Selin Davasse and Zoë Claire Miller: 


Glasshouse #3

29 December 2021

EARSNAKE is a lecture-oratorio describing scenes in the distant past and near future in which an earsnake (similar to an earworm, only more powerful) created by snake-related matriarchal mythological figures takes down the racist, capitalist cisheteropatriarchy. The story is narrated by a gender non-binary seraph angel from a Hagia Sophia mosaic. The snake goddesses who come to life and start casting spells against the empire are Pythia, the oracle of Delphi whose tripod used to rest on top of Istanbul’s Serpent Column; Şahmaran, the Kurdish/Iranian mythological figure with the head of a human woman and the body of a snake and the Minoan Snake Goddess from the Bronze Age matriarchal civilization. Weaving together research into Greek, Roman, Byzantine, Ottoman and Prussian herstories with a queer sense of humor and a feminist agenda, their story begins as such:

*I am Sandalphon (they/them)
The fourth seraph in Hagia Sophia’s boob-shaped dome.
Yes, the one some say has resting bitch face

You were yearning for the muse – here I come!
Invoked by incantation, featherful of grace
And optimal critical distance to the human race.

Oh girl, if only you knew! I’m speaking to you from the year 2068
My girl Sophia and I’ve watched many empires collapse and deflate
Weathered many crampy dawns and dusks, as menstrual cycles rotate.

Today the Hagia Sophia, lovingly called The Hag (to rhyme with vag)
Has her recommunalized legs wide open to any worshipper of her snatch.


SELIN DAVASSE is a performance artist and writer. Her practice translates research across various disciplines to poetic, musical and speculative processes imagining alternative sociopolitical realities. Composed of narrative and sonic textures, her work interweaves strands of theory, history and fiction into feminine voices and takes shape as spoken and sung performances often with playful and participatory elements. Her performances have been presented at NEXT WAVES THEATER at VOLKSBÜHNE, Berlin (2020-2021), “Slavs and Tatars’ Pickle Bar” in collaboration with KW INSTITUTE FOR CONTEMPORARY ART, Berlin (2020), “Queer Art, Culture and Politics from Turkey and its Diaspora Symposium” at GOLDSMITHS COLLEGE, London (2020). She has represented Turkey in the “School of Waters” MEDITERRANEA 19 YOUNG ARTISTS BIENNALE, San Marino (2021). She is a participant of “The Society for Matriarchal World Domination” whose collective works are in the collection of the KUNSTBIBLIOTHEK DER STAATLICHEN MUSEEN VON BERLIN (2019), and a recipient of the “Centrale Fies Live Works 9” (2021–2022) fellowship.

ZOË CLAIRE MILLER is a sculptor and organizer. She is a co-founder of the BERLIN ART PRIZE and the SOCIETY FOR MATRIARCHAL WORLD DOMINATION and a spokeswoman of the BBK BERLIN (the Berlin artists’ union). Her work in the media of sculpture and installation engages with sensuality, tactility, queerfeminist theory and emancipatory politics. In past exhibitions she has explored themes such as matriarchal utopias, exorcising capitalism by means of collective raku firing, female masturbation as a metaphor for creative production and the disintegration of the body as a pleasurable experience. She works with interspecies perspectives and collaborative modes of production, aiming to dissolve proprietary paradigms and negate the historical cliché of the lone creative genius as well as the contemporary spectre of competitiveness. Her works have been shown at the BERLINER FESTSPIELE (2021), COAST CONTEMPORARY, OSLO (2020); BERGEN ASSEMBLY (2019); VIENNA ART FOUNDATION (2019), 5X5X5, MANIFESTA, PALERMO, ANSBACH CONTEMPORARY BIENNALE (2018); NEUER BERLINER KUNSTVEREIN (2018), KUNSTHALLE FREEPORT, ATHENS (2017): MOSCOW BIENNALE FOR YOUNG ART, RU (2016), GLASGOW INTERNATIONAL, GLASGOW, GB (2016); as well as in other riveting venues and contexts.

LUGH O’NEILL is a composer and spatial sound designer. His work navigates an eerie and evocative space formed by the overlap between what is recognisably tangible and familiar and the aseptic sterility of the digital – the separation of which is continuously and progressively challenged. In recent works, Lugh has focused on emphasising the potential of spatialisation in sound composition – while sound composition is traditionally conceived over the spectra of frequency and time, Lugh’s work utilises space as another dimension in which sound and music composition is written. Lugh has performed in concert settings and produced audio-visual work for contexts such as the KW INSTITUTE FOR CONTEMPORARY ART BERLIN, DESIGN MIAMI/BASEL, CAFE OTO London, POINT EPHÈMERE PARIS, BLOOMBERG NEW CONTEMPORARIES at ICA London, and collaborated on projects with artists such as JAKOB KUDSK STEENSEN and TOMAS SARACENO. As co-founder of C.A.N.V.A.S. – a record label and events series – Lugh has released his own works such as the RE MUNUS LP, directed the research based CIPHER and APOCOPE compilation LPs, and co-produces other works released on the label.


Selin Davasse and Zoë Claire Miller





3D Animations:

Ana Gzirishvili

Light Design:

Veslemøy Rustad Holseter


Silke Briel

Hair and Makeup:

Clara Dietz Sarries

Supported by:

Schloss Biesdorf

Thanks to:

Alexander Arpeggio, Billy Bultheel, Doireann O’Malley, Pit Palesche, Spyros Rennt, Karin Scheel, Oliver Scheifinger and Wieland Schönfelder

Onscreen premiere:


Commissioned and produced by GLASSHOUSE.