| Degenerated: thinking, painting or writing differently. | - |New Degenerate Art | Berzan Kejo |

Go to content


The first Kurdish 3D game

From an extreme point of view, this game will shed light on my black reality. I want to revive Barzani, in the sense that ethics and loyalty are revived, especially because this great traveling exhibition about him has not been supported.
For me, this person I adore is like Ho Chi Minh, Gandhi, Che Guevara or Mandela. But his engagement was limited in a wild area.

For me he is a hero who will probably never come back. And because media, such as 3D games, let your imagination run wild, you can go according to your conviction and your current mood. In this game there will be different levels or game worlds, which all play in my hometown and surroundings. Scenes, landscapes and people with traditional clothes and customs, that‘s what I attach great importance to.

Ruto is the avatar who wants and has to implement Barzani‘s orders.

New Degenerate Art - catalog

My new catalog was published in autumn 2021, showing a cross-section of my work.

In addition to images of my works from the mid-1980s to 2021, there is a lot to read: I tell about my career and  about important, formative stations in my life. My poetry is also included.
The catalog is written in three languages (English, German, Arabic).
It also contains a few pages in Kurdish, my mother tongue, which was not allowed to be taught because of the ban in Syria.

New degenerate art
Berzan Kejo
ISBN print: 978-3-9815342-1-4
RODA Release 2021
Publication date: Autumn 2021



Art is a mirror of (western) society. Although many active people in the art world are often convinced that they are its counter-image, this subsidized self-description is only valid within their bubble. Sociologically, so-called contemporary art has a remarkable function. It demonstrates the basic openness of a relatively small group to what will remain alien to most people. This is something different from tolerance, but is considered as its symbol. Or does society use this detour to show how selective its magnanimity is?
With his texts and works, Berzan Kejo points to a sore point in the system. If everyone is an artist, why is the genuine expression of the individual experiences of a Kurdish refugee in Germany not art? Kejo starts out from content. He has images in his head and he wants to share them. But the art world won‘t let him. He is not alone in this. Interestingly, Kejo does not react submissively to this, but responds to the injury with an angry all-round punch, culminating in a persiflage of the Bremen Town Musicians. Although the group conveys a different message as a symbol of solidarity, in everyday life, as Kejo experiences it, Orwell‘s observation applies that while all animals are equal, some animals are more equal.
German readers with a knowledge of history will be embarrassed by Kejo‘s use of the term »degeneration«. He reminds us how naturally racist stereotypes live on. The reflex to affirm one‘s own anti-racism is unnecessary. The question is to what extent Kejo is right, and what can be done about it on a large and small scale? Like Ibram X. Kendi put it clearly, there is either racism or anti-racism and nothing in between. By claiming a new variant of the term »degeneracy«, Kejo opposes the art world, which is ultimately just a mirror of society. Expressed positively, he shows that it is nonetheless possible to raise one‘s own (aesthetic) voice and reach an audience beyond (and sometimes within) the aforementioned world through memorable visual ideas.

Dr. Arie Hartog
Director of Gerhard-Marcks-Haus Bremen

“As long as I‘m walking upright
I don‘t care if my shadow looks crooked for others“
Che Guevara

About my career
Art is like a companion, who participated in all these situations and epochs.
When I was a child, I saw the long eyebrows of Cegerxwin (the most famous Kurdish poet) who always used to pass by us children while we were playing.
(…) I learned art in the old faces of my relatives and neighbors, I made art out of the red earth on which Qamischlo stands. (…) Until paper and booklets for painting came into my life.
Until this time, I used olive branches as brushes and pens, painting on the red earth.
(…) My oldest brother Mohammed was my first role model, because he could sketch very well with pencil. I loved him and he did not mind teaching me his skills.
(…) Our new art teacher in the eighth grade, a calm and kind man, was more likeable from the first moment. His name was Khalil Mustafa. We became friends after a while, and he invited me to his studio and his apartment. This moment was one of the nicest moments in my life. I was invited by my art teacher as a colleague! (…)
This new art teacher became the light in my black pictures. I visited him regularly and if I didn‘t have any reason to visit him, I asked my father whether he wanted me to bring a kilogram of smuggled tobacco to his father, who was his customer. (…) For art, nothing was too dangerous for me. “Ah, Mr. Teacher, I have brought some tobacco for your father.“ (…) “What do you recommend, Mr. Teacher, how should I and what should I draw?“ He answered, “Draw
something you see, no matter what it is. You must get to know shapes, light and shadow. Your hand should get used to pen and brushes.“ Then he showed me on that occasion his slippers which were wet from the night‘s rain.
These words motivated me strongly, and I thus found my artistic career; I did not only draw
what I saw but also what I felt. So, art became a part of me.
(…) After so many efforts and stress, in January 1986 I finally arrived in the Promised Land. My forged passport took me to Germany, not me. Actually, I wanted to go to Sweden, but I got stuck in transit in Germany. We were a little spoiled in the asylum camp, almost all German food was sweetened. We never got anything tasty and salty, there was sugar in every dish. My first accommodation after staying in the first asylum camp was near Bremen. (…)
The small house had no kitchen. There were a couple of mobile heaters, that was fine. But the cold wind blew through the broken windows, the toilet was outside. The problem was the weather, because this month it snowed a lot and there was ice. And people like me who came from the south did not know this weather.
The toilet was outside and roofless and the water was frozen. Every one of us who needed to go to the toilet had to heat up a big pot of water to melt the block of ice in the loo in order to wash away his “remains“ with a bucket of water.
It was an alcoholic institution, a pig sty. I thought that‘s how concentration camps looked like.
This unwelcome of the German government for foreigners was obvious. Even German pigs had it warmer than us. To say this miserable state was a shock for me is not enough. I even wondered if I was human and even asked if I had parents who loved me. A neighbor who was an alcoholic just taught us the word “capito“ because he thought that all foreigners came from Italy.

On the subject “My Germany”
You can find narrow-minded people everywhere but many more in Germany, that‘s my impression. I heard of “German Angst“, maybe that‘s the problem. It´s everyone´s right to protect his own country from scammers and outlaws. Some migrants also played their part that laws became more strict. They thought that in Germany, unlike their own countries, everything is allowed and they could afford anything. Whether stealing, cheating or evading taxes. As the good Kurdish saying, “A rotten apple can rot the whole box.“
When I had my advertising company, I experienced a bad situation. A customer had not paid his bill and I asked him to finally pay. He became aggressive, hit me and stabbed me with a sharp object. I then went to the police to file a complaint against him. When the policeman at the station prepared the papers and asked me for the name of the perpetrator, I said the name. Instantly, the policeman’s facial expression changed. He got up and said no, he was sorry, he would not accept the charge. Rude and nervous I was discharged from the police station.
This sentence made me feel as if the world had collapsed. I wanted to get my rights, but I realized that there are higher forces here in this country in the middle of Europe and that really scared me and made me feel hopeless. (…)
What was going on? My client belonged to a powerful tribe that had spread in Bremen and other parts of Germany. (…) The reaction of the policeman made me sure that he was either afraid of this tribe or was bribed by them. I had wanted to solve a small problem, but it had given me a big problem. I thought about contacting the federal police. But then I thought that I would end up in a huge avalanche and in the end I would be the loser. That‘s why I did not do it.
Now I had to forget that I was in a constitutional state and I had to solve the situation by tribal talks as in a feudal state, because the danger lurked around me. I was once again a defenseless in this Germany.
But the good news: After talking to the tribal leader, I even got my money. Since this case, I no longer believe in the German constitutional state, which supposedly has everything under control, but here as in the so-called Third World countries, the bribery is running at full speed. But you have to live in it like me, to realize how dangerous Germany is for those who have no connections like me. You have to come to such a situation, to realize how susceptible is the rule of law in this wild Germany.

On the subject „State Artist Promotion“
I often applied to the state artist promotion in Germany, but always got rejections. The funding of preparatory measures for the production of my feature film by the cultural film promotion was an exception. After I had given it up, I tried again one day at the Bremer Kulturförderung. I had developed a project for the town twinning between Izmir (Turkey) and Bremen, with a precise timetable, for everything was to be presented for the twentieth anniversary of the partnership. There was no answer, not even a rejection, and I was disappointed again. But one day I got a call and a man said in a deep voice, “Are you Mister Kejo? Your Izmir project has been accepted.“
I replied, “I have a schedule for this project. Did not you read my application? You are very late with your acceptance. Read my plan! Now it‘s too late for my project!“
Why was I notified too late? (…)

On the subject „Integration“
Integration can be a very nice thing if it is not determined from above. It‘s like democracy, it has to come from the people, from the grassroots. The package of integration was decreed from above. It would have been important to give a xenophile lesson beforehand. In my opinion, politicians failed to say that immigration is necessary. They did not put it on the agenda, and they did not honestly say, that we will become fewer and if things go on like that, we will be threatened by extinction.
Helmut Kohl, who was named chancellor of reunification, brought the “Aussiedler“ (Russian emigrants) to Germany. (…)He and his successors had to call Germany back then what it is: an immigration country. The rulers should have turned the shock for the people into many minor shocks and not expect it all at once, as it was the case with the open doors in 2015.
Then they suddenly opened the borders and everyone was allowed to come in in order to keep the pyramid upright.
The basis for an intercultural society should have already been prepared in 1986, when I came to Germany. I came in the time when Hitler had long disappeared. But I heard the song in discos and pubs “We dance Adolf Hitler, we dance Mussolini“ (song by DAF, a German band). The right wing liked to hear this song to rail at us foreigners. We refugees had fled to a xenophobic society. What kind of host country or exile is this?
Integration affects two parties and each party should get their rights and above all do their duties so that they meet in the middle. Not that we migrants demand maximum tolerance from the Germans and call ourselves an exception. Migrants must have the will to learn the language of the country, be open to an open society that has ethical foundations. Each person should keep their characteristics, but not political blinkers and hatred. Diversitiy should be preserved.
First and foremost, migrants need to adapt their political views here, so that we migrants coming from different countries that are enemies must get along here.
Sheep and wolves should be together.
(…) Peaceful coexistence.
(…) The practicing power, the executive, i.e. the police, must now see that even a
black African is German.
(…) As long as a German policeman agrees in a dispute with Germans, just because they are German and
therefore also right and the migrant is always wrong ...
As long as it is still bad and unequal with old and new refugees and there are no equal opportunities for all

migrants ...
As long as the Germans make a distinction between Christian and non-Christian migrants ... ..

As long as... As long as... As long as...
As long as this German integration theater is still rehearsing ...
I am for disintegration.

not my children either
here is not my home
am a pile of forms
am a regular customer at the job centre
am a puppet that practices laws
here I am…

wait a minute, interrupts my shadow again
after so many tears
wait, you‘re wrong
which home?
It‘s not that way anymore
the picture you kept
was torn, has lost its color
there you have to sell your children
to get bread
there your girls will become militia
involuntarily draftet
in the name of gender equality
poverty and greed
are drilling into the bones
brothers mangle their own brothers
you still live in good times
that do not exist anymore
civilization attacked us there, too
yes, there killing is allowed in the name of
the leaders
in the name of liberation
there it is not like you think anymore
there everything is destroyed, including man,
by enemies who have no heart
there everything is allowed except to love each other
there has ...
it is enough for me!
I scream out of my tribulation
the ticket in my hand
has become shreds
shredded with anger and grief
they fall from my hand to the ground
the wind takes my last wish
with it
the shreds fly everywhere
like me
everywhere but not homeward
In front of the travel agency

my shadow asks me again
after a long time
what do you have in your hand?
I say, a ticket
do you want to travel home?
no, I‘m going back
I say
back? yes, returning
to my dusty earth and relatives
to stones and trees
to my wild playgrounds
to my field
to my huts
to the graves of my parents
to the satisfied inhabitants
in my streets
despite poverty
to my little town
despite hardship and misery
only there will life refresh me
with warmth from relatives
only there can I preserve myself
and only there am I an important part of my flock
only there can I leave my marks
despite tyrants, despite repression
the pain of exile
hurts more than the torture of the homeland
there, when I have a headache,
the whole tribe gathers and prays for me
yes, returning to the traces of my childhood
to the honest smile
I am here and pass away slowly
and become a number after the point
here I cannot be like I am there
here I die in the gloomy loneliness
every day
here I am a machine
which only rests at the weekend
here I do not live as a human
here I´m hounded
here I remain merely a foreigner
everything I have here is not mine

New Degenerate Art
Berzan Kejo

September 5-19, 2021
Berzan Kejo
Drawings, Painting, Reliefs, Sculptures
Installations, Films, 3D games, 3D animation
Künstlerhaus Güterbahnhof Tor 40
Vernissage Sunday, 5.9.2021, 11.30 a.m.
Introduction: Dr. Arie Hartog
Music: Merxaz
Mon-Fri 3 pm-6pm
Sat / Sun 12 p.m.-4 p.m.
Beim Handelsmuseum 9
D - 28195 Bremen

Art is also a mirror of contemporary social events, and art, through its own sensual way of expressing something, can play an important role in naming racism.

Dr. Arie Hartog during the opening.

Dr. Arie Hartog, director of the Gerhard-Marcks-Haus in Bremen, gave the opening speech. I am glad to have met such a person who also values art and artists with his expertise who do not swim in the mainstream.

The many visitors motivated me well by saying how much my themes are missing in art and how expressive they find the exhibition.

The Kurdish musicians Merxaz and Egid played their beautiful Kurdish music.

The exhibition was successful, despite Corona, and despite the subject from which many Germans have distanced themselves in this fossilized German society, simply because they deliberately do not want to see the truth. Or because they are not allowed to look back.

"This art is an individual statement and as such it confronts us with a number of questions." Dr. Arie Hartog

At the same time, I was severely criticized by some of the German visitors who were supposedly close to me and others for some of my critical work. In my exhibition, I was harshly, uncivilized, severely and personally criticized by these people for my criticism of Germany. I didn't wake the dogs, but the sleeping German hyenas. And that's a good thing, that's exactly what I wanted, among other things.

I made a poster of myself with words and pictures for this exhibition that excited many.
It is a description with facts how I came to the New Degenerate Art. In it I describe the refusal of the BBK to become a member again.
Because I find it cheeky to call only the studied artists such, I searched in the Net for known self-taught artists and came across, among others, van Gogh and Niki de Saint Phalle. Also on painters who painted in caves thousands of years ago. And mentioned Gerhard Marcks and also me. I wanted to say that art is an instinct that every human being has. Many people have seen this, some have shown solidarity with me, some have not looked, as it is in an exhibition.

But I have been shown the horns by at least two of them. One, who is also from my so-called tolerant circle, said:
"I don't understand what that's about".
The other, however, clarified it a bit and said, "You want to put yourself on a par with Gerhard Marcks." And with a hahaha she ended her criticism.
I am sensitized by such remarks and my radars are always on. Before this woman knew what this poster was actually about, she made her subtly racist remark. And this is in my art exhibition.
In this poster and also in this exhibition I showed my misery of unsuccessfulness and especially my reaction to it.
This so-called alternative meant with her arrogant remark "Oh you put yourself on a level with Gerhard Marcks and this must not be, because the roles are already assigned, we are always above and you are below."
There are 3 kinds of criticism, positive, negative and destructive, prejudiced criticism. I distinguish between these according to the point of view from which it comes.

If someone has not understood something, I am prepared to spend hours explaining what I mean by that object. If a person without racist reservations nevertheless disagrees, I am happy to respect them. But if someone criticises something with just a quick glance and at a great distance, without knowing roughly what it is about, then for me it is like that person saying to me "you are bad" without having exchanged a word with me. That is destructive.

The problem of most Germans: they have not learned to see someone at eye level.  
This is not just my interpretation, it has become my firm opinion.

But I say to it: "If I had received only one percent of the support like Gerhard Marcks, you would see who I am and how much more artist is in me, not only in comparison to Gerhard Marcks, but to all the greatest living and dead German artists, you Germans make the way for me to this brutal market, then I show who I am."
I don't want to be received on a red carpet, as one or the other thinks, but I am concerned with the fair distribution of opportunities for all artists, even without belonging to a coterie.
Although I belong to the Kurds, I have not even received support from one of the many Kurdish parties, neither materially nor morally. Because I did not and do not want to be a mouthpiece for any party. In rare cases I have received support from individual Kurds. But most of them did not support me because of their deadly envy!!!
 But I am in Germany and not in Kurdistan.

 The text on the poster  
Art is skill and an instinct that is activated in some and not in many people, despite study!
All these artists have not studied and were not in the BBK!
Art is not only aesthetics.
Art is also sensitivity, which the clique know only in relation to themselves!

I invited all the members of the Bremen parliament, but no one of them showed up, not even from the Green Swamp and not even from the Kurdish deputies who have already achieved their goals by coming to the parliament.

"Modern society functions through border closures and through opening processes, and not in a static sense, but highly dynamically. It's always about top versus bottom (north versus south, of course) and how top uses power to keep the door shut. One can read about the arguments used to exclude citizens, workers, women, foreigners. And Berzan Kejo gives the hint that this also happens in art (we knew that, only we don't like to hear it)." Dr. Arie Hartog

Many spaces that are actually meant for artists like Bremen's municipal gallery have been invaded by a stubborn coterie. The beautiful spaces in the municipal gallery of cronies are now used for their agendas, their goals, their coterie, and also only for those who are one with their wave and politics.

Back in 2015, I asked the municipal gallery of cronies. I would like to do a solo exhibition there. That was already in times of Rose Pfister and her curator. I have received a clear rejection also for the coming years.

The exhibition was very good. Because it was a lesson to such organizations as the corrupt BBK(German Federal Association of Visual Artists), which only gives a certificate to studied artists and recognizes them. And which has eliminated autodidacts like me and many great artists from art. This exhibition also showed that self-taught artists have a lot more going for them than kitsch art and crony art copied by professors.

"The systemic rejection, which has no face but is obviously shared by all professionals, leads quite naturally to aggression. We know pretty well how violence arises from rejection in the migration society, and Kejo's case would be a transference in the Bremen art field. At the same time, and this must be seen and acknowledged, he has managed over the years to create an audience for his art, a small niche. There he turns the tables and says, ok, then I just don't belong to it - and makes his quality mark out of it. Because he is rejected, he is good. That's ironic and tragic at the same time. " Dr. Arie Hartog

This institution of a clique named BBK only favors its cronies with scholarships, cheap studios or even exhibition opportunities. This bunch of cliques has rejected my renewed membership application, because I have not studied art. And why, please, was I already a member and was not asked at that time whether I had studied?

Foto: Rolf Engel    Foto from my exhibition 2021

The exhibition was also successful without Bremen Culture Resources, because here I am also excluded from this funding because of my themes.

 "Kejo is a man who finds images for the topics that occupy him, such as the faces of the tortured.
" Dr. Arie Hartog

The exhibition was also good because I organized everything myself in this great democratic Germany as an artist through my own initiative with the help of a few people, advertising, setting up and dismantling. This is also an arrow directed at this rubbery democracy in Germany. From an artist who has lived in exile in Germany for 36 years and is searching in vain for space, dignity and recognition.

The exhibition was optimal and showed that here in this country only crony artists have access to all spaces, money and opportunities. It has shown that I am excluded from all these because of my subject Neue Entartete Kunst. This is what I call discrimination and have no other word for it.

Prisoner (Häftling), 150x50, gypsum, 1988

The exhibition was optimal. But also the Artists social fund is no longer there for artists as the name implies, but for all imaginable private persons, graphic designers and middle-class tradesmen. This likewise corrupt non-artist-non-social fund has rejected my renewed membership application.
And artists like me are not admitted, although I was already a member once.
The exhibition was good, although it was created only on private initiative and stress, with some financial support from the Waldemar Koch Foundation.

The exhibition was an event even without German and Bremen media, all of whom I had invited, but no one was allowed or wanted to see outside their borders.
You go too far, they shouted at me, and I say, how far? As far, as deep as my wounds?
No, not by a long shot.

Poster, 120x42, 2021
In this forced democratized Germany only the yes and amen is allowed.

The topic of New Degenerate Art disturbs almost everyone here in the country and also me from different angles.
Also the Taz, which actually should not be missing at such an event, was not there.

Installation KSK Recycling materials, 2021 "Germany is the official name, It should be called country of cluster of cliques"

Here, too, I had the feeling that I had awakened not only the German hyenas, but also the hyenas of the German media.
Well, with this theme of New Degenerate Art, which I proclaimed, I united most of the Germans without my will.

Foto: Rolf Engel    Foto from my exhibition 2021

There was only one exception from Radio Bremen 2, who did an interview about the exhibition with Arie Hartog, I was pleased.

After living in Germany for 36 years, I say: You can do anything, rob, steal, cheat and even kill.
But there is one thing you must not do: Criticise holy Germany, that's where the fun stops. If you do, you will be demonised, neglected and even attacked. And above all ignored, not mentioned and excluded by the cliques of the media.  And everyone, but really everyone, shows their national and religious horns.

If you talk about problems outside Germany, you get many ears and eyes, but woe betide you if you point the finger at Germany, even if your critic is fair, even if with facts and evidence, as in my case.

The most important foundation of democracy is criticism and self-criticism, where are these foundations in this sham democracy (forced democracy), please?
Here I would like to mention what a German man told me after he saw my works and after he learned some of my life and tragedies here in Germany and the reason why I proclaimed the New Degenerate Art: "If I were you, I would say that there is a conspiracy being hatched against me here."

I am glad about the Germans and foreigners who can look outside the mainstream and have taken up the topics with their warm enthusiasm. And who have given me renewed confirmation that the mainstream in art and culture in Germany and especially in Bremen is monopolized only for and to certain clans.
Thanks to all who were present and also to those who did not come, for whatever reason. You have missed something!

               some  feedbacks               

"Thank you for your art and truthful word, courage, perseverance, expression."

"Great exhibition! Among the best I have seen."

"Great project, great dream, the exhibition is outstanding."

"Goals and directions that spark interest and engage in conversation. Art is a peaceful weapon for the betterment of society. Unfortunately, not everyone who calls himself an artist masters it so well. In your work, thank God, I've felt how excellent you are at using this weapon."

"The disturbing truth about our country."

"A thought provoking exhibition!!! Very much worth seeing!"

"I think it's good that you point to what's going wrong in Germany and I hope that many more people get the opportunity to see the world through your eyes. You are a great enrichment for this society through your art and your humanity."

"Very interesting exhibits that gave me personally completely new impressions and food for thought."

"A wonderful exhibition from which I took something away: I am human!"

Radio Bremen 2, 5.9.2021

Neue Entartete Kunst (New Degenerate Art) - when you hear this title, you immediately think of the 1930s and the art barbarism of the National Socialists. But that is not what is meant here. New Degenerate Art is the name of an exhibition by the Syrian-German artist Berzan Kejo, and it opened today at the Künstlerhaus Güterbahnhof in Bremen. Arie Hartog, the director of the Gerhard Marcks House, took over the introduction to this exhibition this morning and I talked to him about it and asked the title of the exhibition makes you sit up and take notice, Berzan Kejo has been using this name since 2016, why, what is behind it?
A.H. There is actually behind it that he wants to attract attention. He is an artist of Kurdish origin, who has been in Germany since 1986, works as an artist in various media and is confronted again and again with the fact that he is not accepted as an artist, and so he took this very blatant term, so to speak, to point out his position, and the interesting thing is, I mean, that was now also a reason for you to call me, it works.
Hm, so it's actually more of a marketing stunt?
No, it's not a marketing gag, that's what it is, that would be the first step, that would be, so to speak, in our world determined by great excitement, someone is looking for something to cause excitement, but it's actually about the fact that he points out, and he does this in the exhibition also very subtly in part, how this exclusion actually works in art as well. And on the one hand we know that, that art is also a very closed elitist system, at the same time we don't like to be reminded of it.
That's exactly what he's doing.
Then let's talk about the exhibition. What do we get to see?
Well, the interesting thing is, he shows without restraint what he has done in 35 years, that is, from the first works that were created here in Germany, where he tries to work with traditional means, that is, first of all clay, or with color to paint off his traumas from his experience in Syria as a Kurd in Syria, and then develops from there in the direction of a more symbolic art and a certain concept of, you could also say conceptual art. And each time he presents a work, that is, something visual and next to it a fairly detailed explanation whereby one in fact comes, so to speak, on the trail of his visual world.
... so also lyrical texts to his works. What characterizes the work of Berzan Kejo?
From my perspective, the directness. It has a very great immediacy, I also said today, it has in his best works it has such an almost punk-like attitude, so very directly in the face, and that comes out well.
Does the exhibition tell you anything about the artist himself and his career?
Well, with each work it says from which year it is and so far you can actually follow, so to speak, from work to work, how it has developed step by step, but of course he has also written something about his experiences as a refugee and whoever wants to can also read that.
Now he himself sees his art as resistance, art against exclusion, that's what it's about for him, but can art do that, can art criticize political conditions?
First of all, art is the medium that you can talk about together. That's the real thing, and what he also demands, he says, you can reject me, okay, but let's talk about it, and what happens is that it's rejected and not talked about.

Says Arie Hartog, director of the Gerhard-Marcks-Haus about the exhibition New Degenerate Art by Berzan Kejo, on view at the Künstlerhaus Güterbahnhof Tor 40 in Bremen.


The Kurdish musicians Merxaz and Egid played their beautiful Kurdish music.

"Performance art "The Dialogue of the Monomaniacs".


Frieda endless runner
3D Game

With Unity 3D 2020

My long way to become a 3D computer game developer.

For this field of 3D computer game development I was on the road for a long time looking for a suitable software for it, had to pay a lot of money for unsuitable software and also lost a lot of valuable time. For this study and because I actually finished writing a game project with all the particles in 2005. The search took a very long time. I was looking for a program that I could afford financially.

In 2013, I finally came across Unity3d and was immediately hooked. Then I started looking for a suitable school where I could better master this program.
The teaching position was found, but my financial situation was not good enough at that time. Therefore, I first contacted the director of this distance learning university for an honorary scholarship, which was unfortunately rejected. I then approached the European Fund ERDF in Bremen to cover the costs of this study, and this also failed after a long delay. Although they should have supported steps like mine. The employment office did not cooperate with me despite my repeated requests.
Instead, they sent me to a procedure, so I wasted my precious three months of time with this lousy procedure as well. For me, this measure was the end of human dignity as it is supposedly protected here in Germany. I wanted to get out of this unemployment gap and tried a lot and knocked on many doors and nobody agreed.

Because such state organizations should have already encouraged steps like mine instead of sending me to such procedures that cost more than 10 times the tuition per person.  
This action and the whole situation almost led me to violence, before the explosion.
I went to the employment office and spoke urgently angrily to the person in charge.

It was noticed.  I tried to make a living from my art, but the tide was and is strong against me in this petrified country like Germany and the insidious wall that faces me. I don't want to say that I surrendered to this reality and stopped making art, no, not at all.

From my point of view as an artist, I don't have enough money to rent big halls or studios. I have a small studio that has become a repository for my artwork, and there is no place to work. The computer has many advantages, including the fact that virtual art doesn't need warehouses or galleries, just a box that holds everything I want, like 3D models, but the big goal behind this design is to have a job like remote work. Ideas flow out of me in this field, along with my life experiences of creating stories, also from an artistic and technical point of view.
I can be a screenwriter, programmer, 3D designer, soundtrack or director in all these fields, I have the strength, the will and most importantly the confidence. I put all this into my serious game "The curse of the mutants" about Bremen. This game was completely designed and directed by me, the story, the sound engineering, the programming, the script and the direction.

For my first 3D game I got the top grade A in my distance learning course to become a certified 3D game developer.


Advance notice 3D game
The curse of the mutants
Do you have something against Corona? We do too!

In this game you can shoot the viruses, is more fun than any vaccination.

The story of the game

Since 2020, our task is to protect ourselves against the Corona viruses and fight them.
For this purpose, I created the computer game "Curse of the Mutants".
The setting of the game is the marketplace in Bremen, Germany. It is presented almost identically in 3D:
The town hall, the cathedral, the Becks Haus and, most importantly, the Bremen Bürgerschaft (the Bremen parliament).
All of Bremen is contaminated, except for the marketplace and the Bürgerschaft. There is a total curfew except for those,
who fight the virus.
The player's main task is to shoot all the mutants that sneak in. The citizenship of Bremen must remain virus-free!
The game has four levels. The harder the level, the fewer resources and the more viruses there are.
While this game can get the adrenaline pumping, it is by no means a substitute for a decent vaccination!
Here is a small video as a foretaste.


The international storytelling festival Bremen
November 5 & 6, 2022

"The disintegrated donkey" 16:40 - 17:00 & 17:30 - 17:50
Berzan Kejo
German and Kurdish
A donkey applies for asylum in a pigsty. His asylum application is rejected and he is deported. And now, where to? A fable in German and Kurdish.

In this event I am not a writer but also a narrator and in live.
My themes remain.

Back then, 36 years ago, we refugees were not as important as we are today. We were not even allowed to learn German. And because I practiced the saying "Learn the language of your enemy so that you can protect yourself from him and defend yourself in his language and even attack him," I learned German.
I didn't do that out of love for Germans and Germany. I learned German from German punks, homeless people and street children, and for once I had many students and intellectuals in my circle through my art, but for most refugees then as now were almost only underdogs on our level.
I learned Kurdish without school from my dear mother with pleasure, and I also learned German without school, but from my tragedies.
When I worked as a counselor for the underage unaccompanied refugees, I always encouraged them to integrate. This has totally changed, not only with me, but also with the young people, so into the opposite.
That of course after them and also I have witnessed how the Germans deal with such young people, make deals and give back and forth, like sheep. Of course, after she and I too have witnessed how the Germans deal with such young people, make deals and give back and forth like sheep. such as the so-called humanitarian organizations such as ASB and Paritätische, AWO and Co, who ripped off so much from the state, who actually didn't even deserve a quarter of the prices
And I can confirm this as a witness, I was there first hand!
Because I and also these young people still do not see and feel Germany as a country of integration, despite the differences to my time, when we were not usable and therefore totally neglected. Not only that, but almost all German interior ministers not only instigated the neo-Nazis against us, but also made us the scapegoat for their failed policies, and they wanted to get more votes in the elections from radical Germans. Although at that time, in relation to the last years, there were not even 5% of today's number of asylum seekers.
Normally donkeys like to be integrated as useful animals in other cultures.
Only in this pigsty in Germany they are disintegrated.
"The disintegrated donkey" is my reaction to these abuses of then and now.
Because the donkey is a different race than the pig and has completely different ways of life and culture than a pig, which never fit together, this difference describes the real reality in Germany, because you cannot make a donkey into a pig or bring them together.

I have after 36 years living in Germany I have almost forgotten how it was in Syria. That's why my texts and stories are mostly based on my experiences and the experiences of many other refugees here in Germany. Sometimes even exaggerated, like here in this fable of the disintegrated donkey.

If you figuratively hear this, you will realize how hard it is in Germany to bring these two animals together.

More info:

In German and Kurdish with English and Arabic subtitles
To see the narrator, click here
Visit me on the social networks.
©  1998-2024 Copyright www.moving-art.de by Berzan Kejo
Back to content