy-scheme-"] .portlet a,
body[class*="crazy-scheme-"] .pBody a {
display: inline !important;
background: #fff !important;
-webkit-box-decoration-break: clone !important;
box-decoration-break: clone !important;
padding: 0 0.2em !important;
line-height: 1.2 !important;
}
body[class*="crazy-scheme-"] #mw-panel a:link,
body[class*="crazy-scheme-"] .vector-legacy-sidebar a:link,
body[class*="crazy-scheme-"] .portlet a:link,
body[class*="crazy-scheme-"] .pBody a:link {
color: #0000ff !important;
}
body[class*="crazy-scheme-"] #mw-panel a:visited,
body[class*="crazy-scheme-"] .vector-legacy-sidebar a:visited,
body[class*="crazy-scheme-"] .portlet a:visited,
body[class*="crazy-scheme-"] .pBody a:visited {
color: #000000 !important; /* visited = BLACK */
}
/* sidebar hover — text turns RED (must come AFTER the link/visited rules
above, otherwise those win and hover does nothing) */
body[class*="crazy-scheme-"] #mw-panel a:hover,
body[class*="crazy-scheme-"] .vector-legacy-sidebar a:hover,
body[class*="crazy-scheme-"] .portlet a:hover,
body[class*="crazy-scheme-"] .pBody a:hover {
color: #ff0000 !important; /* hover = RED */
}
/* space BETWEEN separate sidebar entries (so items don't run together) */
body[class*="crazy-scheme-"] #mw-panel li,
body[class*="crazy-scheme-"] .vector-legacy-sidebar li {
margin-bottom: 7px !important;
}
/* section headings (Works, Pages, Texts …): white highlight, black text */
body[class*="crazy-scheme-"] .portlet h3,
body[class*="crazy-scheme-"] .portlet h5,
body[class*="crazy-scheme-"] #mw-panel .vector-menu-heading {
display: inline-block !important;
background: #fff !important;
color: #000 !important;
padding: 0.05em 0.2em !important;
}
/* hide the "navigation" heading — must come AFTER the heading rule above,
otherwise that rule re-shows it with higher specificity */
body[class*="crazy-scheme-"] #p-navigation h3,
body[class*="crazy-scheme-"] #p-navigation h5,
body[class*="crazy-scheme-"] #p-navigation .vector-menu-heading,
body[class*="crazy-scheme-"] #p-navigation .vector-menu-heading-label,
body[class*="crazy-scheme-"] #p-navigation .vector-pinnable-header-label {
display: none !important;
visibility: hidden !important;
height: 0 !important;
padding: 0 !important;
margin: 0 !important;
}
/* Safety net: hide ANY sidebar section heading with no text — this is the
empty "-" portlet (<nav id="p-">, <h3 id="p--label">) that appears when a
group of links has no "* heading" line. The real fix is in MediaWiki:Sidebar,
this just guarantees it never shows. */
body[class*="crazy-scheme-"] #mw-panel .vector-menu-heading:has(> .vector-menu-heading-label:empty),
body[class*="crazy-scheme-"] #mw-panel #p--label {
display: none !important;
visibility: hidden !important;
height: 0 !important;
padding: 0 !important;
margin: 0 !important;
}
/* ============================================================================
THE 10 SCHEMES — only your palette:
full #ffff00 #ff0000 #ff00ff #0000ff #000000
pastel #ffdcff #cdffff #ffffdc #b8c0fc
(blue and black boxes use white text; everything else black text)
============================================================================ */
/* No magenta in titles/headings. Content paragraphs cycle box1 → box2 → box3. */
body.crazy-scheme-0 {
--accent:#ffff00; --accent-text:#000;
--h2a:#ffff00; --h2b:#cdffff; --h2c:#ff0000;
--box1:#ffffff; --box1t:#000; --box2:#ffffff; --box2t:#000; --box3:#0000ff; --box3t:#fff;
}
body.crazy-scheme-1 {
--accent:#ffff00; --accent-text:#000;
--h2a:#ffff00; --h2b:#b8c0fc; --h2c:#ff0000;
--box1:#ffffff; --box1t:#000; --box2:#ffffff; --box2t:#000; --box3:#0000ff; --box3t:#fff;
}
body.crazy-scheme-2 {
--accent:#ff0000; --accent-text:#000;
--h2a:#ffff00; --h2b:#cdffff; --h2c:#ff0000;
--box1:#000000; --box1t:#fff; --box2:#000000; --box2t:#fff; --box3:#000000; --box3t:#fff;
}
body.crazy-scheme-3 {
--accent:#0000ff; --accent-text:#fff;
--h2a:#ffff00; --h2b:#ff0000; --h2c:#ff0000;
--box1:#ffffff; --box1t:#000; --box2:#ffffff; --box2t:#000; --box3:#ffffff; --box3t:#000;
}
body.crazy-scheme-4 {
--accent:#ffff00; --accent-text:#000;
--h2a:#ff0000; --h2b:#ffdcff; --h2c:#ff0000;
--box1:#ffffff; --box1t:#000; --box2:#ffffff; --box2t:#000; --box3:#000000; --box3t:#fff;
}
body.crazy-scheme-5 {
--accent:#ff0000; --accent-text:#000;
--h2a:#ffff00; --h2b:#ff0000; --h2c:#cdffff;
--box1:#ffffff; --box1t:#000; --box2:#ffffff; --box2t:#000; --box3:#0000ff; --box3t:#fff;
}
body.crazy-scheme-6 {
--accent:#ff0000; --accent-text:#000;
--h2a:#ffff00; --h2b:#ff0000; --h2c:#b8c0fc;
--box1:#000000; --box1t:#fff; --box2:#ffffff; --box2t:#000; --box3:#ffffff; --box3t:#000;
}
body.crazy-scheme-7 {
--accent:#ffff00; --accent-text:#000;
--h2a:#b8c0fc; --h2b:#ff0000; --h2c:#ffffdc;
--box1:#ffffff; --box1t:#000; --box2:#ffffff; --box2t:#000; --box3:#ffffff; --box3t:#000;
}
body.crazy-scheme-8 {
--accent:#0000ff; --accent-text:#fff;
--h2a:#ffff00; --h2b:#b8c0fc; --h2c:#ff0000;
--box1:#000000; --box1t:#fff; --box2:#000000; --box2t:#fff; --box3:#000000; --box3t:#fff;
}
body.crazy-scheme-9 {
--accent:#0000ff; --accent-text:#fff;
--h2a:#ffff00; --h2b:#ff0000; --h2c:#ffdcff;
--box1:#ffffff; --box1t:#000; --box2:#ffffff; --box2t:#000; --box3:#ff0000; --box3t:#000;
}
/* ============================================================================
3 RANDOM BACKGROUND IMAGES — one is chosen at random on every page load.
============================================================================ */
body.crazy-bg-0 { background-color:#000 !important; background-image: url("/index.php/Special:FilePath/BaGr1.jpg") !important; background-size:400px auto !important; background-repeat:repeat !important; }
body.crazy-bg-1 { background-color:#000 !important; background-image: url("/index.php/Special:FilePath/BaGr2.jpg") !important; background-size:400px auto !important; background-repeat:repeat !important; }
body.crazy-bg-2 { background-color:#000 !important; background-image: url("/index.php/Special:FilePath/BaGr3.jpg") !important; background-size:400px auto !important; background-repeat:repeat !important; }
body.crazy-bg-3 { background-color:#000 !important; background-image: url("/index.php/Special:FilePath/BaGr4.jpg") !important; background-size:400px auto !important; background-repeat:repeat !important; }
body.crazy-bg-4 { background-color:#000 !important; background-image: url("/index.php/Special:FilePath/BaGr5.jpg") !important; background-size:400px auto !important; background-repeat:repeat !important; }
body.crazy-bg-5 { background-color:#000 !important; background-image: url("/index.php/Special:FilePath/BaGr6.jpg") !important; background-size:400px auto !important; background-repeat:repeat !important; }
body.crazy-bg-6 { background-color:#000 !important; background-image: url("/index.php/Special:FilePath/BaGr7.jpg") !important; background-size:400px auto !important; background-repeat:repeat !important; }
body.crazy-bg-7 { background-color:#000 !important; background-image: url("/index.php/Special:FilePath/BaGr8.jpg") !important; background-size:400px auto !important; background-repeat:repeat !important; }
body.crazy-bg-8 { background-color:#000 !important; background-image: url("/index.php/Special:FilePath/BaGr9.jpg") !important; background-size:400px auto !important; background-repeat:repeat !important; }
body.crazy-bg-9 { background-color:#000 !important; background-image: url("/index.php/Special:FilePath/BaGr10.jpg") !important; background-size:400px auto !important; background-repeat:repeat !important; }
body.crazy-bg-10 { background-color:#000 !important; background-image: url("/index.php/Special:FilePath/BaGr11.jpg") !important; background-size:400px auto !important; background-repeat:repeat !important; }
body.crazy-bg-11 { background-color:#000 !important; background-image: url("/index.php/Special:FilePath/BaGr12.jpg") !important; background-size:400px auto !important; background-repeat:repeat !important; }
/* ============================================================================
MAIN PAGE COLLAGE (Yale-style) — used only on the Main Page, which wraps its
content in <div class="mp-collage"> ... </div>. Makes images fill their box
and links take the box's own text color so they stay readable.
============================================================================ */
body[class*="crazy-scheme-"] .mp-collage img {
width: 100% !important;
height: auto !important;
display: block !important;
}
body[class*="crazy-scheme-"] .mp-collage .thumb,
body[class*="crazy-scheme-"] .mp-collage figure,
body[class*="crazy-scheme-"] .mp-collage .mw-default-size,
body[class*="crazy-scheme-"] .mp-collage a.mw-file-description {
margin: 0 !important;
padding: 0 !important;
display: block !important;
}
body[class*="crazy-scheme-"] .mp-collage a:link {
color: inherit !important;
text-decoration: underline !important;
}
body[class*="crazy-scheme-"] .mp-collage a:visited {
color: #000000 !important; /* visited = BLACK */
text-decoration: underline !important;
}
body[class*="crazy-scheme-"] .mp-collage a:hover {
color: #ff0000 !important; /* hover = RED */
}
/* white frame on ANY image when hovered (galleries + main page) */
body[class*="crazy-scheme-"] .mw-parser-output img:hover {
outline: 4px solid #ffffff !important;
outline-offset: -4px !important;
cursor: pointer !important;
}
/* ============================ END CRAZY VERSION =========================== */

MediaWiki:Common.css

2026-07-26T12:33:04Z

Cmfiy:

/* Logo ausblenden — dieser Block (#p-logo, 200x160px) saß ganz
oben im Sidebar und war die eigentliche Ursache des großen
Abstands über "About" */
#p-logo,
.mw-wiki-logo,
.mw-logo,
.mw-logo-icon,
.mw-logo-wordmark,
.vector-logo {
display: none !important;
visibility: hidden !important;
height: 0 !important;
width: 0 !important;
}
/* Gesamte Seite schwarz machen */
body {
background-color: #000 !important;
color: #fff !important;
border: none !important;
box-shadow: none !important;
text-decoration: none !important;
}
/* Inhaltsbereich (Artikel) */
.mw-body {
background-color: #000 !important;
color: #fff !important;
border: 0px solid #444 !important;
box-shadow: none !important;
text-decoration: none !important;
}
/* Überschriften weiß machen */
h1, h2, h3, h4, h5, h6 {
color: #fff !important;
box-shadow: none !important;
text-decoration: none !important;
}
/* Spezielle MediaWiki-Trennlinien entfernen */
.mw-headline, .firstHeading, .mw-title {
border: none !important;
box-shadow: none !important;
text-decoration: none !important;
}
/* Pseudo-Elemente, die Linien erzeugen könnten, entfernen */
h1::after, h2::after, h3::after, h4::after, h5::after, h6::after {
content: "" !important;
display: none !important;
box-shadow: none !important;
text-decoration: none !important;
}
/* Entfernt alle möglichen Linien in MediaWiki */
hr, .mw-content-ltr hr, .mw-parser-output hr {
display: none !important;
border: none !important;
height: 0 !important;
box-shadow: none !important;
text-decoration: none !important;
}
/* Kopfzeile und Navigation */
#mw-head,
#p-personal,
#mw-panel {
background-color: #000 !important;
color: #fff !important;
box-shadow: none !important;
text-decoration: none !important;
}
/* Menüleisten und Boxen */
.vector-menu-content,
.vector-menu-content ul {
background-color: #000 !important;
color: #fff !important;
box-shadow: none !important;
text-decoration: none !important;
}
/* Eingabefelder, Suchbox */
input, textarea {
background-color: #222 !important;
color: #fff !important;
border: 0px solid #444 !important;
box-shadow: none !important;
text-decoration: none !important;
}
/* Links */
a {
color: #4aa5ff !important;
}
a:visited {
color: #9c77ff !important;
}
/* Tabellen, Boxen, Panels ohne Ränder */
table, th, td, .mw-body-content, .vector-menu-content, .vector-menu-tabs {
border: none !important;
background-color: #000 !important;
box-shadow: none !important;
text-decoration: none !important;
background-image: none !important;
background: none !important;
}
/* Dropdown-Menüs */
.vector-dropdown {
background-color: #000 !important;
color: #fff !important;
box-shadow: none !important;
text-decoration: none !important;
}
/* Footer (unten) */
#footer, #footer li, #footer a {
background-color: #000 !important;
color: #fff !important;
}
/* Hauptnavigation oben */
#mw-head,
#p-personal,
#left-navigation,
#right-navigation {
background-color: #000 !important; /* Schwarzer Hintergrund */
color: #fff !important; /* Weiße Schrift */
box-shadow: none !important;
text-decoration: none !important;
}
/* Tabs ("Read", "Discussion", etc.) */
#p-views .vector-menu-content ul {
background-color: #000 !important;
box-shadow: none !important;
text-decoration: none !important;
}
/* Einzelne Tabs */
#p-views li {
background-color: #000 !important;
border: 0px solid #444 !important; /* Optional: Dunkle Ränder */
box-shadow: none !important;
text-decoration: none !important;
}
/* Ensure "Main Page" and "Discussion" links match the sidebar links */
#p-views li a,
#p-namespaces li a,
#p-variants li a {
color: #4aa5ff !important; /* Same blue as sidebar links */
text-decoration: none !important;
}
/* Hover effect */
#p-views li a:hover,
#p-namespaces li a:hover,
#p-variants li a:hover {
color: #9c77ff !important; /* Same as visited links */
}
/* Make the top navigation links match the sidebar link colors */
#p-views a,
#p-views a:visited,
#p-views a:active,
#p-views a:hover {
color: #4aa5ff !important; /* Same blue as sidebar links */
text-decoration: none !important;
}
/* If you want a hover effect */
#p-views a:hover {
color: #9c77ff !important; /* Same as visited links */
}
/* Falls noch weiß auftaucht, versuche dies für spezifische Skins */
.vector-menu-tabs li,
.vector-menu-tabs a {
background-color: #000 !important;
color: #fff !important;
box-shadow: none !important;
text-decoration: none !important;
background-image: none !important;
background: none !important;
}
/* Remove background gradients from menu tabs and headings */
#mw-head .vector-menu-dropdown .vector-menu-heading,
.vector-legacy-sidebar .vector-menu-portal .vector-menu-heading {
background-image: none !important;
background: none !important;
}
/* Dropdown-Menüs (z. B. "Mehr") */
.vector-dropdown {
background-color: #000 !important;
}
/* Suchleiste */
#p-search input {
background-color: #222 !important;
color: #fff !important;
border: 1px solid #444 !important;
}
/* ALLE Trennlinien entfernen */
hr,
.mw-body hr,
.vector-menu-content ul,
.vector-menu-content li,
.vector-menu-tabs li,
.vector-menu-tabs a,
table, th, td,
.mw-panel,
.vector-dropdown,
#footer {
border: none !important;
box-shadow: none !important;
}
/* Tabellen ohne Linien */
table, th, td {
border: none !important;
background-color: #000 !important;
}
.vector-legacy-sidebar .vector-menu-portal .vector-menu-heading {
background-image: none !important;
background: none !important;
}
/* Hide Tools box that Vector 2022 renders itself */
#p-tb {
display: none;
}
/* Hide "Powered by MediaWiki" */
.mw-footer .poweredby {
display: none !important;
}
/* Hide the "navigation" heading in the sidebar */
#p-navigation h3,
#p-navigation .vector-menu-heading,
#p-navigation .vector-pinnable-header-label {
display: none !important;
}
/* ============================================================
ADDED 2: text sizes — content area and sidebar.
============================================================ */
#content,
.mw-body,
.mw-body-content {
font-size: 18px !important;
}
#firstHeading, .firstHeading { font-size: 38px !important; }
.mw-body-content h2 { font-size: 32px !important; }
.mw-body-content h3 { font-size: 30px !important; }
.mw-body-content h4 { font-size: 28px !important; }
.vector-legacy-sidebar a,
.portlet a,
.pBody a,
#mw-panel a {
font-size: 18px !important;
line-height: 1.2 !important;
padding-left: 0 !important;
margin-left: 0 !important;
}
.portlet h3,
.portlet h5,
.vector-menu-heading,
.mw-portlet .vector-menu-heading,
.vector-pinnable-header-label {
font-size: 18px !important;
font-weight: normal !important;
line-height: 1.2 !important;
margin-left: 0.5em !important;
}
/* ============================================================
ADDED 3: turn off dark mode toggle, Create account, Log in
============================================================ */
#pt-darkmode,
#pt-darkmode-sticky-header,
#pt-createaccount,
#pt-login {
display: none !important;
}
#ca-talk {
display: none !important;
}
/* ============================================================
ADDED 4: close the gap above and below the page title.
============================================================ */
#content {
padding-top: 0.3em !important;
}
#firstHeading, .firstHeading {
margin: 0 !important;
padding: 0 !important;
line-height: 1.3 !important;
overflow: visible !important;
}
#siteSub, #contentSub, #contentSub2, .mw-indicators {
display: none !important;
margin: 0 !important;
padding: 0 !important;
}
#mw-content-text,
#mw-content-text > .mw-parser-output {
margin-top: 0 !important;
padding-top: 0 !important;
}
.mw-parser-output > p:first-of-type,
.mw-parser-output > p:first-child,
#mw-content-text p:first-of-type,
#firstHeading + p,
.firstHeading + p {
margin-top: 0 !important;
padding-top: 0 !important;
}
/* ============================================================
ADDED 5: force black text on the printable version
============================================================ */
@media print {
body, .mw-body, .mw-body-content,
p, li, td, th, dd, dt,
h1, h2, h3, h4, h5, h6, .firstHeading,
a, a:visited {
color: #000 !important;
background: #fff !important;
}
}
/* ============================================================================
============================ CRAZY VERSION ===============================
Every PAGE gets ONE of 10 color schemes (chosen from the page name by
MediaWiki:Common.js) + ONE of 3 random background images (BaGr1/2/3.jpg).
To turn OFF: delete from here to the end of the file, and blank Common.js.
============================================================================ */
/* ---- links: DEFAULT browser states + yellow hover ----
unvisited = blue #0000FF · visited = purple #800080 · hover = yellow bg
· active = red #FF0000.
NOTE: to make VISITED bright magenta instead of purple, change #800080
to #ff00ff on the ":visited" rule below.
The sidebar selectors carry #mw-panel (an id) so they must be repeated on
EVERY state, otherwise the plain-link rule wins and visited/hover fail. */
/* unvisited */
body[class*="crazy-scheme-"] a:link,
body[class*="crazy-scheme-"] #mw-panel a:link,
body[class*="crazy-scheme-"] .vector-legacy-sidebar a:link,
body[class*="crazy-scheme-"] .portlet a:link,
body[class*="crazy-scheme-"] .pBody a:link,
body[class*="crazy-scheme-"] .mw-parser-output a:link {
color: #0000ff !important;
text-decoration: underline !important;
}
/* visited */
body[class*="crazy-scheme-"] a:visited,
body[class*="crazy-scheme-"] #mw-panel a:visited,
body[class*="crazy-scheme-"] .vector-legacy-sidebar a:visited,
body[class*="crazy-scheme-"] .portlet a:visited,
body[class*="crazy-scheme-"] .pBody a:visited,
body[class*="crazy-scheme-"] .mw-parser-output a:visited {
color: #000000 !important; /* visited = BLACK */
text-decoration: underline !important;
}
/* hover — link TEXT turns RED (order: after visited) */
body[class*="crazy-scheme-"] a:hover,
body[class*="crazy-scheme-"] #mw-panel a:hover,
body[class*="crazy-scheme-"] .vector-legacy-sidebar a:hover,
body[class*="crazy-scheme-"] .portlet a:hover,
body[class*="crazy-scheme-"] .pBody a:hover,
body[class*="crazy-scheme-"] .mw-parser-output a:hover {
color: #ff0000 !important; /* hover = RED */
}
/* active (while clicking) = red */
body[class*="crazy-scheme-"] a:active,
body[class*="crazy-scheme-"] #mw-panel a:active,
body[class*="crazy-scheme-"] .vector-legacy-sidebar a:active,
body[class*="crazy-scheme-"] .portlet a:active,
body[class*="crazy-scheme-"] .pBody a:active,
body[class*="crazy-scheme-"] .mw-parser-output a:active {
color: #ff0000 !important;
}
/* ---- let the random background image show through the content column ---- */
body[class*="crazy-scheme-"] #content,
body[class*="crazy-scheme-"] .mw-body,
body[class*="crazy-scheme-"] .mw-body-content,
body[class*="crazy-scheme-"] #bodyContent,
body[class*="crazy-scheme-"] #mw-content-text,
body[class*="crazy-scheme-"] .mw-parser-output,
body[class*="crazy-scheme-"] table,
body[class*="crazy-scheme-"] th,
body[class*="crazy-scheme-"] td {
background: transparent !important;
}
body[class*="crazy-scheme-"] {
background-attachment: fixed !important;
background-repeat: repeat !important;
}
/* ---- NO colored background behind images / galleries ---- */
body[class*="crazy-scheme-"] .gallery,
body[class*="crazy-scheme-"] .gallerybox,
body[class*="crazy-scheme-"] .thumb,
body[class*="crazy-scheme-"] .thumbinner,
body[class*="crazy-scheme-"] figure,
body[class*="crazy-scheme-"] img {
background: transparent !important;
}
/* ---- page title: SAME SIZE as content text, color highlight behind text ---- */
body[class*="crazy-scheme-"] #firstHeading,
body[class*="crazy-scheme-"] .firstHeading {
display: inline-block !important;
background: #ff0000 !important; /* page title ALWAYS red */
color: #fff !important;
font-weight: bold !important;
font-size: 18px !important;
line-height: 1.4 !important;
text-transform: none !important;
padding: 0.05em 0.25em !important;
margin: 0 0 0.3em 0 !important;
}
/* ---- section headings: same size as text, color highlight behind text ---- */
body[class*="crazy-scheme-"] .mw-body-content h2,
body[class*="crazy-scheme-"] .mw-body-content h3,
body[class*="crazy-scheme-"] .mw-body-content h4 {
display: inline-block !important;
color: #000 !important;
font-weight: bold !important;
font-size: 18px !important;
line-height: 1.4 !important;
text-transform: none !important;
padding: 0.05em 0.25em !important;
margin: 0.3em 0 0.2em 0 !important;
border: none !important;
}
body[class*="crazy-scheme-"] .mw-body-content h2 { background: var(--h2a) !important; }
body[class*="crazy-scheme-"] .mw-body-content h3 { background: var(--h2b) !important; }
/* h4: slightly smaller than body text, BLACK background, WHITE text */
body[class*="crazy-scheme-"] .mw-body-content h4 {
background: #000000 !important;
color: #ffffff !important;
font-size: 15px !important;
}
/* remove the thin underline MediaWiki draws under section headings
(it sits on the h1/h2 or on the .mw-heading wrapper div) */
body[class*="crazy-scheme-"] .mw-body-content h1,
body[class*="crazy-scheme-"] .mw-body-content h2,
body[class*="crazy-scheme-"] .mw-body-content h3,
body[class*="crazy-scheme-"] .mw-heading,
body[class*="crazy-scheme-"] .mw-heading1,
body[class*="crazy-scheme-"] .mw-heading2,
body[class*="crazy-scheme-"] .mw-heading3 {
border: 0 !important;
border-bottom: 0 !important;
box-shadow: none !important;
}
/* force a line break after each heading so the inline paragraphs below
start on their own line instead of flowing next to the heading */
body[class*="crazy-scheme-"] .mw-body-content h2::after,
body[class*="crazy-scheme-"] .mw-body-content h3::after,
body[class*="crazy-scheme-"] .mw-body-content h4::after {
content: "" !important;
display: block !important;
height: 0 !important;
background: transparent !important;
}
/* ---- content boxes: layout (max 820px, left aligned) ---- */
body[class*="crazy-scheme-"] .mw-parser-output > p,
body[class*="crazy-scheme-"] .mw-parser-output > blockquote,
body[class*="crazy-scheme-"] .mw-parser-output .reflist,
body[class*="crazy-scheme-"] .mw-parser-output .references,
body[class*="crazy-scheme-"] .mw-parser-output ol.references,
body[class*="crazy-scheme-"] .mw-parser-output .mw-references-wrap {
display: block !important;
width: fit-content !important;
max-width: 820px !important;
margin: 0 0 12px 0 !important;
font-size: 18px !important;
line-height: 1.3 !important;
padding: 0.05em 0.3em !important;
}
/* all content paragraphs are white */
body[class*="crazy-scheme-"] .mw-parser-output > p { background: #ffffff !important; color: #000 !important; }
/* footnotes and quotes are ALWAYS white */
body[class*="crazy-scheme-"] .mw-parser-output > blockquote,
body[class*="crazy-scheme-"] .mw-parser-output .reflist,
body[class*="crazy-scheme-"] .mw-parser-output .references,
body[class*="crazy-scheme-"] .mw-parser-output ol.references,
body[class*="crazy-scheme-"] .mw-parser-output .mw-references-wrap {
background: #fff !important;
color: #000 !important;
}
/* ---- project / text lists: colored boxes, max 800px, LEFT aligned (never galleries) ---- */
body[class*="crazy-scheme-"] .mw-parser-output > ul:not(.gallery) {
padding-left: 0 !important;
margin-left: 0 !important;
list-style: none !important;
}
body[class*="crazy-scheme-"] .mw-parser-output > ul:not(.gallery) > li {
display: block !important;
width: fit-content !important;
max-width: 800px !important;
margin: 0 0 8px 0 !important;
font-size: 18px !important;
line-height: 1.35 !important;
padding: 0.1em 0.3em !important;
list-style: none !important;
}
/* all content list items are white */
body[class*="crazy-scheme-"] .mw-parser-output > ul:not(.gallery) > li { background: #ffffff !important; color: #000 !important; }
/* ---- SIDEBAR width — make it a bit wider. Change BOTH numbers together
(sidebar width and the content's left margin must match). ---- */
body[class*="crazy-scheme-"] #mw-panel,
body[class*="crazy-scheme-"] .vector-legacy-sidebar,
body[class*="crazy-scheme-"] #column-one {
width: 200px !important;
}
body[class*="crazy-scheme-"] #content {
margin-left: 200px !important;
}
/* ---- SIDEBAR: white highlight behind each line of text ---- */
body[class*="crazy-scheme-"] #mw-panel,
body[class*="crazy-scheme-"] .vector-legacy-sidebar,
body[class*="crazy-scheme-"] #column-one {
background: transparent !important;
background-image: none !important;
padding: 0 !important;
}
body[class*="crazy-scheme-"] #mw-panel .vector-menu-content,
body[class*="crazy-scheme-"] #mw-panel .vector-menu-content ul {
background: transparent !important;
}
/* white highlight behind each link; default blue / purple text on the white */
body[class*="crazy-scheme-"] #mw-panel a,
body[class*="crazy-scheme-"] .vector-legacy-sidebar a,
body[class*="crazy-scheme-"] .portlet a,
body[class*="crazy-scheme-"] .pBody a {
display: inline !important;
background: #fff !important;
-webkit-box-decoration-break: clone !important;
box-decoration-break: clone !important;
padding: 0 0.2em !important;
line-height: 1.2 !important;
}
body[class*="crazy-scheme-"] #mw-panel a:link,
body[class*="crazy-scheme-"] .vector-legacy-sidebar a:link,
body[class*="crazy-scheme-"] .portlet a:link,
body[class*="crazy-scheme-"] .pBody a:link {
color: #0000ff !important;
}
body[class*="crazy-scheme-"] #mw-panel a:visited,
body[class*="crazy-scheme-"] .vector-legacy-sidebar a:visited,
body[class*="crazy-scheme-"] .portlet a:visited,
body[class*="crazy-scheme-"] .pBody a:visited {
color: #000000 !important; /* visited = BLACK */
}
/* sidebar hover — text turns RED (must come AFTER the link/visited rules
above, otherwise those win and hover does nothing) */
body[class*="crazy-scheme-"] #mw-panel a:hover,
body[class*="crazy-scheme-"] .vector-legacy-sidebar a:hover,
body[class*="crazy-scheme-"] .portlet a:hover,
body[class*="crazy-scheme-"] .pBody a:hover {
color: #ff0000 !important; /* hover = RED */
}
/* space BETWEEN separate sidebar entries (so items don't run together) */
body[class*="crazy-scheme-"] #mw-panel li,
body[class*="crazy-scheme-"] .vector-legacy-sidebar li {
margin-bottom: 7px !important;
}
/* section headings (Works, Pages, Texts …): white highlight, black text */
body[class*="crazy-scheme-"] .portlet h3,
body[class*="crazy-scheme-"] .portlet h5,
body[class*="crazy-scheme-"] #mw-panel .vector-menu-heading {
display: inline-block !important;
background: #fff !important;
color: #000 !important;
padding: 0.05em 0.2em !important;
}
/* hide the "navigation" heading — must come AFTER the heading rule above,
otherwise that rule re-shows it with higher specificity */
body[class*="crazy-scheme-"] #p-navigation h3,
body[class*="crazy-scheme-"] #p-navigation h5,
body[class*="crazy-scheme-"] #p-navigation .vector-menu-heading,
body[class*="crazy-scheme-"] #p-navigation .vector-menu-heading-label,
body[class*="crazy-scheme-"] #p-navigation .vector-pinnable-header-label {
display: none !important;
visibility: hidden !important;
height: 0 !important;
padding: 0 !important;
margin: 0 !important;
}
/* Safety net: hide ANY sidebar section heading with no text — this is the
empty "-" portlet (<nav id="p-">, <h3 id="p--label">) that appears when a
group of links has no "* heading" line. The real fix is in MediaWiki:Sidebar,
this just guarantees it never shows. */
body[class*="crazy-scheme-"] #mw-panel .vector-menu-heading:has(> .vector-menu-heading-label:empty),
body[class*="crazy-scheme-"] #mw-panel #p--label {
display: none !important;
visibility: hidden !important;
height: 0 !important;
padding: 0 !important;
margin: 0 !important;
}
/* ============================================================================
THE 10 SCHEMES — only your palette:
full #ffff00 #ff0000 #ff00ff #0000ff #000000
pastel #ffdcff #cdffff #ffffdc #b8c0fc
(blue and black boxes use white text; everything else black text)
============================================================================ */
/* No magenta in titles/headings. Content paragraphs cycle box1 → box2 → box3. */
body.crazy-scheme-0 {
--accent:#ffff00; --accent-text:#000;
--h2a:#ffff00; --h2b:#cdffff; --h2c:#ff0000;
--box1:#ffffff; --box1t:#000; --box2:#ffffff; --box2t:#000; --box3:#0000ff; --box3t:#fff;
}
body.crazy-scheme-1 {
--accent:#ffff00; --accent-text:#000;
--h2a:#ffff00; --h2b:#b8c0fc; --h2c:#ff0000;
--box1:#ffffff; --box1t:#000; --box2:#ffffff; --box2t:#000; --box3:#0000ff; --box3t:#fff;
}
body.crazy-scheme-2 {
--accent:#ff0000; --accent-text:#000;
--h2a:#ffff00; --h2b:#cdffff; --h2c:#ff0000;
--box1:#000000; --box1t:#fff; --box2:#000000; --box2t:#fff; --box3:#000000; --box3t:#fff;
}
body.crazy-scheme-3 {
--accent:#0000ff; --accent-text:#fff;
--h2a:#ffff00; --h2b:#ff0000; --h2c:#ff0000;
--box1:#ffffff; --box1t:#000; --box2:#ffffff; --box2t:#000; --box3:#ffffff; --box3t:#000;
}
body.crazy-scheme-4 {
--accent:#ffff00; --accent-text:#000;
--h2a:#ff0000; --h2b:#ffdcff; --h2c:#ff0000;
--box1:#ffffff; --box1t:#000; --box2:#ffffff; --box2t:#000; --box3:#000000; --box3t:#fff;
}
body.crazy-scheme-5 {
--accent:#ff0000; --accent-text:#000;
--h2a:#ffff00; --h2b:#ff0000; --h2c:#cdffff;
--box1:#ffffff; --box1t:#000; --box2:#ffffff; --box2t:#000; --box3:#0000ff; --box3t:#fff;
}
body.crazy-scheme-6 {
--accent:#ff0000; --accent-text:#000;
--h2a:#ffff00; --h2b:#ff0000; --h2c:#b8c0fc;
--box1:#000000; --box1t:#fff; --box2:#ffffff; --box2t:#000; --box3:#ffffff; --box3t:#000;
}
body.crazy-scheme-7 {
--accent:#ffff00; --accent-text:#000;
--h2a:#b8c0fc; --h2b:#ff0000; --h2c:#ffffdc;
--box1:#ffffff; --box1t:#000; --box2:#ffffff; --box2t:#000; --box3:#ffffff; --box3t:#000;
}
body.crazy-scheme-8 {
--accent:#0000ff; --accent-text:#fff;
--h2a:#ffff00; --h2b:#b8c0fc; --h2c:#ff0000;
--box1:#000000; --box1t:#fff; --box2:#000000; --box2t:#fff; --box3:#000000; --box3t:#fff;
}
body.crazy-scheme-9 {
--accent:#0000ff; --accent-text:#fff;
--h2a:#ffff00; --h2b:#ff0000; --h2c:#ffdcff;
--box1:#ffffff; --box1t:#000; --box2:#ffffff; --box2t:#000; --box3:#ff0000; --box3t:#000;
}
/* ============================================================================
3 RANDOM BACKGROUND IMAGES — one is chosen at random on every page load.
============================================================================ */
body.crazy-bg-0 { background-color:#000 !important; background-image: url("/index.php/Special:FilePath/BaGr1.jpg") !important; background-size:400px auto !important; background-repeat:repeat !important; }
body.crazy-bg-1 { background-color:#000 !important; background-image: url("/index.php/Special:FilePath/BaGr2.jpg") !important; background-size:400px auto !important; background-repeat:repeat !important; }
body.crazy-bg-2 { background-color:#000 !important; background-image: url("/index.php/Special:FilePath/BaGr3.jpg") !important; background-size:400px auto !important; background-repeat:repeat !important; }
body.crazy-bg-3 { background-color:#000 !important; background-image: url("/index.php/Special:FilePath/BaGr4.jpg") !important; background-size:400px auto !important; background-repeat:repeat !important; }
body.crazy-bg-4 { background-color:#000 !important; background-image: url("/index.php/Special:FilePath/BaGr5.jpg") !important; background-size:400px auto !important; background-repeat:repeat !important; }
body.crazy-bg-5 { background-color:#000 !important; background-image: url("/index.php/Special:FilePath/BaGr6.jpg") !important; background-size:400px auto !important; background-repeat:repeat !important; }
body.crazy-bg-6 { background-color:#000 !important; background-image: url("/index.php/Special:FilePath/BaGr7.jpg") !important; background-size:400px auto !important; background-repeat:repeat !important; }
body.crazy-bg-7 { background-color:#000 !important; background-image: url("/index.php/Special:FilePath/BaGr8.jpg") !important; background-size:400px auto !important; background-repeat:repeat !important; }
body.crazy-bg-8 { background-color:#000 !important; background-image: url("/index.php/Special:FilePath/BaGr9.jpg") !important; background-size:400px auto !important; background-repeat:repeat !important; }
body.crazy-bg-9 { background-color:#000 !important; background-image: url("/index.php/Special:FilePath/BaGr10.jpg") !important; background-size:400px auto !important; background-repeat:repeat !important; }
body.crazy-bg-10 { background-color:#000 !important; background-image: url("/index.php/Special:FilePath/BaGr11.jpg") !important; background-size:400px auto !important; background-repeat:repeat !important; }
body.crazy-bg-11 { background-color:#000 !important; background-image: url("/index.php/Special:FilePath/BaGr12.jpg") !important; background-size:400px auto !important; background-repeat:repeat !important; }
/* ============================================================================
MAIN PAGE COLLAGE (Yale-style) — used only on the Main Page, which wraps its
content in <div class="mp-collage"> ... </div>. Makes images fill their box
and links take the box's own text color so they stay readable.
============================================================================ */
body[class*="crazy-scheme-"] .mp-collage img {
width: 100% !important;
height: auto !important;
display: block !important;
}
body[class*="crazy-scheme-"] .mp-collage .thumb,
body[class*="crazy-scheme-"] .mp-collage figure,
body[class*="crazy-scheme-"] .mp-collage .mw-default-size,
body[class*="crazy-scheme-"] .mp-collage a.mw-file-description {
margin: 0 !important;
padding: 0 !important;
display: block !important;
}
body[class*="crazy-scheme-"] .mp-collage a:link {
color: inherit !important;
text-decoration: underline !important;
}
body[class*="crazy-scheme-"] .mp-collage a:visited {
color: #000000 !important; /* visited = BLACK */
text-decoration: underline !important;
}
body[class*="crazy-scheme-"] .mp-collage a:hover {
color: #ff0000 !important; /* hover = RED */
}
/* white frame on ANY image when hovered (galleries + main page) */
body[class*="crazy-scheme-"] .mw-parser-output img:hover {
outline: 4px solid #ffffff !important;
outline-offset: -4px !important;
cursor: pointer !important;
}
/* ============================ END CRAZY VERSION =========================== */

MediaWiki:Common.css

2026-07-26T12:25:35Z

Cmfiy:

/* Logo ausblenden — dieser Block (#p-logo, 200x160px) saß ganz
oben im Sidebar und war die eigentliche Ursache des großen
Abstands über "About" */
#p-logo,
.mw-wiki-logo,
.mw-logo,
.mw-logo-icon,
.mw-logo-wordmark,
.vector-logo {
display: none !important;
visibility: hidden !important;
height: 0 !important;
width: 0 !important;
}
/* Gesamte Seite schwarz machen */
body {
background-color: #000 !important;
color: #fff !important;
border: none !important;
box-shadow: none !important;
text-decoration: none !important;
}
/* Inhaltsbereich (Artikel) */
.mw-body {
background-color: #000 !important;
color: #fff !important;
border: 0px solid #444 !important;
box-shadow: none !important;
text-decoration: none !important;
}
/* Überschriften weiß machen */
h1, h2, h3, h4, h5, h6 {
color: #fff !important;
box-shadow: none !important;
text-decoration: none !important;
}
/* Spezielle MediaWiki-Trennlinien entfernen */
.mw-headline, .firstHeading, .mw-title {
border: none !important;
box-shadow: none !important;
text-decoration: none !important;
}
/* Pseudo-Elemente, die Linien erzeugen könnten, entfernen */
h1::after, h2::after, h3::after, h4::after, h5::after, h6::after {
content: "" !important;
display: none !important;
box-shadow: none !important;
text-decoration: none !important;
}
/* Entfernt alle möglichen Linien in MediaWiki */
hr, .mw-content-ltr hr, .mw-parser-output hr {
display: none !important;
border: none !important;
height: 0 !important;
box-shadow: none !important;
text-decoration: none !important;
}
/* Kopfzeile und Navigation */
#mw-head,
#p-personal,
#mw-panel {
background-color: #000 !important;
color: #fff !important;
box-shadow: none !important;
text-decoration: none !important;
}
/* Menüleisten und Boxen */
.vector-menu-content,
.vector-menu-content ul {
background-color: #000 !important;
color: #fff !important;
box-shadow: none !important;
text-decoration: none !important;
}
/* Eingabefelder, Suchbox */
input, textarea {
background-color: #222 !important;
color: #fff !important;
border: 0px solid #444 !important;
box-shadow: none !important;
text-decoration: none !important;
}
/* Links */
a {
color: #4aa5ff !important;
}
a:visited {
color: #9c77ff !important;
}
/* Tabellen, Boxen, Panels ohne Ränder */
table, th, td, .mw-body-content, .vector-menu-content, .vector-menu-tabs {
border: none !important;
background-color: #000 !important;
box-shadow: none !important;
text-decoration: none !important;
background-image: none !important;
background: none !important;
}
/* Dropdown-Menüs */
.vector-dropdown {
background-color: #000 !important;
color: #fff !important;
box-shadow: none !important;
text-decoration: none !important;
}
/* Footer (unten) */
#footer, #footer li, #footer a {
background-color: #000 !important;
color: #fff !important;
}
/* Hauptnavigation oben */
#mw-head,
#p-personal,
#left-navigation,
#right-navigation {
background-color: #000 !important; /* Schwarzer Hintergrund */
color: #fff !important; /* Weiße Schrift */
box-shadow: none !important;
text-decoration: none !important;
}
/* Tabs ("Read", "Discussion", etc.) */
#p-views .vector-menu-content ul {
background-color: #000 !important;
box-shadow: none !important;
text-decoration: none !important;
}
/* Einzelne Tabs */
#p-views li {
background-color: #000 !important;
border: 0px solid #444 !important; /* Optional: Dunkle Ränder */
box-shadow: none !important;
text-decoration: none !important;
}
/* Ensure "Main Page" and "Discussion" links match the sidebar links */
#p-views li a,
#p-namespaces li a,
#p-variants li a {
color: #4aa5ff !important; /* Same blue as sidebar links */
text-decoration: none !important;
}
/* Hover effect */
#p-views li a:hover,
#p-namespaces li a:hover,
#p-variants li a:hover {
color: #9c77ff !important; /* Same as visited links */
}
/* Make the top navigation links match the sidebar link colors */
#p-views a,
#p-views a:visited,
#p-views a:active,
#p-views a:hover {
color: #4aa5ff !important; /* Same blue as sidebar links */
text-decoration: none !important;
}
/* If you want a hover effect */
#p-views a:hover {
color: #9c77ff !important; /* Same as visited links */
}
/* Falls noch weiß auftaucht, versuche dies für spezifische Skins */
.vector-menu-tabs li,
.vector-menu-tabs a {
background-color: #000 !important;
color: #fff !important;
box-shadow: none !important;
text-decoration: none !important;
background-image: none !important;
background: none !important;
}
/* Remove background gradients from menu tabs and headings */
#mw-head .vector-menu-dropdown .vector-menu-heading,
.vector-legacy-sidebar .vector-menu-portal .vector-menu-heading {
background-image: none !important;
background: none !important;
}
/* Dropdown-Menüs (z. B. "Mehr") */
.vector-dropdown {
background-color: #000 !important;
}
/* Suchleiste */
#p-search input {
background-color: #222 !important;
color: #fff !important;
border: 1px solid #444 !important;
}
/* ALLE Trennlinien entfernen */
hr,
.mw-body hr,
.vector-menu-content ul,
.vector-menu-content li,
.vector-menu-tabs li,
.vector-menu-tabs a,
table, th, td,
.mw-panel,
.vector-dropdown,
#footer {
border: none !important;
box-shadow: none !important;
}
/* Tabellen ohne Linien */
table, th, td {
border: none !important;
background-color: #000 !important;
}
.vector-legacy-sidebar .vector-menu-portal .vector-menu-heading {
background-image: none !important;
background: none !important;
}
/* Hide Tools box that Vector 2022 renders itself */
#p-tb {
display: none;
}
/* Hide "Powered by MediaWiki" */
.mw-footer .poweredby {
display: none !important;
}
/* Hide the "navigation" heading in the sidebar */
#p-navigation h3,
#p-navigation .vector-menu-heading,
#p-navigation .vector-pinnable-header-label {
display: none !important;
}
/* ============================================================
ADDED 2: text sizes — content area and sidebar.
============================================================ */
#content,
.mw-body,
.mw-body-content {
font-size: 18px !important;
}
#firstHeading, .firstHeading { font-size: 38px !important; }
.mw-body-content h2 { font-size: 32px !important; }
.mw-body-content h3 { font-size: 30px !important; }
.mw-body-content h4 { font-size: 28px !important; }
.vector-legacy-sidebar a,
.portlet a,
.pBody a,
#mw-panel a {
font-size: 18px !important;
line-height: 1.2 !important;
padding-left: 0 !important;
margin-left: 0 !important;
}
.portlet h3,
.portlet h5,
.vector-menu-heading,
.mw-portlet .vector-menu-heading,
.vector-pinnable-header-label {
font-size: 18px !important;
font-weight: normal !important;
line-height: 1.2 !important;
margin-left: 0.5em !important;
}
/* ============================================================
ADDED 3: turn off dark mode toggle, Create account, Log in
============================================================ */
#pt-darkmode,
#pt-darkmode-sticky-header,
#pt-createaccount,
#pt-login {
display: none !important;
}
#ca-talk {
display: none !important;
}
/* ============================================================
ADDED 4: close the gap above and below the page title.
============================================================ */
#content {
padding-top: 0.3em !important;
}
#firstHeading, .firstHeading {
margin: 0 !important;
padding: 0 !important;
line-height: 1.3 !important;
overflow: visible !important;
}
#siteSub, #contentSub, #contentSub2, .mw-indicators {
display: none !important;
margin: 0 !important;
padding: 0 !important;
}
#mw-content-text,
#mw-content-text > .mw-parser-output {
margin-top: 0 !important;
padding-top: 0 !important;
}
.mw-parser-output > p:first-of-type,
.mw-parser-output > p:first-child,
#mw-content-text p:first-of-type,
#firstHeading + p,
.firstHeading + p {
margin-top: 0 !important;
padding-top: 0 !important;
}
/* ============================================================
ADDED 5: force black text on the printable version
============================================================ */
@media print {
body, .mw-body, .mw-body-content,
p, li, td, th, dd, dt,
h1, h2, h3, h4, h5, h6, .firstHeading,
a, a:visited {
color: #000 !important;
background: #fff !important;
}
}
/* ============================================================================
============================ CRAZY VERSION ===============================
Every PAGE gets ONE of 10 color schemes (chosen from the page name by
MediaWiki:Common.js) + ONE of 3 random background images (BaGr1/2/3.jpg).
To turn OFF: delete from here to the end of the file, and blank Common.js.
============================================================================ */
/* ---- links: DEFAULT browser states + yellow hover ----
unvisited = blue #0000FF · visited = purple #800080 · hover = yellow bg
· active = red #FF0000.
NOTE: to make VISITED bright magenta instead of purple, change #800080
to #ff00ff on the ":visited" rule below.
The sidebar selectors carry #mw-panel (an id) so they must be repeated on
EVERY state, otherwise the plain-link rule wins and visited/hover fail. */
/* unvisited */
body[class*="crazy-scheme-"] a:link,
body[class*="crazy-scheme-"] #mw-panel a:link,
body[class*="crazy-scheme-"] .vector-legacy-sidebar a:link,
body[class*="crazy-scheme-"] .portlet a:link,
body[class*="crazy-scheme-"] .pBody a:link,
body[class*="crazy-scheme-"] .mw-parser-output a:link {
color: #0000ff !important;
text-decoration: underline !important;
}
/* visited */
body[class*="crazy-scheme-"] a:visited,
body[class*="crazy-scheme-"] #mw-panel a:visited,
body[class*="crazy-scheme-"] .vector-legacy-sidebar a:visited,
body[class*="crazy-scheme-"] .portlet a:visited,
body[class*="crazy-scheme-"] .pBody a:visited,
body[class*="crazy-scheme-"] .mw-parser-output a:visited {
color: #000000 !important; /* visited = BLACK */
text-decoration: underline !important;
}
/* hover — link TEXT turns RED (order: after visited) */
body[class*="crazy-scheme-"] a:hover,
body[class*="crazy-scheme-"] #mw-panel a:hover,
body[class*="crazy-scheme-"] .vector-legacy-sidebar a:hover,
body[class*="crazy-scheme-"] .portlet a:hover,
body[class*="crazy-scheme-"] .pBody a:hover,
body[class*="crazy-scheme-"] .mw-parser-output a:hover {
color: #ff0000 !important; /* hover = RED */
}
/* active (while clicking) = red */
body[class*="crazy-scheme-"] a:active,
body[class*="crazy-scheme-"] #mw-panel a:active,
body[class*="crazy-scheme-"] .vector-legacy-sidebar a:active,
body[class*="crazy-scheme-"] .portlet a:active,
body[class*="crazy-scheme-"] .pBody a:active,
body[class*="crazy-scheme-"] .mw-parser-output a:active {
color: #ff0000 !important;
}
/* ---- let the random background image show through the content column ---- */
body[class*="crazy-scheme-"] #content,
body[class*="crazy-scheme-"] .mw-body,
body[class*="crazy-scheme-"] .mw-body-content,
body[class*="crazy-scheme-"] #bodyContent,
body[class*="crazy-scheme-"] #mw-content-text,
body[class*="crazy-scheme-"] .mw-parser-output,
body[class*="crazy-scheme-"] table,
body[class*="crazy-scheme-"] th,
body[class*="crazy-scheme-"] td {
background: transparent !important;
}
body[class*="crazy-scheme-"] {
background-attachment: fixed !important;
background-repeat: repeat !important;
}
/* ---- NO colored background behind images / galleries ---- */
body[class*="crazy-scheme-"] .gallery,
body[class*="crazy-scheme-"] .gallerybox,
body[class*="crazy-scheme-"] .thumb,
body[class*="crazy-scheme-"] .thumbinner,
body[class*="crazy-scheme-"] figure,
body[class*="crazy-scheme-"] img {
background: transparent !important;
}
/* ---- page title: SAME SIZE as content text, color highlight behind text ---- */
body[class*="crazy-scheme-"] #firstHeading,
body[class*="crazy-scheme-"] .firstHeading {
display: inline-block !important;
background: #ff0000 !important; /* page title ALWAYS red */
color: #fff !important;
font-weight: bold !important;
font-size: 18px !important;
line-height: 1.4 !important;
text-transform: none !important;
padding: 0.05em 0.25em !important;
margin: 0 0 0.3em 0 !important;
}
/* ---- section headings: same size as text, color highlight behind text ---- */
body[class*="crazy-scheme-"] .mw-body-content h2,
body[class*="crazy-scheme-"] .mw-body-content h3,
body[class*="crazy-scheme-"] .mw-body-content h4 {
display: inline-block !important;
color: #000 !important;
font-weight: bold !important;
font-size: 18px !important;
line-height: 1.4 !important;
text-transform: none !important;
padding: 0.05em 0.25em !important;
margin: 0.3em 0 0.2em 0 !important;
border: none !important;
}
body[class*="crazy-scheme-"] .mw-body-content h2 { background: var(--h2a) !important; }
body[class*="crazy-scheme-"] .mw-body-content h3 { background: var(--h2b) !important; }
/* h4: slightly smaller than body text, BLACK background, WHITE text */
body[class*="crazy-scheme-"] .mw-body-content h4 {
background: #000000 !important;
color: #ffffff !important;
font-size: 15px !important;
}
/* remove the thin underline MediaWiki draws under section headings
(it sits on the h1/h2 or on the .mw-heading wrapper div) */
body[class*="crazy-scheme-"] .mw-body-content h1,
body[class*="crazy-scheme-"] .mw-body-content h2,
body[class*="crazy-scheme-"] .mw-body-content h3,
body[class*="crazy-scheme-"] .mw-heading,
body[class*="crazy-scheme-"] .mw-heading1,
body[class*="crazy-scheme-"] .mw-heading2,
body[class*="crazy-scheme-"] .mw-heading3 {
border: 0 !important;
border-bottom: 0 !important;
box-shadow: none !important;
}
/* force a line break after each heading so the inline paragraphs below
start on their own line instead of flowing next to the heading */
body[class*="crazy-scheme-"] .mw-body-content h2::after,
body[class*="crazy-scheme-"] .mw-body-content h3::after,
body[class*="crazy-scheme-"] .mw-body-content h4::after {
content: "" !important;
display: block !important;
height: 0 !important;
background: transparent !important;
}
/* ---- content boxes: layout (max 820px, left aligned) ---- */
body[class*="crazy-scheme-"] .mw-parser-output > p,
body[class*="crazy-scheme-"] .mw-parser-output > blockquote,
body[class*="crazy-scheme-"] .mw-parser-output .reflist,
body[class*="crazy-scheme-"] .mw-parser-output .references,
body[class*="crazy-scheme-"] .mw-parser-output ol.references,
body[class*="crazy-scheme-"] .mw-parser-output .mw-references-wrap {
display: block !important;
width: fit-content !important;
max-width: 820px !important;
margin: 0 0 12px 0 !important;
font-size: 18px !important;
line-height: 1.3 !important;
padding: 0.4em 0.7em !important;
}
/* all content paragraphs are white */
body[class*="crazy-scheme-"] .mw-parser-output > p { background: #ffffff !important; color: #000 !important; }
/* footnotes and quotes are ALWAYS white */
body[class*="crazy-scheme-"] .mw-parser-output > blockquote,
body[class*="crazy-scheme-"] .mw-parser-output .reflist,
body[class*="crazy-scheme-"] .mw-parser-output .references,
body[class*="crazy-scheme-"] .mw-parser-output ol.references,
body[class*="crazy-scheme-"] .mw-parser-output .mw-references-wrap {
background: #fff !important;
color: #000 !important;
}
/* ---- project / text lists: colored boxes, max 800px, LEFT aligned (never galleries) ---- */
body[class*="crazy-scheme-"] .mw-parser-output > ul:not(.gallery) {
padding-left: 0 !important;
margin-left: 0 !important;
list-style: none !important;
}
body[class*="crazy-scheme-"] .mw-parser-output > ul:not(.gallery) > li {
display: block !important;
width: fit-content !important;
max-width: 800px !important;
margin: 0 0 8px 0 !important;
font-size: 18px !important;
line-height: 1.35 !important;
padding: 0.1em 0.3em !important;
list-style: none !important;
}
/* all content list items are white */
body[class*="crazy-scheme-"] .mw-parser-output > ul:not(.gallery) > li { background: #ffffff !important; color: #000 !important; }
/* ---- SIDEBAR width — make it a bit wider. Change BOTH numbers together
(sidebar width and the content's left margin must match). ---- */
body[class*="crazy-scheme-"] #mw-panel,
body[class*="crazy-scheme-"] .vector-legacy-sidebar,
body[class*="crazy-scheme-"] #column-one {
width: 200px !important;
}
body[class*="crazy-scheme-"] #content {
margin-left: 200px !important;
}
/* ---- SIDEBAR: white highlight behind each line of text ---- */
body[class*="crazy-scheme-"] #mw-panel,
body[class*="crazy-scheme-"] .vector-legacy-sidebar,
body[class*="crazy-scheme-"] #column-one {
background: transparent !important;
background-image: none !important;
padding: 0 !important;
}
body[class*="crazy-scheme-"] #mw-panel .vector-menu-content,
body[class*="crazy-scheme-"] #mw-panel .vector-menu-content ul {
background: transparent !important;
}
/* white highlight behind each link; default blue / purple text on the white */
body[class*="crazy-scheme-"] #mw-panel a,
body[class*="crazy-scheme-"] .vector-legacy-sidebar a,
body[class*="crazy-scheme-"] .portlet a,
body[class*="crazy-scheme-"] .pBody a {
display: inline !important;
background: #fff !important;
-webkit-box-decoration-break: clone !important;
box-decoration-break: clone !important;
padding: 0 0.2em !important;
line-height: 1.2 !important;
}
body[class*="crazy-scheme-"] #mw-panel a:link,
body[class*="crazy-scheme-"] .vector-legacy-sidebar a:link,
body[class*="crazy-scheme-"] .portlet a:link,
body[class*="crazy-scheme-"] .pBody a:link {
color: #0000ff !important;
}
body[class*="crazy-scheme-"] #mw-panel a:visited,
body[class*="crazy-scheme-"] .vector-legacy-sidebar a:visited,
body[class*="crazy-scheme-"] .portlet a:visited,
body[class*="crazy-scheme-"] .pBody a:visited {
color: #000000 !important; /* visited = BLACK */
}
/* sidebar hover — text turns RED (must come AFTER the link/visited rules
above, otherwise those win and hover does nothing) */
body[class*="crazy-scheme-"] #mw-panel a:hover,
body[class*="crazy-scheme-"] .vector-legacy-sidebar a:hover,
body[class*="crazy-scheme-"] .portlet a:hover,
body[class*="crazy-scheme-"] .pBody a:hover {
color: #ff0000 !important; /* hover = RED */
}
/* space BETWEEN separate sidebar entries (so items don't run together) */
body[class*="crazy-scheme-"] #mw-panel li,
body[class*="crazy-scheme-"] .vector-legacy-sidebar li {
margin-bottom: 7px !important;
}
/* section headings (Works, Pages, Texts …): white highlight, black text */
body[class*="crazy-scheme-"] .portlet h3,
body[class*="crazy-scheme-"] .portlet h5,
body[class*="crazy-scheme-"] #mw-panel .vector-menu-heading {
display: inline-block !important;
background: #fff !important;
color: #000 !important;
padding: 0.05em 0.2em !important;
}
/* hide the "navigation" heading — must come AFTER the heading rule above,
otherwise that rule re-shows it with higher specificity */
body[class*="crazy-scheme-"] #p-navigation h3,
body[class*="crazy-scheme-"] #p-navigation h5,
body[class*="crazy-scheme-"] #p-navigation .vector-menu-heading,
body[class*="crazy-scheme-"] #p-navigation .vector-menu-heading-label,
body[class*="crazy-scheme-"] #p-navigation .vector-pinnable-header-label {
display: none !important;
visibility: hidden !important;
height: 0 !important;
padding: 0 !important;
margin: 0 !important;
}
/* Safety net: hide ANY sidebar section heading with no text — this is the
empty "-" portlet (<nav id="p-">, <h3 id="p--label">) that appears when a
group of links has no "* heading" line. The real fix is in MediaWiki:Sidebar,
this just guarantees it never shows. */
body[class*="crazy-scheme-"] #mw-panel .vector-menu-heading:has(> .vector-menu-heading-label:empty),
body[class*="crazy-scheme-"] #mw-panel #p--label {
display: none !important;
visibility: hidden !important;
height: 0 !important;
padding: 0 !important;
margin: 0 !important;
}
/* ============================================================================
THE 10 SCHEMES — only your palette:
full #ffff00 #ff0000 #ff00ff #0000ff #000000
pastel #ffdcff #cdffff #ffffdc #b8c0fc
(blue and black boxes use white text; everything else black text)
============================================================================ */
/* No magenta in titles/headings. Content paragraphs cycle box1 → box2 → box3. */
body.crazy-scheme-0 {
--accent:#ffff00; --accent-text:#000;
--h2a:#ffff00; --h2b:#cdffff; --h2c:#ff0000;
--box1:#ffffff; --box1t:#000; --box2:#ffffff; --box2t:#000; --box3:#0000ff; --box3t:#fff;
}
body.crazy-scheme-1 {
--accent:#ffff00; --accent-text:#000;
--h2a:#ffff00; --h2b:#b8c0fc; --h2c:#ff0000;
--box1:#ffffff; --box1t:#000; --box2:#ffffff; --box2t:#000; --box3:#0000ff; --box3t:#fff;
}
body.crazy-scheme-2 {
--accent:#ff0000; --accent-text:#000;
--h2a:#ffff00; --h2b:#cdffff; --h2c:#ff0000;
--box1:#000000; --box1t:#fff; --box2:#000000; --box2t:#fff; --box3:#000000; --box3t:#fff;
}
body.crazy-scheme-3 {
--accent:#0000ff; --accent-text:#fff;
--h2a:#ffff00; --h2b:#ff0000; --h2c:#ff0000;
--box1:#ffffff; --box1t:#000; --box2:#ffffff; --box2t:#000; --box3:#ffffff; --box3t:#000;
}
body.crazy-scheme-4 {
--accent:#ffff00; --accent-text:#000;
--h2a:#ff0000; --h2b:#ffdcff; --h2c:#ff0000;
--box1:#ffffff; --box1t:#000; --box2:#ffffff; --box2t:#000; --box3:#000000; --box3t:#fff;
}
body.crazy-scheme-5 {
--accent:#ff0000; --accent-text:#000;
--h2a:#ffff00; --h2b:#ff0000; --h2c:#cdffff;
--box1:#ffffff; --box1t:#000; --box2:#ffffff; --box2t:#000; --box3:#0000ff; --box3t:#fff;
}
body.crazy-scheme-6 {
--accent:#ff0000; --accent-text:#000;
--h2a:#ffff00; --h2b:#ff0000; --h2c:#b8c0fc;
--box1:#000000; --box1t:#fff; --box2:#ffffff; --box2t:#000; --box3:#ffffff; --box3t:#000;
}
body.crazy-scheme-7 {
--accent:#ffff00; --accent-text:#000;
--h2a:#b8c0fc; --h2b:#ff0000; --h2c:#ffffdc;
--box1:#ffffff; --box1t:#000; --box2:#ffffff; --box2t:#000; --box3:#ffffff; --box3t:#000;
}
body.crazy-scheme-8 {
--accent:#0000ff; --accent-text:#fff;
--h2a:#ffff00; --h2b:#b8c0fc; --h2c:#ff0000;
--box1:#000000; --box1t:#fff; --box2:#000000; --box2t:#fff; --box3:#000000; --box3t:#fff;
}
body.crazy-scheme-9 {
--accent:#0000ff; --accent-text:#fff;
--h2a:#ffff00; --h2b:#ff0000; --h2c:#ffdcff;
--box1:#ffffff; --box1t:#000; --box2:#ffffff; --box2t:#000; --box3:#ff0000; --box3t:#000;
}
/* ============================================================================
3 RANDOM BACKGROUND IMAGES — one is chosen at random on every page load.
============================================================================ */
body.crazy-bg-0 { background-color:#000 !important; background-image: url("/index.php/Special:FilePath/BaGr1.jpg") !important; background-size:400px auto !important; background-repeat:repeat !important; }
body.crazy-bg-1 { background-color:#000 !important; background-image: url("/index.php/Special:FilePath/BaGr2.jpg") !important; background-size:400px auto !important; background-repeat:repeat !important; }
body.crazy-bg-2 { background-color:#000 !important; background-image: url("/index.php/Special:FilePath/BaGr3.jpg") !important; background-size:400px auto !important; background-repeat:repeat !important; }
body.crazy-bg-3 { background-color:#000 !important; background-image: url("/index.php/Special:FilePath/BaGr4.jpg") !important; background-size:400px auto !important; background-repeat:repeat !important; }
body.crazy-bg-4 { background-color:#000 !important; background-image: url("/index.php/Special:FilePath/BaGr5.jpg") !important; background-size:400px auto !important; background-repeat:repeat !important; }
body.crazy-bg-5 { background-color:#000 !important; background-image: url("/index.php/Special:FilePath/BaGr6.jpg") !important; background-size:400px auto !important; background-repeat:repeat !important; }
body.crazy-bg-6 { background-color:#000 !important; background-image: url("/index.php/Special:FilePath/BaGr7.jpg") !important; background-size:400px auto !important; background-repeat:repeat !important; }
body.crazy-bg-7 { background-color:#000 !important; background-image: url("/index.php/Special:FilePath/BaGr8.jpg") !important; background-size:400px auto !important; background-repeat:repeat !important; }
body.crazy-bg-8 { background-color:#000 !important; background-image: url("/index.php/Special:FilePath/BaGr9.jpg") !important; background-size:400px auto !important; background-repeat:repeat !important; }
body.crazy-bg-9 { background-color:#000 !important; background-image: url("/index.php/Special:FilePath/BaGr10.jpg") !important; background-size:400px auto !important; background-repeat:repeat !important; }
body.crazy-bg-10 { background-color:#000 !important; background-image: url("/index.php/Special:FilePath/BaGr11.jpg") !important; background-size:400px auto !important; background-repeat:repeat !important; }
body.crazy-bg-11 { background-color:#000 !important; background-image: url("/index.php/Special:FilePath/BaGr12.jpg") !important; background-size:400px auto !important; background-repeat:repeat !important; }
/* ============================================================================
MAIN PAGE COLLAGE (Yale-style) — used only on the Main Page, which wraps its
content in <div class="mp-collage"> ... </div>. Makes images fill their box
and links take the box's own text color so they stay readable.
============================================================================ */
body[class*="crazy-scheme-"] .mp-collage img {
width: 100% !important;
height: auto !important;
display: block !important;
}
body[class*="crazy-scheme-"] .mp-collage .thumb,
body[class*="crazy-scheme-"] .mp-collage figure,
body[class*="crazy-scheme-"] .mp-collage .mw-default-size,
body[class*="crazy-scheme-"] .mp-collage a.mw-file-description {
margin: 0 !important;
padding: 0 !important;
display: block !important;
}
body[class*="crazy-scheme-"] .mp-collage a:link {
color: inherit !important;
text-decoration: underline !important;
}
body[class*="crazy-scheme-"] .mp-collage a:visited {
color: #000000 !important; /* visited = BLACK */
text-decoration: underline !important;
}
body[class*="crazy-scheme-"] .mp-collage a:hover {
color: #ff0000 !important; /* hover = RED */
}
/* white frame on ANY image when hovered (galleries + main page) */
body[class*="crazy-scheme-"] .mw-parser-output img:hover {
outline: 4px solid #ffffff !important;
outline-offset: -4px !important;
cursor: pointer !important;
}
/* ============================ END CRAZY VERSION =========================== */

MediaWiki:Common.js

2026-07-26T12:25:23Z

Cmfiy:

/* =========================================================================
aslimona.xyz — inline lightbox for gallery / thumbnail images
Paste this ENTIRE file into: Special:MyLanguage/MediaWiki:Common.js
(as an admin: go to https://aslimona.xyz/index.php/MediaWiki:Common.js
click "Edit", paste, save.)

Fixes the "click image -> File page -> back -> click next" problem:
clicking any gallery or thumbnail image now opens a big in-page viewer
with Prev/Next arrows and keyboard navigation, on every article,
automatically. No per-page changes needed.
========================================================================= */
( function () {
'use strict';

function onReady( fn ) {
if ( document.readyState !== 'loading' ) {
fn();
} else {
document.addEventListener( 'DOMContentLoaded', fn );
}
}

// Convert a MediaWiki thumbnail URL to the full-resolution original URL.
// e.g. .../images/a/a1/Foo.jpg/800px-Foo.jpg -> .../images/a/a1/Foo.jpg
// .../images/thumb/a/a1/Foo.jpg/800px-Foo.jpg -> .../images/a/a1/Foo.jpg
function originalFromThumb( src ) {
var m = src.match( /^(.*\/thumb\/([0-9a-f])\/([0-9a-f]{2})\/([^\/]+))\/\d+px-[^\/]+$/i );
if ( m ) {
return src.replace( '/thumb/', '/' ).replace( /\/\d+px-[^\/]+$/, '' );
}
var m2 = src.match( /^(.*\/[0-9a-f]\/[0-9a-f]{2}\/[^\/]+)\/\d+px-[^\/]+$/i );
if ( m2 ) {
return m2[ 1 ];
}
return src;
}

function injectStyles() {
var css = [
'.aslimona-lb-overlay{position:fixed;inset:0;background:rgba(6,6,7,0.94);',
'z-index:100000;display:flex;flex-direction:column;align-items:center;',
'justify-content:center;padding:4vh 4vw;box-sizing:border-box;}',
'.aslimona-lb-overlay[hidden]{display:none;}',
'.aslimona-lb-img{max-width:92vw;max-height:80vh;object-fit:contain;',
'border:1px solid #3a372f;background:#111;}',
'.aslimona-lb-caption{color:#a89f8c;font-family:"IBM Plex Mono","Courier New",monospace;',
'font-size:0.8rem;margin-top:14px;text-align:center;max-width:80vw;}',
'.aslimona-lb-counter{color:#6e6858;font-family:"IBM Plex Mono","Courier New",monospace;',
'font-size:0.7rem;margin-top:4px;letter-spacing:0.08em;}',
'.aslimona-lb-close,.aslimona-lb-prev,.aslimona-lb-next{position:fixed;',
'background:transparent;border:1px solid #3a372f;color:#e9e4d8;',
'font-family:Georgia,serif;cursor:pointer;transition:background .2s,color .2s;}',
'.aslimona-lb-close:hover,.aslimona-lb-prev:hover,.aslimona-lb-next:hover{',
'background:#c9a15a;color:#0c0c0d;}',
'.aslimona-lb-close{top:24px;right:24px;width:40px;height:40px;font-size:20px;',
'line-height:38px;text-align:center;}',
'.aslimona-lb-prev,.aslimona-lb-next{top:50%;transform:translateY(-50%);',
'width:48px;height:64px;font-size:22px;}',
'.aslimona-lb-prev{left:16px;}',
'.aslimona-lb-next{right:16px;}',
'@media (max-width:600px){',
'.aslimona-lb-prev,.aslimona-lb-next{width:36px;height:52px;font-size:18px;}',
'.aslimona-lb-close{width:34px;height:34px;font-size:17px;line-height:32px;}',
'}'
].join( '' );
var style = document.createElement( 'style' );
style.textContent = css;
document.head.appendChild( style );
}

function buildOverlay() {
var overlay = document.createElement( 'div' );
overlay.className = 'aslimona-lb-overlay';
overlay.hidden = true;

var img = document.createElement( 'img' );
img.className = 'aslimona-lb-img';
overlay.appendChild( img );

var caption = document.createElement( 'div' );
caption.className = 'aslimona-lb-caption';
overlay.appendChild( caption );

var counter = document.createElement( 'div' );
counter.className = 'aslimona-lb-counter';
overlay.appendChild( counter );

var closeBtn = document.createElement( 'button' );
closeBtn.className = 'aslimona-lb-close';
closeBtn.setAttribute( 'aria-label', 'Close' );
closeBtn.textContent = '×';
overlay.appendChild( closeBtn );

var prevBtn = document.createElement( 'button' );
prevBtn.className = 'aslimona-lb-prev';
prevBtn.setAttribute( 'aria-label', 'Previous image' );
prevBtn.textContent = '‹';
overlay.appendChild( prevBtn );

var nextBtn = document.createElement( 'button' );
nextBtn.className = 'aslimona-lb-next';
nextBtn.setAttribute( 'aria-label', 'Next image' );
nextBtn.textContent = '›';
overlay.appendChild( nextBtn );

document.body.appendChild( overlay );

return {
overlay: overlay,
img: img,
caption: caption,
counter: counter,
closeBtn: closeBtn,
prevBtn: prevBtn,
nextBtn: nextBtn
};
}

onReady( function () {
var content = document.querySelector( '.mw-parser-output' );
if ( !content ) {
return;
}

// Collect every lightbox-able image link on the page, in document order:
// - <gallery> thumbnails: li.gallerybox a.image
// - inline [[File:x|thumb]]: div.thumb a.image
var links = Array.prototype.slice.call(
content.querySelectorAll( 'li.gallerybox a.image, div.thumb a.image, a.image' )
);
if ( !links.length ) {
return;
}
// de-duplicate while preserving order
var seen = {};
links = links.filter( function ( a ) {
if ( seen[ a.href ] ) {
return false;
}
seen[ a.href ] = true;
return true;
} );

var items = links.map( function ( a ) {
var thumbImg = a.querySelector( 'img' );
var full = thumbImg ? originalFromThumb( thumbImg.src ) : a.href;
var captionEl = null;
var gallerytext = a.closest( 'li.gallerybox' );
if ( gallerytext ) {
captionEl = gallerytext.querySelector( '.gallerytext' );
} else {
var thumbinner = a.closest( '.thumbinner' );
if ( thumbinner ) {
captionEl = thumbinner.querySelector( '.thumbcaption' );
}
}
return {
full: full,
caption: captionEl ? captionEl.textContent.trim() : ( thumbImg ? thumbImg.alt : '' ),
link: a
};
} );

injectStyles();
var ui = buildOverlay();
var currentIndex = 0;

function show( index ) {
currentIndex = ( index + items.length ) % items.length;
var item = items[ currentIndex ];
ui.img.src = item.full;
ui.caption.textContent = item.caption || '';
ui.counter.textContent = ( currentIndex + 1 ) + ' / ' + items.length;
}

function open( index ) {
show( index );
ui.overlay.hidden = false;
document.body.style.overflow = 'hidden';
}

function close() {
ui.overlay.hidden = true;
document.body.style.overflow = '';
}

items.forEach( function ( item, index ) {
item.link.addEventListener( 'click', function ( ev ) {
// let ctrl/cmd/shift/middle-clicks behave normally (open in new tab etc.)
if ( ev.ctrlKey || ev.metaKey || ev.shiftKey || ev.button === 1 ) {
return;
}
ev.preventDefault();
open( index );
} );
} );

ui.closeBtn.addEventListener( 'click', close );
ui.prevBtn.addEventListener( 'click', function () {
show( currentIndex - 1 );
} );
ui.nextBtn.addEventListener( 'click', function () {
show( currentIndex + 1 );
} );
ui.overlay.addEventListener( 'click', function ( ev ) {
if ( ev.target === ui.overlay ) {
close();
}
} );
document.addEventListener( 'keydown', function ( ev ) {
if ( ui.overlay.hidden ) {
return;
}
if ( ev.key === 'Escape' ) {
close();
} else if ( ev.key === 'ArrowLeft' ) {
show( currentIndex - 1 );
} else if ( ev.key === 'ArrowRight' ) {
show( currentIndex + 1 );
}
} );
} );
}() );

/* =========================================================================
CRAZY VERSION — per-page color scheme picker.
Works together with the CRAZY VERSION block in MediaWiki:Common.css.

Reads the current page name and picks ONE of 10 schemes
(.crazy-scheme-0 … .crazy-scheme-9). Deterministic: the same page
ALWAYS gets the same look, but different pages (Digital Twin, Homes of
the Internet, Köçek Pisti …) look completely different from each other.

To turn the crazy version off: delete this block AND the CRAZY VERSION
block in MediaWiki:Common.css. The lightbox code above is unaffected.
========================================================================= */
( function () {
'use strict';
var SCHEMES = 10;

function pageName() {
if ( window.mw && mw.config && mw.config.get ) {
var n = mw.config.get( 'wgPageName' );
if ( n ) {
return n;
}
}
return document.title || 'Main_Page';
}

// reveal the (briefly hidden) content once the theme class is set,
// so you don't see the plain dark layout flash before the colors.
function reveal() {
document.documentElement.classList.add( 'crazy-ready' );
}

function apply() {
try {
var name = pageName();
var h = 0;
for ( var i = 0; i < name.length; i++ ) {
h = ( h * 31 + name.charCodeAt( i ) ) >>> 0;
}
var scheme = h % SCHEMES;
// One of 12 background images, picked at RANDOM on every page load.
var bg = Math.floor( Math.random() * 12 );
document.documentElement.classList.add( 'crazy-scheme-' + scheme, 'crazy-bg-' + bg );
if ( document.body ) {
document.body.classList.add( 'crazy-scheme-' + scheme, 'crazy-bg-' + bg );
}
} finally {
// always reveal, even if something above failed
reveal();
}
}

if ( document.readyState !== 'loading' ) {
apply();
} else {
document.addEventListener( 'DOMContentLoaded', apply );
}
// hard safety net: never leave the page hidden for more than 1.5s
setTimeout( reveal, 1500 );
}() );

File:BaGr10.jpg

2026-07-26T12:21:18Z

Cmfiy: Uploaded own work with UploadWizard

=={{int:filedesc}}==
{{Information
|description={{en|1=Background Image}}
|date=2015
|source={{own}}
|author=[[User:Cmfiy|Cmfiy]]
|permission=
|other versions=
}}

=={{int:license-header}}==
{{self|cc-by-sa-4.0}}

[[Category:Background Images]]

File:BaGr11.jpg

2026-07-26T12:21:18Z

Cmfiy: Uploaded own work with UploadWizard

=={{int:filedesc}}==
{{Information
|description={{en|1=Background Image}}
|date=2023
|source={{own}}
|author=[[User:Cmfiy|Cmfiy]]
|permission=
|other versions=
}}

=={{int:license-header}}==
{{self|cc-by-sa-4.0}}

[[Category:Background Images]]

File:BaGr12.jpg

2026-07-26T12:21:18Z

Cmfiy: Uploaded own work with UploadWizard

=={{int:filedesc}}==
{{Information
|description={{en|1=Background Image}}
|date=2025
|source={{own}}
|author=[[User:Cmfiy|Cmfiy]]
|permission=
|other versions=
}}

=={{int:license-header}}==
{{self|cc-by-sa-4.0}}

[[Category:Background Images]]

File:BaGr9.jpg

2026-07-26T12:21:18Z

Cmfiy: Uploaded own work with UploadWizard

=={{int:filedesc}}==
{{Information
|description={{en|1=Background Image}}
|date=2019
|source={{own}}
|author=[[User:Cmfiy|Cmfiy]]
|permission=
|other versions=
}}

=={{int:license-header}}==
{{self|cc-by-sa-4.0}}

[[Category:Background Images]]

File:BaGr8.jpg

2026-07-26T12:21:18Z

Cmfiy: Uploaded own work with UploadWizard

File:BaGr7.jpg

2026-07-26T12:21:18Z

Cmfiy: Uploaded own work with UploadWizard

File:BaGr4.jpg

2026-07-26T12:21:18Z

Cmfiy: Uploaded own work with UploadWizard

File:BaGr6.jpg

2026-07-26T12:21:18Z

Cmfiy: Uploaded own work with UploadWizard

=={{int:filedesc}}==
{{Information
|description={{en|1=Background Image}}
|date=2026
|source={{own}}
|author=[[User:Cmfiy|Cmfiy]]
|permission=
|other versions=
}}

=={{int:license-header}}==
{{self|cc-by-sa-4.0}}

[[Category:Background Images]]

File:BaGr5.jpg

2026-07-26T12:21:18Z

Cmfiy: Uploaded own work with UploadWizard

Newold europe

2026-07-26T11:43:40Z

Cmfiy:

''Series of objects, 3D print, fiberglass, mineral coating, pigment, metal, 2026''<br>
''Screen prints, 2026''

From the Exhibition Guide:

"Mona Mahall and Aslı Serbest's newold europe continues their ongoing practice and research into the politics of public and personal spaces–spaces that have paradoxically become more distant as they are more closely networked. Recent developments demonstrate that distances have increased drastically, borders have become violently policed, and Europe has hardened into a frontier union, operating through colonial, patriarchal, and class-based structures, while claiming to uphold universal democratic values.

To imagine the borders of Europe as more elastic, one has to trace a deep past. Mahall and Serbest draw on Neolithic times to explore more generous forms of collective space and life, handed down through cultural remains such as prehistoric clay models and figurines. Found in sites stretching from the Danube Valley to Anatolia, these remains express a culture of "Old Europe", one that actually appears new and worth striving for: more egalitarian, heterarchical, peaceful, and highly developed. This Neolithic culture was first identified and named by the archaeologist, prehistorian, and anthropologist Marija Gimbutas.*

Mahall and Serbest's work displays two prehistoric temples reconstructed as overscaled keychains or handbag charms. Originally modeled in clay, these communal houses served not only as sites for ritual celebrations but also as shared workshops where textiles, household items, and tools were collaboratively produced. They fulfilled a myriad of other functions, from baking bread to serving as places for birth. Such architectures represent the proto-public spaces of societies that developed from 6500 B.C. onward. Reconfigured as charms, they echo the egalitarian relations, limited wealth, and minimal status differences of these societies, as well as their collective cultural practices.

Within these Neolithic societies, women played a significant role in evolving a culture based on the cyclical concept of time, regeneration, and profound connection to nature. Their culture persisted well into the second millennium B.C.; however, beginning around 3500 B.C., it was gradually destroyed by multiple waves of invasion from patriarchally organized Indo-European tribes.

The small keychains and handbag charms refer to Goddess figures, dating from 6500 to 5000 B.C. The Goddess was seen as a force manifested in various forms: a material condensation of life cycles, a symbol of birth, death, and regeneration, or an interface between human time and cosmic time. The figurines display bird attributes (symbolizing life, death, and the sky), egg-shaped buttocks, and often exaggerated breasts and hips – symbols of abundance and continuity. Some feature horns, while others appear almost alien-like. They all originate from "Old Europe," spanning present-day Hungary, Crete, Anatolia, Macedonia, and Ukraine.

newold europe echoes this Neolithic culture through a temporal and geographical shift of Europe. With it, Mahall and Serbest present a counter-history that is usually hidden behind the dominant and naturalized narrative of a patriarchal Indo-European lineage. Through shifts in the scale, they transform the clay fragments into both political monuments and intimate, everyday charms – objects that can be taken away and mobilized as speculative means to think otherwise about the present.

<nowiki>**</nowiki>
Mahall and Serbest's insights into Neolithic societies are indebted to Marija Gimbutas (1921-1994), a Lithuanian-American archaeologist, prehistorian, and anthropologist. Through her extraordinarily systematic research, she developed an extensive reconstruction of the social conditions within settled Neolithic villages across the Balkans and the eastern Mediterranean, extending into parts of Central and Northern Europe prior to the Indo-European migrations. Gimbutas argued that these societies were characterized by egalitarian social relations, minimal wealth and status differences, and a cultural framework in which women and men were equally valued. Central to her work was an interdisciplinary methodology combining archaeology, linguistics, ethnology, and the history of religion. She could read texts in thirteen languages enabling her to synthesize material culture, mythological motifs, and linguistic patterns across vast regions and historical periods. Following her death, her work faced decades of sharp critique and dismissal from large parts of the archaeological establishment. Her interpretations –particularly those concerning gender relations and social organization– were often rejected as speculative or ideologically driven. However, this reception has begun to shift with the emergence of new scientific techniques, such as ancient DNA analysis.

By bringing the temporal and geographic margins of Europe to the forefront of the narrative of Western civilization, Gimbutas challenged the dominant Eurocentric genealogies. In this sense, her work on "Old Europe" can be understood as negotiating European belonging from the perspective of historically marginalized regions and times. Read today, her work provides a valuable perspective on anti-hegemonic feminist debates, particularly regarding cultural appropriation, Eurocentrism, and the politics of origin narratives."

As a part of PresentAbsent, curated by Merve Elveren and Meriç Öner, at YUNT from October 11, 2025, to August 16, 2026.

Yunt Istanbul, 2026

== Gallery ==
<gallery mode="packed" heights="180">
File:NewoldEurope-Lead.jpg
File:NewoldEurope-02.jpg
File:NewoldEurope-03.jpg
File:NewoldEurope-04.jpg
File:NewoldEurope-05.jpg
</gallery>

[[Category:Projects]]
[[Category:Newold europe]]

As We Used to Spell

2026-07-26T11:04:35Z

Cmfiy:

''Series of works, diverse media, research, text, 2025''

As words extend faster and further into public and personal spaces than ever before, they reclaim their agency in real time, as spells. The operative power of phrases, prompts, and protests over our lives is at the center of this exhibition and research project, which explores how emergent and residual spell practices act through embodied and spatial forms.

The exhibition takes place at Barın Han, a modernist building in Çemberlitaş/ Istanbul that housed the printing and bookbinding workshop of Emin Barın, a renowned Turkish artist and calligrapher with ties to the historic Bauhaus and the Leipzig Academy of Fine Arts. In this context, As We Used to Spell offers a critical reflection on modernist "truths", those spells of techno-rationalism that continue to shape the way we think, speak, and build. It investigates how these "truths-for" (Sylvia Wynter) are continuously spatialized through bodily and machinic reproductions and repetitions. Their loops sustain a logic of patriarchal capitalist extraction and, at the same time, provoke transformations, whether pragmatic, poetic, or parodic.

Through various collaborations, As We Used to Spell seeks emancipatory and transformative spell practices that question systems of domination while invoking everyday lore, generosity, and humor.

Barın Han, 2025/2026

== Gallery ==
<gallery mode="packed" heights="180">
File:AsWeUsedToSpell-Lead.jpg
File:AsWeUsedToSpell-02.jpg
File:AsWeUsedToSpell-03.jpg
File:AsWeUsedToSpell-04.jpg
File:AsWeUsedToSpell-05.jpg
File:AsWeUsedToSpell-06.jpg
File:AsWeUsedToSpell-07.jpg
File:AsWeUsedToSpell-08.jpg
File:AsWeUsedToSpell-09.jpg
File:AsWeUsedToSpell-10.jpg
File:AsWeUsedToSpell-11.jpg
File:AsWeUsedToSpell-12.jpg
File:AsWeUsedToSpell-13.jpg
File:AsWeUsedToSpell-14.jpg
File:AsWeUsedToSpell-15.jpg
File:AsWeUsedToSpell-16.jpg
File:AsWeUsedToSpell-17.jpg
File:AsWeUsedToSpell-18.jpg
</gallery>

[[Category:Projects]]
[[Category:As We Used to Spell]]

File:AsWeUsedToSpell-Lead.jpg

2026-07-26T11:04:33Z

Cmfiy: Uploaded own work with UploadWizard

=={{int:filedesc}}==
{{Information
|description={{en|1=Grid Models (cardboard, MDF), As We Used to Spell, Barın Han, Istanbul, 2025}}
|date=2025-2026
|source={{own}}
|author=[[User:Cmfiy|Cmfiy]]
|permission=
|other versions=
}}

=={{int:license-header}}==
{{self|cc-by-sa-4.0}}

[[Category:As We Used to Spell]]

File:AsWeUsedToSpell-18.jpg

2026-07-26T11:04:33Z

Cmfiy: Uploaded own work with UploadWizard

=={{int:filedesc}}==
{{Information
|description={{en|1=Happiness (in hard times) — poster series, Barın Han, Istanbul, 2025}}
|date=2025-2026
|source={{own}}
|author=[[User:Cmfiy|Cmfiy]]
|permission=
|other versions=
}}

=={{int:license-header}}==
{{self|cc-by-sa-4.0}}

[[Category:As We Used to Spell]]

File:AsWeUsedToSpell-17.jpg

2026-07-26T11:04:32Z

Cmfiy: Uploaded own work with UploadWizard

File:AsWeUsedToSpell-16.jpg

2026-07-26T11:04:32Z

Cmfiy: Uploaded own work with UploadWizard

File:AsWeUsedToSpell-15.jpg

2026-07-26T11:04:31Z

Cmfiy: Uploaded own work with UploadWizard

File:AsWeUsedToSpell-14.jpg

2026-07-26T11:04:31Z

Cmfiy: Uploaded own work with UploadWizard

File:AsWeUsedToSpell-13.jpg

2026-07-26T11:04:30Z

Cmfiy: Uploaded own work with UploadWizard

File:AsWeUsedToSpell-12.jpg

2026-07-26T11:04:30Z

Cmfiy: Uploaded own work with UploadWizard

=={{int:filedesc}}==
{{Information
|description={{en|1=Lebensgestaltungslehre (Life Design Manual) — sound, speaker, artificial hair, Barın Han, Istanbul, 2025}}
|date=2025-2026
|source={{own}}
|author=[[User:Cmfiy|Cmfiy]]
|permission=
|other versions=
}}

=={{int:license-header}}==
{{self|cc-by-sa-4.0}}

[[Category:As We Used to Spell]]

File:AsWeUsedToSpell-11.jpg

2026-07-26T11:04:30Z

Cmfiy: Uploaded own work with UploadWizard

File:AsWeUsedToSpell-10.jpg

2026-07-26T11:04:30Z

Cmfiy: Uploaded own work with UploadWizard

=={{int:filedesc}}==
{{Information
|description={{en|1=Feminist Utopian Spaces Lexicon (magazine), As We Used to Spell, Barın Han, Istanbul, 2025}}
|date=2025-2026
|source={{own}}
|author=[[User:Cmfiy|Cmfiy]]
|permission=
|other versions=
}}

=={{int:license-header}}==
{{self|cc-by-sa-4.0}}

[[Category:As We Used to Spell]]