15 February 2020, 9 p.m.


In collaboration with Art Initiatives Cologne (AIC)

da ba dee?

Yo, listen up here's a story
About a little guy
That lives in a blue world
And all day and all night
And everything he sees is just blue
Like him inside and outside

Blue his house
With a blue little window
And a blue corvette
And everything is blue for him
And himself and everybody around
Cause he ain't got nobody to listen to

I'm blue
Da ba dee da ba die

winter melancholy and depression are two blue devils. at twilight they are descending into hell accompanied by the dancing of carnival. in da ba dee? we will celebrate the transitional state in between the cold gloominess of winter and the azure-like brightness of spring. da ba dee? dreams of blue words riding a blue corvette in the search of blue whales. da ba dee? is watching smurf porn on blue screen cause smurfs were communists and communists have better sex… da ba dee? is being fed with blue pills and shrooms and party. da ba dee? is against the puritanical happiness industry, tyrannical self-control and torturing rituals of minimalism, cause i.k.b, cobalt, indigo, turquoise, sapphire ultramarine... da ba dee? happens in the blue house with a blue door in cologne otherwise known as temporary gallery center for contemporary art on Saturday 15 February from 9 pm onwards. yo, listen up here's a story about da ba dee?...

da ba dee?
karneval @temporary gallery
w/ music, performances, videos, paintings, costumes and special drinks

SAT 15.2. / doors: 21h

artists: Raf Andra, Ines Doujak / John Barker, Hila Gluskinos, Styrmir Örn Guðmundsson, Svea Mausolf, Reut Shemesh, Julius Vapiano + special guest
djs: DJJ Diana Jana Jones / Vomit Heat

convened by Meryem Erkus, Jonatan Omer Mizrahi and Aneta Rostkowska

9 p.m. doors open
9.30 p.m. program starts:
- Hila Gluskinos “re-signing the blues (until the cows come home)”, performance
- Julius Vapiano, a reading from his Facebook restaurant reviews (2016-2018)
- Styrmir Örn Guðmundsson, “Organ Orchestra”, performance
- Ines Doujak / John Barker, “Masterless Voices”, video, 26’ , 2014
Raf Andra, “Blue Candy”, artistic culinary intervention
Svea Mausolf, “The big strike”, a series of illustrations of a disadvantaged society
Reuth Shemesh, "WITNESS. the woman my mother wants me to be like", photographs, 2018
special drinks by Art Initiatives Cologne (AIC) and Julius Continental

more information:

Hila Gluskinos produces theater, dance, and performance pieces in addition to her acting appearances in independent cinema and video works. She is a graduate of the Ga'agton dance workshop and Nissan Nativ studio. She works and lives in Tel Aviv.

Julius Vapiano (It Tastes Like Ashes, Gratis Kritik, HOW TO... Café Life) is a writer and critic based in Cologne.

Styrmir Örn Guðmundsson finished his degree in art studies from Gerrit Rietveld Academy in Amsterdam in 2009 (BFA) and from Sandberg Institute in Amsterdam in 2012 (MA). Since then he has worked on various projects, exhibited his work and performed internationally, in festivals, museums, exhibition spaces and within the theatre. In 2017, he did a performance called What Am I Doing With My Life, which has been performed widely in Iceland and elsewhere in Europe, including the Lithuanian pavilion at the Venice Biennale. He lives and works in Berlin.
In his work Organ Orchestra, Styrmir has created a series of clay sculptures, each of which takes its shape from a known organ. These are lungs, liver, brain, stomach; key organs which keep us alive. We know these forms which reside within us, we can feel them but most of us have not seen them. Styrmir has chosen these organs because of their shape and their qualities, here they act as instruments. The stomach is an Udu drum, the liver a flute, the lungs are Aztec death whistles and the brain is a synthesizer which creates sounds from electric waves. Just as each organ has a particular and singular role in the body, they get a new and specific role in Styrmir’s Organ Orchestra. They remind us that none of them can function without the others, they are joined by an unbreakable bond in a machine without any spare parts. Although these organs are vitally important we don’t always take good care of them. We even find them unpleasant and use their images to scare each other in horror movies, as well as getting the chills if we see them in formalin in laboratories. In an absurd world where meaninglessness reigns and we can experience the organs stripped of their preconceived roles, we can see beyond their traditional roles and their symbolic meaning. We examine the forms curiously, their shapes and colours, and listen to their sound in a recording by the artist. We step into the absurd world where everything is topsy­turvy and get a break from all the values imposed on us in our lives.

Ines Doujak (*1959, lives in Vienna and London) is an artist who researches, writes and teaches in the areas of visual culture and material aesthetics with a queer-feminist, anti-racist, anti-colonial focus. John Barker (*1948, lives in Vienna and London) has written extensively on political economy for over forty years, as well as writing fiction and a memoir. A partial archive of this work can be found at www.theharrier.net. Their work "Masterless Voices" is a musical on the themes of carnival, utopia and rebellion. It begins with a singing mountain. Once European explorers climbed him on the backs of indigenous carrier. Fed up with those who exploit both, his resources and the people working inside of him, he sets out for carnival … Masterless voices sing their unforgiving songs in the dark. Some people assure, that they are not dressed for conquering. A shameless investigator – sometimes naked and sometimes dressed in camouflage clothing – goes out and about the carnival masses and a group of Dança do Ombrinho dancers. She does not regret anything. Carnival is a history of collective masking, dancing and drumming. It casts off the routine of life in hierarchical societies in which ‘time is money’. Instead we have a true feast of time, a feast of change and becoming, hostile to all that was immortalized and completed, moments which enable people to rehearse identities, stances and social relations not yet permissible. They show “how much people find out about the world that those in power never intended them to know in the first place.” Masking allows not just protected space, but is one means of connecting the visible and invisible worlds. Together with the drums, the healing plants and the magico-hallucinatory ones provided by Indigenous Americans, the constituents of Afro-Brazilian Candomblé and its carnival, created structures for these connections to be made, for moments of collective ecstasy and communion. Not the survival of an African heritage but the active strength of the symbols is represented in the joy of performance. Besides, carnival itself is a mask; the Saints days and holy days of the ‘colonialist’ Christian calendar were slowly appropriated and transformed by the subjected. In Europe itself, in the period before its ‘New World discoveries’, the calendar had been used and misused by those whose lives did not count. Until, that is, the festivities became too wild, when there was too much cross-dressing, too much mimicry of the masters, while a process of labour discipline, eventually that of showing up for work on time 6 days a week, was underway and could not tolerate periods of ecstatic joy. In many instances in the 16th century carnival was too much like open rebellion. Then it had to be repressed and slowly made safe again in a cloud of controls. Masking was developed to slip past the surveillance: as with capoeira a camouflaged rehearsal for uprising as dance; with Afro-Americans of New Orleans parading in the costumes of Native Americans to make space for themselves at Mardi Gras; with the burning of Judas figures at Brazilian fiestas when they carried the faces of real time downpressors, active, popular detournements of icons of the established order. Such actions, like carnival itself, were both organized and spontaneous. The very absence of this comfortable and deceptive binary was another source of discomfort in the masters’ universe.

Svea Meaolf´s central medium is painting. She combines multiple styles of abstraction, (re-) illustration, and text. In her work, she explores female identity through the eyes of pop, porn, and parody. Since 2013 she studies at Folkwang University of the Arts. She works and lives in Cologne and is proven to be immortal.

In his artistic contribution to the evening Raf Andra presents "Blue Candy" inspired by "Breaking Bad". Raf Andra was raised and educated between Argentina, Germany and Ecuador. He works with digital media, photography, installation, simulated photography and video. He was the founder and co-director of Project 686 Gallery (2014-2018). He also worked as art sales consultant for the Spanish and South American markets and as a purchase assistant for fine art dealers in Cologne and Düsseldorf. In 2018 he founded a gastronomic club with the aim of experimenting with artistic and chemical concepts through gastronomy. He lives and works in Cologne.

WITNESS is a research project by Reut Shemesh that aims to crosse borders between two distinct worlds of expression that almost never get in contact: Traditional german “Gardetanz” and contemporary dance, and focuses on gender roles in both fields. The work examines the representation of female dancers in traditional carnival celebrations and offers a rather contradictory and tragic view of this form of entertainment. The work set a notion about the tension between the attempt to demonstrate an individual, as mostly expected in contemporary art, and the communal strength of the Tanzgarde group. Reut Shemesh is working on the margins of contemporary dance, poetry and experimental film, research by her heritage and upbringing. She received her first degree from the ArtEZ Institute of the Arts in Arnhem (NL), as well as a postgraduate degree from the Kunsthochschule für Medien in Cologne (DE). Amongst others, she has exhibited and performed at tanzhaus nrw Dusseldorf, Jewish Museum Berlin, Kampnagel Hamburg, Tanzhaus Zürich, Suzanne Dellal Center Tel-Aviv, Theatre Lab NYC and Korzo Theater Den Haag. Shemesh has taught choreography at several academic institutions, including the Heinrich-Heine Universität Düsseldorf and Universität zu Köln. Her works have been presented at international festivals and have been nominated for numerous awards, she won the Cologne Dance and Theater Prize 2016 for her work LEVIAH. Her films were presented in 2017 at the Oberhausen Short Film Festival and Art Cologne. In April 2019 Shemesh created the work ATARA during the residency program at K3|Tanzplan Hamburg. The piece is invited for Tanzplattform Germany 2020. Her research project WITNESS has opened the Impulse Theatre Festival 2019 – the final work will be presented at tanzhaus nrw in September 2020. Currently, she lives and works in Cologne.


I have a blue house
With a blue window
Blue is the colour of all that I wear
Blue are the streets
And all the trees are too
I have a girlfriend and she is so blue

Blue are the people here
That walk around
Blue like my corvette its in and outside
Blue are the words I say
And what I think
Blue are the feelings
That live inside me

I'm blue
Da ba dee da ba die


Ines Doujak / John Barker, “Masterless Voices”, video, 26’ , 2014, video still