Passdeutscha explores the intersections of integration discourse, racialized police violence, and structural racism in Germany through a hybrid form the duo coined: the Deutschrap-Lecture-Performance.

Developed through a series of workshops and a postcolonial theory reading group co-led by Ehrenstein and Pakkan, the project draws on thinkers such as Frantz Fanon, Eduardo Glissant, James Baldwin, Max Czollek, Harald Welzer, and Fatima El-Tayeb. Conversations with friends and neighbors fed into the piece, capturing complex lived experiences of marginalization in migrant communities.

The video installation often features a second screen restaged with various local groups—such as a weightlifting club in Braunschweig or teens near Munich's main station—bringing layered social realities into the exhibition space. Set between Köln-Chorweiler, where Pakkan grew up, and Kreuzberg and Neukölln, where Ehrenstein lives, the video counters dominant media portrayals of these neighborhoods as failed integration zones. Instead, it centers migrant agency, self-representation, and everyday antiracist resistance. Together, Ehrenstein and Pakkan wrote lyrics, shaped the narrative, and directed a visual that merges popular media tropes with experimental storytelling. Ehrenstein also performs a subversive “video vixen” role imagined by Pakkan, deepening the entanglement of their artistic visions.

The work becomes a metaphor for the daily struggle against racism, imperialism, and extractive capitalism. Culminating in a symbolic occupation of the Bundestag following police brutality, the video ends with a powerful resurrection scene and an anthem-like track co-written by the artists.

Passdeutscha rejects narrow notions of assimilation and proposes disintegration as a utopian horizon—one of radical multiplicity, creolization, and planetary conviviality in the face of rising neofascism and climate migration.