On the occasion of their nomination for the Preis der Nationalgalerie in 2015, Slavs and Tatars’ work can presently be viewed at two locations in Berlin. One is the Hamburger Bahnhof, the institution hosting the prize. There, books by the art collective are offered up for viewing in what looks like a swingers’ club for bookworms. By now, Slavs and Tatars have published ten books, making these the heart of their production. The other exhibition is at Kraupa-Tuskany Zeidler. Although the gallery show lacks the legs that lure and the dangling swings of the Hamburger Bahnhof presentation, it is far more daring. Together, the two sites unlock the universe of holistic heuristics Slavs and Tatars have been constructing for almost a decade. In this universe, the veils of obscurity that fell over the Eurasian territory, covering it in a neoliberal economy of uniform individualism, are lifted. Slavs and Tatars are supreme wordsmiths. Hardly another letter in the pool of Slavic languages of Eurasia requires so much artistry in articulation or, for that matter, causes so much transcription trouble in the West as the Dž or Dż [d͡z] in the exhibition’s title. But “Dschinn and Dschuice” does not simply poke fun at …