It’s the second lockdown, and fear and suppression rule the streets. hakahaLahakah is armed with the pact it made with the melancholy of human nature. The art museum is closed and the belief in art is lost among the living, who, in their bourgeoisie manner, conflate culture and art. hakahaLahakah, on the other hand, already feels the accumulation of the natural power of being a MUSEum in its own right, but is still desperate to once again touch the delicacy of the format of the Art MUSEum. And there, waiting for hakahaLahakah, is Michal Helfman’s exhibition at the municipal museum, which opened in order to be closed with the outbreak of the pandemic. There, a Grey Cell, a habitat that both keeps and surpasses the tension between the white cube and the black box. Thus, we choose to enjoy. hakahaLahakah presents a cabaret for the dance of death: NO GO NO SHOW.

hakahaLahakah is used to being an illegal lover, an invasive species, used to fondle the artistic pantheon on the side. But at a time when everything is closed, everything is actually open. Just at a time when coming together is forbidden, each dancer in hakahaLahakah can commune with the exhibition. How exciting. hakahaLahakah can exercise its savagery, and this is, in fact, the unshakable victory of Terpsichore’s interpretation of the act of art in the age of vulnerability. Now, just when the fading of democracy is palpable to us all, she screams in an empty museum: “We may run through your corridors, but we swear our allegiance to you, oh Museu-cracy!”