In 2013, derdiedada relocated its headquarters to Berlin, Germany, in an effort to radicalize its dada with knowledge for what? The blank slate of new surroundings proved to be heavy-duty fertilizer for the mind and catapulted derdiedada to the moon. Works like „Borstige Stoppeln“ (Busty Stubble) or the ingenious „Wichtiges Equipment für Nicht-Regentage“ (Crucial equipment for non-rainy days) bear testimony to a newfound light-footedness in the œuvre of the group, and made derdiedada hotter than a stolen Ferrari. Inspired by the anything-goes attitude of Berlin’s art scene, derdiedada launched „Affenwoche2014“ (MonkeyWeek2014), a transcontinental dialogue consisting of various monologues hijacking the void, filled with peanuts, fermented fruit, and accompanied by gin tonics. Peanuts are the natural enemies of a tidy desk, and derdiedada became more political. In 2015, the group launched a satirical campaign that successfully undermined the propaganda efforts of the German province Baden-Württemberg to rebrand itself as a nice place. In 2016, derdiedada was invited to Düsseldorf to participate in the Rheingärtchen Biennale, famously held in a lush garden on Joseph-Beuys-Ufer. The outdoor collage called „The last cry: Düsseldorfs letzter Schrei“ was to remain on site until the rain washed off the Pattex, though it is believed that most of the paper fragments were removed by sneaky locals who put them up on their fridges or bathroom mirrors or sold them to their highest friend.