b(l)ack dada takes the 100th anniversary of DADA Zurich as an opportunity to pollute the historicized artistic avant-garde movement with postcolonial and queer recontextualizations. In live situations knowbotiq delinks and re-assembles history: Parodistic and carnivalesque survival practices at times of coloniality cross Dada Negrophilia and its exoticized desire. Based on a kotomisi, a traditional garment of female slaves in the former Dutch colony of Suriname, knowbotiq addresses strategies of creolization of femininity (formlessness, in- and hyper-visibility, parody, desexualization). Due to their forced plantocratic speechlessness the slaves developed clandestine visual forms of communication via the draping, folding, layering and knotting of the clothing. The patterns of the fabrics, as well as the cuts, articulated the conflict with a colonizing and exploiting European culture and its aesthetic imprints. Rococo clothing and late Baroque line dances were matrices for parodistic appropriations that led to the absurdly voluminous and defeminized silhouette of the «Mammy» figure. These body and clothing politics also point to transcultural relationships of Swiss protagonists: textile producers participating in the triangular trade, investors of slave ships, and ethnographic and missionary expeditions. The universalistic and colonial claims of the Swiss bourgeoisie, their anthropological knowledge productions and explorations opened up a metabolism which today is processed further through the Swiss-based global commodity trade, and which makes it possible to retell the historical complexity of DADA. Helvetia, do you feel the melancholia?