Berkan Karpat

This article or section needs to be revised. Details should be given on the talk page. Please help to improve it , and then remove this flag.

Berkan Karpat (born January 9, 1965 in Istanbul , Turkey ) is a Munich based performance and theater artist as well as poet and essayist .

biography

Berkan Karpat was born in Istanbul ( Turkey ) on January 9, 1965 , and came to Germany with his family that same year. Since then he has lived in Munich, where he initially ran a small forwarding company from 1983 after training as a freight forwarder. After the conclusion of the night school in Munich Karpat began in 1993 to study at the University of Munich ( theater studies , philosophy and psycholinguistics ). In 2000 he broke off his studies in favor of his artistic work. Today he is one of the most famous contemporary artists in Munich, whose art is internationally recognized.

Artistic career

Berkan Karpath's artistic work began at the end of 1989 and initially focused on theater work and audio productions. In the 1990s he wrote plays that were successfully staged in Munich theaters, composed film music for various television films and wrote radio plays for radio (e.g. the monodrama radio play Papa Osman , which was realized in cooperation with ORB and Deutschlandradio Speaker: Tayfun Bademsoy ). He cooperated with artists such as Zoro Babel (music) or Zafer Şenocak (poetry). A fruitful collaboration began in 1998 with Şenocak in particular, which is reflected in Carpathian’s first large-scale art project, “The Seven Daughters of Atlas”. The poems created for the art projects in collaboration with the poet Şenocak have also been published as independent poetic art in various German and (in English translation) American publishers (most recently collected in: Berkan Karpat, Zafer Şenocak, futuristenepilog.poeme, Babel Verlag, 2008). Karpat also wrote essays in the literary magazine " Sirene " (Munich).

Cramped by the traditional theater space, Berkan Karpat pushed into the public space, where he initially developed his conceptual art for various locations in Munich , which sought to combine the topography of the city and anthropological issues. His large-scale project “The Seven Daughters of Atlas”, which he has been developing for seven years since 1998, was viewed with incomprehension by the public and the press, but it was also given encouragement and awards, which was not least reflected in the extensive funding of the project cycle by the city Munich expressed. Due to the size of his projects and the choice of project locations in Munich, the artist had to struggle at times with the rejection of his plans by the authorities. Especially since his projects often set precedents for art in public spaces, for example he opened up the Odeonsplatz and the English Garden in Munich as an art location for the first time. In addition to his scenic topographies, basic bio-physical research on humans, which explores the interplay between art and physique, also plays a role in Karpath's artistic exploration. For this purpose, he won the German Museum in Munich as a cooperation partner in 2003 , on whose open space his bio-physical test laboratory "thesenkreuz und rosenwind" was installed until 2006, which undertook basic artistic research in the run-up to the major projects. He has been continuing this work since 2009 in the "Institute for Basic Artistic Research" in his studio in Icking. He collaborated with various institutes at the Technical University of Munich on several projects. Outside of Munich, Berkan Karpat realized projects within the framework of international art festivals ( Reykjavík , Boston / USA, Düsseldorf), in 2006 realized the artistic presentation of the Islamic collection under the title “I eat light” in the museum kunst palast in Düsseldorf and was the first contemporary artist to exhibited at Hagia Sophia in Istanbul as part of “With love: 800 years of Mevlana and Mevlevi” (title of the installation: “Landing on gold paper”).

To the understanding of art

Berkan Karpat's conceptual art follows the tradition of the internationally active Fluxus movement of the 1960s and 70s, which was followed by artists such as George Maciunas , Nam June Paik and Joseph Beuys . The narrowness of the traditional theater space, which Karpat used at the beginning of his artistic career in the form of traditionally presented theater pieces, he abandons in favor of not only a more open room design, but also to break the boundaries of artistic genres. The merging of theater , installation and sounds with the inclusion of poetry as well as the elimination of the reception distance between the audience and the performance / object turn Karpat's artistic projects into multimedia and multicorporeal art events that are permanently imprinted on the memory of the audience or fellow players and which are probably post-dramatic as a form Theater can be understood.

Above all, the selected locations, the link between his art and the city of Munich, are an important starting point for Karpat's artistic way of thinking. "Scenic topographies" is what he calls his projects in public space, with which he explores the city's memory. B. manifested in the architecture of the city, change through his actions. Like a rite, Karpat plants new memories in the city's history, which are the starting point and materialization of these memories at the same time. In the three-dimensional space of the city of Munich, the artist performs what Ottoman cartographers practiced in the 12th century and what fascinated Berkan Karpat about these old oriental maps: At that time not only the topography of the country was recorded, but myths, legends and folk tales were also recorded located in the mapped areas. This connection between the scientific and technical process of mapping and the simultaneous manifestation of mythological, deeply anthropological examination of life in the two-dimensional space of the map was the model for Karpath's artistic work. In the catalog text for the symposium “The remembered house” at the Folkwang Museum in Essen , it says about the artist: “Inspired by the combination of cartography and calligraphy of medieval oriental maps, the artist Berkan Karpat, who works in the border area between theater and visual arts, sees his works as' scenic Topographies', as a poetic superimposition of the cartographic sketching of reality and fiction. "

Another central idea in Karpats work revolves around the abolition of the Cartesian division of the world into res extensa and res cogitans, which is characteristic of occidental philosophy . Or as Zafer Şenocak and Berkan Karpat explain in their manifesto: “Overcoming binary thinking and dialectical reason has long become a question of human survival. What has been artificially separated, namely intuition and knowledge, is brought together on the biophysical stage not in order to understand more, but in order to move the incomprehensible (incomprehensible) into the center of knowledge. ”The connection between art and science and the results derived from it For the artist, insights form the basis of the search for a new utopian person, the so-called “pedal man”.

The Turkish poet Nâzım Hikmet plays an important role in many of his projects . Mostly received and criticized in public as a communist poet, Karpat, together with Zafer Şenocak, tries to free this poetry from its communist narrowing by emphasizing the poetic qualities above all and by using Hikmet's verses as an exaggerated expression of a quasi-religious confrontation with a social utopia understand that, especially in the context of Hikmet's life (he was sentenced to 28 years in prison in Turkey), gains a transcendent character. Nâzım Hikmet "appears [...] like a secular dervish who, like a monk in his cell, enters an artificial reality in captivity, in which he longingly turns to another world that surpasses the realism of the lifeworld and thereby arrives at a sense of the world that is mystical. ”In this sense, Berkan Karpats projects can be understood as an artistic reminiscence of the great Turkish poet, because Karpat also creates art that is devoted to the search for a utopia (the pedal man) and in this search the poetry of Nâzım Makes Hikmets fertile.

Projects

The following treatment of the art projects takes a positivist approach, since the complexity of Karpats work offers such a large scope for interpretation that the author of the main article does not want to anticipate an interpretation. From an aesthetic reception point of view, the description of the individual projects cannot adequately reflect the overall effect of the works of art with the means of writing, but it still gives an impression of this art.

The seven daughters of Atlas

First job

Nâzım Hikmet: On the Ship to Mars , 1998, a triptych .

• Triptych part I: "My leaves are nimble like fish in the sea"

Gasteig, Munich: A wooden installation, dealing with Hikmet's years of imprisonment. The poet's voice is "locked" into the wood of the sculpture, the wood vibrates: the sound can be felt.

• Triptych part II: “The spaceship that moves to Mars” , in two parts

• • 1. "The time of sleep"

Artist workshop Lothringer Straße, Munich: Sleeping campaign for a dreamer, a heart and 1000 roses: Karpat lies down under 1000 roses for public sleep. As a sleeper, he controls Hikmet's voice recordings with his body impulses.

• • 2. "Dialogue of Hearts"

Instead of the artist, there was now a wired cattle heart in the room. This heart transmitted the voice of Nâzım Hikmet to a second heart in the artist's workshop.

• Triptych Part III: "Tonight I'll drink the sun"

Neues Theater Munich: In 1938 Nazim Hikmet was tortured for two days and two nights in a narrow cabin filled with feces on a ship on the Bosporus. This situation is the starting point for this musical-theatrical piece. "An oppressive nightmare that pulls your nerves and at the same time arouses curiosity about the work of a poet who was wrongly frowned upon as a communist propagandist in this country." (SZ, December 22, 1998)

"Nâzım Hikmet: On the Ship to Mars" is a three-part homage to the great poet and people-loving utopian Nâzım Hikmet. In 2003 Karpat took up the topic again and clocked the dreams of 40 sleepers with the voice of the poet (Wehrsteg Munich, title: "Nâzım Hikmet: On the ship to Mars 2").

Second job

“Dancing Electrics” , 1999, Odeonsplatz in Munich

Karpat had a four-story, twelve-sided tower built out of wood on Odeonsplatz . During the day, sound sculpture from which the voices of the Russian cubo futurist V. Clebnikov and the Persian theologian Mevlana whispered. In the evening theater room: 50 spectators attend the theater performance on four platforms one above the other in the core of the tower. Transparent mirror foils slowly swing open and reveal the inside: two speakers recite the lyrics of Chlebnikov and Mevlanas in Russian and Persian. A third speaker [German - Text: Karpat, Senokac] hovers vertically upwards, while green water flows up his body - until at the end two oil wrestlers ceremonially measure their strength.

"Dancers of the Electrics" is a ringing about utopias over the centuries, a ringing between worldly and divine utopia.

Third job

"The robinson syndrome" , 2000 and 2001

The project, planned in 2000 for the Kleinhesseloher See in the English Garden , was initially blocked by the Bavarian Palace and Lake Administration because it could not be reconciled with aspects of the monument and nature protection that apply to the English Garden. Karpat negotiated with the authorities for a good year, so that his project in the English Garden could only take place in September 2001. The bureaucratic dispute meant that “the robinson syndrome” was staged twice. The first part took place in November 2000 in Karpath's private apartment in Munich as a reaction to the rejection of his plan by the authorities.

• "The robinson syndrome 1"

Karpat linked three Robinsonads from three different epochs and cultures: Daniel Defoe's “ Robinson Crusoe ” (18th century), Ibn Tufail (“Hay Ibn Jaqzan / Der Naturmensch” 12th century) and the Nộ theater text “Shun-k ( w) an ”(16th century) by an unknown Japanese author. All texts come into their own in excerpts in the original and are connected by a poem by Karpat and Senokac. A world theater in a microcosm: 10 spectators at a time are shown through the apartment, past Robinson in the bathtub, goldfish on the ceiling, Shunkan sunk mysteriously behind gauze and Karpat himself floating out of his window. A dervish is turning in the courtyard below.

• “The robinson syndrome 2” , 2001, Kleinhesseloher See in the English Garden, Munich

The three Robinsonades, which already formed the basis of “robinson syndrome 1” , also became the thematic starting point for the second part of the project. Sound sculptures from which the Robinsonades sounded were installed on the Kleinhesseloher See in the English Garden. In the lake itself, 30 glass columns were implemented, which rose 3 m high from the lake and in which there were about 1000 goldfish. In the evening the installation is transformed into a theater. The audience was rowed across the lake in messengers by luminous and reciting speakers, past stages set up in the water with reciters, dervishes and stilt walkers, while Karpat himself swam through the lake in an illuminated diving suit. The illuminated lake thus became an art island in the middle of the English Garden.

Robinson’s Syndrome 1 and 2 targets the hubris of humans, wanting to subjugate nature. All three Robinsonades tell of this submission and the English Garden is also a testimony to such a process. Architect: Ludwig von Sckell .

Fourth work

"Atatürk-kaffeemaschinen" , Performative Presentation, 2001, Kulturreferat München

A 9 meter high bust of the Turkish republic's founder Mustafa Kemal Ataturk was planned above the underpass entrance at the Haus der Kunst in Munich, which is connected to the museum by hoses. Mocha is continuously pumped through them, which flows into two large mocha cups at the feet of the columns on the left and right. At the end of the installation time of 3 weeks, the coffee grounds deposited in the cups are interpreted by coffee grounds readers: The future of the New Man is seen. Karpat moved into the vacant office of the cultural officer in the cultural department of the city of Munich for the public planning of the project. In the center of “cultural politics” one was allowed to publicly discuss the planned project with the artist himself over raki, vodka and water, while three women sewed tapes with Ataturk's voice, a mezzo-soprano ( Katharina Herb ) sang Ataturk's favorite arias in the hallways and coffee in one Tub dripped. At night Ataturk's head hovered on a balloon over Marienplatz.

"ataturk-kaffemaschinen" treats the Turkish founder of the state as a utopian in search of the New Man and alludes in its elements to the numerous myths that accompany Ataturk. He is said to have drunk 40 cups of mocha a day and several bottles of raki. The project itself was never realized.

Fifth job

“Search engines in the clear sea” , October 2001, Pariser Platz in Munich, Taxis.

An illuminated five-meter high tower with a diameter of one meter formed the center of an installation on Pariser Platz in Munich that resembled a disused celestial mechanics. During the day, passers-by were able to speak declarations of love in microphones, which were converted into music by the computer and played back. On three evenings, the electric singspiel "Suchmaschinen im lichtleeren Meer" (music: Klaus Schedl, libretto: Berkan Karpat) set the celestial mechanics in motion. The story of the automaton woman Maria and her transformation into the new human was given: a perfect automaton with soul. The automaton woman embodied a sextet of sopranos. After the beginning of the unison one stayed behind at the square - inside the tower - the other five got into taxis with two spectators each and led through the Munich night. Each of them singing her duet with Maria, who was left at the seat, which was broadcast live on the radio (M94.5).

Sixth work

"The collapse of the cash register machine: I'm breaking flesh into new worlds" . September / October 2005, Munich. A two part project.

• 1. “Job's Lament” , September 2005, in front of the Palace of Justice in Munich.

In front of the Palace of Justice was a large salt water tank in which a spectator could lie down. Two industrial robot arms: one arm filled plastic cups with drinking water, the other selected cups at random and handed them to passers-by to drink. In this installation, sounds are again essential. Texts that revolve around the issue of justice, such as B. Job's lawsuit and recorded judgments. While the drinking water for the robot action was exposed to the sound waves of the court judgments, Job's texts in Hebrew were transmitted to the viewer in the tank, whose saliva levels were determined using technical equipment.

• 2. “The Jack the Ripper case” , October 2005, underpass between the Prinz-Carl-Palais and Haus der Kunst, Munich.

There were 14 tubes in the underpass, each of which could be used by a spectator. At first, electronic sounds were heard along with a recited poem and an aria sung by a soprano. Then the tubes were processed with a flex , which exposed the viewer to deafening noise and sparks. At the same time, sound cannons were used to throw Job's complaint into Prinzregentenstrasse above the underpass. “Karpath's idea is to wrap up Cassandra's warning function: Jack believes he is coming from a catastrophic future and therefore kills the fetuses [viewers] in the whore's bodies [tubes] in order to catch his own so that he is not born. It's a mixture of Job, Terminator and the abstract beauty of murder. "

Seventh work

“Mariens Woyzeck Ghaselen” , October 2006, Marienklause and Isar Bridge (Großhesseloher Bridge).

In this project, the viewer became a participant in a “psychedelic pilgrimage”. A panorama bus took the audience to the Marienklause near the Großhesseloher bridge, where they saw the projection of a floating figure of Mary. Quotes from Georg Büchner's “ Woyzeck ” sounded from loudspeakers . A robotic arm struck a large gong, which in this context becomes the representative of the drum major from Büchner's drama fragment. Karpat then accompanied the audience past projections of human organs and through various doors across the bridge. In the middle of the bridge, the actor "Woyzeck" floated on a scaffold, reflecting on his condition between the hereafter and this world. At the end of the bridge one met a whirling dervish who prayed to the dead souls. From here the panorama bus brought the audience back to their starting point.

theses cross and rose wind

In 2002 Karpat began a multi-year cooperation with the Deutsches Museum in Munich with the establishment of the transdisciplinary laboratory “thesenkreuz und rosenwind” . In the years to come, he carried out several projects on the outdoor area, which can be viewed as a kind of basic artistic research on the project “The Seven Daughters of Atlas”. The content of the Deutsches Museum in Munich was a friction surface for Karpath's vision of the new human being, which opposes the fixation on technical progress and strives to abolish the dialectic of physis and metaphysis. The museum as a representative of science and Carpathian art as a metaphysical object entered into a symbiosis on the museum premises, which has thus been inscribed as a non-technical progress in the memory of the museum and the history of technical progress.

• Project: "First poetic experiment: the generation of a collective REM phase "

Experimental setup similar to "Nâzım Hikmet: On the ship to Mars."

• Project: "Nâzım Hikmet: On the ship to Mars" , Wehrsteg in Munich 2002

In 40 waterproof sleeping capsules, spectators can take part in a sleep action. As with Karpat's first sleep campaign “The Time of Sleeping”, the participants were wired so that the sleep phases could be technically determined. If the audience fell asleep, they were exposed to the sound waves of the texts by Nâzım Hikmet. The aim was to synchronize the sleepers to a common REM phase. Karpat tried to have a quasi-medical effect on the spectator's organism through art and thus made the Dionysian catharsis effect technically comprehensible.

• Project: "Thesenkreuz und Rosenwind" , biophysical test laboratory, September 2003.

In this experiment Karpat installed a “cosmic synthesizer” on the open-air site of the Deutsches Museum. The radio telescope " Würzburger Riese " was aimed at the constellation Kassiopeia . The recorded signals have been processed into sounds in the synthesizer . In addition, Karpat installed an oversized rowing machine that spectators were allowed to use. During the row, their vital parameters , electrodermal activity, etc. were measured. These signals were in turn transmitted to the synthesizer and thus influenced the sound that was heard. There were also multimedia presentation balls into which the viewer could stick his head. The viewer could remain a consumer here, but could also actively participate in the performance with his voice. The sound waves from the synthesizer were transmitted to Berkan Karpat's body. Karpath's blood counts were checked after the transfer. Result: poor liver values.

• Project: “First supramental show - poetic attempt at catharsis” , May 2004

This installation was again about the power of the word on the body. Texts read live: Koran verses , Indian healing mantras , Japanese health recommendations and instructions for use for vacuum cleaners were read out and converted into low-frequency sound waves. These inaudible sound waves were transmitted to the bodies of test subjects who were wired to determine their vital parameters and who had to give blood before and after the procedure in order to be able to feel the effects of the words on their physique. Viewers could interactively change the sound of the words. Here, too, it was about the abolition of the separation of mind and body and the associated search for the pedal man.

I eat light

“I eat light” , 2006/2007, installation for the Islamic collection of the Museum Kunstpalast in Düsseldorf.

Karpat put together a multimedia presentation of oriental art objects from the 14th to 19th centuries. The viewer of this presentation was given tiny loudspeakers that he could put in his mouth and from which he could hear or feel the vibrations of Persian poetry. In addition, the viewer could drink water purified by Koran verse sound waves or touch balls set in motion by Koran verses. A robotic arm engraved the 14th Koranic Surah in a plexiglass disk. Finally, recitative texts from the "rose garden" by the 13th century poet Saadi were contrasted with modern poetry by the writer Zafer Şenocak.

Landing on gold paper

Landing on gold paper is a three-part project that Karpat realized from 2007 to 2008 and with which he connected the cities of Istanbul and Munich.

• Part I: Istanbul, Hagia Sophia

Karpat contributed an exhibit to a special exhibition for the 800th birthday of the Sufi master and poet Jalal ad-Din Muhammad Rumi in Hagia Sophia. It was a plexiglass tube from which a green cable came that led to a loudspeaker. Verses of the poet came from the loudspeaker. The vibrations set a membrane on the Plexiglas tube in motion. The membrane in turn made drops of rose oil dance. At the same time, the Bosphorus was filled with Rumi verses from sonic cannons installed on ferries. Inside the ships, the vibrations transmitted to a large metal plate could also be experienced haptically.

• Part II: Salvatorkirche (Greek Orthodox) in Munich.

A brass plate was attached to the side wall of the church, which recorded the vibrations of Greek Orthodox and Persian chants and transmitted the resulting vibrations to the plexiglass tube with membrane already in use in Istanbul. Again, drops of rose oil were made to dance in this way.

• Part III: “My lips are already shining and are talking far away” , Municipal Greenhouse Munich.

20 bathtubs filled with moor were ready for the viewer of the third part of “Landing on gold paper” . Sounds from space and chants could be heard. The visitor in the bathtub was wired and felt the vibrations of Berkan Karpat's Genesis poetry.

More work

• 1989 - traveling exhibition "the spaceship that moves to mars", Munich
• 1993 - Radio play "Papa Osman" (ORB and Germany Radio Berlin)
• 1995 - play "Lumpy Nights", Theater Locomotive Munich
• 1997 - play "Papa O.", Neues Theater Munich, Prinzregententheater Munich
• 2000 - “Best boy elektric”, performance together with Andreas Ohrenschall, Long Night of Museums, Munich
• 2001 - First public casting, i-camp , Munich
• 2001 - Theater work “Antigone” by Sophocles. Gostner Court Theater, Nuremberg. A theater workshop with young people.
• 2003 - Invitation to the Cyber-arts Festival in Boston, USA (Project: Nâzım Hikmet: On the ship to Mars. Goethe-Institut, Boston)
• 2004 - " Drachenzähler " a Lindwurm performance in Munich in collaboration with other artists (Hofmann, Kolb, Ohrenschall) in connection with the BUGA Munich, locations: Au, Zentrum, Haidhausen. In addition, exhibition, Sendlinger Tor, pump house and Gasteig, foyer
• 2005 - Radio station at the Siegestor, Munich. The project was rejected by the authorities and was therefore not implemented.
• 2006 - Sound installation “Anfang / Endenich”, Schumann Festival, Düsseldorf
• 2006 - Sound installation “Jobs tears”, Festival Sequences, Reykjavík, Iceland
• 2007 - Sound installation “Die Träne des Mitras”, Avantgarde Festival, Munich

Grants

• 1998 - Grant from the City of Munich
• 1999 - Grant from the City of Munich
• 2000 - Grant from the City of Munich
• 2001 - Grant from the city of Munich, option grant over three years
• 2004 - Grant from the city of Munich, option grant over three years
• 2006 - Awarded the star of the year by the Munich evening newspaper

Publications

Text publications

• Berkan Karpat and Zafer Şenocak: Nâzım Hikmet: on the ship to Mars. Babel, Munich 1998.
• Berkan Karpat and Dunja Bialas : Nâzım Hikmet - a secular dervish. In: Sirene literary magazine. 1998.
• Berkan Karpat and Zafer Şenocak: dancing electrics. Track construction, Munich, Berlin, Cambridge / USA 1999.
• Berkan Karpat and Zafer Şenocak: dancing electrics. In: Sirene literary magazine. 1999.
• Berkan Karpat: south wind bring my girl back to me - comedy for freebooters. In: Sirene literary magazine. 1999.
• Berkan Karpat and ZaferŞenocak: how not to kill your father - a labyrinth of speech. In: Jamal Tuschick (Ed.): Morgenland. S. Fischer, Frankfurt a. M. 2000.
• Berkan Karpat and Zafer Şenocak: futurist epilogue - poeme. Babel, Munich 2008.
• Berkan Karpat and Zafer Şenocak: country mood - new poems. Babel, Munich 2008.

Audio publication

• Soundtrack for the television film “My Journey to Iran”, 1993.
• Film music for “Ananas” by Aysin Eralp, 1994.
• Berkan Karpat and Quedenau: Nâzım Hikmet: in the garden of whisper pupils. Babel, Munich 1998.
• Berkan Karpat: Nâzım Hikmet: merihe giden kosmosgemisi. Subrose, Belgium. 2000.

Theatrical works

• das robinsonsyndrom1 , (first performance 2000);
• das robinsonsyndrom2 , (first performance 2001);
• search engines in the lightless sea (premiere 2002);
• nazim hikmet: on the ship to mars - dream synchronization (basic artistic research since 2002);
• Development of the cosmic synthesizer (2003 in the Deutsches Museum);
• Changes in blood and hormone levels due to mechanical oscillations of radio waves captured by the Würzburger Riese radio telescope (2003–2004 in the Deutsches Museum);
• I break flesh to new worlds , (premiere 2005);
• mariens-woyzeck-ghaselen , (world premiere 2006);
• i eat light , (museum-kunstpalast Düsseldorf, 2006/2007)

Secondary literature

• Leslie A. Adelson : Experiment Mars: Contemporary German Literature, Imaginative Ethnoscapes, and the New Futurism. In: Mark W. Rectanus (ed.): About contemporary literature. Interpretations and interventions. Festschrift for Paul Michael Lützeler for his 65th birthday. Aisthesis, Bielefeld 2008, pp. 23–50.
• Barbara Fischer: Berkan Karpat. In: Critical Lexicon of Contemporary Art. Volume 86, Issue 12, 2009
• Sabine Leucht: Born between the worlds: a portrait of the Munich performance all-rounder Berkan Karpat. In: The German Stage. Edited by the German Stage Association. Federal Association of German Theaters. Volume 78, Berlin 2007, issue 5, pp. 32-33.
• Sabine Hansky and Wolf Peter Fehlhammer: The anniversary. Festivities, highlights, encounters. 100 years of the Deutsches Museum. New fanfares for the Deutsches Museum. Deutsches Museum, Munich 2004.
• Karin E. Yeşilada: Nâzım's grandchildren keep writing. In: Monika Carbe and Wolfgang Riemann (eds.): Hundred years of Nâzıms Hikmet. 1902-1963. Georg Olms, Hildesheim, Zurich, New York 2002, pp. 180–211.

See also

• German-Turkish literature
• List of German-Turkish writers

Web links

• Literature by and about Berkan Karpat in the catalog of the German National Library
• Website of Berkan Karpat
• Website of the Babel publishing house

Individual evidence

1. ↑ Barbara Fischer: Berkan Karpat. In: Critical Lexicon of Contemporary Art. Volume 86. Issue 12, 2009, p. 2.
2. ↑ See Hans-Thies Lehmann: Postdramatisches Theater. 3. Edition. Publishing house of the authors, Frankfurt a. M. 2005.
3. ↑  ( page no longer available , search in web archives )
4. ↑ http://www.karpat.de/pag/0/manifest2.php ( Memento from August 4, 2012 in the web archive archive.today )
5. ↑ Cf. Karin Yesilada: Nazim's grandchildren continue to write. In: Monika Carbe and Wolfgang Riemann (eds.): Hundred years of Nazim Hikmet. 1902-1963. Georg Olms Verlag, Hildesheim, Zurich, New York 2002, pp. 180–211.
6. ^ Dunja Bialas and Berkan Karpat: Nazim Hikmet - poet of a secular mysticism. In: Siren. Journal of Literature. 1997, p. 122.
7. ↑ SZ, October 8, 2005, p. 47